WEBVTT

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RHEA: COMING UP:

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AN ARTWORKS SPECIAL...

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THE 2016 BAKER ARTIST AWARDS!

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FIND OUT WHO WON.

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NEXT.

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*

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CLOSED CAPTIONING HAS BEEN MADE
POSSIBLE BY MARYLAND RELAY,

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EMPOWERING THOSE WHO WHO ARE
DEAF, HARD OF HEARING OR SPEECH

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DISABLED TO STAY CONNECTED
BY PHONE.

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RHEA: WELCOME TO THE 2016 BAKER

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ARTIST AWARDS.

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NOW THIS IS A SPECIAL EDITION

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OF ARTWORKS AND IT'S AN MPT

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EXCLUSIVE!

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I'M YOUR HOST,

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RHEA FEIKIN.

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EVERY YEAR WE ANNOUNCE THE

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WINNERS OF THE PRESTIGIOUS

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BAKER ARTIST AWARDS

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AND TONIGHT'S THE NIGHT!

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THE AWARD WINNERS ARE CHOSEN BY

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AN INDEPENDENT JURY FROM

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HUNDREDS OF AREA ARTISTS WHO

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POST THEIR WORK AT THE BAKER

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ARTIST PORTFOLIO WEBSITE.

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THIS ONLINE GALLERY OF AREA

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TALENT IS VISITED BY HUNDREDS OF

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THOUSANDS OF VIEWERS AROUND

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THE WHOLE WORLD.

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AND THIS YEAR,

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FIVE OUTSTANDING ARTISTS WERE

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SELECTED TO RECEIVE A TOTAL OF

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$85,000 IN BAKER ARTIST PRIZES.

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BUT, BEFORE WE REVEAL THEIR

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IDENTITIES,

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LET'S JUST TAKE A MOMENT TO LOOK

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AT LAST YEAR'S THREE MARY

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SAWYERS BAKER PRIZE WINNERS.

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*

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REALLY EVERYTHING I DO

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STEMS FROM CURIOSITY.

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EITHER SOMETHING THAT I'VE BEEN

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INTERESTED IN TRYING,

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AND THEN I TRY IT AND WANT TO

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LEARN AS MUCH ABOUT THE

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INTRICACIES OF IT AS POSSIBLE.

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OR JUST,

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I THINK MAYBE DIVE IN A LITTLE

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BIT DEEPER INTO THINGS THAT I

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ALREADY DO,

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ALREADY KNOW VERY WELL.

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WINNING THE BAKER AWARD WAS

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REALLY HUGE FOR ME.

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IT'S ALLOWED ME TO SHARE MY WORK

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WITH A WHOLE NEW AUDIENCE.

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FINANCIALLY IT'S ALLOWED ME TO

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INVEST IN MYSELF AS AN ARTIST.

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I WAS ABLE TO PURCHASE SOME NEW

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EQUIPMENT FOR MY STUDIO.

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SO ULTIMATELY THE BAKER AWARD

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HAS IN MANY RESPECTS SET ME UP

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FOR THE NEXT STAGE OF MY CAREER.

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ERIC DYER: I'M ERIC DYER AND

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I'M AN ARTIST, FILMMAKER,

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ANIMATOR, AND I TEACH ANIMATION

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AT UMBC.

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I THINK I'M REALLY INTERESTED IN

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INNOVATION AND FINDING NEW

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DEFINITIONS OF ANIMATION.

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I'VE BEEN WORKING ON IMMERSIVE

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ENVIRONMENTS WHERE THE PUBLIC

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FINDS THEMSELVES WITHIN THE

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SPACE OF THE ANIMATION.

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BECAUSE I'VE BEEN TRYING TO WORK

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AT THIS LARGER SCALE,

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THAT MEANS MORE MONEY,

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MORE RESOURCES, MORE EXPENSE.

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AND THE BAKER AWARD HAS MEANT

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FREEDOM IN TRYING TO CREATE SOME

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OF THESE LARGER WORKS.

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*

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PAUL RUCKER: I THINK MY ROLE AS

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AN ARTIST IS TO MAKE THE UNSEEN

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SEEN.

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OR AT LEAST BE VISIBLE IN A

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DIFFERENT WAY.

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BEING SOME KIND OF CATALYST FOR

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CONVERSATION.

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WHEN I WALKED INTO THE BALTIMORE

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MUSEUM OF ART FOR THE BAKER SHOW

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I FELT REALLY PROUD THAT THE

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WORK WAS IN AN INSTITUTION SUCH

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AS THIS MAJOR MUSEUM.

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I THINK IT WAS A GREAT

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OPPORTUNITY FOR AUDIENCES TO SEE

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A DIFFERENT TYPE OF ART THAN

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THEY WOULD NORMALLY SEE YOU KNOW

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WHEN THEY WENT TO THE MUSEUM.

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SO I WAS VERY PROUD THAT IT WAS

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IN AN INSTITUTION WHERE IT WAS

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GOING TO BE SEEN BY MORE FOLKS

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THAN NORMAL.

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RHEA: CONGRATULATIONS AGAIN

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TO THESE REMARKABLE ARTISTS!

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WITH ME NOW TO PROVIDE MORE

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BACKGROUND ON THE BAKER ARTIST

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AWARDS IS A MAJOR FORCE IN OUR

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CREATIVE COMMUNITY.

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THE BAKER ARTIST AWARDS AND THE

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BAKER ARTIST PORTFOLIO SITE ARE

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PROGRAMS OF THE GREATER

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BALTIMORE CULTURAL ALLIANCE.

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AND SO I AM REALLY DELIGHTED TO

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WELCOME EXECUTIVE DIRECTOR

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JEANNIE HOWE.

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JEANNIE HOWE: THANK YOU, RHEA.

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ARTIST AWARDS ARE REALLY A MAJOR

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CATALYST IN OUR WHOLE AREA'S

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CULTURAL MAKEUP,

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BUT THE AWARDS THIS YEAR HAVE A

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SLIGHTLY DIFFERENT DIRECTION

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DON'T THEY?

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JEANNIE: THEY DO, THEY DO.

