>>> COMING UP ON NYC ARTS, A TRIP TO THE NOGUCHI MUSEUM IN QUEENS.

IT REFLECTS THE LEGACY OF THE RENOUNCED SCULPTOR, ISAMU NOGUCHI.

>> HE REALLY WANTS TO CHANGE SCULPTURE IN A WAY THAT MADE IT A FORCE FOR CIVIC GOOD.

HE WANTS TO MAKE IT AN ACTIVE PART OF OUR EVERYDAY LIVES.

THAT'S WHY HE NEVER STOPPED MAKING FURNITURE.

HIS AKARI LAMP SERIES, PLAY GROUNDS, PLAY GROUND EQUIPMENT, SETS FOR THEATER AND DANCE.

HE HAD LONG COLLABORATIONS WITH PEOPLE LIKE MARTHA GRAHAM.

>> AND A PROFILE OF LaTOYA RUBY FRAZIER, THE PHOTOGRAPHER, VIDEO ARTIST AND ACTIVIST WHOSE IMAGES GIVE VISIBILITY TO PEOPLE WHO ARE OFTEN FORGOTTEN.

>> IT IS A DUTY, A PRIVILEGE AND AN HONOR TO BE ABLE TO USE THESE CAMERAS TO SERVE OTHERS AND TO BRING A REAL HUMAN STORY FORWARD IN A COMPLEX SITUATION.

>>> FUNDING FOR "NYC ARTS" IS MADE POSSIBLE BY -- JODY AND JOHN ARNHOLD.

THE LEWIS "SONNY" TURNER FUND FOR DANCE.

THE AMBROSE MONELL FOUNDATION.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

THE NANCY SIDEWATER FOUNDATION.

ELROY AND TERRY KRUMHOLZ FOUNDATION.

AND ELLEN AND JAMES S. MARCUS.

THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

"NYC ARTS" IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

>> FIRST REPUBLIC BANK PRESENTS "FIRST THINGS FIRST."

AT FIRST REPUBLIC BANK, FIRST REFERS TO OUR FIRST PRIORITY.

THE CLIENTS WHO WALK THROUGH OUR DOORS.

THE FIRST STEP?

RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE.

BE A BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

THIS WAS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

>> AND BY SWANN AUCTION GALLERIES.

>> SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS.

OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941.

WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

WHETHER YOU'RE A LIFELONG COLLECTOR, FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT SWANNGALLERIES.COM.

♪ >>> GOOD EVENING.

WELCOME TO NYC ARTS.

I'M FELIPE DE MONTEBELLO ON LOCATION AT THE MORGAN LIBRARY AND MUSEUM IN MIDTOWN MANHATTAN.

IT IS LOCATED AT MADISON AVENUE AND 36th STREET.

ONE OF THE PREEMINENT ART COLLECTORS AND CULTURAL BEEN FACTORS IN THE UNITED STATES.

FOUND IN THE 1906, THE MORGAN NOW SERVES AS A MUSEUM, INDEPENDENT RESEARCH LIBRARY, MUSIC VENUE, ARCHITECTURAL LANDMARK AND HISTORIC SITE.

I'M HERE IN THE MAGNIFICENT EAST ROOM, MR. MORGAN'S LIBRARY, DESIGNED BY A CELEBRATED ARCHITECT OF THE TIME, CHARLES F. McKIM.

COMPLETED A FEW YEARS BEFORE McKIM'S DEATH, IT IS CONSIDERED BY MANY TO BE HIS MASTER PIECE.

THE BUILDING EMBODIES THE RENAISSANCE IDEAL OF THE UNITY OF ALL THE ARTS, INTEGRATING ARCHITECTURE, SCULPTURE AND PAINTING WHILE USING THE FINEST MATERIALS AND CRAFTSMANSHIP.

MORE THAN A CENTURY LATER, THE BUILDING EXTERIOR WAS RESTORED WITH CLEANING AND REPAIRING OF THE FACADE, STATUARY AND FRONT DOORS, AS WELL AS THE ELEGANT BRONZE PERIMETER FENCE.

