NYC-ARTS
NYC-ARTS Full Episode: January 13, 2022
Season 2022 Episode 537 | 27m 46sVideo has Closed Captions
A visit to the Met for "Art of Native America: The Charles and Valerie Diker Collection."
A look at "Art of Native America: The Charles and Valerie Diker Collection" at The Metropolitan Museum of Art. Then a profile of Claire Chase, an award-winning flutist and a champion of contemporary classical music.
Problems playing video? | Closed Captioning Feedback
Problems playing video? | Closed Captioning Feedback
NYC-ARTS is a local public television program presented by THIRTEEN PBS
Major funding for NYC-ARTS is made possible by The Thea Petschek Iervolino Foundation, Jody and John Arnhold, The Lewis “Sonny” Turner Fund for Dance, The Ambrose Monell Foundation, Elise Jaffe...
NYC-ARTS
NYC-ARTS Full Episode: January 13, 2022
Season 2022 Episode 537 | 27m 46sVideo has Closed Captions
A look at "Art of Native America: The Charles and Valerie Diker Collection" at The Metropolitan Museum of Art. Then a profile of Claire Chase, an award-winning flutist and a champion of contemporary classical music.
Problems playing video? | Closed Captioning Feedback
How to Watch NYC-ARTS
NYC-ARTS is available to stream on pbs.org and the free PBS App, available on iPhone, Apple TV, Android TV, Android smartphones, Amazon Fire TV, Amazon Fire Tablet, Roku, Samsung Smart TV, and Vizio.
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Learn Moreabout PBS online sponsorship>>> COMING UP ON "NYC ARTS" A LOOK AT THE EXHIBITION, ART OF NATIVE AMERICA, THE CHARLES AND VALERIE DIKER COLLECTION.
IT'S ON VIEW AT THE METROPOLITAN MUSEUM OF ART.
>> NATIVE AMERICAN ARTIST FOUNDATION, CULTURAL HERITAGE.
EXHIBITIONS LIKE THIS MOVE PEOPLE OUTSIDE OF THE IDEA THAT ALL NATIVE AMERICANS ARE ALL HOMOGENEOUS.
THEY'RE NOT AT ANY TIME AND CERTAINLY ARE NOT TODAY.
>>> AND A PROFILE OF ARTIST CLAIRE CHASE, WHOSE LOVE FOR THE INSTRUMENT HAS MADE HER A CHAMPION OF NEW MUSIC AROUND THE WORLD.
>> IT WAS THE FURTHEST THING FROM YOUR GRANDMOTHER'S FLUTE RECITAL THAT YOU CAN IMAGINE.
♪♪ >> FUNDING FOR NYC ARTS IS MADE POSSIBLE BY THE LEWIS SUNNY TURNER FUND FOR DANCE, THE AMBROSE MONELL FOUNDATION, JODY AND JOHN ARNOLD, CHARLES AND VALERIE DIKER, THE NANCY SIDEWATER FOUNDATION, THE MILTON AND SALLY AVERY ARTS FOUNDATION.
ELROY AND TERRY CRUMBHOLZ FOUNDATION AND ELLEN AND JAMES F. MARCUS.
THIS IS SUPPORTED 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 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 -- >> SWAN 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, A FIRST-TIME BUYER OR LOOKING TO SELL.
INFORMATION AT SWANGALLERIES.COM.
♪♪ >>> GOOD EVENING.
AND WELCOME TO NYC ARTS.
I'M PHILIPPE DE MONTEBELLO ON LOCATION AT THE METROPOLITAN MUSEUM OF ART.
CURRENTLY ON VIEW IS AN EXHIBITION THAT IS THE FIRST-EVER OF ITS KIND FOR THE MET.
IT IS CALLED "INSPIRING WALT DISNEY, THE ANIMATION OF FRENCH DECORATIVE ARTS" WHICH YOU SEE AND IT REVEALS HIS FASCINATION WITH EUROPEAN ART AND THE USE OF FRENCH MOTIFS IN DISNEY FILMS AND THEME PARKS.
THE EXHIBITION INVITES A DIALOGUE BETWEEN THE DRAWINGS AND ILLUSTRATIONS OF DISNEY STUDIOS AND A RICH ARRAY OF THE FINEST WORKS OF THE 18th CENTURY DECORATIVE ARTS AND DESIGN, MOSTLY FROM THE MET'S OWN COLLECTION.
