>>> COMING UP ON NYC ARTS A LOOK AT THE LARGEST AND MOST SIGNIFICANT GIFT OF DRAWINGS AND PASSTELS IN THE HISTORY OF THE FRICK COLLECTION.

AS A YOUNG COLLECTOR HENRY CLAY FRICK WAS INTERESTED IN THE BARBIZON SCHOOL AND A DRAWING BY MILLET ONE OF THE MOVEMENT'S FOUNDING MEMBERS, ALSO JOINS THE COLLECTION THROUGH THIS GIFT.

A TRIP TO THE AMERICAN FOLK ART MUSEUM AND THE EXHIBITION MORRIS HIRSHFIELD REDISCOVERED.

>> WE TALK ABOUT REDISCOVERY BECAUSE WE WANT TO BRING BACK HIRSHFIELD IN THE CONTEXT OF THIS DISCOVERY IN THE 40s WITHIN A MODERNIST ENVIRONMENT WHERE HE WAS EXHIBITED ALONGSIDE SURREALISTS AND ARTISTS FROM THE INTERNATIONAL AVANT-GARDE.

>> AND A PROFILE BY AYODELE CASEL, ONE OF TODAY'S MOST DYNAMIC TAP DANCERS AND EDUCATORS.

>> TAP DANCING FOR ME IS MAGIC.

IT'S MUSIC IN MOTION.

>>> FUNDING FOR "NYC ARTS" IS MADE POSSIBLE BY -- THE AMBROSE MONELL FOUNDATION.

THEA PETSCHEK IERVOLINO FOUNDATION.

JODY AND JOHN ARNHOLD.

THE LEWIS "SONNY" TURNER FUND FOR DANCE.

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 DAY MONTEBELLO ON LOCATION AT FRICK MADISON THE TEMPORARY HOME OF THE FRICK COLLECTION.

LOCATED AT MADISON AND 75th STREET IN THE FORMER SITE OF THE MET BREUER THE COLLECTION WILL RESIDE HERE WHILE ITS HISTORIC BUILDINGS ON EAST 70th STREET UNDERGO RENOVATION.

CURRENTLY ON VIEW IS THE SPECIAL EXHIBITION THE EVEILLARD GIFT.

IT REPRESENTS THE LARGEST AND MOST SIGNIFICANT PROMISED GIFT OF DRAWINGS AND PASTELS IN THE FRICK COLLECTION'S HISTORY.

OVER THE PAST 45 YEARS, BETTY AND JEAN-MARIE EVEILLARD HAVE ASSEMBLED AN OUTSTANDING COLLECTION OF EUROPEAN WORKS ON PAPER, RANGE IN DATE FROM THE END OF THE 15th CENTURY TO THE 20th CENTURY AND REPRESENTING ARTISTS WORKING IN FRANCE, BRITAIN, ITALY, SPAIN, AND THE NETHERLAND.

THE GIFT INCLUDES 26 OF THESE WORKS.

18 DRAWINGS, FIVE PASTELS, TWO PRINTS, AND ONE OIL SKETCH.

ALONG WITH PREPARATORY FIGURATIVE SKETCHES AND PORTRAITS ARE TWO VIVID LANDSCAPE SCENES.

AS FITTING ADDITIONS FOR THE FRICK, ARTISTS REPRESENTED INCLUDE BUSHEHR, DEGAS, FRAGONARD, GOYA, AND MILLET.

THE GROUP ALSO INTRODUCES TO THE FRICK'S HOLDINGS WORKS BY ARTISTS THAT ARE NOT REPRESENTED IN ITS PRIMARY AREAS OF COLLECTING.

THEY INCLUDE GUSTAVE CAILLEBOTTE, MAURICE QUENTIN DE LATOUR, JAN LIEVENS, JOHN SINGER SERGEANT, AND ELISABETH VIGEE LE BRUN THE EVEILLARDS ACQUIRED THEIR FIRST IMPORTANT WORK IN 1975.

THIS DRAWING IS THE MOST MODERN WORK IN THE GIFT OF THE FRICK.

IT IS KNOWN FROM ARCHIVAL CORRESPONDENCE THAT HENRY CLAY FRICK DESIRED A PORTRAIT BY SARGENT BUT DID NOT SUCCEED IN SECURING A SITTING WITH THE ARTIST.

