♪ >>> COMING UP ON NYC ARTS, A VISIT TO THE MET OR KIMONO STYLE, THE JOHN C. WEBER COLLECTION WHICH EXPLORES THE CHANGES IN TRENDS AND STYLE OF THIS TRADITIONAL JAPANESE GARMENT FROM THE LATE 18th CENTURY ON.

>> MANY PEOPLE WOULD ASSUME THE BEGINNING OF FASHION IS IN ITALY OR IN FRANCE.

HOWEVER, IN JAPAN THERE WAS A VERY SOPHISTICATED NETWORK BETWEEN THE TEXTILE PRODUCERS, CUSTOMERS, AND THE PUBLISHING INDUSTRY.

THE PUBLISHERS REGULARLY PUBLISHED WOOD BLOCK PRINTED PATTERN BOOKS OF THE MOST FASHIONABLE PATTERNS AND ADVISED ABOUT STYLISH COLOR AND DYING TECHNIQUES SO WOMEN HAVE ACCESS TO THESE UP-TO-DATE FASHION INFORMATION JUST AS LIKE WE WOULD LOOK AT THE "VOGUE" MAGAZINE TODAY.

>> A TRIP TO THE BROOKLYN MUSEUM AND MONET TO MORSO THE REAL AND IMAGINED IN EUROPEAN ART.

>> THIS EXHIBITION BRINGS TOGETHER A REALLY IMPORTANT PART OF BROOKLYN'S EUROPEAN COLLECTION.

IT IS 19th AND EARLY 20th CENTURY EUROPEAN ART.

WE HAVE ORGANIZED IT UNDER THE BROAD THEME OF THE REAL AND THE IMAGINED WHICH WAS REALLY EVOCOTIVE AND FLEXIBLE IN TERMS OF THESE WORKS.

>> Reporter: AND A LOOK AT ONE OF THE HIGHLIGHTS IN THE COLLECTION OF THE AMERICAN FOLK ART MUSEUM.

>> JOHN MARCEL GATHERED THE DETRITUS OF HIS HOME AFTER HURRICANE KATRINA AND STARTED FASHIONING WHAT HE CALLS WOODEN QUILT PAYING HOMAGE TO HIS GREAT GRANDFATHER WHO WAS A JUNK COLLECTOR AND HIS GREAT GRANDMOTHER WHO WAS A QUILT MAKER.

>> FUNDING FOR NYC ARTS IS MADE POSSIBLE BY THE AMBROSE MONELE FOUNDATION, JODY AND JOHN UNHOLD.

THE LOUIS SUNNY TURNER FUND FOR DANCE.

JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

THE NANCY SIDEWATER FOUNDATION.

EL ROY AND TERRY 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 13, NYC ARTS 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 IS 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.

INFORMATION AT SWAN GALLERIES.COM.

>>> GOOD EVENING AND WELCOME TO NYC ARTS ON LOCATION AT THE MUSEUM OF THE CITY OF NEW YORK LOCATED ON FIFTH AVENUE AT 103rd STREET RIGHT ACROSS FROM CENTRAL PARK THE MUSEUM IS LONG THE CITY'S STORY TELLER.

SINCE ITS FOUNDING ALMOST A HUNDRED YEARS AGO, IT HAS ENGAGED NEW YORKERS AND VISITORS FROM AROUND THE WORLD BY CELEBRATING, DOCUMENTING, AND INTERPRETING THE CITY'S PAST, PRESENT, AND FUTURE.

IT IS ALSO A SPACE FOR PUBLIC AND EDUCATIONAL PROGRAMS AND DIGITALAL IN PERSON AND ON LINE.

IN ANALOG CITY THE MUSEUM TAKES US BACK IN TIME TO NEW YORK B.C., BEFORE COMPUTERS.

VISITORS WILL FIND THEMSELVES IN PREDIGITAL NEW YORK WHEN INNOVATIONS DID IN FACT DRIVE THE CITY'S GROWTH AND STATUS.