I HOPE YOU'LL JOIN US NEXT WEEK FOR A CONVERSATION WITH THE EXHIBITION'S CURATOR.
IT'S REALLY FASCINATING.
THE METROPOLITAN MUSEUM OF ART HAS LONG BENEFITTED FROM THE EXTRAORDINARY FORESIGHT OF INTREPID COLLECTORS.
TODAY CHARLES AND VALERIE DIKER CONTINUE THIS TRADITION.
IN 2016 THEY PROMISED A COLLECTION OF HISTORICAL NATIVE AMERICAN ARTWORK TO THE MET.
NOW ON VIEW IS ART OF NATIVE AMERICA, THE CHARLES AND VALERIE DIKER COLLECTION.
THE COLLECTION OF 116 OBJECTS REPRESENTS MORE THAN 50 NORTH AMERICAN CULTURES AND IS PRESENTED FOR THE FIRST TIME IN THE MET'S AMERICAN WING.
THE INSTALLATION REVEALS COMPLEX PERSPECTIVES ON AMERICA'S PAST AND AN EXPANSION OF WHO IS INCLUDED IN ITS NARRATIVE.
THE EXHIBITION WAS CURATED BY GAYLORD TORRANCE OF THE NELSON-ATKINS MUSEUM OF ART IN KANSAS CITY IN COLLABORATION WITH NATIVE AMERICAN SCHOLARS AND CULTURAL LEADERS.
>> THE MOST IMPORTANT THING, I THINK, ABOUT THIS EXHIBITION, OTHER THAN THE CELEBRATION OF NATIVE AMERICAN ART AND THE ARTISTS THAT CREATED THESE WORKS, IS THE FACT THAT IT IS BEING SHOWN, THESE WORKS ARE BEING SHOWN IN THE AMERICAN WING, WHICH IS THE FIRST TIME IN THE HISTORY OF THIS MUSEUM SINCE THE WING OPENED IN 1924.
SO ITS MOMENTOUS MOVEMENT IN TERMS OF RECOGNIZING NATIVE AMERICAN ARTISTS FOUNDATIONAL CULTURAL HERITAGE.
EXHIBITIONS LIKE THIS ARE MEANT TO MOVE PEOPLE OUTSIDE OF THAT IDEA THAT ALL NATIVE PEOPLES ARE THE SAME HOMOGENEOUS.
THEY WERE NOT AT ANY TIME AND THEY'RE CERTAINLY NOT TODAY.
IT'S NOT CHRONOLOGICAL AND WE DID DECIDE TO LAY IT OUT BY GEOGRAPHIC REGIONS.
THE PROBLEM WITH THAT IS THAT THESE CULTURE AREAS DID NOT HAVE FIRM BOUNDARIES.
WE ENDEAVORED IN THE GALLERY DESIGN TO KEEP THINGS OPEN AND PERMEABLE AND VISIBLE SO THAT ALMOST ANYWHERE YOU STAND WITHIN THESE GALLERIES YOU'RE PERHAPS IN A CULTURALLY RELATED AREA BUT LOOKING INTO OTHER AREAS AS WELL, SUGGESTING A GREATER UNIVERSALITY.
MOST OF THESE OBJECTS WERE CREATED WITHIN THE BACKDROP OF COLONIZATION WHICH MAKES THE ACHIEVEMENT EVEN GREATER.
I FIND THE PAWNEE WAR CLUB TO BE ONE OF THE MOST ASTONISHING OBJECTS IN THE COLLECTION.
FIRST OF ALL, JUST AS SCULPTURAL WORK IT'S SUBLIME IN TERMS OF ITS PROPORTION, THE ELEGANCE OF THE SHAPE.
IT IS A FUNCTIONAL WEAPON.
IT WAS CARRIED TO WAR, BUT IT WAS ALSO AN IMPORTANT PIECE OF ARTISTIC EXPRESSION.
FOR THE OWNER, THIS CLUB WAS INVESTED WITH A GREAT DEAL OF SPIRITUAL POWER.
THE DESIGNS ON ONE SIDE CONSIST OF SOME ZIGZAG LINES AT THE TOP, THEN A CIRCLE WITH A SINGLE SHARP ZIGZAG LINE EMANATING FROM THAT THE FULL LENGTH OF THE CLUB.