FOLLOWING RENSO PEA AN OVER'S SHIFT OF THE MUSEUM ENTRANCE TO MADISON AVENUE IN 2006, THE NEW PROJECT WAS ALSO BEGUN TO DRAW MORE ATTENTION TO THE EXTERIOR OF MR. MORGAN'S LIBRARY ON EAST 36th STREET.

THE FLEW DESIGN RESPECTS THE STRUCTURES CREATED BY McKIM AND RENZO PIANO AND OPENS UP THE NEW SPACES FOR PROGRAMMING.

A LAWN SWEEPS ACROSS THE SPACE BETWEEN THE ANNEX AND THE LIBRARY.

PATHS OF BLUE STONE ARE SET IN PATTERNS THAT DERIVE FROM THE LIBRARY'S FLOOR AND EXTERIOR PAVING.

HE WILL GANTZ PEBBLE WORK AND BEDS OF PERIWINKLE FLANK THE LIBRARY'S LOGGIA AND ADD TEXTURE AND COLOR.

ALSO INCORPORATED INTO THE DESIGN ARE ANTIQUITIES COLLECTED BY MORGAN WHICH WERE INTENDED TO OUTDOOR DISPLAY.

AT THE CENTER OF THE LAWN SITS A ROMAN SARCOPHAGUS WHICH DATES BACK TO THE END OF THE THIRD CENTURY.

IT IS DECORATED WITH S-SHAPED GROOVES THAT RESEMBLE A CURVED METAL BLADE ON WHICH ATHLETES WOULD CLEAN THEIR SHOES.

THE POPULAR MOTIF OF FUNERARY ART.

THIS WELL HEAD, WHERE A SPRING OF WATER WOULD RISE FROM THE GROUND, IS THOUGHT TO BE THE WORK OF A 15th CENTURY VENETIAN SCULPTOR.

IT BEARS THE COAT OF ARMS OF THE MORISINI FAMILIES.

McKIM'S DESIGN WAS AUSTERE, WITH A FEW ADDITIONED OF SCULPTURE AND DECORATIVE ARTS RESERVED FOR THE PORCH.

THE RELIEF IN THE HALF CIRCLE ABOVE THE DOORS DEPICTS THE DESIGN OF THE ALDINE PRESS, THE CELEBRATED PUBLISHING HOUSE OF A VENETIAN SCHOLAR AND PRINTER.

IT WAS CARVED BY THE PICCIRILLI BROTHERS, NEW YORK'S MOST DISTINGUISHED ITALIAN IMMIGRANT STONE CARVERS.

EDWARD CLARK POTTER'S MARBLE LIONESSES GRACE THE LIBRARY'S ENTRANCE.

IT WAS McKIM'S FRIEND, DANIEL CHESTER FRENCH, ONE OF THE MOST PROMINENT AMERICAN SCULPTORS OF THE DAY, WHO MADE THE RECOMMENDATION THAT POTTER RECEIVE THE COMMISSION.

THE GUARDIAN LIONS ARE PLACED ON PEDESTALS ON THE OTHER SIDE OF THE FRONT STEPS.

SURELY A WELCOMING SIGN FOR VISITORS.

NOW, A TRIP TO THE NOGUCHI MUSEUM IN QUEENS WITH ITS OWN TRANQUIL GARDEN.

FOUNDED IN 1985 BY A WORLD RENOWNED SCULPTOR, ISAMU NOGUCHI, THE MUSEUM IS A CULMINATION OF HIS LEGACY.

ALTHOUGH HE WAS BORN IN LOS ANGELES, HE SPENT MOST OF HIS CHILDHOOD IN JAPAN, ONLY RETURNING TO THE UNITED STATES FOR HIGH SCHOOL AND COLLEGE.

HE BEGAN SCULPTING AT THE AGE OF 18 AND EARLY IN HIS CAREER TURNED TO ABSTRACTION.

NOGUCHI'S RELATIONSHIP WITH ORGANIC FORMS AND MATERIALS SPARKED A LIFELONG LOVE OF NATURE AND PUBLIC SPACES.