MME GAUTREAU FROM 1884 IS ONE OF MULTIPLE STUDIES PRODUCED AS PREPARATION FOR THE WELL KNOWN PORTRAIT OF MADAME X.

THIS DRAWING SHOWS THE ARTIST FOCUSING ON THE FIGURE'S POSE REPRESENTING HER FIGURE KNEELING ON A SOFA AND LOOKING OUT A WINDOW.

OTHER LATER 19th CENTURY DRAWINGS BY DEGAS AND CAILLEBOTTE KPLEEMT THE COLLECTION'S IMPRESSIONIST PAINTINGS.

WHILE THE FRICK OWNS A QUINTESSENTIAL DEGAS CANVAS OF DRAWINGS, THE EVEILLARDS' EARLY DRAWING OF ALELCHI MORBILLI IS NOW THE FIRST WORK OP ON PAPER BY THE ARTIST IN FRICK'S COLLECTION.

IT WAS ONE OF THE BEST OF HIS SERIES OF DRAWINGS OF HIS COUSIN.

WHEN IT WAS DRAWN DEGAS WAS INTERESTED IN THE WORK OF INGRES AND THE PORTRAIT REFLECTS THIS AFFINITY.

THIS IS BEST KNOWN AND PERHAPS MOST CELEBRATED FOR HIS 1877 PAINTING AT CHICAGO'S ART INSTITUTE PARIS STREET RAINY DAY.

THE GIFT INCLUDES A PREPARATORY DRAWING FOR THE ICONIC PARIS STREET SCENE.

A MAN OF WEALTH HE WAS ALSO A PATRON AND SUPPORTER OF FELLOW IMPRESSIONIST COLLEAGUES.

HIS WORKS ARE RARELY FOR SALE, MOST STILL BEING IN THE POSSESSION OF HIS DESCENDENTS.

18th CENTURY FRENCH ART IS ONE OF THE FRICK'S STRENGTHS WITH HOLDINGS BY BOUCHER, FRAGONARD, GREUZE, AND WATTEAU.

THE GIFT BRINGS TO THE MUSEUM WORKS IN CHALK AND PASTEL ON PAPER BY THESE FOUR ARTISTS.

THE MOST RENOWNED PASTEL ARTIST IN 18th CENTURY FRANCE WAS MAURICE QUENTIN DE LATOUR.

MADAME ROUILLE IS PERHAPS THE FINEST PASTEL BY HIM IN PRIVATE HANDS IN THE UNITED STATES.

IT ALSO COMES TO THE FRICK ALONG WITH A SHEET BY DE LATOUR'S NEAR CONTEMPORARY NICOLAS LANCRET.

THE PASTEL DRAWING BY BOUCHER IS ASSOCIATED WITH A PAINTING BY FRAGONARD OF A RECLINING WOMAN IN A PASTORAL SCENE.

YOUNG WOMAN IS ONE OF THE SERIES OF REMARKABLE DRAWINGS OF FEMALE MODELS STANDING OUTDOORS.

WIDELY TRAVELED AND CELEBRATED DURING HER LIFE ELISABETH VIGEE LEE BRUN WAS A HIGHLY ACCOMPLISHED PORTRAITIST AND WRITER.

HER WORK ENTERS THE COLLECTION WITH HEAD OF A WOMAN A SKETCH SIGNED AND DATED IN 1784 AND LIKELY MADE IN PREPARATION FOR A HISTORY PAINTING NEVER EXECUTED.

THE SCOPE OF THE FRICK'S WORKS BY FRENCH ARTISTS IS BROADENED FURTHER WITH SHEETS BY PIERRE-PAUL PRUDHON AND JEAN-BAPTISTE WICAR.

AS A YOUNG COLLECTOR HENRY CLAY FRICK WAS INTERESTED IN THE BARBIZON SCHOOL AND A DRAWING BY MILLET ONE OF THE MOVEMENT'S FOUNDING MEMBERS ALSO JOINS THE COLLECTION THROUGH THIS GIFT.

IT INCLUDES AN OIL SKETCH BY JOHN CONSTABLE AS PREPARATION FOR THE LAST OF THE ARTIST'S FAMOUS SERIES OF LARGE PAINTINGS INCLUDING THE WHITE HOUSE ALREADY IN THE FRICK COLLECTION.