THESE ARE GENERALLY KNOWN TO BE SYMBOLS OF POWER.
IT'S POSSIBLE THAT THE CIRCLE AND THE SINGLE LINE MAY REPRESENT THUNDER AND ONE STRIKE OF LIGHTNING.
ON THE OTHER SIDE IS, I THINK, THE MOST AMAZING DESIGN I'VE EVER SEEN ON A NATIVE AMERICAN WAR CLUB.
IT'S COVERED WITH STARS LIKE THE NIGHT SKY, INCLUDING THE CONSTELLATION.
WE BELIEVE THE CLUB COMES FROM THE PAWNEE BECAUSE STARS WERE SO IMPORTANT IN PAWNEE RELIGION.
THIS GROUP OF OBJECTS ARE SOME OF THE MOST AMAZING IMAGES THAT ONE CAN IMAGINE.
THIS PARTICULAR MASK, AND I WOULD SAY MOST UPIC MASKS REPRESENT THE PREY ANIMALS THAT THE UPIC PEOPLE DEPENDED UPON FOR THEIR SURVIVAL.
THESE MASKS WERE WORN IN ANNUAL CEREMONIES.
IN THE DANCES THEY WERE INTENDED TO THANK THE ANIMALS THAT HAD GIVEN THEMSELVES IN THE PREVIOUS YEAR AND ENSURE THAT THERE WOULD BE A CONTINUOUS FLOW OF NEW LIFE.
IT'S OFTEN SAID THAT THESE MASKS REPRESENT SOMETHING CALLED UWA WHICH IS PROBABLY EASIEST TRANSLATED AS THE ONGOING SOUL.
WHEN YOU SEE AN IMAGE OF A FISH OR A SEAL OR A BIRD, IT DOESN'T REPRESENT SPECIFIC CREATURES, IT REPRESENTS ALL OF THOSE OF THAT GENOUS THAT HAVE EVER LIVED OR WILL LIVE IN THE FUTURE, SO THE MASK IS TIMELESS IN THAT RESPECT AND PLACES THE UPIC PEOPLE IN A TIMELESS RELATION WITH ALL OF THE ANIMALS WITH WHOM THEY SHARE THE WORLD.
STANDING BEAR WAS A PARTICIPANT IN THE BATTLE OF THE LITTLE BIG HORN.
HE WAS 16 AT THE TIME.
THAT WAS IN 1876.
IN THE 1880s, STANDING BEAR WENT TO EUROPE WITH BUFFALO BILL'S WILD WEST SHOW.
HE MET AN AUSTRIAN WOMAN.
THEY FELL IN LOVE.
HE MARRIED HER, BROUGHT HER BACK TO PINE RIDGE RESERVATION, AND STANDING BEAR BEGAN TO DEVELOP HIS ART.
HE BASICALLY TRIED TO BRING TOGETHER IN THIS PAINTING SIX DIFFERENT EPISODES THAT HE REMEMBERED.
NOW, THEY DIDN'T ALL HAPPEN AT THE SAME TIME.
BUT WITHIN THE TRADITION OF WARRIOR ART, STANDING BEAR REPRESENTED THEM ALL AS THOUGH THEY WERE OCCURRING AT THE SAME TIME.
THERE ARE HORSES THAT ARE BEING RUN OFF, SEPARATED, LEAVING THE SOLDIERS ON FOOT.
THERE IS A DEPICTION OF A GROUP OF SOLDIERS THAT RAN DOWN FROM THE HILL AND WERE KILLED IN A RAVINE.
ANOTHER GROUP OF SOLDIERS TRIED TO BREAK AWAY ON HORSEBACK, RIDING BACK TO THE SOUTH.
THEY WERE OVERTAKEN AND KILLED.
AND THEN THERE'S THE FINAL BATTLE ON THE HILL, INCLUDING A DEPICTION OF CUSTER HIMSELF.
THEY ALL ARE GREAT KIND OF SWEEPING BATTLE NARRATIVES LIKE ONE WOULD EXPECT TO SEE IN THE GREAT PAINTING -- BATTLE PAINTINGS AND TAPESTRIES IN EUROPE WHICH HE UNDOUBTEDLY SAW.