BEYOND HIS STONEWORK, NOGUCHI IS KNOWN FOR HIS ACARY LIGHT SCULPT URS, AS WELL AS SET DESIGNS FOR THE GROUND-BREAKING CHOREOGRAPHER MARTHA GRAHAM.

THE MUSEUM FEATURES HIS CLASSIC MONO LITHIC SCULPT URS ALONG WITH DRAWINGS, MODELS AND PHOTOGRAPHS FROM HIS FRUITFUL SEVEN-DECADE CAREER.

>> NOGUCHI WAS BORN IN 1904.

HE WAS BORN IN LOS ANGELES, CALIFORNIA.

HIS MOTHER WAS AN IRISH WOMAN FROM NEW YORK.

SHE WAS BORN IN BROOKLYN.

HIS FATHER WAS A TRAVELING POET FROM JAPAN.

NOGUCHI WASN'T EVEN NAMED UNTIL HE WAS ALMOST THREE YEARS OLD.

HIS MOTHER JUST CALLED HIM BOY OR YO.

HIS IDENTITY WAS COMPLICATED FROM THE VERY FIRST MOMENT OF HIS BIRTH.

HE WAS BIRACIAL, CHOSE TO BE MULTICULTURAL HIS WHOLE LIFE, BUT AT A TIME WHEN IT WAS MUCH HARDER.

HE ENROLLED AT COLUMBIA IN PRE-MED.

HIS MOTHER FELT HE WAS DESTINED FOR BIGGER THINGS THAN BEING A DOCTOR.

BY THAT, SHE MEANT BEING AN ARTIST.

HE WAS A SPECTACULAR ACADEMIC SCULPTOR AT 19, 20, AND THEN QUICKLY REALIZED HE WAS BECOMING THE POSTER BOY OF A PASSE ART FORM.

HE REALLY WANTED TO CHANGE SCULPTURE IN A WAY THAT MADE IT A FORCE FOR CIVIC GOOD.

HE WANTED TO MAKE IT AN ACTIVE PART OF OUR EVERYDAY LIVES.

THAT'S WHY HE NEVER STOPPED MAKING FURNITURE.

HIS AKARI LAMP SERIES, HE MADE PLAY GROUNDS, HE MADE PLAYGROUND EQUIPMENT.

HE MADE SETS FOR HIS THEATER AND DANCE.

HE HAD LONG COLLABORATIONS WITH PEOPLE LIKE MARTHA GRAHAM.

THE MUSEUM WAS FOUND IN THE 1985.

HE HAD BEEN HERE ALMOST TEN YEARS.

HE BOUGHT A DERELICT FACTORY BUILDING, THE BUILDING BEHIND ME.

AND STARTED USING IT FOR STORAGE AND STAGING.

SCULPTURE IS ALL ABOUT PHYSICAL INCONVENIENCE.

EVERYTHING IS BIG AND HEAVY AND TAKES UP SPACE AND REQUIRES EQUIPMENT TO DEAL WITH.

SO SCULPTORS ALWAYS NEED MORE ROOM.

HE DECIDED IN ORDER TO ENCAPSULATE HIS PERSPECTIVE, OR HIS POINT OF VIEW, HIS WAY OF THINKING OF THING, THAT THE BEST THING TO DO WAS BUILD AN INSTITUTION.

SO HE BEGAN TO TURN HIS PRIVATE GARDEN AND SPACE INTO A DISPLAY SPACE.

WHEN THE MUSEUM OPENED, IT WAS SEASONAL.

NOGUCHI WOULD BE HERE HIMSELF.

YOU COULD RING THE BELL AND HE'D COME DOWN AND WALK YOU THROUGH.

ONE OF THE FIRST THINGS YOU'LL NOTICE RIGHT AWAY IS THAT WE DON'T HAVE WALL LABELS.

WE DO THAT, NOT BECAUSE NOGUCHI HATED WALL LABELS.

WLL THE MUSEUM FIRST OPENED, THERE WERE LABELS IDENTIFYING ALL THE SCULPTURES SOMEWHERE NEAR THEM IN A KIND OF TRADITIONAL MUSEUM FASHION.