DELACOIX WAS AMONG THOSE ARTISTS TO HERALD FRENCH ROMANTICISM.

THE EVEILLARD GIFT INCLUDES A PASTEL BY THE ARTIST DEPICTING TWO NORTH AFRICAN FIGURES IN A LANDSCAPE BASED ON SKETCHES MADE TWO DECADES EARLIER.

IT JOINS THE ARTIST'S MOROCCAN INTERIOR A DELICATE AND PERSONAL DRAWING FROM ONE OF THE SKETCHBOOKS THE ARTIST MADE IN 1832 DURING A VISIT TO NORTH AFRICA.

FRICK WAS KNOWN TO HAVE AN AFFINITY FOR SUCH SPANISH PAINTERS AS VELASQUEZ, ELGRECO, MURILLO, AND GOYA.

THIS DEPICTION OF A DANCING MAN DEMONSTRATES THE ARTIST'S USE OF EVERY DAY PEOPLE AS SUBJECTS.

OTHER WORKS IN THE GIFT ENRICH THE FRICK'S CELEBRATED COLLECTION OF ITALIAN ARTISTS, WITH SHEETS RANGING FROM A RARE ANONYMOUS 15th CENTURY VENETIAN DRAWING TO ITALIAN RENAISSANCE AND BAROQUE SHEETS BY FREDERICO BAROCCI, GUIDO RENI, AND SALVATOR ROSA.

ALSO INCLUDED ARE 18th CENTURY WORKS.

ALSO INCLUDED ARE TWO REMARKABLE PORTRAITS BY JAN LIEVENS A DUTCH CONTEMPORARY OF REMBRANDT AND BY SIR THOMAS LAWRENCE THE LEADING BRITISH PORTRAITIST OF HIS AGE.

THE EVEILLARD GIFT WILL BE ON VIEW THROUGH FEBRUARY 26th.

ON OUR PROGRAM TONIGHT WE'LL VISIT THE AMERICAN FOLK ART MUSEUM FOR A LOOK AT MORRIS HIRSHFIELD REDISCOVERED, THE MOST COMPREHENSIVE GATHERING OF THE WORK OF THIS SELF-TAUGHT ARTIST.

THE EXHIBIT FEATURES OVER 40 OF THE NEARLY 80 PAINTINGS HE CREATED DURING HIS SHORT CAREER.

BORN IN POLAND IN 1872 TO A JEWISH FAMILY, HIRSHFIELD IMMIGRATED TO THE U.S. AROUND 1890.

HE SETTLED IN BROOKLYN AND HAD A SUCCESSFUL CAREER AS A TAILOR AND DRESSMAKER AND LATER AS A SHOE DESIGNER.

REMARKABLY, IT WAS ONLY DURING THE LAST SEVEN YEARS OF HIS LIFE, WHEN HE WAS IN HIS EARLY 60s THAT HE BECAME A PAINTER.

DISCOVERED BY INFLUENTIAL ART DEALER SIDNEY JANIS, HIRSHFIELD'S HIGHLY STYLIZED PAINTINGS OF WOMEN, LANDSCAPES, AND ANIMALS ACHIEVED INTERNATIONAL RECOGNITION IN THE 1940s.

IN LESS THAN A DECADE HIS WORK WAS EMBRACED BY THE SURREALISTS, COLLECTED BY PEGGY GUGGENHEIM, AND DISPLAYED AT THE MUSEUM OF MODERN ART WHERE HE WAS GIVEN A SOLO EXHIBITION IN 1943.

HOWEVER, AFTER HIS DEATH IN 1946, HIS WORK HAS SELDOM BEEN SEEN BY THE PUBLIC.

MORRIS HIRSHFIELD REDISCOVERED REINTRODUCES THIS UNIQUE ARTIST TO CONTEMPORARY AUDIENCES.

CURATOR VALERIE ROUSSEAU IS OUR GUIDE.

>> MORRIS HIRSHFIELD HAD A VERY INCREDIBLE ARTISTIC AND LIFE TRAJECTORY, STARTING AS A JEWISH IMMIGRANT, INVOLVEMENT IN THE TEXTILE GARMENT INDUSTRY, TO A SUCCESSFUL ARTISTIC CAREER.

A SHORT CAREER.

HE PASSED AWAY IN 1946.