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UM WHAT HAS CHANGED THIS YEAR

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WAS AN EFFORT TO THINK ABOUT

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WHAT MIGHT BE GOSH THEY'VE BEEN

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REALLY IMPORTANT AWARDS,

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BUT WHAT MIGHT REALLY BE

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TRANSFORMATIONAL.

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SO THE AWARDS STRUCTURE CHANGED.

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SO WE HAVE ONE $50,000 AWARD.

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WE HAVE A $20,000 AWARD

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AND WE HAVE THREE $5,000.

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SO THAT'S REALLY INCREDIBLE.

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AND WHAT HASN'T CHANGED IS THAT

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WE HAVE HUNDREDS OF ARTISTS FROM

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ALL OVER THE THE REGION WHO ARE

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PUTTING THEIR WORK UP ON THE

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SITE.

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IT'S A HUGE OPPORTUNITY FOR THEM

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TO BE SEEN BY FOLKS ALL OVER THE

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WORLD AS YOU SAID.

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RHEA: IT'S REALLY MAJOR.

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OBVIOUSLY THE MONETARY AWARDS

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ARE REALLY WONDERFUL AND

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BENEFICIAL,

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BUT THERE'RE REALLY ARE OTHER

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BENEFITS FOR THE ARTISTS, RIGHT?

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JEANNIE: OH MY GOSH, YES.

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SO IN ADDITION TO THE WONDERFUL

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OPPORTUNITIES LIKE BEING ON

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MARYLAND PUBLIC TELEVISION,

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AND UH THERE IS AN EXHIBITION AT

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THE BALTIMORE MUSEUM OF ART.

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THE SITE IS ALSO USED BY

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CURATORS AND THEY LOOK AT THE

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SITE TO CURATE SHOWS.

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ARTISTS GET INTRODUCED TO OTHER

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ARTISTS THROUGH THE SITE AND

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FORM COLLABORATIONS.

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WE SEE THIS HAPPENING QUITE A

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BIT.

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AND UM THERE ARE PEOPLE FROM

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MAJOR INSTITUTIONS AND

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BUSINESSES FROM AROUND THE

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COUNTRY WHO ARE ALSO LOOKING AT

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THE SITE, LOOKING FOR TALENT,

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AND REALLY GETTING A SENSE OF

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WHAT'S GOING ON IN THIS AREA.

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RHEA: JEANNIE ART IS ALWAYS

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IMPORTANT TO THE COMMUNITY,

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BUT PROBABLY NOW IT'S SO

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IMPORTANT TO THE BALTIMORE AREA,

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DON'T YOU THINK?

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JEANNIE: IT REALLY IS.

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IT'S ONE OF OUR STRONGEST

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ASSETS.

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IT'S ONE OF THE WAYS IN WHICH WE

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SHINE IN THE GREATER,

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ACROSS THE COUNTRY.

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BUT ALSO IN A MOMENT WHEN WE'RE

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REALLY NEEDING TO THINK DEEPLY

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ABOUT WHO WE ARE AND HOW WE

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RELATE TO ONE ANOTHER IT CREATES

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AN OPPORTUNITY FOR DISCOURSE

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THAT'S REALLY REALLY DESPERATELY

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NEEDED IN THESE TIMES.

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RHEA: WELL JEANNIE THANK YOU

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SO MUCH FOR ALL THAT YOU DO.

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YOU DO JUST A MAGNIFICENT JOB.

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JEANNIE: THANK YOU RHEA.

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RHEA: AND NOW IT'S TIME TO

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ANNOUNCE THE RECIPIENTS OF THE

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$5,000 BAKER ARTIST AWARDS.

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AND THERE ARE THREE:

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FIRST,

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THE SEMMES G. WALSH AWARD,

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WHICH GOES TO VISUAL ARTIST AND

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MUSICIAN BILL SCHMIDT.

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HE'S AS GIFTED WITH A PAINTBRUSH

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AS HE IS WITH THE BANJO.

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NEXT, THE NANCY HARAGAN AWARD,

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WHICH GOES TO INDEPENDENT

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FILMMAKER MATTHEW PORTERFIELD,

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WRITER, DIRECTOR OF THREE

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ACCLAIMED FEATURE FILMS ALL SET

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IN BALTIMORE.

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AND MATT'S FOURTH SHORT FILM,

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"TAKE WHAT YOU CAN CARRY,

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" RECENTLY PREMIERED AT THE

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BERLIN INTERNATIONAL FILM

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FESTIVAL.

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AND FINALLY,

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THE BOARD OF GOVERNORS AWARD,

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WHICH GOES TO

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DANCER/CHOREOGRAPHER

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NAOKO MAESHIBA HER WORK IS

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INTENSELY PERSONAL...

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AUTHENTIC...

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AND IMPROVISATIONAL.

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HERE'S A SHORT PROFILE OF EACH:

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*

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BILL SCHMIDT: WHEN I'M OUT AND

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ABOUT I NOTICE PATTERN,

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I NOTICE STRUCTURE,

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I NOTICE COLOR RELATIONSHIPS.

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ALL THE LITTLE COMPONENTS OF

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EACH PAINTING HAS THEIR OWN

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INTERNAL LOGIC AND I REALIZE

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THAT MY JOB IS TO GET THOSE

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PLAYERS TOGETHER AND TO ACHIEVE

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SOME KIND OF,

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IF NOT EQUILIBRIUM,

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A KIND OF STAND-OFF WHERE

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THEY'RE SORT OF HELD IN PLACE

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FOR A MOMENT.

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THEY'RE MADE WITH GOUACHE WHICH

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IS AN OPAQUE WATERCOLOR.

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UH A VERY OLD TRADITIONAL

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MEDIUM.

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THE PAINTINGS WIND UP BEING VERY

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DIFFERENT FROM WHERE THEY

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STARTED OUT.

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THEY CHANGE DRAMATICALLY -

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RECTANGLE ARE ROTATED AND

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INVERTED,

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AND WHAT WAS THE TOP COULD BE

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THE BOTTOM ULTIMATELY.

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GETTING ENGAGED IN THAT PROCESS

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CAN BE,

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IT CAN BE KIND OF MESMERIZING,

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TRANCE INDUCING.