GRADUALLY, HE REMOVED THEM AND IT IS BECAUSE HE WANTED YOUR EXPERIENCE OF THE WORK TO BE PRIMARY.

THE FASTEST WAY TO KILL AN ARTWORK IS TO PRETEND THAT YOU'VE SOLVED IT.

THE MUSEUM IS REALLY ABOUT A DIRECT AND INTIMATE RELATIONSHIP WITH THESE OBJECTS AND THESE THINGS, AND MORE IMPORTANTLY, THE LARGER SENSE OF ENVIRONMENT THAT THEY CREATE.

THEY REALLY PRODUCE AS ATMOSPHERE.

WE'RE STANDING IN A GARDEN.

IT IS TEENY TINY.

A POSTAGE STAMP.

HE CALLED THE MUSEUM AN OASIS ON THE THE EDGE OF A BLACK HOLE.

THE BLACK HOLE IS NEW YORK CITY.

YOU COME HERE AND YOU JUST SOAK IT IN AND YOU SOAK IT IN THROUGH OSMOSIS.

IT IS LIKE VISITING A FOREST.

NOT LIKE GOING TO THE MUSEUM.

MAYBE NOGUCHI'S MOST SUCCESSFUL SCULPTURE OVERALL ARE HIS AKARI LANTERNS.

HE CALLED THEM LANTERNS RATHER THAN LAMPS BECAUSE HE SAID HE WANTED THEM TO BE AS MOVERABLE AS BUTTERFLIES.

THE TRADITIONAL PAPER LANTERNS ARE MADE WITH BAMBOO RIBBING AND WASHI PAPER THAT IS MADE WITH INTERIOR BARK OF A MULBERRY TREE AND IT PRODUCES A LAID PAPER THAT IS MORE DURABLE, MORE FLEXIBLE AND MORE RESILIENT THAN CLASSIC LAID COTTON PAPER.

BREAKTHROUGH CAPESTRANO IS MADE OUT OF JAPANESE BASALT.

HE WORKED WITH HARDER AND HARDER STONES BECAUSE HE WANTED THE MATERIAL TO RESIST HIM.

IT WAS MARKED BY SOME PROCESS THAT HE WOULD INCORPORATE INTO THE WORK.

YOU CAN SEE THE LINES ARE DRILL HOLES.

THE DRILL HOLES WERE MADE MANUALLY WITH HAND DRILLS, AND THEN THEY'LL PUSH TWO BAMBOO WEDGES INTO THE HOLE AND FILL THE HOLE WITH WATER.

THE BAMBOO WEDGES EXPAND ENOUGH TO CRACK THE STONE.

NOGUCHI LOVED THAT AND HE LOVED THE PRODUCT OF THIS BREAKING PROCESS.

SO HE WOULD TAKE THESE STONE COLUMNS AND SET THEM UPRIGHT.

CUT OFF THE BOTTOM AND THEN MAKE AS FEW ADJUSTMENTS TO TURN THEM INTO SCULPTURES IN AIR QUOTES.

RIGHT BEHIND ME, THIS WONDERFUL VARIATION.

IT IS A CIRCULATING FOUNTAIN.

THE WATER JUST CASCADES OUT OVER THE STONE.

THAT'S ANOTHER ONE OF THOSE BASALT COLUMNS JUST LOPPED UP WITH A DRILL MAKING A HOLE IN IT.

SOME OF THESE SCULPTURES ARE ERODING.

THE TREES ARE GROWING.

THEIR RELATIONSHIP TO EACH OTHER IS CHANGING CONSTANTLY OVER TIME.

HE PLANTED ALL THE TREES SO THE MAGNIFICENT KATSURA TREE THAT PROVIDES THE CANOPY THAT DOMINATES THE GARDEN, IT WAS REALLY A SPRIG.

A QUARTER INCH SAPLING.

AND NOW YOU SEE WHAT THAT HAS BECOME.

AND THAT'S WHY THE HEART AND SOUL OF THIS NOGUCHI MUSEUM IS THIS GARDEN.

>> FOR MORE INFORMATION ON CULTURAL EVENTS IN OUR AREA, PLEASE SIGN UP FOR OUR FREE WEEKLY EMAIL AT NYC-ARTS.ORG/EMAIL.