CARRIE BETHEL WAS A MASTER BASKET MAKER.
SHE WAS PROMINENT IN THE 1920s AND '30s IN CALIFORNIA.
THIS PARTICULAR PIECE WAS HER FIRST ATTEMPT TO CREATE A BASKET OF THAT SCALE.
IT TOOK HER THREE YEARS.
MAYBE THE BEST WAY TO THINK ABOUT THE ACHIEVEMENT IN THAT BASKET IS TO THINK ABOUT IT FIRST IN RELATION TO THE MATERIALS WHICH REQUIRED AN ENORMOUS BODY OF EXPERT KNOWLEDGE IN TERMS OF KNOWING WHICH PLANTS TO GATHER, HOW TO PREPARE THEM, BEFORE THE BASKET WAS EVER BEGUN.
A BASKET OF THAT KIND IS CREATED USING A COIL TECHNIQUE, WHICH BEGINS IN THE CENTER OF THE BOTTOM, AND THEN STARTED UPWARD AND OUTWARD TO FORM THE SIDES OF THE OBJECT AND THEN AT A CERTAIN POINT THE MIDPOINT BEGAN TO CURVE INWARD TO REACH ITS FINAL FORM.
THERE WAS NO REVISION POSSIBLE.
SHE SIMPLY WOVE IT FROM THE BOTTOM UP.
WHEN YOU SEE THE PER SPECTION IN THE RELATIONSHIP OF THAT TWO-DIMENSIONAL DESIGN TO THE SHAPE OF THE OBJECT AND ULTIMATELY THE KIND OF TENSION THAT THAT FORM HOLDS, THE ACHIEVEMENT IS VISIBLE AND AMAZING.
THE OBJECTIVE IN PRESENTING THESE OBJECTS IN THE WAY THAT WE'VE DONE IS TO RESPECT THEM AS WORKS OF ART.
SOPHISTICATED AND BEAUTIFUL CREATIONS.
♪♪ >>> 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.
BE SURE TO CONNECT WITH NYC ARTS ON FACEBOOK, INSTAGRAM AND TWITTER.
>>> CLAIRE CHASE BECAME ENCHANTED WITH THE FLUTE AT THE AGE OF 3.
HER LOVE OF THE INSTRUMENT HAS INSPIRED A REMARKABLE CAREER IN CONTEMPORARY CLASSICAL MUSIC.
A FOUNDING MEMBER OF THE CONTEMPORARY ENSEMBLE SHE IS ALSO IN GREAT DEMAND AS A SOLOIST.
CHASE WAS NAMED A MacARTHUR FELLOW IN 2012 AND AWARDED THE AVERY FISHER PRIZE IN 2017.
SHE IS CURRENTLY IN THE MIDDLE OF A 23-YEAR COMMISSIONING AND PERFORMANCE CYCLE CALLED "DENSITY 2036."
BEGUN IN 2013, THE PROJECT'S GOAL IS TO CREATE AN ENTIRELY NEW REPERTOIRE FOR THE FLUTE, ONE THAT PUSHES BOTH AUDIENCE'S PERCEPTIONS AND THE LIMITS OF THE INSTRUMENT ITSELF.
EACH YEAR BRINGS AN AMBITIOUS NEW BATCH OF MUSIC TO THE KITCHEN, A CONTEMPORARY AND EXPERIMENTAL ART SPACE IN CHELSEA.
NYC ARTS SPOKE WITH CLAIRE CHASE ABOUT FOUR OF THE COMMISSION'S COMPLETED IN 2019.
♪♪ >> "DENSITY 2036" WAS AN IDEA THAT I HAD IN 2012, INSPIRED BY EDGAR VEREZ'S SEMINAL SOLO.
MY PERSONAL STORY WITH THIS PIECE IS THAT MY TEACHER WHEN I WAS 12 OR 13 YEARS OLD, A WONDERFUL, WONDERFUL MAN, CAME INTO MY FLUTE LESSON.
HE PUT THESE TWO PAGES OF MUSIC ON THE MUSIC STAND.
I SAID THIS IS WEIRD.
WHAT IS THIS?
AND HE SAID DON'T JUDGE.
DO YOU WANT TO HEAR IT?
I SAID OF COURSE I WANT TO HEAR IT.
