>>> COMING UP ON NYC-ARTS, A TRIP TO THE HUDSON RIVER MUSEUM AND "MATRIX: PRINTS BY WOMEN ARTISTS, 1960-1990" 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 FEMINISM, THERE WAS A LOT OF ACTIVISM REPRESENTED IN THEIR ART WORKS.

THEN MOVING ON TO THE 1980s WE SAW A LOT OF EXPERIMENTATION WITH PROCESS, A LOT OF TYPE 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.

>>> 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.

♪ >>> GOOD EVENING AND WELCOME TO NYC-ARTS.

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

THE MORGAN BEGAN AS THE PRIVATE LIBRARY OF FINANCIER PIER PONLT MORGAN, ONE OF THE PREEMNEBLT ART COLLECTORS AND CULTURAL BEEN FACTORS IN THE UNITED STATES.

FOUND IN THE 1906, IT SERVES AS A MUSEUM, INDEPENDENT RESEARCH LIBRARY, MUSIC VENUE, ARCHITECTURAL LANDMARK AND LIST, TO SITE.

THE MORGAN OFFERS VISITORS CLOSE ENCOUNTERED WITH GREAT WORKS OF ACCOMPLISHMENT.

RARE BOOKS, MUSIC, DRAWINGS AND WORKS OF ART, COMPRISES A UNIQUE AND DYNAMIC RECORD OF CIVILIZATION AS WELL AS AN INCOMPARABLE REPOSITORY OF IDEAS AND THE CREATIVE PROCESS FROM 4000 BC TO THE PRESENT.

CURRENTLY ON VIEW IS "UNCOMMON DENOMINATOR, NINA KATCHADOURIAN AT THE MORGAN," AN ONGOING SERIES OF EXHIBITIONS BY THE MORGAN'S PHOTOGRAPHY DEPARTMENT IN COLLABORATION WITH A LIVING ART IFRT.

HERE KATCHADOURIAN HAS CREATED A CONVERSATION AMONG WORKS OF HER OWN CAREER, ARTIFACTS OF HER FAMILY'S HISTORY AND OBJECTS DRAWN FROM EVERY CORNER OF THE MORGANS' VAULTS.

AS A WAY OF DISCOVERING THE COLLECTION, SHE INVITED MORGAN STAFF MEMBERS TO EXPLAIN FAVORITE OBJECTS TO HER, DRAWING ON THEIR VARIED TASTES, IMAGINATION AND EXPERTISE.

IT IS PRESENTED SO A DIVERSE RANGE OF OBJECTS EITHER AMPLIFY, CONTRADICT OR COMMENT ON ONE ANOTHER.

NOTE WORTDY OBJECTS INCLUDE A DELICATE FIGURE DRAWING 40 ANTOINE WATTEAU, THE MESOPOTAMIAN CYLINDER SEAL FROM 3400 TO 3000 BC, THE TIRY OF A TEENAGE J.P. MORGAN, AND AN INTRICATAL INK DRAWING OF A CROWD MADE BY A DUTCH FOLLOWER OF HIERONYMUS BOSCH.

IT FEATURES THE NEWEST INSTALLMENT OF THE ARTIST'S ONGOING SORTED BOOKS PROJECT.

TO CREATE THE 24 PHOTOGRAPHS IN THE NEW SERIES, SHE SELECT VOLUMES FROM THE MORGANS' CARTER BURDEN COLLECTION OF AMERICAN LITERATURE.

IT IS THE LARGEST LIBRARY COLLECTION SHE'S WORKED WITH AS PART OF THE PROJECT.

SHE ARRANGED THEM INTO STATEMENTS, POEMS, COMMENTARY, AND NARRATIVES.

FEATURED ARE SUCH WORKS AS BATTLE OF ANGELS BY TENNESSEE WILLIAMS AND WHO'S AFRAID OF VIRGINIA WOOLF BY EDWARD ALBEE.

AMONG HIGHLIGHTS OF KATCHADOURIAN'S WORK ARE PRINCE CHARMING OF 2015, GIANT REDWOOD OF 2012, AND TOPIARY ALSO OF 2012, DIGITAL CHROCHROMOGENIC PS FROM HER ONGOING PROJECT SEAT ASSIGNMENT WHICH BEGAN IN 2010.