TOP FIVE PICKS WILL KEEP YOU UP TO DATE ALL YEAR ROUND.

AND BE SURE TO CONNECTION WITH NYC ARTS ON FACEBOOK, INSTAGRAM AND TWITTER.

>>> NEXT ON OUR PROGRAM WE'LL MEET PHOTOGRAPHER, VIDEO ARTIST AND ACTIVIST LaTOYA RUBY FRAZIER.

FRAZIER GREW UP IN BRADDOCK, PENNSYLVANIA, WHERE SHE BEGAN PHOTOGRAPHING HER FAMILY AND HOMETOWN AT THE AGE OF 16.

HER WORK IS STEEPED IN THE SOCIAL DOCUMENTARY TRADITION OF WALKER EVANS AND GORDON PARKS.

FRAZIER'S PHOTOGRAPHS TELL THE STORIES OF PEOPLE WHO ARE USUALLY FORGOTTEN, GIVING THEM VISIBILITY THROUGH HER IMAGES.

HER PROJECT WITH RESIDENTS OF FLINT, MICHIGAN, DOCUMENTING THE EFFECTS OF THE ONGOING WATER CRISIS THERE, APPEARED IN ELLE MAGAZINE IN 2016.

HER WORK ADDRESSING ENVIRONMENTAL JUSTICE, HEALTH CARE INEQUITY AND RACISM HAS APPEARED IN "THE NEW YORK TIMES" MAGAZINE, THE NEW YORKER, AND OTHER MAJOR PUBLICATIONS.

FRAZIER HAS HAD SOLO EXHIBITIONS OF HER WORK IN THE U.S. AND IN EUROPE AND IS ALSO THE RECIPIENT OF A MacARTHUR FELLOWSHIP.

NYC-ARTS SPOKE WITH FRAZIER IN 2018 AT A RETROSPECTIVE OF HER WORK AT GAVIN BROWN'S ENTERPRISE IN HARLEM.

>> MY WORK GIVES A FRAMEWORK TO WHAT IT'S LIKE BEING A WORKING CLASS PERSON AND FAMILY FROM SOUTHWESTERN PENNSYLVANIA.

ANDREW CARNEGIE CREATED AND ESTABLISHED HIS FIRST STEEL MILL IN BRADDOCK.

THE EDGAR THOMPSON PLANT HAS BEEN PRAYEDING SINCE 1875.

BRADDOCK IS LOCATED NINE MILES OUTSIDE OF PITTSBURGH ALONG THE MONONGAHELA RIVER.

YOU TALK ABOUT AMERICA AND WHO BUILT AMERICA AND THE FACT THAT AMERICA IS BUILT BY STEEL, EVEN IF WE LOOK AT THE INFRASTRUCTURE AND THE SPACE THAT WE'RE IN TODAY.

EVERYTHING IS ANCHORED IN STEEL.

I WAS RAISED BETWEEN THESE TWO VERY STRONG WOMEN.

MY GRANDMOTHER RUBY AND MY MOTHER CYNTHIA.

MY GRANDMOTHER GREW UP THERE IN THE '30s, AND THIS WOULD HAVE BEEN WHEN BRADDOCK WAS PROSPEROUS, VERY DIVERSE.

IT HAD A WILLOT OF WEALTH.

MY 94 GREW UP THERE IN THE '60s.

SHE WITNESSED THE SEGREGATION AND THE RACISM.

AND I GREW UP THERE IN THE '80s, WHICH WOULD BE AFTER THEY CLOSED ALL THE SURROUNDING FACTORIES, THE UNIONS WERE BROKEN UP, AND THE WAR ON DRUGS BREAKS OUT IN THE COMMUNITY.

SO I WAS COMING OF AGE WHEN THAT WAS HAPPENING AND I WAS A WITNESS TO THAT.

JUST LOOKING AT THEM IS WHAT PUSHED ME TO KIND OF CREATE A FAMILY ALBUM THAT MOST AMERICANS WOULDN'T WANT, RIGHT?