ON VIEW ARE MORE THAN 100 PHOTOGRAPHS AND MANY EXAMPLES OF WHAT WERE ONCE PIONEERING COMMUNICATIONS TOOLS.

THE EXHIBITION LOOKS AT INSTITUTIONS SUCH AS THE "NEW YORK TIMES," THE NEW YORK PUBLIC LIBRARY, AND THE NEW YORK STOCK EXCHANGE AND EXPLORES HOW THE AND LOG SYSTEMS IMPACTED AND SERVED THE LIVES OF NEW YORKERS ACROSS THE FIVE BOROUGHS.

HISTORICAL ARTIFACTS, IMAGES, AUDIO, VIDEO, AND HANDS ON INTERACTIVES IMMERSE VISITORS IN THE SIGHTS AND SOUNDS OF THE PREDIGITAL CITY.

VISITORS CAN TRY TYPE WRITERS, DICTAPHONES, AND TELEPHONES, MAYBE EVEN RETURN THAT PHONE CALL FROM 1970.

HOT OFF THE PRESSES SHOWS THE ROLE NEWSPAPERS PLAYED IN COVERING THE GLOBE WITH UP TO THE MINUTE NEWS.

INCLUDED HERE IS A GIANT LINETYPE AND TELETYPE MACHINE SHOWING THE PROCESS OF HOW INDIVIDUAL NEWS STORIES BECAME THE PRINTED NEWSPAPER EACH DAY.

A DEMOCRACY OF INFORMATION LOOKS BACK AT THE CITY'S PUBLIC LIBRARY SYSTEM WHICH USED CARD CATALOGS, TUBES, AND A FLEET OF TRAINED STAFF MEMBERS.

NEW YORK'S LIBRARY NETWORK STRUGGLED TO FEED THE CREATIVE ENGINE OF THE CITY AND ITS HUNGER FOR LITERACY AND LEARNING IN THE 20th CENTURY.

TRADING AT THE SPEED OF PAPER DIVES INTO THE NEW YORK STOCK EXCHANGE AND HOW IT OPERATED LONG BEFORE BLOOMBERG TERMINALS AND DIGITAL TRADING.

THE EXCHANGE GRAPPLED WITH THE NEED FOR REAL TIME INFORMATION AS IT BECAME A CENTER OF COMMERCE TIED TO A GLOBAL NETWORK.

SCALING THE CITY LOOKS AT HOW NEW YORK'S ICONIC SKYSCRAPERS AND ITS ROADS AND BRIDGES WERE BUILT WITH PENCILS, ERASERS, AND DRAFTING TABLES.

WITHOUT THE HELP OF COMPUTER MODELING.

AS INDUSTRY BOOMED SO DID THE DEMAND FOR MORE WORK SPACES.

THE AIR OF SKYSCRAPERS TRANSFORMED THE CITY AS WE KNOW IT TODAY.

THE EXHIBITION IS ON VIEW THROUGH DECEMBER 31st.

>>> CURRENTLY ON VIEW AT THE METROPOLITAN MUSEUM OF ART IS KIMONO STYLE, THE JOHN C. WEBER COLLECTION.

THE EXHIBIT FEATURES MORE THAN 60 EXAMPLES OF THE T SHAPED JAPANESE GARMENT, WESTERN COUTURE, JAPANESE PRINTS AND DECORATIVE ARTS.

A COLLABORATION, IT EXPLORES THE UPDATING OF THE KIMONO FROM THE LATE EDO PERIOD UNWARD AND HIGHLIGHTS THE SHIFTS IN KIMONO TRENDS, STYLES, AND PRODUCTION TECHNIQUES AS WELL AS THE ARTISTIC CONVERSATION BETWEEN JAPAN AND THE WEST.

BY THE EARLY 20th CENTURY, JAPANESE MAKERS BEGAN INCORPORATING WESTERN ART MOVEMENTS AND IMAGERY SUCH AS ART NOUVEAU AND EVEN MICKEY MOUSE INTO KIMONO DESIGN AND INTERN MODERN DESIGNERS HAVE BEEN INSPIRED BY THE UNIQUE CONSTRUCTION OF KIMONOS.