HE CREATED ABOUT 80 WORKS DURING HIS LIFETIME.

42 OF THESE WORKS ARE PART OF THE MORRIS HIRSHFIELD REDISCOVERED EXHIBITION.

SO THIS IS THE FIRST MUSEUM RETROSPECTIVE IN 80 YEARS OF HIS ART.

THE REUNION OF THESE PAINTINGS TOGETHER IS BRINGING AN ADDITIONAL LAYER OF MEANING.

WE TALK ABOUT REDISCOVERY BECAUSE WE WANT TO BRING BACK HIRSHFIELD IN THE CONTEXT OF HIS DISCOVERY IN THE 40s WITHIN A MODERNIST ENVIRONMENT WHERE HE WAS EXHIBITED ALONGSIDE SURREALISTS AND ARTISTS FROM THE INTERNATIONAL AVANT-GARDE.

MORRIS HIRSHFIELD STARTED TO PAINT IN 1937.

HE RAPIDLY HAS BEEN DISCOVERED BY AN ART DEALER, CURATOR AT THE TIME, SIDNEY JANIS.

SIDNEY JANIS WAS GUEST CURATING AN EXHIBITION AT THE MUSEUM OF MODERN ART ON CONTEMPORARY, UNKNOWN, AMERICAN PAINTERS.

AND HE WAS LOOKING AT ARTISTS TO INCLUDE IN HIS EXHIBITION.

AND AS HE WAS VISITING GALLERIES, HE DISCOVERED BY COINCIDENCE TWO PAINTINGS BY HIRSHFIELD THAT WERE BROUGHT TO THIS GALLERY, AND HE WAS MESMERIZED.

WHAT REALLY MARKED A TURNING POINT IN THIS ENCOUNTER BETWEEN THE ART WORLD AND HIRSHFIELD WAS HIS INCLUSION IN THE EXHIBITION, FIRST PAPERS OF SURREALISM, AN EXHIBITION THAT WAS CURATED BY ANDRE BRETON AND MARCEL DUCHAMP AND THAT WAS THE FIRST AND MOST IMPORTANT EXHIBITION OF SURREALISM IN THE U.S. AT THE TIME.

AND THAT ENCOUNTER BETWEEN VARIOUS NETWORKS, EXPOSURE TO INCREDIBLE COLLECTORS LIKE PEGGY GUGGENHEIM, REALLY CHANGED THE COURSE OF HIS RECOGNITION.

>>> THE TWO FIRST PAINTINGS THAT MORRIS HIRSHFIELD CREATED, BEACH GIRL AND ANGORA CAT, WERE TWO WORKS THAT ARE VERY SPECIAL.

YOU CANNOT LOOK AT THE WORK OF HIRSHFIELD IN TERMS OF EVOLUTION OR IN TERMS OF HOW HE GREW THEMES OVER TIME.

IN THESE TWO PAINTINGS, YOU HAVE EVERYTHING ALREADY.

THEY ARE MICRO COSMOS OF WHAT HE HAS DONE DURING THE FOLLOWING SEVEN, EIGHT YEARS, IN THIS VERY SHORT PERIOD OF TIME.

WE TALK ABOUT NINE YEARS ONLY OF INTENSE CREATIVITY.

WHAT CAPTURES THESE TWO PAINTINGS, MORE SPECIFICALLY BEACH GIRL, IS THE TEXTILE IMAGINATION AT PLAY.

YOU HAVE AN ACCUMULATION OF PAINTING ON THE SURFACE, WHICH IS SOMETHING YOU WILL SEE IN TAILOR-MADE GIRL.

YOU WILL SEE IN NUDE AT THE WINDOW.

SO YOU HAVE A PLAYFUL WAY OF TAKING ADVANTAGE OF THE PIGMENT.

THERE IS A WIDE RANGE OF WILD AND DOMESTIC ANIMALS DEPICTED IN HIS PAINTINGS, ESPECIALLY CATS AND TIGERS IS A RECURRENT THEME IN HIS REPERTOIRE AS WELL.

>>> SOMETHING THAT IS VERY UNIQUE IN HIS STYLE AND HIS DEPICTION OF WOMEN IS THE WAY THAT THEY ARE REPRESENTED IN OFTEN SITUATION OF CONTORTIONS.