I THINK ALL AMERICANS KNOW THE KIND OF IMAGES THAT ARE IN THE NOTION OF FAMILY.

IT IS JUST SOCIALLY AND CULTURALLY, WE'RE TAUGHT NEVER TO TALK ABOUT THOSE.

ONCE I STARTED COMING HOME WITH MY CAMERA, MY MOTHER BECAME IMMERSED AND ENGAGED.

SHE WAS A COLLABORATOR FROM THE VERY MOMENT.

AND I THINK THAT A LOT OF THIS COMES OUT OF MY UNDERSTANDING OF THE MAYSLES BROTHERS AND THEIR DOCUMENTARY FILMS.

THEY BELIEVED IF A PERSON WHO IS OVERLOOKED AND IGNORED BY SOCIETY ALL OF A SUDDEN HAS THIS CAMERA TURNED ON THEM, THEY'LL ENGAGE.

BECAUSE OTHERWISE, THEY WOULD BE INVISIBLE AND VOICELESS.

WE ARE TRADITIONALLY TAUGHT IN THE HISTORY OF ART AND THE HISTORY OF PHOTOGRAPHY, THAT THE PHOTOGRAPHERS NEVER RELINQUISH THEIR POWER TO THE SUBJECTS.

SO I WAS TRYING TO BRING THE SAME TYPE OF VULNERABILITY AND TRANSPARENCY OUT AND PROVE THAT THIS HAS ALWAYS BEEN A PART OF THAT LEGACY OF PHOTOGRAPHING FAMILY AND MAKING PHOTOGRAPHS WITH SOCIAL COMMENTARY ABOUT AMERICA, LAYING THAT BEAR TO THE VIEWER WAS ESSENTIAL FOR ME, RIGHT?

I'M JUST AS MUCH A PART OF THIS SITUATION AND THIS CRISIS.

I CONSIDER MYSELF AN ADVOCATE AND NOT SO MUCH AN ACTIVIST.

I THINK THAT'S VERY DIFFERENT.

I'M AN ADVOCATE AND A STORY TELLER.

YOU THINK ABOUT GORDON PARKS IN A HARLEM FAMILY WHICH WAS PUBLISHED IN "LIFE" MAGAZINE.

OR YOU THINK ABOUT HIS COLLABORATION WITH RALPH ELLISON ON INVISIBLE MAN.

A COLLABORATION BETWEEN BLACK ARTISTS, BLACK PHOTOGRAPHERS, BLACK BOATS AND WRITERS TRYING TO TELL ANOTHER STORY AND NARRATIVE FROM THE INSIDE TO THE AMERICAN PUBLIC SO THEY CAN SEE IT CLEAR FOR WHAT IT IS.

IT IS THE EVERYDAY PERSON.

THE EVERYDAY MAN, WOMAN AND CHILD THAT ARE EXPERIENCING THE BRUTALITY AND THE PITFALLS OF CAPITALISM, INEQUALITY, LIVING IN THESE SMALL TOWNS THAT HAVE BEEN ABANDONED BY THE STATE.

THEY'RE THE ONES.

THESE INDIVIDUALS AND FAMILIES ARE THE ONES THAT CAN EXPRESS IT AND ARTICULATE IT THE BEST.

>> WHEN YOU THINK ABOUT WATER, YOU DON'T CONSIDER GOVERNMENT.

IN FACT, YOU DON'T CONSIDER PEOPLE AT ALL.

EVEN THOUGH WE'VE BUILT PLANTS AND PLNS TO ALKANIZE AND PURIFY, WHEN YOU THINK ABOUT IT, IN YOUR MOST REMOTE MIND, YOU THINK ABOUT GOD.

SOMETHING NATURE INTENDED.

YOU DON'T THINK ABOUT POISON.

POISON ISN'T SOMETHING YOU CONSIDER FOR YOURSELF.

YOU DON'T THINK ABOUT MURDER.

>> THE WATER CRISIS BECAME PUBLIC KNOWLEDGE IN APRIL OF 2014.