THE ASSOCIATE CURATOR FOR JAPANESE DECORATIVE ARTS WILL BE OUR GUIDE.

>> THE THEME OF THE COLLECTION IS THE MODERNIZATION OF THE KIMONO FROM THE LATE EDO PERIOD FROM THE 18th CENTURY THROUGH THE 1920s AND 1930s.

WE ARE LOOKING AT SHIFTS IN TRENDS, IN STYLES, IN PRODUCTION TECHNIQUES AND TO GIVE A CONTEXT TO THE HISTORY OF THE JAPANESE KIMONO.

I COLLABORATED WITH THE METS COSTUME INSTITUTE AND WE WORKED TOGETHER TO HIGHLIGHT THE ARTISTIC CONVERSATION THAT HAPPENED BETWEEN THE WEST AND JAPAN.

THE ARTISTIC CONVERSATION STARTED AS EARLY AS THE LATE 16th, EARLY 17th CENTURY WHEN THE FIRST EUROPEANS ARRIVED IN JAPAN AND BROUGHT BACK KIMONOS TO EUROPE.

SINCE THEN THE WEST WAS FASCINATED BY THE SHAPE, THE COLORS, THE STYLE OF THE KIMONO.

IT INSPIRED PAINTINGS AND LATER FASHION DESIGN.

MANY PEOPLE WOULD ASSUME THE BEGINNING OF FASHION IS IN ITALY OR IN FRANCE.

HOWEVER, IN JAPAN, THERE WAS A VERY SOPHISTICATED NETWORK BETWEEN THE TEXTILE PRODUCERS, THE CUSTOMERS, AND THE PUBLISHING INDUSTRY.

THE PUBLISHERS REGULARLY PUBLISHED WOOD BLOCK PRINTED PATTERN BOOKS WITH THE MOST FASHIONABLE PATTERNS AND ADVICE ABOUT STYLISH COLOR AND DYING TECHNIQUES.

SO WOMEN HAD ACCESS TO THESE UP-TO-DATE FASHION INFORMATION JUST AS LIKE WE WOULD LOOK AT THE "VOGUE" MAGAZINE TODAY.

ALL THE KIMONO ARE CONSTRUCTED FROM A SINGLE BOLT OF FABRIC.

THE FABRIC COMES IN A STANDARD SIZE.

THEY CUT IT INTO SQUARES AND JUST STITCH IT TOGETHER.

IT IS A VERY SIMPLE CONSTRUCTION.

HOWEVER, THE SURFACE IS VERY VOLATILE TO CHANGES BOTH IN SOCIETY AND HISTORY.

FROM THE EARLY 20th CENTURY, WE START TO SEE MORE OF THE ARTISTIC CONVERSATION BETWEEN JAPAN AND THE WEST.

MANUFACTURERS CREATED KIMONO INSPIRED GARMENTS FOR THE WESTERN MARKET ESPECIALLY TO BE EXPORTED.

THE SURFACE HAD DECORATIONS COMING FROM THE HISTORY OF THE KIMONO AND THEY USED BEAUTIFUL, JAPANESE EMBROIDERY TECHNIQUES SUCH AS THE ONE WE CAN SEE IN THE EXHIBIT, THE BIG, COLORFUL PEACOCK.

WITH THE DEVELOPMENT OF THE MODERN DEPARTMENT STORES, WHICH WERE BASED ON WESTERN DEPARTMENT STORE IDEAS, THEY STARTED TO USE WESTERN MARKETING STRATEGIES, INCLUDING POSTERS, POSTCARDS, REGULARLY PUBLISHED CATALOGS TO PROMOTE SEASONAL TRENDS.

THESE KIMONOS, A SPECIFIC GROUP, RELATIVELY INEXPENSIVE, MADE OF LOW GRADE SILK WITH BRIGHT COLORS.