YOU HAVE IN THIS INCREDIBLE PAINTING, GIRL WITH PIGEONS, THEY ARE LIKE A THEME THAT WOULD HAVE BEEN EMBRACED BY THE SURREALISTS AT THE TIME BECAUSE HIS DEPICTION OF WOMEN IN A VERY UNUSUAL WAY ON THE SURFACE OF A COUCH.

A COUCH EVOKES LIKE PSYCHOANALYSIS AND FREUD AND IT'S NOT THE COINCIDENCE THAT THIS PAINTING HAS BEEN THE ONE SELECTED BY THE SURREALISTS FOR THEIR EXHIBITION.

SHE'S NOT LAYING ON THE COUCH, PER SE.

SHE HAS BEEN PLACED AS A SCULPTURE ON THE COUCH.

YOU HAVE THIS RIGIDITY OF THE DEPICTION OF THE FIGURE AS WELL.

AND NONETHELESS, YOU HAVE THIS INTERACTION BETWEEN HER, THE FEMALE SUBJECT, AND THE PIGEONS SURROUNDING HER, SEVEN PIGEONS.

YOU HAVE ALWAYS THIS RELATIONSHIP BETWEEN NATURE AND CULTURE.

IN MANY CASES IN HIRSHFIELD PAINTINGS, WE DO NOT HAVE A LOT OF SOURCES TO EXPLAIN WHERE HE WOULD HAVE CAPTURED THESE THEMES.

THERE'S ALWAYS AN INTERPRETATION, A JUXTAPOSITION BETWEEN THE REALM OF THE UNCONSCIOUS OF THE DREAM, OF FANTASIES, AND REAL SOURCES.

SO A RETROSPECTIVE LIKE THIS ONE GIVES AN OCCASION TO PRODUCE, GENERATE MORE RESEARCH, AND CREATE A VERY ACTIVE DIALOGUE IN THE ART WORLD IN GENERAL.

>>> NEXT WE'LL MEET AYODELE CASEL, ONE OF TODAY'S MOST DYNAMIC TAP DANCERS AND EDUCATORS.

BORN IN THE BRONX AND RAISED IN PUERTO RICO, SHE FELL IN LOVE WITH TAP AFTER WATCHING FILMS FROM THE 1930s STARRING GINGER ROGERS.

OVER THE YEARS, HER CAREER HAS CONTINUED TO FLOURISH.

HER CRITICALLY ACCLAIMED WORK AYODELE CASEL CHASING MAGIC PERFORMED AT THE JOYCE THEATER AND WON A 2021 BESSIE AWARD FOR OUTSTANDING PRODUCTION.

SHE HAS ALSO BEEN TAP CHOREOGRAPHER FOR THE BROADWAY REVIVAL OF "FUNNY GIRL."

CASEL HAS EVEN HAD THE HONOR OF REPRESENTING HER ART FORM ON A U.S. POSTAGE STAMP.

CHASING MAGIC IS RETURNING TO THE JOYCE THEATER WITH PERFORMANCES FROM NOVEMBER 2nd THROUGH NOVEMBER 13.

NYC-ARTS SPOKE WITH CASEL AT THE ORIGINAL TAP HOUSE IN THE BRONX.

>> TAP DANCING FOR ME IS MAGIC.

TECHNICAL DEFINITION, A PERCUSSIVE AMERICAN ART FORM.

IT'S MUSIC IN MOTION.

I WOULD SAY THAT I AM MOSTLY CONCERNED WITH BEING AS MUSICAL AND AS EXPRESSIVE AS I CAN BE WHEN I TAP DANCE.

WHO YOU ARE AND LIKE HOW YOU CAME, HOW YOU ARE HERE, IS WHAT INFORMS AND INFLUENCES THE SOUND THAT YOU MAKE AND THE MUSICAL PATTERNS THAT YOU MAKE.

SO I FEEL LIKE YOU'RE LIKE A CONGLOMERATE OF ALL OF THE THINGS YOU'VE EXPERIENCED.

I STARTED TAP DANCING WHEN I WAS 19 YEARS OLD AND FOR ME AS A BLACK PUERTO RICAN GIRL FROM THE BRONX WHO IDOLIZED GINGER ROGERS TO KNOW THAT THIS WAS AN AFRICAN AMERICAN ART FORM AND THAT IT HAD SUCH A RICH HISTORY AND SUCH A GREAT LEGACY, IT JUST REALLY COMPLETELY CHANGED MY LIFE.