AND BECAUSE OBAMA CAME ON MAY 4th IN 2016, AND THEY HAD THAT IMAGE OF HIM SIPPING THAT WATER, WHICH WAS SUPPOSEDLY FLINT RIVER WATER, THE AMERICAN CONSCIOUSNESS AND PSYCHE BELIEVED THAT THE WATER CRISIS WAS OVER.

IT WAS IN 2016 THAT I RECEIVED A PHONE CALL FROM ELLE MAGAZINE, A MAGAZINE THAT IS ABOUT WOMEN, HEALTH, AND BEAUTY, TO BUILD OUT A SECTION FOR THE SEPTEMBER ISSUE TO ACTUALLY HAVE INSIDE OF IT BEFORE YOU GOT TO THE FASHION SPREADS, TEN TEENAGERS UNINTERRUPTED OF PHOTO ESSAY TALKING GOING THE WATER CRISIS.

IT WAS IMPORTANT FOR ME TO KIND OF JUST PIVOT SLIGHTLY OUT OF THE GENERATIONAL CONNECTION BETWEEN MY GRANDMOTHER, MOTHER, AND ME, TO THIS OTHER GENERATION OF THREE WOMEN WHICH WAS RENEE COBB, HER DAUGHTER, SHEA COBB, AND SHEA'S DAUGHTER ZION.

WHAT IT IS LIKE NOW FOR THEM TO HAVE TO FIGURE OUT THEIR RELATIONSHIP TO WATER AND HOW TO LIVE WITH CONTAMINATED AND POISONED WATER.

SHEA, SHE'S A SCHOOL BUS DRIVER.

AND SHE WAS ALSO VERY ACTIVE IN ORGANIZING AND PUBLIC PROTEST AS WELL.

SHE'S A SINGER, SHE IS A POET.

SHE HAD SO MUCH CHARISMA AND HOPE AND FAITH, AND JUST SUCH A POSITIVE OUTLOOK REGARDLESS OF THIS CIRCUMSTANCE, THAT IS COMPLETELY CREATED, A MANMADE DISASTER BECAUSE OF INEQUALITY AND RACISM.

WHY NOT COLLABORATE WITH HER AND GET HER VOICE AND HER WORDS AND HER PERSPECTIVE?

SHE MADE IT VERY CLEAR TO HEARST CORPORATION AND ELLE MAGAZINE.

SHE SAID, YOU KNOW, DON'T COME HERE EXPECTING TO SEE A VICTIM.

THAT'S NOT WHO WE ARE.

SHE UNDERSTANDS HOW THE MEDIA SHAPES STEREO TYPES AND DISCOURSE AROUND BLACK WOMEN, BLACK FAMILIES, AND BLACK COMMUNITIES.

AND SO I REALLY RELIED ON SHEA BEING MY EYES.

I WAS SIMPLY BEING AN EMPATHIC WITNESS, BEING LED BY HER THROUGH THIS TOWN.

IT IS A DUTY, A PRIVILEGE AND AN HONOR TO BE ABLE TO USE THESE CAMERAS TO SERVE OTHERS AND TO BRING A REAL HUMAN STORY FORWARD IN A COMPLEX SITUATION.

>>> NEXT WEEK ON NYC-ARTS, A TRIP TO THE HUDSON RIVER MUSEUM AND MATRIX, PRINTS BY WOMEN ARTISTS, 1960 TO 1990, WHICH SHOWS HOW THE WORK OF THESE ARTISTS WAS CENTRAL TO EXPANDING THE ART FORM.

>> MATRIX EXPLORES A PERIOD IN THE LATE 20th CENTURY WHEN WOMEN ARTISTS WERE REALLY INTEGRAL TO AN EXPLOSION IN PRINT MAKING.

WOMEN WERE EXPERIMENTING A LOT WITH ABSTRACTION IN THE 1960s, AND IN THE '70s, IN THE SECOND WAVE OF FEMME 9/11.

THERE WAS A LOT OF ACTIVISM REPRESENTED IN THE ART WORKS.

THEN MOVING TO THE 1980s, WE SAW A LOT OF EXPERIMENTATION WITH PROCESS, A LOT OF TIMES OF PRINTS BEING MADE, COMBINING THE APPROPRIATE PRINT TECHNIQUE.