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THERE ARE A LOT OF FORMAL

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CONNECTIONS BETWEEN UH THE MUSIC

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THAT I PLAY AND THE PAINTINGS

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THAT I MAKE.

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IF YOU HAVE A FIDDLE,

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BANJO AND GUITAR THE MUSIC IS

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VERY LAYERED, VERY INTRICATE.

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AND I FEEL THAT MY PAINTINGS ARE

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FULL OF ALL THOSE THINGS.

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HOW DO I KNOW WHEN A PAINTING IS

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FINISHED?

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HOW DOES ANY ARTIST KNOW?

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MATT PORTERFIELD: ON A THURSDAY

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AFTERNOON,

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I'M UH SCOUTING LOCATIONS FOR A

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FILM I'M PUTTING TOGETHER THIS

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SUMMER.

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WE'RE SHOOTING IN DUNDALK.

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*

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DUNDALK FOR ME IS A PLACE THAT

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I'VE ALWAYS WANTED TO TELL A

09:29.135 --> 09:29.903
STORY BECAUSE IT'S SORT OF

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REMOVED FROM THE CITY PROPER

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ANNEX IF YOU WILL.

09:34.074 --> 09:34.908
ON THE EDGE OF THE LAND.

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*

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BALTIMORE IS A CITY OF

09:37.644 --> 09:38.645
NEIGHBORHOODS AND EACH

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NEIGHBORHOOD IS A DISTINCT

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CHARACTER.

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IT'S ALSO A STRATIFIED CITY

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ALONG LINES OF RACE AND CLASS.

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AND PAINTING A PORTRAIT OF A

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DISTINCT NEIGHBORHOOD IS REALLY

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CRUCIAL TO ME.

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"HAVE YOU EVER BEEN TO

09:53.560 --> 09:54.127
CALIFORNIA?

09:54.227 --> 09:55.361
NO!

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IT'S DIFFERENT!

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PLACE CAN TELL US A LOT ABOUT

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CHARACTER.

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...I DON'T EVEN KNOW MY FAMILY.

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I DON'T LIKE TRUST LANGUAGE SO

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MUCH SO I'M ALWAYS THINKING OF

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WAYS TO EXPLORE CHARACTER

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THROUGH MEANS OTHER THAN WORDS

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OR DIALOGUE;

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HOW THEY CARRY THEMSELVES,

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THE CHOICES THEY MAKE,

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BUT ALSO THE THINGS THAT THEY

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SURROUND THEMSELVES WITH THE

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PHYSICAL OBJECTS.

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*

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I'M AS INTERESTED, I THINK,

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IN EVERYTHING INSIDE THE FRAME

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AS EVERYTHING OUTSIDE OF THE

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FRAME.

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YOU KNOW YOU SET YOUR FRAME IT

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LIMITS THE WORLD.

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I HOPE MY AUDIENCES ARE THINKING

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ABOUT EVERYTHING THAT'S BEYOND

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THOSE BORDERS.

10:41.040 --> 10:45.111
*

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NAOKO MAESHIBA: YES,

10:59.192 --> 11:01.027
THE CREATIVE PROCESS IS I'M

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ALWAYS IN PROCESS.

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PERFORMANCE IT HAS A SHAPE,

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A CERTAIN CONTOUR.

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IN THIS FORM,

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I CAN LEARN HOW TO APPROACH

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MYSELF.

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I TEND TO RESEARCH EVERYDAY

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LIFE, WHAT SOMEBODY SAYS,

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OR WHAT I SAW,

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AND THAT ALL BECOMES A PART OF

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THE MATERIAL.

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*

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I'M A VESSEL THAT'S ACTIVATING

11:42.602 --> 11:44.003
ALL THESE THINGS THAT I COME IN

11:44.103 --> 11:46.206
CONTACT WITH.

11:46.306 --> 11:48.107
WHAT I'M AIMING FOR IS MY LIFE

11:48.208 --> 11:49.776
AND ART THERE IS NO BOUNDARY.

11:49.876 --> 12:00.620
*

12:00.720 --> 12:02.989
I'M IMPROVISING ALL THE TIME.

12:03.089 --> 12:05.258
THERE'S NOTHING SET REALLY.

12:05.358 --> 12:09.963
*

12:10.063 --> 12:11.197
IT'S NEVER FINISHED.

12:11.297 --> 12:12.799
IN FACT, WHEN YOU PRESENT IT,

12:12.899 --> 12:13.833
IT'S A BEGINNING.

12:13.933 --> 12:15.401
SO THERE'S ALWAYS A BEGINNING.

12:15.501 --> 12:17.670
BEGINNING, GOING GOING AGAIN,

12:17.770 --> 12:18.972
THEN THERE'S A BEGINNING GOING

12:19.072 --> 12:20.940
GOING, A BEGINNING.

12:21.040 --> 12:23.009
THERE'S ALWAYS BEGINNING.

12:26.546 --> 12:27.714
RHEA: EACH OF THESE ARTISTS HAS

12:27.814 --> 12:29.382
SUCH A UNIQUE VISION,

12:29.482 --> 12:31.217
CONGRATULATIONS AGAIN.

12:31.317 --> 12:33.286
AND NOW I'M PLEASED TO ANNOUNCE

12:33.386 --> 12:35.722
THE WINNER OF THE $20,000

12:35.822 --> 12:38.558
MARY SAWYERS BAKER PRIZE.

12:38.658 --> 12:41.527
WRITER JEN GROW IS FICTION

12:41.628 --> 12:43.129
EDITOR OF THE LITTLE PATUXENT

12:43.229 --> 12:44.163
REVIEW.

12:44.264 --> 12:45.999
HER WORK HAS APPEARED IN DOZENS

12:46.099 --> 12:48.668
OF PUBLICATIONS AND SHE'S THE

12:48.768 --> 12:49.902
RECIPIENT OF MANY AWARDS,

12:50.003 --> 12:52.305
INCLUDING A RUBY ARTIST PROJECT

12:52.405 --> 12:54.674
GRANT AND THE DZANC AWARD FOR

12:54.774 --> 12:56.743
HER FIRST STORY COLLECTION.