IT WAS VERY POPULAR WITH WORKING CLASS WOMEN.

THIS IS A TIME WHEN THE KIMONO DESIGNERS LOOKED AT ART MOVEMENTS IN EUROPE AND THE UNITED STATES, INCLUDING VANGUARD TRENDS AND MANY OF THE BRIGHT, MODERN KIMONOS AS YOU SEE BEHIND ME WERE INSPIRED BY TRENDS SUCH AS THE STEEL AND ALL THE CONTEMPORARY AVANT-GARDE TRENDS.

WITH THE HELP OF THE CUSTOMERS, WE WERE ABLE TO HIGHLIGHT THE ARTISTIC COMBINATION BETWEEN KIMONO DESIGNERS AND WESTERNERS AND LATER DESIGNERS.

THE STORY TAKES A TURN.

THEY ARE NOT SO MUCH INTERESTED IN THE PATTERNS.

THEY ARE LOOKING AT THE CONSTRUCTION OF THE KIMONO.

ESPECIALLY INTERESTED IN GETTING WOMEN OUT FROM THE CORSET.

IT WAS A VERY UNCOMFORTABLE, RESTRICTIVE SORT OF GARMENT.

AND THE KIMONO'S STRAIGHT LINES WAS THE PERFECT SOLUTION.

HE CONFESSED HE WAS NOT GOOD AT TAILORING SO HE PREFERRED TO DRAPE THE GARMENT RATHER THAN TO TAILOR IT, SO IT IS HANGING FROM THE SHOULDER.

IT HAS STRAIGHT LINES, WHICH IS EXACTLY HOW KIMONO WOULD HAVE BEEN CONSTRUCTED.

ANOTHER KEY FIGURE IN THE REVOLUTION OF EUROPEAN FASHION STUDIED THE STRUCTURE OF THE KIMONO AND HER BIAS CUT WAS ACTUALLY INSPIRED BY THE KIMONO STRUCTURE.

SO THESE EARLY DESIGNERS LAID THE FOUNDATION FOR THE NEXT GENERATION.

THE JAPANESE DESIGNERS WHO TOOK OVER PARIS AND LONDON AND NEW YORK AS A STORM IN THE 1970s AND 1980s WHO USED KIMONO AS A SOURCE OF THEIR PHILOSOPHY ABOUT HOW A GARMENT SHOULD ENVELOPE THE BODY BUT NOT TRY TO STRUCTURE IT.

FOR ME AS JAPANOLOGIST IT IS REALLY INTERESTING TO SEE HOW THE IDEA WAS USED TO REINVENT EUROPEAN FASHION AND THE KIMONO WAS A CATALYST FOR THE TURN OF EUROPEAN FASHION TRENDS AT THE BEGINNING OF THE CENTURY.

>>> NEXT, WE'LL TAKE A TRIP TO THE BROOKLYN MUSEUM FOR MONET TO MORISOT THE REAL TO IMAGINED IN EUROPEAN ART.

THE EXHIBITION FOCUSES ON ART WORKS CREATED IN THE 19th AND EARLY 20th CENTURY.

IN EUROPE THIS WAS A PERIOD WHEN ARTISTIC TECHNIQUES, SUBJECT MATTER, AND PATRONAGE UNDERWENT PROFOUND CHANGES FEATURING SOME 90 WORKS FROM THE MUSEUM'S COLLECTION IT FEATURES SUCH ARTISTS AS CLAUDE MONET, MORISOT AND OTHERS.

LISA SMALL, SENIOR CURATOR OF EUROPEAN ART IS OUR GUIDE.

>> I'M LISA SMALL.

I AM THE SENIOR CURATOR OF EUROPEAN ART AT THE BROOKLYN MUSEUM AND CURATOR OF MONET TO MORISOT, THE REAL AND IMAGINED IN EUROPEAN ART.

THIS EXHIBITION BRINGS TOGETHER A REALLY IMPORTANT PART OF BROOKLYN'S EUROPEAN COLLECTION.