SO HE SAID OKAY, KIDDO, STAND BACK.
I WAS LIKE, I'VE NEVER HEARD THAT BEFORE A FLUTE PERFORMANCE BEFORE.
AND HE PROCEEDED OVER THE NEXT FOUR AND A HALF MINUTES TO COMPLETELY BLOW MY MIND.
I HAD NEVER EXPERIENCED MUSIC AND I HAD NEVER EXPERIENCED THE FLUTE.
I HAD NEVER EXPERIENCED RESONANCE THAT WAY.
LIKE WHATEVER MUSIC THAT IS, I DON'T KNOW WHAT WE CALL THAT MUSIC, BUT I WANT TO DO THAT MUSIC.
AND I WANT TO LEARN TO TRANSMIT THAT KIND OF EXPERIENCE THAT JOHN TRANSMITTED FOR ME.
AND THE PIECE ITSELF, I LIKE TO THINK OF IT AS AN ANTHEM.
IT IS BRASH AT TIMES.
THERE'S SCREECHING, WAILING SOUNDS.
IT'S INCREDIBLY INTIMATE AND POETIC AND TENDER.
♪♪ THAT WAS WRITTEN IN 36.
WHAT ARE WE GOING TO BE DOING IN 2036?
WHAT WILL THAT PIECE BE OR WHAT WILL THAT COLLECTION OF PIECES BE THAT WILL TAKE THE FLUTE FROM ITS PREVIOUS IDENTITY AND HURL IT INTO THE FUTURE?
WHAT IF I JUST DECIDED TO CREATE AN ENTIRELY NEW PROGRAM OF MUSIC EVERY YEAR BETWEEN 2013 AND 2036 WITH THE IDEA THAT WE WOULD HAVE ONE -- ONLY ONE RULE AND THAT IS THAT EACH YEAR THE CYCLE NEEDS TO BE A COMPLETE DEPARTURE FROM THE LAST.
I'VE NEVER IMPOSED A THEME.
IT'S VERY IMPORTANT TO ME THAT WE ARE GETTING PLATFORMS TO PEOPLE FROM MANY DIFFERENT CAREER STAGES WHO COME FROM MANY DIFFERENT MUSICAL BACKGROUNDS WHO IDENTIFY DIFFERENTLY AND MOST IMPORTANTLY WHO ARE PUSHING THE ART FORM FORWARD.
IT'S A BIG TEAM OF PEOPLE THAT WORK COLLABORATIVELY ON THIS.
WE REALLY CARE FOR EVERY SOUND AND EVERY ACTION THAT WE HOPE WILL GIVE THE AUDIENCE AN IMMERSIVE EXPERIENCE, THAT IS THE FARTHEST THING FROM YOUR GRANDMOTHER'S FLUTE RECITAL THAT I HOPE YOU CAN IMAGINE.
THE SHOW OPENER, IT'S CALLED "MAGIC FLUIDITY" BY AN AUSTRIAN COMPOSER.
MY DUO PARTNER IS NATHAN DAVIS, WHO IS AN EXTRAORDINARY PERCUSSIONIST, ALSO A COMPOSER AND SOUND ARTIST.
SO THE PIECE IS REDUCED FROM A FLUTE CONCERTO THAT OLGA WROTE FOR ME LAST YEAR.
PEOPLE WHO ARE FAMILIAR WITH THE BRANDENBURG FOURTH WILL HEAR NODS AND WINKS TO THE ORIGINAL.
AND SO IF YOU CAN IMAGINE AN ORCHESTRAL FORCE WHITTLED DOWN TO ONE LITTLE DESKTOP.
SO NATHAN HAS QUITE A COMPLEX JOB.
IT'S DEVILISHLY DIFFICULT, BUT PLAYING WITH NATHAN IS JUST A JOY.
>> ONE MORE TIME.
♪♪ >> SO PAMELA Z.
IS AN ABSOLUTELY PHENOMENAL PERFORMER, ELECTRONIC PIONEER, COMPOSER, WOMAN OF SO MANY TRADES.
I WAS NERVOUS WHEN I ASKED HER, BUT I WAS SO DELIGHTED THAT SHE ACCEPTED.
>> 11, 12, 15, 18, 36.
>> I VISITED HER OVER THE SUMMER IN HER STUDIO IN SAN FRANCISCO.