12:56.843 --> 12:57.543
WE'RE GONNA MEET JEN IN

12:57.644 --> 12:58.311
A MOMENT,

12:58.411 --> 12:59.145
BUT FIRST,

12:59.245 --> 13:00.847
HERE'S A PROFILE OF THIS

13:00.947 --> 13:02.515
PASSIONATE ARTIST.

13:15.228 --> 13:15.862
JEN GROW: I LIKE TO THINK THAT

13:15.962 --> 13:18.164
SOME PART OF CHEKOV IS HELPING

13:18.264 --> 13:19.165
ME OUT.

13:22.368 --> 13:24.070
WRITING IS BOTH EASY AS

13:24.170 --> 13:25.405
DIFFICULT FOR ME.

13:25.505 --> 13:28.341
WHEN IT'S FLOWING, I LOVE IT.

13:28.441 --> 13:29.342
IT'S JUST GOLDEN.

13:29.442 --> 13:32.245
IT ALL COMES OUT IN A PIECE.

13:32.345 --> 13:34.147
AND THEN WHEN IT'S DIFFICULT,

13:34.247 --> 13:35.381
I JUST HAVE TO CHIP AWAY AT

13:35.481 --> 13:37.350
EVERY WORD, EVERY PARAGRAPH.

13:37.450 --> 13:39.385
BUT I LIKE IT BOTH WHEN IT IS

13:39.485 --> 13:40.653
EASY AND HARD.

13:44.023 --> 14:23.296
*

14:23.396 --> 14:25.531
THERE ARE PLOT-DRIVEN STORIES

14:25.631 --> 14:26.499
AND THERE ARE CHARACTER-DRIVEN

14:26.599 --> 14:27.233
STORIES,

14:27.333 --> 14:29.302
AND I'M REALLY ALWAYS DRAWN TO

14:29.402 --> 14:30.636
CHARACTER DRIVEN STORIES OR

14:30.737 --> 14:32.472
THAT'S THE KIND I WRITE ANYWAY

14:32.572 --> 14:35.908
BECAUSE I'M REALLY...

14:36.008 --> 14:37.510
SOMEBODY SAID THIS THE

14:37.610 --> 14:38.244
OTHER NIGHT.

14:38.344 --> 14:41.581
THEY SAID, "OH, YOU'RE AN

14:41.681 --> 14:42.949
INTROVERTED ACTRESS."

14:43.049 --> 14:44.083
[LAUGHS]

14:44.183 --> 14:45.051
AND THAT SORT OF

14:45.151 --> 14:46.219
WHAT WRITING IS FOR ME.

14:46.319 --> 14:48.521
I INHABIT DIFFERENT CHARACTERS

14:48.621 --> 14:50.923
AND I WANT TO FEEL WHAT THEY

14:51.023 --> 14:51.858
FEEL.

14:51.958 --> 14:52.759
I WANT TO EXPERIENCE WHAT THEY

14:52.859 --> 14:53.693
EXPERIENCE.

14:53.793 --> 14:54.494
YOU KNOW,

14:54.594 --> 14:55.828
I REALLY DROP INTO A STORY FROM

14:55.928 --> 14:57.397
THE PLACE OF EMOTION.

15:20.353 --> 15:22.021
I THINK THE STORY IS IN THE

15:22.121 --> 15:22.722
MOMENT.

15:23.790 --> 15:26.993
I THINK THAT I'M REALLY

15:27.093 --> 15:28.961
INTERESTED IN THE VERY SMALL

15:29.061 --> 15:32.398
MOMENTS THAT LIVES TURN ON.

15:32.498 --> 15:34.500
THE SMALL INSTANCES THAT ARE

15:34.600 --> 15:36.035
ALMOST IMPERCEPTIBLE.

15:57.857 --> 15:59.492
I DO SURPRISE MYSELF WHEN I'M

15:59.592 --> 16:02.662
WRITING BECAUSE I FEEL LIKE I

16:02.762 --> 16:05.331
CAN'T KNOW ALL OF THE NUANCES OF

16:05.431 --> 16:08.267
A STORY BEFORE I EVEN START.

16:08.367 --> 16:09.602
THEY SORT OF REVEAL THEMSELVES

16:09.702 --> 16:10.703
AS I'M GOING.

16:10.803 --> 16:12.572
AND I MIGHT HAVE SENTENCE AND I

16:12.672 --> 16:13.673
THINK, "OH, THAT SENTENCE ISN'T

16:13.773 --> 16:14.440
QUITE COMPLETE."

16:14.540 --> 16:16.008
SO I DIG DOWN A LITTLE BIT AND I

16:16.108 --> 16:17.477
FIND THESE RUBIES UNDERNEATH

16:17.577 --> 16:18.878
THAT, YOU KNOW,

16:18.978 --> 16:21.214
I DIDN'T KNOW WERE THERE.

16:21.314 --> 16:23.483
WRITING IS LIKE A CONSTANT STATE

16:23.583 --> 16:25.017
OF REVELATION.

16:25.117 --> 16:26.052
THINGS ARE ALWAYS BEING

16:26.152 --> 16:30.556
REVEALED, AND IDEAS, METAPHORS,

16:30.656 --> 16:33.926
IMAGES - THINGS THAT I CAN'T

16:34.026 --> 16:35.328
INTELLECTUALLY KNOW BEFORE I

16:35.428 --> 16:36.195
EVEN START.

16:36.295 --> 16:58.918
*

16:59.018 --> 16:59.719
I WRITE FOR MY OWN PEACE OF

16:59.819 --> 17:01.053
MIND.

17:01.153 --> 17:03.623
I WRITE TO CONSTANTLY DISCOVER

17:03.723 --> 17:05.858
NEW THINGS ABOUT MYSELF AND

17:05.958 --> 17:06.659
ABOUT OTHERS.

17:06.759 --> 17:08.828
BUT REALLY, IF I DON'T WRITE,

17:08.928 --> 17:10.696
I'M VERY UNHAPPY.

17:10.796 --> 17:11.864
IT IS,

17:11.964 --> 17:13.099
IT HAS A DEFINITE EFFECT ON

17:13.199 --> 17:15.668
MY MOOD AND MY OUTLOOK.