THE PHOTOGRAPHS, VIDEOS AND SOUND WORKS IN THE SERIES WERE ALL MADE ON COMMERCIAL AIRLINE FLIGHTS USING ONLY A SMARTPHONE AND EXEMPLIFY THE ARTIST'S APPROACH TO IMPROVISING WITH FOUND MATERIALS IN SETTINGS THAT SEEM UNLIKELY FOR ART-MAKING.

THE EXHIBITION IS ON VIEW THROUGH MAY 28th.

ON OUR PROGRAM TONIGHT WE'LL TAKE A TRIP TO THE HUDSON RIVER MUSEUM IN YONKERS.

"MATRIX: PRINTS BY WOMEN ARTISTS, 1960-1990", THAT IS THE TITLE OF THE SHOW, EXPLORES A PERIOD OF EXPERIMENTATION IN PRINT MAKING AMONG WOMEN ARTISTS.

NOT ONLY WAS PRINTMAKING A MEANS OF CREATIVE EXPRESSION BUT IT ALSO SERVES AS A WAY TO ENTER THE MALE-DOMINATED ART WORLD.

THE PRINTS ON VIEW INCLUDE THE WORK OF ARTISTS SUCH AS FAITH RINGGOLD, BARBARA KOHL-SPIRO, JULIA SANTOS SOLOMON, AND EMMA AMOS.

THESE WOMEN EXPANDED THE MEDIUM OVER THREE DECADES DEVELOPING THE FORM THROUGH THE MASTERY OF NEW TECHNIQUES AND COLLABORATION WITH KLUTT.

THIS WORK BECAME THE FOUNDATION FOR A NEW GENERATION OF MORE INCLUSIVE PRINTMAKERS WOULD EMERGE.

♪ >> I'M LAURA VOOKLES AND I'M THE CHAIR OF THE CURATORIAL DEPARTMENT.

I'M SO EXCITED TO WELCOME YOU INTO THE VOTER GALLERY OF THE MUSEUM TO SEE "MATRIX: PRINTS BY WOMEN ARTISTS, 1960-1990."

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

SO WOMEN WERE EXPERIMENTING A LOT WITH ABSTRACTION IN THE 1960s AND IN THE '70s AND THE SECOND WAVE OF FEMINISM, THERE WAS A LOT OF ACTIVISM REPRESENTED IN THEIR ART WORKS.

AND THEN MOVING ON TO THE 1980s, THEY REALLY SAW A LOT OF DIFFERENT EXPERIMENTATION WITH PROCESS, A LOT OF DIFFERENT TIMES OF PRINTS BEING MADE, COMBINING THE APPROPRIATE PRINT TECHNIQUE.

HELEN FRANKENTHALER WAS A MEMBER OF THE NEW YORK SCHOOL OF ARTISTS.

AFTER THE SOCIAL REALIST PERIOD, DURING THE DEPRESSION, THERE WAS ABSTRACT EXPRESSION AND SOMETIMES PEOPLE MAY FORGET THAT WOMEN ARTISTS WERE VERY CRITICAL TO THE EVOLUTION OF THAT STYLE.

HELEN FRANKENTHALER WAS VERY PROMINENT AND WELL KNOWN.

SHE WORKED ON THE FLOOR LIKE JACKSON POLLING ON.

SHE STARTED POURING PAINT ALL OVER AND REALLY EVOLVING COLOR FIELD PAINTING.

SO WHEN SHE WORKED IN THE WOOD CUT LIKE SAVAGE BREEZE, ONE OF HER MOST WELL-KNOWN PRINTS, SHE'S TRYING TO USE THE WOOD BLOCK TO GET THAT MOTION OF THE PAINT, YOU KNOW, GOING ACROSS THE SURFACE.

THEN SHE BECAME FRUSTRATED WITH TRYING TO GET THE RIGHT EFFECT, AND THEN SHE WAS DOING THINGS LIKE SCRAPING OFF THE PAINT AND ADDING OTHER LAYERS OF PAINT, AND FINALLY GOT THIS REALLY EVOCATIVE PIECE.

MIRIAM SHAPIRO IS A REALLY INTERESTING FIGURE IN THE HISTORY OF AMERICAN ART BECAUSE SHE WAS IMPORTANT AS A FEMINIST ARTIST AND SHE WAS ALSO IN THE PATTERN AND DECORATION MOVEMENT, WHICH EMBRACED TRADITIONAL WOMEN'S CRAFTS AND ARTS AND ELEVATED THEM TO FINE ART.