WE IMPROVISED A LITTLE BIT.
I MADE SOME SOUNDS.
SHE HAD ME RECORD SOME THINGS.
THEN SHE SAID I WANT TO PUT YOU IN MY LITTLE RECORDING BOOTH AND JUST INTERVIEW YOU.
AND I THOUGHT, OKAY, MAYBE SHE'S GOING TO USE THIS FOR A PODCAST OR SOMETHING LIKE THAT.
>> 11, 12, 15, 18, 36, 5800, 2,000.
>> THEN I GOT THE PIECE AND THE ENTIRE TAPED PART IS MY VOICE.
BUT SHE CONSTRUCTED LITTLE MELODIES WITH FRAGMENTS OF MY VOICE AND THE FLUTE PART IS THE MUSICAL ELEMENTS.
>> 2001 AND I WAS -- >> I'VE ALSO COACHED WITH THIS WONDERFUL THEATER ARTIST WHO HAS HELPED ME WITH THE PLACEMENT OF THE DIFFERENT STATIONS.
YOU SEE THE DIFFERENT FLUTES ON STAGE.
BIG BERTHA, THE CONTRA BASE FLUTE, HAS HER OWN BED.
SO HE HAS WORKED WITH ME ON TELLING THIS NON-NARRATIVE STORY.
THERE ARE STORIES I'M TELLING MYSELF IN MY HEAD BUT THE AUDIENCE ISN'T SUPPOSED TO FOLLOW THINGS FROM A TO B AND B TO C. IT'S MORE LIKE LITTLE VIGNETTES THAT I THINK OF AS DIALOGUES WITH YOUR PREVIOUS SELVES.
SOME OF IT IS HUMOROUS AND SOME OF IT IS KIND OF DEMONIC AND DARK.
♪♪ PHYLLIS CHEN IS ANOTHER COMPOSER/PERFORMER/ELECTRONIC MUSICIAN/INSTRUMENT INVENTOR.
AND SO SHE WROTE THIS PIECE BASED ON MY HEARTBEAT.
SHE STRAPPED A STETHOSCOPE TO MY CHEST AND USED THAT SOUND TO CONSTRUCT THE ELECTRONIC PART.
♪♪ >> AND THEN THAT ELECTRONIC PART DROPS OUT ABOUT HALFWAY THROUGH THE PIECE, A PERSON COMES UP ON STAGE AND AFFIXES A STETHOSCOPE TO MY LIVE HEARTBEAT AND I PLAY THE REMAINDER OF THE PIECE WITH, YOU KNOW, WHATEVER HUMMINGBIRD HEART IS COMING THROUGH.
TO HEAR IT PUMPED THROUGH A SOUND SYSTEM AND ON SUBWOOFERS IS QUITE A HUMBLING EXPERIENCE.
♪♪ SARA HENNEY IS ANOTHER ABSOLUTELY INCREDIBLE ARTIST WHO WORKS AT THE INTERSECTION OF LOTS OF DIFFERENT DISCIPLINES.
SHE'S A BEAUTIFUL PERCUSSIONIST IN HER OWN RIGHT AND SOUND ARTIST AND COMPOSER.
SO THIS PIECE THAT SHE'S WRITTEN IS PART OF A SERIES SHE'S WORKING ON CALLED THE RESERVOIR SERIES THAT DEALS WITH THE IDEA OF OUR UNCONSCIOUSNESS, RESERVOIR OF FEELINGS, MANY OF WHICH ARE UNWANTED AND SOME OF WHICH ARE TRAUMATIC MEMORIES.
♪♪ THE PIECE FOR US IS CALLED "RESERVOIR TO INTRUSION" INVOLVES A FLUTIST IN THE MIDDLE OF THE SPACE AND FIVE OR MORE VOICES THAT MOVE IN AND AROUND.
AND I'M SO PRIVILEGED TO BE WORKING WITH THIS PHENOMENAL YOUNG GROUP, CONSTELLATION CORPS.
THEY ARE A GROUP OF THEATER ARTISTS.
WE ARE INTERCONNECTED WHETHER WE'RE CONSCIOUS OF IT OR NOT.