17:15.768 --> 17:17.837
AND SO I NEED TO WRITE.

17:17.937 --> 17:20.006
IT'S ESSENTIAL THAT I WRITE

17:20.106 --> 17:21.941
JUST TO KIND OF GET ALONG IN THE

17:22.041 --> 17:22.742
WORLD.

17:22.842 --> 17:25.778
*

17:27.046 --> 17:28.648
RHEA: JEN CONGRATULATIONS.

17:28.748 --> 17:30.149
YOU KNOW WRITING SEEMS TO BE

17:30.249 --> 17:32.351
SUCH A SOLO ENDEAVOR.

17:32.451 --> 17:33.886
HOW DO YOU STAY FOCUSED?

17:33.986 --> 17:36.055
JEN GROW: WHEN I SORT OF DROP

17:36.155 --> 17:39.091
INTO THE WORLD OF OF THAT I'M

17:39.191 --> 17:41.093
CREATING IT IS A LOT OF FUN.

17:41.193 --> 17:42.895
IT JUST KINDA DRAWS ME IN.

17:42.995 --> 17:45.331
IT MAKES THE SENTENCES,

17:45.431 --> 17:46.198
THE IDEAS,

17:46.299 --> 17:47.767
IT JUST I WANT TO KEEP DIGGING

17:47.867 --> 17:49.635
UNTIL I CAN FIND WHAT IT IS I'M

17:49.735 --> 17:50.736
AFTER.

17:50.836 --> 17:51.938
RHEA: YOU SAID SOMETHING THAT

17:52.038 --> 17:54.507
JUST OPENED UP MY EYES TO WHAT

17:54.607 --> 17:56.175
BEING A WRITER IS ALL ABOUT.

17:56.275 --> 17:57.310
YOU SAID YOU WERE AN

17:57.410 --> 17:58.978
INTROVERTED ACTRESS.

17:59.078 --> 17:59.679
JEN: YEAH.

17:59.779 --> 18:00.947
RHEA: SO YOU REALLY HAVE TO

18:01.047 --> 18:01.981
THINK THE THOUGHTS AND GET INTO

18:02.081 --> 18:03.516
CHARACTER OF ALL THE PEOPLE

18:03.616 --> 18:04.417
YOU'RE WRITING ABOUT.

18:04.517 --> 18:05.251
JEN: I DO.

18:05.351 --> 18:06.485
I INHABIT THEM.

18:06.586 --> 18:08.788
UM, THEY, AN IDEA COMES TO ME,

18:08.888 --> 18:09.555
AN EMOTION,

18:09.655 --> 18:10.523
SOMETHING I WANT TO EXPLORE AND

18:10.623 --> 18:12.258
I THINK WHAT CHARACTER WHAT

18:12.358 --> 18:13.492
WOULD THEY BE THINKING,

18:13.593 --> 18:14.493
WHAT WOULD THEY BE SAYING AND I

18:14.594 --> 18:15.861
HAVE TO KIND OF DIVE INTO THEIR

18:15.962 --> 18:18.264
THEIR MINDS.

18:18.364 --> 18:19.966
YOU KNOW IF THEY WERE REAL.

18:20.066 --> 18:21.434
AND SO I SORT OF ACT IT OUT ON

18:21.534 --> 18:23.402
THE PAGE AS I'M WRITING.

18:23.502 --> 18:24.737
RHEA: WELL THAT MAKES SO MUCH

18:24.837 --> 18:25.905
SENSE TO ME.

18:26.005 --> 18:27.173
AND I'D LOVE TO SEE YOU REALLY

18:27.273 --> 18:28.240
ACT, THAT WOULD BE GREAT.

18:28.341 --> 18:29.875
JEN: I'M NOT SURE.

18:29.976 --> 18:31.711
RHEA: WHAT IS THE IMPACT OF

18:31.811 --> 18:33.713
THIS AWARD, WHAT IS IT FOR YOU?

18:33.813 --> 18:35.081
JEN: UH WELL FIRST AND

18:35.181 --> 18:36.148
FOREMOST IT'S A LOT OF

18:36.248 --> 18:37.450
VALIDATION.

18:37.550 --> 18:38.584
UM BECAUSE WRITING IS SUCH A

18:38.684 --> 18:39.919
SOLITARY PURSUIT.

18:40.019 --> 18:40.987
SOMETIMES YOU'RE WRITING AND YOU

18:41.087 --> 18:41.887
THINK IS ANYBODY GOING TO READ

18:41.988 --> 18:42.555
THIS?

18:42.655 --> 18:43.322
DO THEY WANT TO READ THIS?

18:43.422 --> 18:45.157
AND SO IT REALLY IS A GREAT

18:45.257 --> 18:45.992
VALIDATION.

18:46.092 --> 18:47.927
BUT BESIDES THAT IT REALLY

18:48.027 --> 18:49.929
ALLOWS ME THE TIME AND THE SPACE

18:50.029 --> 18:52.832
TO TAKE ON MY OWN TAKE

18:52.932 --> 18:54.800
SELF-DIRECTED RETREATS AND JUST

18:54.900 --> 18:57.603
YOU KNOW DISAPPEAR IN A ROOM FOR

18:57.703 --> 18:58.504
A WEEKEND,

18:58.604 --> 19:00.306
FOR A WEEK AND JUST WRITE.

19:00.406 --> 19:02.041
AND SO THAT IS REALLY A GREAT

19:02.141 --> 19:03.209
BENEFIT OF THIS.

19:03.309 --> 19:04.577
RHEA: AGAIN CONGRATULATIONS...

19:04.677 --> 19:05.344
JEN: THANK YOU SO MUCH.

19:05.444 --> 19:06.612
RHEA: YOU ARE AN AMAZING ARTIST.

19:06.712 --> 19:07.480
JEN: THANK YOU SO MUCH.

19:08.447 --> 19:10.516
RHEA: FINALLY, IT IS TIME TO

19:10.616 --> 19:11.684
ANNOUNCE THE WINNER OF THE

19:11.784 --> 19:14.754
$50,000 MARY SAWYERS

19:14.854 --> 19:16.422
IMBODEN PRIZE.