IT'S 19th AND EARLY 20th CENTURY EUROPEAN ART.

WE HAVE ORGANIZED IT UNDER THE BROAD THEME OF THE REAL AND THE IMAGINED WHICH WAS SORT OF THE REALLY EVOCOTIVE, INFLEXIBLE IN TERMS OF THESE DISPARATE WORKS.

THE EXHIBITION OPENS WITH A REALLY WONDERFUL PAINTING BY CLAUDE MONET.

IT'S A PAINTING HE DID IN 1908 OF THE PALACE IN VENICE.

MONET, OF COURSE, IS CONSIDERED SORT OF THE PREEMINENT IMPRESSIONIST PAINTER.

A GROUP OF PAINTERS THAT EMERGED IN THE MID 19th CENTURY AND WERE INTERESTED IN MATERIALIZING THEIR PERCEPTIONS OF LIGHT AND COLOR, BROKEN BRUSH WORK.

IT'S MONET AS A TOURIST.

HE ONLY WENT ONE TIME TO VENICE, PRETTY LATE.

1908.

AND HE WAS GRAPPLING THERE WITH A CITY THAT HAD LONG BEEN THE SUBJECT OF MANY, MANY PAINTINGS AND LOOMED VERY LARGE IN THE PUBLIC AND ARTISTIC IMAGINATION.

MONET, TRUE TO HIS FORM BY THAT TIME, DEPICTED IT WITH NO PEOPLE WHATSOEVER.

HIS INTEREST WAS THE ATMOSPHERE, THE LIGHT, THE REFLECTION ON THE WATER.

IT IS A GORGEOUS PAINTING AND ONE THAT ALSO SITS KIND OF NEATLY BETWEEN WHAT WE THINK OF AS 19th CENTURY IMPRESSIONISM BUT ALSO LOOKS FORWARD TO WHAT WE NOW UNDERSTAND WOULD TURN INTO ABSTRACTION.

IN THIS SECTION WE ALSO HAVE A REALLY BEAUTIFUL MARBLE, PROBABLY THE MOST SUCCESSFUL AND SIGNIFICANT LATE 19th CENTURY SCULPTOR.

IT IS DEPICTING ONE FROM GREEK MYTHOLOGY WHO WERE CONDEMNED TO REFILL WATER JUGS THAT LEAKED AND HAD HOLES IN THEM FOR ETERNITY.

BUT, REALLY, IT WAS FOR HIM AN EXCUSE TO EXPLORE ONE OF HIS FAVORITE THEMES THE FEMALE NUDE.

HE'S DONE THIS THING WHERE SHE'S COLLAPSED OVER ONE OF HER JUGS AND HE'S REALLY FOCUSED ON THE BEAUTIFUL LINES OF HER BACK, CONNECTING HER IN A WAY TO THIS SORT OF ROUGH HEWN MARBLE OUT OF WHICH SHE APPEARS TO EMERGE.

WHAT IS INTERESTING, TOO, TO NOTE ABOUT THIS IS THIS GREAT SCULPTOR WOULD NOT HAVE HIMSELF SCULPTED THIS MARBLE.

HE OF COURSE WAS A MASTER OF MODELING IN CLAY AND MAKING THESE INITIAL MODELS.

HE WOULD THEN HAVE A REALLY SKILLED MARBLE CUTTER, SOMEONE WHO SPECIALIZED IN THAT, CREATE THE FORM INITIALLY AND THEN HE WOULD GIVE IT THE FINAL TOUCHES.

BERT MORISOT WAS BORN INTO A WEALTHY, UPPER MIDDLE CLASS FAMILY AND THAT WAS WHERE SHE LIVED HER WHOLE LIFE.

IT MADE IT SOMEWHAT DIFFICULT FOR HER AS AN ARTIST TO GO FOR THE SAME TYPES OF SUBJECTS THAT SOME OF HER FELLOW IMPRESSIONIST ARTISTS WENT FOR.

IN OTHER WORDS SCENES IN NIGHT CLUBS AND CAFES.