>>> A VISIT TO THE NEVELSON CHAPEL AT ST. PETER'S CHURCH IN MIDTOWN MANHATTAN.

>> ONCE YOU'RE INSIDE, YOU'RE SURROUNDED BY NEVELSON.

SHE WAS THE GRANDMOTHER OF ENVIRONMENTAL ART IN AMERICA.

SHE REALLY BELIEVED THE IMPORTANCE OF SURROUNDING PEOPLE WITH ART.

>> AND A LOOK AT BEYOND THE LIGHT, IDENTITY AND PLACE IN 19th CENTURY DANISH ART, AT THE METROPOLITAN MUSEUM OF ART.

FROM THE IMPACT OF THE NAPOLEONIC WARS TO THE DEVASTATING BOMBARDMENT OF COPENHAGEN, EFFORTS TO RESTORE THE NATION'S PSYCHE LED TO AN INCREASED INTEREST IN DANISH HISTORY, CUSTOMS, CULTURE AND LANGUAGE.

>> I HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING.

I'M FELIPE DE MONTEBELLO ON LOCATION AT THE MORGAN LIBRARY AND MUSEUM.

THANK YOU FOR WATCHING.

I'LL SEE YOU NEXT TIME.

TO ENJOY MORE OF YOUR FAVORITE SEGMENTS ON NYC-ARTS, VISIT OUR WEBSITE AT NYC-ARTS.ORG.

>> WHAT A PRIVILEGE TO TALK WITH YOU.

>> I LOVE BEING HERE WITH YOU.

>> WE'RE AT A MOMENT TO TAKE NOTHING FOR GRANTED.

>> IT'S A PLEASURE TO BE HERE WITH THE CURATOR OF THIS EXHIBITION FULL OF HOPE.

WE ARE IN THE MIDST OF SOME OF THE GREATEST SCULPTURES BY THE ICONIC NAMES.

>> CLASSICAL AND MODERN DANCE ARE EXTREMELY DIFFERENT.

AND I HAVE SO MUCH MORE TO LEARN.

>> WHEN I LISTEN TO THE LYRICS IN THAT, I THOUGHT THAT'S WHAT I WANTED TO DO WITH MY LIFE.

>> MY PICTURES RESIDE IN REINTIMATE, VERY PRIVATE MOMENTS.

>> MY PRIMARY WAY OF PLAYING THE PIANO IS BY IMPROVISING.

YOU ARE IN SOME RESPECTS ON SACRED GROUND.

A WOMAN CAME TO SEE ME PERFORM AND SAID HOW WOULD YOU LIKE TO PLAY BILLIE HOLIDAY?

>> SIT WE LEARNED THAT MATISSE USED PENS TO COMPOSE HIS WORK.

>> VIEWERS ARE SURPRISED THAT YOU'RE DOING A PIECE ON THE 100 YEARS AGO.

>> SUDDENLY YOU COME AND PRESENT SOMETHING AND YOU GET APPLAUSE.

GREAT, YOU KNOW?

♪ ♪ >>> FUNDING FOR "NYC ARTS" IS MADE POSSIBLE BY -- THEA PETSCHEK IERVOLINO FOUNDATION.

JODY AND JOHN ARNHOLD.

THE LEWIS "SONNY" TURNER FUND FOR DANCE.

THE AMBROSE MONELL FOUNDATION.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

THE NANCY SIDEWATER FOUNDATION.

ELROY AND TERRY KRUMHOLZ FOUNDATION.

AND ELLEN AND JAMES S. MARCUS.

THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

"NYC ARTS" IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

>> FIRST REPUBLIC BANK PRESENTS "FIRST THINGS FIRST."

AT FIRST REPUBLIC BANK, FIRST REFERS TO OUR FIRST PRIORITY.

THE CLIENTS WHO WALK THROUGH OUR DOORS.

THE FIRST STEP?

RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE.

BE A BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

THIS WAS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

>> AND BY SWANN AUCTION GALLERIES.

>> SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS.

OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941.

WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

WHETHER YOU'RE A LIFELONG COLLECTOR, FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT SWANNGALLERIES.COM.