19:16.522 --> 19:18.424
NOW THIS IS A MAJOR AWARD.

19:18.524 --> 19:21.093
AND IT GOES TO A MAJOR ARTIST,

19:21.193 --> 19:24.096
BORN IN BALTIMORE AND WHOSE

19:24.196 --> 19:26.132
WHOLE LIFE IS A WORK OF ART.

19:26.232 --> 19:27.833
HER CREATIVITY DEFIES ANY

19:27.933 --> 19:29.869
SINGLE CLASSIFICATION:

19:29.969 --> 19:30.770
PRINTMAKER,

19:30.870 --> 19:31.737
FIBER ART,

19:31.837 --> 19:33.005
SCULPTURE,

19:33.105 --> 19:34.340
BEAD AND GLASSWORK,

19:34.440 --> 19:35.675
PERFORMANCE ART.

19:35.775 --> 19:37.677
AND WHATEVER THE MEDIUM,

19:37.777 --> 19:40.279
HER WORK IS INFUSED WITH SHARP

19:40.379 --> 19:42.782
WIT AND SOCIAL COMMENTARY.

19:42.882 --> 19:43.616
IN A MOMENT,

19:43.716 --> 19:47.019
YOU WILL MEET JOYCE J. SCOTT

19:47.119 --> 19:48.054
BUT FIRST,

19:48.154 --> 19:49.255
THIS INTRODUCTION:

20:00.499 --> 20:01.801
*

20:01.901 --> 20:13.145
*"I'M NOT SURE I EVER REALLY
BREATHED BEFORE..."*

20:13.245 --> 20:13.846
JOYCE J SCOTT: TO LIVE A

20:13.946 --> 20:15.715
CREATIVE AND FULFILLED LIFE

20:15.815 --> 20:18.284
MEANS THAT YOU ARE NOT THROTTLED

20:18.384 --> 20:20.920
BY THE RULES THAT PEOPLE

20:21.020 --> 20:21.787
PUT AROUND YOU.

20:26.625 --> 20:29.829
IT REALLY MEANS THAT ARTISTS

20:29.929 --> 20:32.732
HAVE THE ABILITY GENERALLY TO

20:32.832 --> 20:34.233
INSINUATE THEMSELVES INTO

20:34.333 --> 20:35.301
CIRCUMSTANCES,

20:35.401 --> 20:37.603
AND MOLD IT AND MODEL IT AND

20:37.703 --> 20:38.504
PLAY WITH IT,

20:38.604 --> 20:40.973
IN A WAY THAT NOT ONLY FREES AND

20:41.073 --> 20:42.508
ENLIGHTENS THEMSELVES,

20:42.608 --> 20:44.110
BUT EVERYBODY ELSE AROUND THEM.

20:44.944 --> 20:46.579
FREEDOM IS AN AMAZING GIFT.

20:46.679 --> 20:48.047
IN A WORLD SOMETIMES WHERE

20:48.147 --> 20:50.316
FREEDOM IS A HARD THING TO HAVE.

20:52.752 --> 20:53.953
WELL I HAVE MANY GENERATIONS OF

20:54.053 --> 20:55.488
CRAFT ARTISTS ON MY MOTHER'S

20:55.588 --> 20:56.989
SIDE.

20:57.089 --> 20:58.124
AND LOTS OF QUILTERS ON MY

20:58.224 --> 20:59.625
FATHER'S SIDE.

20:59.725 --> 21:01.360
AND PERFORMERS AS WELL.

21:01.460 --> 21:04.363
I LIVED IN A HOUSE OF

21:04.463 --> 21:06.665
CREATIVITY.

21:06.766 --> 21:08.768
MY MOTHER ELIZABETH CALDWELL

21:08.868 --> 21:11.437
TALFORD SCOTT IS A NATIONALLY

21:11.537 --> 21:12.905
KNOWN QUILTER/FIBER ARTIST

21:13.005 --> 21:15.708
ALTHOUGH SHE PASSED AWAY AT 95,

21:15.808 --> 21:18.210
5 YEARS AGO.

21:18.310 --> 21:20.679
SO I STARTED AS A FIBER ARTIST

21:20.780 --> 21:22.948
AT MY MOTHER'S KNEE.

21:23.048 --> 21:24.917
MEANING I MADE FIGURES AND OTHER

21:25.017 --> 21:26.118
THINGS OUT OF FABRICS.

21:26.218 --> 21:27.720
AND I WAS A WEAVER FOR YEARS.

21:29.321 --> 21:30.656
I CHOOSE TO WORK IN A VARIETY OF

21:30.756 --> 21:33.793
MEDIUMS 'CAUSE I'M ANTSY.

21:34.994 --> 21:37.129
I GET BORED IF NOT BORED,

21:37.229 --> 21:38.497
I DON'T LIKE TO BE TOLD WHAT I

21:38.597 --> 21:39.698
CAN AND CANNOT DO BECAUSE I'M

21:39.799 --> 21:41.200
BLACK, OR I'M A WOMAN OR I'M

21:41.300 --> 21:43.402
OLD OR I'M TOO SOMETHING.

21:46.338 --> 21:48.507
GLASS BECAME WHAT I WANTED TO DO

21:48.607 --> 21:50.643
AND THE WAY I DID IT WAS TO USE

21:50.743 --> 21:52.812
MY OLD TIMEY TECHNIQUE WHICH WAS

21:52.912 --> 21:53.646
BEADWORK.

21:55.414 --> 21:56.882
OKAY, SO THE BIG QUESTION IS WHY

21:56.982 --> 21:58.818
GLASS?

21:58.918 --> 22:00.352
IT'S THAT ELECTRICITY,

22:00.452 --> 22:01.754
IT'S THAT NEED,

22:01.854 --> 22:02.588
IT'S THAT ENERGY,

22:02.688 --> 22:04.523
IT'S THAT EXCITEMENT.

22:04.623 --> 22:07.827
IT'S THE OLD, OLD, OLD MATERIAL.