A LOT OF WOMEN ARTISTS REALLY LOOK UP TO FRIDA KAHLO AS AN ICONIC FEMINIST AND SOMEONE WHO BROUGHT WOMEN'S ISSUES TO THE FOREIN THE SUBJECT MATTER OF HER ART AND HER RELATIONSHIP WITH BEING A WOMAN AND TRYING TO FIND A PLACE IN THE WORLD.

AND I LOVE THAT SHE CALLS IT FRIDA AND ME.

SHE'S REALLY TELLING US WHAT FRIDA KAHLO MEANS TO HER.

THE CHINE-COLLE IN SHAPIRO'S PIECE IS A TYPE OF COLLAGE.

IT IS MORE OF HOW IT GOES TO THE PRINTING PRESS.

INSTEAD OF JUST HAVING A SIMPLE PIECE OF PAPER, THEY WILL OVERLAY A KIND OF TISSUE PAPER.

EMMA AMOS HAD A VERY LONG CAREER.

SHE WAS THE ONLY WOMAN ARTIST WHO WAS PART OF THE SPIRAL GROUP, WHICH WAS A GROUP OF IMPORTANT AFRICAN AMERICAN ARTIST WHO'S BANDED TOGETHER TO TALK ABOUT HOW THEY AS BLACK ARTISTS COULD ADVANCE THE CIVIL RIGHTS MOVEMENT.

SHE CHAMPIONED THE BLACK WOMAN'S BODY IN HER ART AND SHE REALLY WANTED TO COMBAT STEREOTYPICAL IMAGES OF WHAT BEAUTY WAS.

AND SO THIS PIECE ABOUT THE SECRETS, IT'S INNOVATIVE IN SO MANY WAYS.

IT IS PART OF A SERIES WHERE SHE DID A LOT OF STUDIES OF FIGURES LOOKING RIGHT OUT AT US.

INSTEAD OF BEING PASSIVE, THE FIGURE IS CONFRONTING US.

BUT IT IS VERY MYSTERIOUS BECAUSE YOU SEE THE FACE TWICE.

IT IS FOUR ART WORKS AS ONE.

AND SHE STARTED OUT STUDYING TEXTILES.

HER OWN WEAVING THAT'S PART OF THE DESIGN HAS CHINE-COLLE THAT YOU CAN SEE IN SOME OF THE AREAS THAT LOOK A LITTLE FUZZY AND PAINTERLY.

FAITH RINGGOLD WORKED A LOT ON WORKS ON PAPER.

SHE'S LEVERAGING THE POWER OF A POSTER AND IT SAYS WOMAN FREE YOURSELF.

WHEN YOU MAKE IT SINGULAR, IT IS REALLY DIRECT TO THE VIEWER.

YOU CAN'T IMAGINE THAT SHE'S SPEAKING TO SOMEONE ELSE IN THE CROWD OTHER THAN YOU.

WOMAN FREE YOURSELF.

AND IT REALLY EMPOWERS WOMEN.

IT'S ALSO VERY GRAPHIC, THE WAY SHE DOES THE LETTERING.

THE COLORS GREEN AND PURPLE.

GREEN IS ONE OF THE COLORS IN THE PAN-AFRICAN FLAG.

IT ALSO STANDS FOR A SORT OF REGENERATION AND REBIRTH.

AND THEN PURPLE IS OFTEN USED IN AFRICAN FASHIONS AS A SYMBOL OF THE FEMININE.

AT THE HUDSON RIVER MUSEUM, WE LIKE TO DO EXHIBITIONS THAT WILL HAVE A RESONANCE TODAY.

PEOPLE WANT TO COME TO THE MUSEUM AND HAVE SOMETHING THAT THEY CAN RELATE TO THAT TOUCHES THEIR LIVES.

IT SEEMS TO ME POWERFUL TO LOOK BACK TO A PERIOD WHEN WOMEN WERE REALLY LEVERAGING THEIR POWER IN THE ART WORLD.

>>> NEXT ON OUR PROGRAM, WE'LL VISIT THE NEVELSON CHAPEL AT ST. PETER'S CHURCH, THE SCULPTURAL ENVIRONMENT CREATED BY LOUISE NEVELSON, ONE OF NEW YORK'S MOST SELLING CELEBRATED ARTISTS.