[CHEERS AND APPLAUSE] ♪ I LOVE LATIN MUSIC.

I GREW UP LISTENING TO IT.

I GREW UP IN PUERTO RICO FOR ABOUT SIX YEARS.

LATIN MUSIC IS SOMETHING THAT I ENJOY LISTENING TO.

I DANCE IT SOCIALLY.

BUT I TAP DANCE TO IT ALL THE TIME.

I AM A CHAMPION FOR TAP DANCING AND I WILL SPEAK ABOUT IT EVERYWHERE I GO AND TRY TO PUT MY ENERGY IN ALL KINDS OF DIRECTIONS.

I'M PERFORMING WITH ARTURO O'FARRILL A WONDERFUL LATIN JAZZ COMPOSER/CONDUCTOR.

WE'RE COLLABORATING ON A FEW PIECES THERE.

IF YOU'RE A MUSICIAN YOU'RE PRETTY STATIONARY, RIGHT?

IF YOU'RE A PIANIST YOU SIT AT THE PIANO.

WE HAVE THE AWESOME ABILITY TO REALLY BE AS MUSICAL AND AS M MELODIC BUT GET TO MOVE THROUGHOUT SPACE.

THAT IS ONE OF THE MOST FUN THINGS ABOUT BEING A TAP DANCER IS BEING ABLE TO COVER SPACE AND CREATE MUSIC WHILE YOU'RE DOING IT.

PEOPLE WILL SAY OR HAVE SAID THAT TAP IS A MALE-DOMINATED ART FORM.

I BELIEVE NOW THAT THAT IS SHIFTING A BIT.

I CAN TELL YOU THAT MOST OF MY INFLUENCES WERE MEN.

AT A CERTAIN POINT IN MY CAREER I STARTED THINKING, WELL, WHERE ARE THE WOMEN?

WHAT IT PROMPTED IF ME WAS THIS NEED TO SEARCH FOR THEM, BECAUSE THERE ARE SO MANY OF THEM.

I FOUND OUT THERE WAS LOIS BRIGHT, LOUISE MADISON, J JENI LEGON, THE WHITMAN SISTERS.

CORA LA REDD, JUANITA PITTS AND THEN THE LIST JUST GREW.

JEANINE TESORI A WONDERFUL COMPOSER AND FRIEND OF MINE ASKED ME TO CREATE A PIECE FOR A SHOW CALLED THE JAMBOREE.

IT STARTED OUT AS A SHORT PIECE BUT NOW IS A FULL LENGTH SHOW THAT INCLUDES TAP DANCING AND ACTING.

IT IS ABOUT MY JOURNEY TO RECLAIMING EXPRESSION AND MY IDENTITY, MY COMMUNICATION, LANGUAGE, AND THE ART FORM.

WE WEREN'T ALLOWED TO DO THIS.

HOLLYWOOD THOUGHT THAT BEING A CHORUS GIRL WAS MORE OUR SPEED AND THEY THOUGHT THAT WE LACKED THE STRENGTH TO PERFORM FLASHY STEPS.

AS I STARTED JUST DRAFTING I FOUND MYSELF SPEAKING A LOT ABOUT NOT JUST MY EXPERIENCE BEING ONE OF THE FEW WOMEN IN THAT CIRCLE OF MOSTLY MEN, BUT ALSO, AGAIN, I THOUGHT WHAT A GREAT OPPORTUNITY TO TALK ABOUT THESE WOMEN.

AND THE BRILLIANT LOIS BRIGHT WHO DANCED WITH THE MILLER BROTHERS BUT WASN'T BILLED WITH HER LAST NAME.

JUST THE MILLER BROTHERS AND LOIS.

I WANTED TO WRITE SOMETHING THAT WOULD SERVE AS SORT OF MY MANIFESTO BECAUSE I WAS CONCERNED THAT I WOULD BE JUST LIKE THE WOMEN THAT NOBODY KNEW ABOUT.

[CHEERS AND APPLAUSE] THIS SPACE IS THE ORIGINAL TAP HOUSE.

ONE OF THE REASONS I CREATED THIS SPACE WAS BECAUSE THE TAP DANCERS HAVE BEEN SORT OF EDGED OUT OF A LOT OF REHEARSAL SPACES IN MANHATTAN.