22:08.994 --> 22:10.596
I'M PLAYING WITH HISTORY AND I'M

22:10.696 --> 22:13.933
HOPING TO INFUSE IT WITH SOME OF

22:14.033 --> 22:14.633
ME.

22:14.733 --> 22:16.635
I'M HOPING TO NOT CHANGE IT,

22:16.735 --> 22:18.304
BUT JUST TO PUT A NEW TWIST ON

22:18.404 --> 22:19.238
IT.

22:19.338 --> 22:21.540
AND IT IS THAT TRANSLUCENCY.

22:21.640 --> 22:27.446
*

22:27.546 --> 22:28.047
I'VE TRAVELED ALL AROUND

22:28.147 --> 22:29.014
THE WORLD.

22:29.114 --> 22:30.749
ALL AROUND THE UNITED STATES

22:32.151 --> 22:34.820
APPLYING MY TRADE AS AN ARTIST.

22:34.920 --> 22:36.822
YOU KNOW I DON'T REALLY HAVE A

22:36.922 --> 22:38.290
TRUE IDEA OF HOW MY ART'S GONNA

22:38.390 --> 22:39.058
EVOLVE,

22:39.158 --> 22:40.759
WHAT ROAD I'M GOING DOWN.

22:42.027 --> 22:42.661
I'VE BEEN WRITING A LITTLE BIT

22:42.761 --> 22:45.364
MORE, SINGING A LOT MORE.

22:48.133 --> 22:51.770
BUT I'M BACK TO THE OLD WAYS OF

22:51.871 --> 22:52.938
JUST NEEDLE,

22:53.038 --> 22:54.640
THREAD AND BEADWORK AND BOY AM I

22:54.740 --> 22:55.674
LOVING THAT.

22:56.842 --> 22:57.910
SO IT MIGHT BE THAT KIND OF

22:58.010 --> 22:59.712
CIRCLE THAT HAPPENS WHERE ALL

22:59.812 --> 23:00.946
THE EXPERIMENTATION,

23:01.046 --> 23:02.748
ALL THE ROADS YOU WALK DOWN,

23:02.848 --> 23:04.717
ALL THE PEOPLE YOU MEET LEADS

23:04.817 --> 23:06.685
YOU BACK TO THIS PURE ACT OF

23:06.785 --> 23:08.120
JUST STITCHING.

23:16.095 --> 23:18.030
SOMETIMES I PONDER ABOUT WHAT IT

23:18.130 --> 23:22.835
IS TO BE AN ARTIST IN THIS

23:22.935 --> 23:27.573
COMMUNITY AND IN THIS CITY THAT

23:27.673 --> 23:29.975
CAN BE SO TROUBLED.

23:32.611 --> 23:35.047
WELL, I'M ONE WHO BELIEVES YOU

23:35.147 --> 23:36.949
HAVE TO STAY WHERE THE FIGHT IS.

23:40.419 --> 23:43.389
I MEAN THAT I DON'T THINK THINGS

23:43.489 --> 23:45.925
WILL GET BETTER IF I MOVE AWAY.

23:46.025 --> 23:47.426
I THINK ONE OF THE STRONGEST

23:47.526 --> 23:49.128
ENVIRONMENT,

23:49.228 --> 23:49.828
ESPECIALLY FOR AFRICAN

23:49.929 --> 23:51.263
AMERICANS,

23:51.363 --> 23:54.033
EVEN THOUGH IT EXISTED BECAUSE

23:54.133 --> 23:55.334
OF SEGREGATION,

23:56.769 --> 23:59.204
WAS A REALLY FERTILE ENVIRONMENT

23:59.305 --> 24:01.607
FILLED WITH PEOPLE OF ALL ILKS.

24:03.842 --> 24:06.545
YOU ALL EXISTED AND KIDS COULD

24:06.645 --> 24:09.048
ALL HAVE A HOPE.

24:09.148 --> 24:11.784
THERE'S A REAL LOSS OF HOPE FOR

24:11.884 --> 24:14.286
MANY PEOPLE IN MY COMMUNITY

24:14.386 --> 24:16.422
BECAUSE THEY DON'T SEE OPTIONS.

24:18.757 --> 24:20.159
I THINK IT'S GREAT THAT I'M HERE

24:20.259 --> 24:21.961
BECAUSE NOT ONLY DO I LOVE MY

24:22.061 --> 24:22.828
COMMUNITY,

24:25.030 --> 24:26.098
I LIKE THE IDEA THAT THERE'S

24:26.198 --> 24:28.500
SOMEONE ELSE IN THE BLOCK.

24:28.600 --> 24:30.336
*

24:30.436 --> 24:31.870
ART IS POWERFUL.

24:31.971 --> 24:33.472
IT'S EVEN HEALING FOR SOME.

24:34.974 --> 24:37.109
PEOPLE DON'T UNDERSTAND THAT ART

24:37.209 --> 24:38.911
IS EVERYTHING.

24:39.011 --> 24:39.712
THE CLOTHING YOU WEAR,

24:39.812 --> 24:41.213
THE SHOES,

24:41.313 --> 24:42.514
THE CHAIRS YOU SIT ON,

24:42.614 --> 24:44.049
THE UTENSILS,

24:44.149 --> 24:46.752
THE COLOR OF YOUR ROOM,

24:46.852 --> 24:49.521
IT'S EVERY DAY.

24:49.621 --> 24:51.023
IT'S SOMETHING THAT WE USE.

24:51.123 --> 24:53.325
IT IS PRACTICAL AND WHIMSICAL.

24:53.425 --> 24:55.194
IT'S FUN AND SAD.

24:55.294 --> 24:57.663
IT'S A LIE AND IT'S THE TRUTH.

24:59.231 --> 25:00.899
IT'S ALL ENCOMPASSING AND THAT'S

25:01.000 --> 25:03.936
THE POWER OF IT.

25:04.036 --> 25:05.804
THE POWER OF ART.

25:09.008 --> 25:09.875
RHEA: JOYCE SCOTT YOU

25:09.975 --> 25:12.011
ARE A ONE AND ONLY.

25:12.111 --> 25:13.212
CONGRATULATIONS TO YOU.