WITH A CAREER SPANNING NEARLY FIVE DECADES, NEVELSON BECAME ESPECIALLY WELL KNOWN FOR HER TECHNIQUE OF COLLECT ONNING DISCARDED FURNITURE AND OTHER RANDOM OBJECTS FROM THE STREETS OF NEW YORK AND THEN REASSEMBLING THEM INTO OFTEN LARGE-SCALE ART INSTALLATIONS.

NEVELSON'S ARTWORK FOR THE CHAPEL OF THE GOOD SHEPHERD AT ST. PETER'S CHURCH IS THE ONLY ARTIST'S REMAINING INSTALLATION OPEN TO THE GENERAL PUBLIC.

IT IS A GEM FOUND WITHIN THE CITIGROUP CENTER IN MIDTOWN MANHATTAN.

THE ENTIRE COMPLEX INCLUDING THE CHURCH WAS DESIGNED BY HUGH STUBBINS AND EASLEY HAMNER WITH INTERIORS BY LELLA AND MASSIMO VIGNELLI.

AFTER 40 YEARS, NEVELSON'S MASTER WORK IS UNDERGOING A CRITICAL RESTORATION AND A REDISCOVERY AS AN OASIS OF PEACE.

>>> NEVELSON CONSIDERED THIS ENVIRONMENT HER OASIS OF SILENCE.

IT'S A PLACE THAT PEOPLE COME DAY IN AND DAY OUT TO FIND IN THE MIDDLE OF THIS INCREDIBLY BUSY CITY SOME ELEMENT OF PEACE AND SILENCE.

>> 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.

>> NEVELSON WAS ONE OF THE FEW WOMEN ARTISTS IN THE 1970s WHO REALIZED PUBLIC ART WITH GREAT SUCCESS.

>> THE NEVELSON CHAPEL IS THE ONLY INTACT ENVIRONMENT THAT SHE EVER MADE.

>> LOUISE NEVELSON WAS BORN IN UKRAINE IN 1899.

HER FAMILY IMMIGRATED WHEN LOUISE NEVELSON WAS A LITTLE GIRL.

NEVELSON'S FATHER WAS A WOOD CUTTER IN THE OLD COUNTRY AND ONCE THEY CAME TO MAINE, HE HAD A JUNKYARD.

OF COURSE, THAT INSPIRED MUCH OF NEVELSON'S WORK.

SHE WOULD USE TOILET SEATS AND BED STANDS AND CHAIR RAILS AND EVERYTHING THAT SHE WOULD FIND ON THE STREETS OF NEW YORK CITY TO MAKE COLLAGE, THESE RELIEFS, AND THAT WAS HER SIGNATURE AND THAT IS HOW SHE'S BEST KNOWN.

SHE HAD HER FIRST BREAKTHROUGH PROJECT, HER FIRST PUBLIC BREAKTHROUGH PROJECT IN 1959 AT THE MUSEUM OF MODERN ART.

LOUISE NEVELSON WAS 60 YEARS OLD.

IT TOOK HER THAT LONG TO ACHIEVE PUBLIC RECOGNITION.

>> ST. PETER'S WAS A NEO-GOTHIC LUTHERAN CHURCH THAT HAD BEEN HERE A LONG TIME.

AND THE CONGREGATION HAD DWINDLED DOWN TO 65 OR 70.

SO IT WAS NOT DOING VERY WELL.

>> IN THE 1970s, ST. PETER'S AND CITIBANK CAME TOGETHER TO START PLANNING AND THEN ULTIMATELY BUILD WHAT WAS CALLED CITIGROUP CENTER.

AND AT THE HEART OF THAT COMPLEX IS NEVELSON CHAPEL.

>> THE PASTOR AT THAT TIME WAS RALPH PETERSON.

AT THE POINT WHERE THEY DECIDED THEY WANTED A DECORATED CHAPEL, AN INTERFAITH CHAPEL, EASLEY HAMNER WAS APPROACHED BY PACE GALLERY AND PACE GALLERY SAID, LOOK, THERE IS 1% FOR THE ARTS WHICH MEANS QUITE A LOT OF MONEY AVAILABLE FOR THE ARTS.

AND HAMNER KNEW NEVELSON'S WORK AND REPUTATION AND WANTED HER TO DO IT.

AND PETERSON KNEW HER WORK ALSO AND REALLY LIKED IT.