AS A WOMAN AT THE TIME ESPECIALLY UPPER CLASS WOMAN SHE DIDN'T HAVE THE SOCIAL FREEDOM TO MOVE IN THOSE CIRCLES.

SO MUCH OF HER WORK FOCUSED ON IMAGES IN THE DOMESTIC SPHERE.

FRIENDS, FAMILY.

THE PAINTING WE HAVE HERE IS ACTUALLY A PORTRAIT OF HER COUSIN AND HER COUSIN'S CHILD PAYING A SOCIAL CALL IN HER HOME STUDIO.

IT IS A RATHER CONSERVATIVE COMPOSITION IN ITS WAY.

IT'S VERY MUCH REMINISCENT OF KIND OF MOTHER AND CHILD IMAGERY YOU MIGHT THINK OF FROM THE RENAISSANCE BUT SET OF COURSE IN THE VERY MODERN SPACE OF MID 19th CENTURY PARIS.

WHAT I LOVE SO MUCH ABOUT HER IS HER BRUSH WORK WAS AMONG THE MOST RADICAL OF ANY OF THE IMPRESSIONIST PAINTERS.

IN THAT SHE REALLY PAINTED IN A FLUID, DELICATE TOUCH, VERY FEATHERY BRUSH STROKES, A REALLY GREAT FEELING FOR COLOR AND SPACE AND SO IT IS REALLY WONDERFUL TO HAVE SUCH A GREAT EXAMPLE OF HER WORK IN THE SHOW.

>>> FOR MORE INFORMATION ON CULTURE EVENTS IN OUR AREA PLEASE SIGN UP FOR OUR FREE WEEKLY E-MAIL AT NYC-ARTS.ORG/E-MAIL.

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

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

NEXT WE'LL VISIT THE AMERICAN FOLK ART MUSEUM LOCATED ACROSS FROM LINCOLN CENTER.

SINCE 1961 THIS MUSEUM HAS BEEN CELEBRATING THE CREATIVITY OF ARTISTS WHOSE TALENTS HAVE BEEN REFINED THROUGH PERSONAL EXPERIENCE RATHER THAN FORMAL ARTISTIC TRAINING.

ITS COLLECTION INCLUDES MORE THAN 8,000 WORKS OF ART FROM FOUR CENTURIES, REPRESENTING NEARLY EVERY CONTINENT.

>> HE IDENTIFIES AS A 12th GENERAT GENERATION AFRO CREOLE FROM LOUISIANA.

WHEN HE RETURNED TO NEW ORLEANS WITH HIS FAMILY HE BOUGHT A HOUSE THAT HAD BEEN A ROOMING HOUSE FOR SINGLE MALE MUSICIANS, RUN BY A WOMAN NAMED MOTHER SISTER.

HE BOUGHT THIS ROOMING HOUSE BUT SHORTLY AFTER HE MOVED IN NEW ORLEANS EXPERIENCED THE ENORMOUS, HEART BREAKING DEVASTATION OF HURRICANE KATRINA.

HIS HOME WAS DESTROYED AND RATHER THAN GIVING IN TO DESPAIR HE GATHERED THE DETRITUS OF HIS HOME AND STARTED FASHIONING WHAT HE CALLS WOODEN QUILTS, PAYING HOMAGE TO HIS GREAT GRANDMOTHER WHO WAS A WHO DO MAN AND JUNK COLLECTOR AND HIS GREAT GRANDMOTHER WHO WAS A QUILT MAKER.

IF YOU LOOK CLOSELY AT THE PIECES OF WOOD THEY ARE STUDDED WITH NAILS AND ALL OF THE OTHER KINDS OF ARCHITECTURAL AND CONSTRUCTION ELEMENTS THAT YOU WOULD SEE IN A HOME.

HE USES HOUSE PAINT TO PAINT THESE PIECES OF WOOD BUT HE WAS ALWAYS MINDFUL OF THE COLORS OF HIS GREAT GRANDMOTHER AND HER STRIP QUILTS.