WE ALSO FILM OPERATION TAP OUT OF HERE.

OPERATION TAP IS COMPRISED OF THREE FOLKS: MYSELF, MY FRIEND ANTHONY MORIGERATO AND MY FRIEND MIKE MINERY.

WE'RE ALL TAP DANCERS.

WE TEACH OFTEN INTERNATIONALLY AND NATIONALLY AND WE FOUND THAT IN OUR TRAVELS PEOPLE REALLY WANTED TO TAP DANCE BUT THEY FELT THAT THEY DIDN'T HAVE THE RESOURCES AROUND.

THEY DIDN'T HAVE THE TEACHERS AT THEIR DANCE STUDIOS OR IN MANY CASES THEIR TAP PROGRAMS WERE BEING CUT OUT.

AND SO WE THOUGHT, WOW.

IF WE CREATE SOMETHING WHERE ALL YOU NEED IS THE INTERNET AND YOU CAN GET ON AND YOU CAN LEARN COMBINATIONS AND YOU CAN LEARN TECHNIQUE EXERCISES.

AND WE HAVE A LOT OF ENGAGEMENT WITH YOUNG FOLKS AND I THINK THAT WE'VE BEEN REALLY, REALLY SUCCESSFUL.

ONE OF MY MISSIONS IN LIFE IS TO REAWAKEN THE APPRECIATION THAT PEOPLE HAVE ALREADY IN THEM FOR TAP DANCING.

I FEEL LIKE EVERYBODY LOVES IT, EVEN IF THEY DON'T KNOW ABOUT IT, I FEEL LIKE THEY LOVE IT AND I WANT TO MAKE SURE THAT PEOPLE ARE OPEN TO IT, THAT THERE'S A SPACE FOR IT IN EVERY ARENA POSSIBLE.

IF I DIE AND TAP DANCING IS REGARDED AS IMPORTANT AS BALLET IS, YOU KNOW, AND AS MUSIC IS, THEN I THINK IT WOULD HAVE BEEN REALLY WORTH IT.

>>> NEXT WEEK ON NYC-ARTS, A PROFILE OF FOTOGRAFISKA NEW YORK, A PHOTOGRAPHY MUSEUM AND CULTURAL CENTER LOCATED IN AN HISTORIC BUILDING IN THE FLATIRON DISTRICT.

>> WHAT WE REALLY WANTED TO EMPHASIZE IS DIFFERENT TYPES OF PHOTOGRAPHY -- STREET PHOTOGRAPHY MIXED WITH FASHION PHOTOGRAPHY MIXED WITH LANDSCAPE, FINE ART CONCEPTUAL WORK, REALLY HAVE SOMETHING FOR EVERYONE.

>>> A TRIP UNDERGROUND TO MEET ONE OF THE TALENTED MUSICIANS IN THE MTA'S MUSIC UNDER NEW YORK PROGRAM.

>> I'LL PLAY A BASS PART, PERCUSSIAN PART, HARMONY PART ON THE CELLO AND THEN I CAN LOOP THAT SEGMENT OVER AND OVER AGAIN.

I'M PLAYING NINE OR TEN DIFFERENT CELLO PARTS AT THE SAME TIME.

>>> AND A LOOK AT "THE TUDORS: ART AND MAJESTY IN RENAISSANCE ENGLAND" ON VIEW AT THE METROPOLITAN MUSEUM OF ART.

THE TUDOR COURTS WERE COSMOPOLITAN, BOASTING THE WORK OF FLORENTINE SCULPTORS, GERMAN PAINTERS, AND FLEMISH WEAVERS.

I HOPE YOU'VE ENJOYED OUR PROGRAM TONIGHT.

I'M PHILIPPE DE MONTEBELLO ON LOCATION AT FRICK MADISON THE TEMPORARY HOME OF THE FRICK COLLECTION.

GOOD NIGHT AND SEE YOU NEXT TIME.

♪ >>> FUNDING FOR "NYC ARTS" IS MADE POSSIBLE BY -- THE AMBROSE MONELL FOUNDATION.

THEA PETSCHEK IERVOLINO FOUNDATION.

JODY AND JOHN ARNHOLD.

THE LEWIS "SONNY" TURNER FUND FOR DANCE.

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.