THE WORKS IN THE CHAPEL ARE NOT THE KIND OF FOUND OBJECT, WHETHER IT WAS FURNITURE OR SOMETHING SHE FOUND ON THE STREET.

THEY WERE SHAPES MADE TO ORDER FOR HER.

>> NEVELSON WAS JEWISH BY BIRTH.

THIS ISN'T A SPECIFICALLY CHRISTIAN FEELING SPACE.

IT'S A VERY SPIRITUAL SPACE.

>> I WANT TO READ YOU SOME QUOTES FROM HER.

THEY SAY SOMETHING ABOUT HOW SHE SAW HER SPIRITUALITY.

ABSTRACTION ALLOWS ME TO TRANSCEND CHRISTIAN IMAGERY TO THE ESSENTIAL POINT WHERE ALL RELIGIONS MEET.

EACH ELEMENT FORM A WHOLE IN ITSELF.

A DELIBERATE EXPRESSION OF JOY, HUMAN WARMTH, FOR ME, FOR MY WORK, THIS CHAPEL IS A STATE OF PURITY AND TRUTH.

I THINK THE FACT THAT THEY ARE DOING A RESTORATION WOULD BE SOMETHING THAT NEVELSON WOULD BE 100% APPROVE OF.

SHE ALWAYS WANTED HER WORK TO LOOK AS FRESH AS POSSIBLE.

>> THERE ARE TWO MAJOR ELEMENTS OF THE RESTORATION FOR NEVELSON CHAPEL.

THE FIRST WAS TO DEAL WITH THE PROBLEMS OF THE ENVIRONMENT.

WE'RE INTRODUCING A DEDICATED HVAC SYSTEM THAT WILL ENSURE THAT THIS ENVIRONMENT IS PROPERLY REGULATED FOR LONG-TERM CARE.

WOOD AND THE PAINT.

THE SECOND ELEMENT OF THE RESTORATION IS CLEANING ALMOST 35 YEARS OF RESTORATION OVERPAINT.

IN THE END, ALL THESE SCULPTURES WILL BE NEVELSON'S ORIGINAL PAINT.

>> NEVELSON'S SIGNIFICANT CONTRIBUTION TO MODERNISM WAS THAT SHE FORGED A UNIQUE VISUAL LANGUAGE.

IT WAS PART SURREALISM, PART CONSTRUCTIVISM, PART COLLAGE, HAD RESONANCE OF MINIMALISM BUT IT WAS REALLY ALL NEVELSON.

>> THE CHAPEL IS NOT AS WELL KNOWN AS IT SHOULD BE.

HOPEFULLY WITH THE RESTORATION GOING ON, MANY MORE PEOPLE WILL KNOW ABOUT IT.

>> I WANT TO ENSURE THAT 40, 50, 60 YEARS FROM NOW PEOPLE WILL FIND THIS IN NOT A PRISTINE CONDITION.

IT IS A LIVING ENVIRONMENT.

BUT PEOPLE WILL SEE THAT WE HAVE HONORED IT AND WE'RE PASSING ON TO THEM AS BEST WE CAN WHAT HAS BEEN HANDED DOWN TO US.

♪ >>> NOW, A LOOK AT "BEYOND THE LIGHT, DOIBLT AND PLAIS IN 19th CENTURY DANISH ART."

IT'S ON VIEW AT THE METROPOLITAN MUSEUM OF ART.

THE 19th CENTURY WAS ONE OF THE MOST TUMULTUOUS PERIODS IN DENMARK'S HISTORY.

FROM THE IMPACT OF THE NAPOLEONIC WARS TO THE DEVASTATING BOMBARDMENT OF COPENHAGEN AND SUBSEQUENT BANKRUPTCY.

EFFORTS TO RESTORE THE NATION'S PSYCHE LED TO AN INCREASED INTEREST IN DANISH HISTORY, CUSTOMS, CULTURE AND LANGUAGE.

BEYOND THE LIGHT PLACES THE DRAWINGS, OIL SKETCHES, PAINTINGS, CREATED BY THESE ARTISTS FIRMLY IN THIS PERIOD.

THE EXHIBITION FEATURES SOME 100 WORKS FROM THE MET, THE NATIONAL GALLERY OF DENMARK, AND PRIVATE AND PUBLIC COLLECTIONS.