THE MORE CONSCIOUS OF HOW INTERCONNECTED WE ARE, ESPECIALLY IN A SITUATION OF HEIGHTENED AWARENESS, WHICH OUR PERFORMANCE IS, THE MORE INTERESTING THINGS GET.
IT'S DANGEROUS TO BE THAT OPEN, FOR THE PERFORMER AND FOR THE LISTENER.
AND IT'S ESPECIALLY RISKY WITH SO-CALLED CONTEMPORARY MUSIC, BECAUSE WE'VE NEVER HEARD IT BEFORE.
I LOVE THAT HIGH WIRE ACT.
I TOTALLY LIVE FOR IT.
♪♪ >>> NEXT WEEK ON NYC ARTS, THE CONVERSATION WITH THE CURATOR OF INSPIRING DISNEY, THE ANIMATION OF FRENCH DECORATIVE ARTS, NOW ON VIEW AT THE METROPOLITAN MUSEUM OF ART.
>> I HAVE BROUGHT TOGETHER IN THIS EXHIBITION 18th CENTURY FRENCH DECORATIVE WORKS OF ART AND WALT DISNEY HAND DRAWN ANIMATION.
THERE WERE SOME VERY SIGNIFICANT INFLUENCES OF FRENCH ART ON THOSE FILMS.
THERE WAS SO MUCH MORE IN TERMS OF SIMILARITIES OF WORKSHOP PRACTICES, OF THE RHETORIC OF THE WORKS OF ART AND INDEED THIS ZEAL TO ANIMATE IT.
>> A VISIT TO THE MET'S COLLECTION OF POST-WAR AND CONTEMPORARY ART.
>> WE'RE LOOKING AT JACKSON POLLACK'S FROM 1950.
IT'S ONE OF THE TREASURES OF THE MET'S MODERN COLLECTION.
>> AND WE MEET FLORIST U.S. MILLER, WHO BRIGHTENS UP NEW YORK BY SHARING HIS ART WITH THE PUBLIC.
>> THEY ARE FOR THE PEOPLE AND I WANT PEOPLE TO TAKE THEM AND INTERACT WITH THEM.
OBVIOUSLY TAKE A PICTURE, BUT TAKE A BLOSSOM, TAKE SOME HOME.
THE MORE THAT WE CAN HAVE SOME OF THESE SOFT MOMENTS OF JUST BEAUTY AND JOY FOR NO OTHER REASON, EVEN IF IT'S FOR AN HOUR OR TEN MINUTES, ITS JOB IS DONE.
>> I HOPE YOU ENJOYED OUR PROGRAM THIS EVENING.
I'M PHILIPPE DE MONTEBELLO ON LOCATION AT THE METROPOLITAN MUSEUM OF ART.
THANK YOU FOR WATCHING, AND SEE YOU NEXT TIME.
TO ENJOY MORE OF YOUR FAVORITE SEGMENTS ON NYC ARTS, DO VISIT OUR WEBSITE AT NYC-ARTS.ORG.
>>> WHAT A PRIVILEGE TO BE ABLE TO SIT DOWN AND TALK WITH YOU.
>> I LOVE BEING HERE WITH YOU TOO, PAULA.
>> WHERE ARE WE?
>> WE ARE AT A MOMENT TO TAKE NOTHING FOR GRANTED.
>> IT'S A PLEASURE TO BE WITH THE CURATOR OF THIS EXHIBITION FULL OF HOPE.
WE ARE IN THE MIDST OF SOME OF THE GREATEST SCULPTURES BY THE ICONIC NAMES.
♪♪ ♪♪ ♪♪ >>> FUNDING FOR NYC ARTS IS MADE POSSIBLE BY TEA PETCHIK FOUNDATION, THE LEWIS SONNY TURNER FUND FOR DANCE, ELISE JAFFREY AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, THE NANCY SIDEWATER FOUNDATION, THE MILTON AND SALLY AVERY ARTS FOUNDATION, ELROY AND TERRY CRUMBHOLZ FOUNDATION.
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 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 -- >> SWAN 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
Support for PBS provided by:
NYC-ARTS is a local public television program presented by THIRTEEN PBS
Major funding for NYC-ARTS is made possible by The Thea Petschek Iervolino Foundation, Jody and John Arnhold, The Lewis “Sonny” Turner Fund for Dance, The Ambrose Monell Foundation, Elise Jaffe...