WHEN I ASKED HIM ABOUT THE PROCESS HE USES IN COLORING AND MAKING AND CONSTRUCTING HIS WOODEN QUILTS HE SAID, WELL, LIKE ANY GOOD CREOLE COOK THE SECRET IS IN THE RUE BUT I AIN'T TELLING YOU ALL WHAT THAT IS.

JOHN MARCEL HAS EMBEDDED TWO SELF-PORT RATES AMONG THE PIECES OF WOOD AND IT SHOWS HIM IN HIS GUISE A IS A SPIRITUAL LEADER PRACTICING WHAT HE CALLS FOLK MAGIC AS THE DESCENDENT OF A VOODOO MAN.

THE TITLE OF THIS PIECE, MOTHER SISTER MAY HAVE SAT IN THAT CHAIR WHEN SHE LIVED IN THIS HOUSE BEFORE ME.

IT'S REFERRING TO MOTHER SISTER WHO RAN THE BOARDING HOME FOR SINGLE MUSICIANS AND THERE ARE TWO SIDES THAT FASHION A CHAIR.

ONE IS UPRIGHT AND ONE IS DOWN.

SO HE HAS IN FACT INSTILL EDIFICE C ED PHYSICAL REMAINS OF HER PRESENCE INTO THIS PIECE HE CREATED TO PAY HOMAGE TO HIS ANCESTORS AND HIS OWN LOUISIANA HISTORY AND TO THE SUFFERING OF THOSE WHO SURVIVED HURRICANE KATRINA IN HIS NEIGHBORHOOD OF NEW ORLEANS.

>>> NEXT WEEK ON NYC ARTS, A VISIT TO THE NEW YORK HISTORICAL SOCIETY AND BLACKISH BEAUTIFUL, FEATURING STUNNING PORTRAITS OF HARLEM'S VIBRANT ARTISTIC COMMUNITY OF THE 1950s AND '60s.

>> HE DOCUMENTED A VERY IMPORTANT PERIOD OF HISTORY OF HARLEM, JAZZ, WOMEN'S CLOTHING, HAIR, EVERYTHING THAT HAD TO DO WITH BLACK EXPRESSION.

THESE ARE GOING TO LIVE ON AS VERY IMPORTANT DOCUMENTS AND ALSO VERY WONDERFUL PHOTOGRAPHS.

>>> A TRIP TO THE BROOKLYN MUSEUM AND ITS ARTS OF JAPAN GALLERIES.

>> ONE OF THE GREAT HIGHLIGHTS IN THE NEW GALLERY IS A PAIR OF FOLDING SCREENS THAT DATE FROM ABOUT 1610.

THESE WERE MADE FOR THE INTERIOR OF A CASTLE AND THEY HAVE LARGELY GOLD BACKGROUNDS WHICH WOULD HAVE HELPED TO REFLECT LIGHT IN THE DARK INTERIOR OF THE CASTLE AND MADE THE ROOMS SORT OF MORE WARM AND GLOWING.

>> AND AN INTRODUCTION TO NEW YORK 1962 TO '64.

NOW ON VIEW AT THE JEWISH MUSEUM.

MORE THAN 180 WORKS OF ART ON VIEW INCLUDING PAINTING, SCULPTOR, PHOTOGRAPHY, AND FILM.

THEY ARE SHOWN ALONGSIDE INNOVATIONS IN THE FIELDS OF FASHION, DESIGN, AND DANCE.

I HOPE YOU ENJOYED OUR PROGRAM TONIGHT.

THANK YOU SO MUCH FOR JOINING US.

I'M PAULA ZAHN ON LOCATION AT THE MUSEUM OF THE CITY OF NEW YORK.

GOOD NIGHT.

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

THEA PETSCHEK IERVOLINO FOUNDATION.

THE LEWIS "SONNY" TURNER FUND FOR DANCE.

JODY AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE MILTON AND SALLY AVERY ARTS THE NANCY SIDEWATER 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.