IT HIGHLIGHTS SUCH ARTISTS AS CHRISTOFFER WILHELM ECKERSBERG, CHRISTEN KOBKE, MARTINUS RORBYE AND VILHELM HAMMERSHOI.

VISITORS WILL ENCOUNTER THE LANDSCAPE THROUGH THE AND ACC EXPANSIVE PANORAMA.

HE DEPICTS A PEACEFUL VIEW OF FISHING VILLAGES, GARDENS, FORESTS, HARBORS AND MILLS, WHALE ALSO INCLUDING MILITARY BATTERIES AND OTHER MARKERS OF CONFLICT.

DENMARK'S FIRST ART HISTORIAN, NIELS LAURITS HOYEN, BELIEVED HIS COUNTRY'S IDENTITY WASSED TODAY TO ITS DISTINCTIVE LANDSCAPE.

HOYEN EMBRACED THE MAXT TO PRESERVE DANISH MONUMENTS AS SYMBOLS OF NATIONAL HERITAGE.

IN RESPONSE, DANISH ARTISTS BEGAN TO DRAW AND PAINT THE COUNTRY'S MONUMENTS.

ONE PRIME EXAMPLE IS JOHAN CHRISTIAN DAHL'S COPENHAGEN HARBOR BY MOONLIGHT.

DENMARK'S PICKSTURESQUE COASTLINE AND LONG MERITIME HISTORY WERE A SOURCE OF INSPIRATION FOR THESE ARTISTS.

ANOTHER HIGHLIGHT, THE PAINTING OF COPENHAGEN'S HARBOR CAPTURED A MOMENT OF CALM AT ONE OF THE CITY'S MILITARY STATIONS.

BEYOND THE LIGHT IS ON VIEW UNTIL APRIL 16.

>>> NEXT TIME ON NYC-ARTS, A TRIP TO THE GUGGENHEIM WITH NICK CAVE WHOSE ELOOK RAT SCULPTURE AND FOUND-OBJECT INSTALLATIONS TAKE NEW MEANING.

>> AS AN ARTIST OF COLOR, I THINK ABOUT HOW I AM THE VOICE FOR A LOT OF PEOPLE.

I'M ALSO A BLACK GAY MALE, AND SO WHEN I THINK ABOUT MY SORT OF RESPONSIBILITY, THE WORK HAS TO SERVE AS A COMMUNAL SPACE TO REFLECT, A PLACE TO IMAGINE, AND SO IT'S ME SORT OF OPENING THAT UP AND WELCOMING ALL.

>>> A VISIT TO NEW YORK HISTORICAL SOCIETY AND THE UNIQUE EXHIBITION, I'LL HAVE WHAT SHE'S HAVING, THE JEWISH DELI.

>> NOT ONLY DOES IT SHOW WHAT WE HAVE IN THE DELI AND HOW THE DELI DEVELOPED, BUT IT'S AN EXHIBITION OF MEMORIES.

YOU DON'T HAVE TO BE JEWISH TO HAVE MEMORIES OF THE DELI IN NEW YORK.

>>> AND A LOOK AT FACE TO FACE PORTRAITS OF ARTISTS BY TACITA DEAN, BRIGITTE LACOMBE AND CATHERINE OPIE ON VIEW AT THE INTERNATIONAL CENTER OF PHOTOGRAPHY.

THE PORTRAITS INCLUDE FIGURES SUCH AS MAYA ANGELOU, RICHARD AVEDON, LOUISE BOURGEOIS, JOAN DIDION, DAVID HOCKNEY, MARTIN SCORSESE AND SO MANY MORE.

I HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING.

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

THANK YOU FOR WATCHING AND I'LL SEE YOU NEXT TIME.

TO ENJOY MORE OF YOUR FAVORITE SEGMENTS, GO TO OUR WEBSITE.

NYC-ARTS.ORG.

>> WHAT A PRIVILEGE TO SIT DOWN AND TALK WITH YOU.

WE'RE 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.

>> I THINK ONE OF THE ESSENTIAL THINGS THAT WE LEARNED IS THAT MATISSE USED PENS TO COMPOSE HIS WORK.

>> YOU ARE ALWAYS SURPRISED WHEN YOU'RE DOING A PEACE OF 100 YEARS AGO AND YOU THINK, OH MY GOSH, THIS COULD BE NOW.

♪ >>> 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.