25:13.312 --> 25:14.113
JOYCE SCOTT: THANK YOU RHEA,

25:14.213 --> 25:15.314
RIGHT BACK AT YOU.

25:15.414 --> 25:17.282
RHEA: SO IT'S CLEAR YOU REALLY

25:17.383 --> 25:19.018
BELIEVE IN THE POWER OF ART.

25:19.118 --> 25:20.419
JOYCE: YES.

25:20.519 --> 25:21.987
I THINK IT'S ONE OF THOSE,

25:22.087 --> 25:23.055
ONE OF THE FEW THINGS THAT'S

25:23.155 --> 25:24.556
LASTED FROM THE BEGINNING OF

25:24.656 --> 25:26.058
TIME SEEMINGLY.

25:26.158 --> 25:27.626
PEOPLE TRYING TO MAKE SOMETHING

25:27.726 --> 25:29.928
EXPRESSIVE AND CREATIVE.

25:30.029 --> 25:31.330
RHEA: SO YOU'VE GONE ALL

25:31.430 --> 25:32.965
AROUND THE WORLD, UM,

25:33.065 --> 25:35.200
HAVE YOU BEEN INFLUENCED IN YOUR

25:35.300 --> 25:36.969
ART BY THESE OTHER CULTURES?

25:37.069 --> 25:38.070
JOYCE: YES,

25:38.170 --> 25:40.439
IT'S A HUMBLING EXPERIENCE.

25:40.539 --> 25:42.674
WE LIVE IN THE WEST,

25:42.775 --> 25:45.177
HAVE THE ABILITY TO GO BUY PAINT

25:45.277 --> 25:46.578
IN ANY HUE AND ANY KIND OF

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MATERIALS,

25:47.446 --> 25:49.348
BUT WHEN YOU SEE HOW PEOPLE WILL

25:49.448 --> 25:51.850
TAKE A COAT HANGER,

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AND SOME RUBBER AND PLASTIC AND

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COME OUT WITH THIS MASTERPIECE

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YOU REALLY REALIZE THE CREATIVE

25:58.157 --> 26:00.125
FORCE AND HOW YOU CAN RETHINK

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WHAT YOU DO.

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RHEA: YOU ALSO ARE AN EDUCATOR.

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SO IF WE HAVE SOME YOUNG ARTISTS

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WHO ARE LISTENING,

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WATCHING TODAY HOW CAN YOU HELP

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THEM FIND THEIR VOICE?

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JOYCE: THE THING THAT HAS HAS

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ALWAYS KEPT ME VALIANT IS BEING

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TRUE TO MYSELF.

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AND THE KNOWLEDGE THAT IF I'M

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LUCKY ENOUGH TO LIVE TO BE 75

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YEARS,

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I SHOULD FEEL THOSE 75 YEARS

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WITH WHAT I FEEL IS THE BEST,

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MOST BOMBASTIC,

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DROP DEAD KICK BUTT ALIVE

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EXISTENCE.

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AND BEING TRUE TO MYSELF MEANS

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THAT'S WHAT I'M RUNNING AFTER.

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NOT WHAT IS GOING TO BE THE OKAY

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LIFE TO LIVE.

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BUT TO PUMP UP MY CREATIVITY SO

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LOUDLY THAT I'M REINVIGORATED

26:49.708 --> 26:52.077
EVERYDAY BY THAT AND THAT'S WHAT

26:52.177 --> 26:53.745
I WOULD TELL ANY YOUNG PERSON TO

26:53.846 --> 26:56.748
NOT BE DISSUADE BECAUSE IT'S NOT

26:56.849 --> 26:58.050
EASY.

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RHEA: VERY QUICKLY THE IMPACT

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OF THIS AWARD FOR YOU?

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JOYCE: IT'S GOING TO GIVE ME

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THE ABILITY TO TAKE A TIME OUT

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POSSIBLY.

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TO BE ABLE TO TAKE SOME

27:06.725 --> 27:09.061
BREATHING TIME AND TO TAKE CARE

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OF THOSE THINGS THAT I HAVEN'T

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DONE YET.

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RHEA: JOYCE THANK YOU SO MUCH

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FOR BEING HERE AND FOR ENRICHING

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ALL OF OUR LIVES.

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JOYCE: THANK YOU AND THANKS TO

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THE BAKER.

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RHEA: ABSOLUTELY.

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AND THANK YOU AND THANK YOU AND

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THANK YOU FOR WHAT YOU GIVE TO

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THIS COMMUNITY.

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JOYCE: THANK YOU RHEA.

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RHEA: AND THANK ALL OF YOU FOR

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JOINING US FOR THE 2016 BAKER

27:30.716 --> 27:31.950
ARTIST AWARDS.

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WE WANT TO CONGRATULATE ALL THE

27:33.619 --> 27:35.854
WINNERS AND WE WANT TO URGE YOU

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TO VISIT THE BAKER ARTIST

27:37.523 --> 27:38.690
PORTFOLIO WEBSITE FOR MORE

27:38.790 --> 27:41.093
BACKGROUND ON THESE AND HUNDREDS

27:41.193 --> 27:42.461
OF OTHER ARTISTS.

27:42.561 --> 27:44.363
WE THANK THE "WILLIAM G. BAKER,

27:44.463 --> 27:46.298
JR. MEMORIAL FUND" AND THE

27:46.398 --> 27:47.699
"GREATER BALTIMORE CULTURAL

27:47.799 --> 27:49.468
ALLIANCE" FOR THEIR GENEROUS

27:49.568 --> 27:51.336
SUPPORT OF THE ARTS.

27:51.436 --> 27:52.804
FOR MARYLAND PUBLIC TELEVISION

27:52.905 --> 27:53.906
AND "ARTWORKS",

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I'M RHEA FEIKIN.

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GOOD NIGHT!

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WE'RE GONNA BE BACK NEXT WEEK.

27:57.576 --> 27:58.644
CLOSED CAPTIONING HAS BEEN MADE
POSSIBLE BY MARYLAND RELAY,

27:58.744 --> 27:59.044
EMPOWERING THOSE WITH HEARING
AND SPEECH LOSE TO STAY

27:59.144 --> 28:00.112
CONNECTED.

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*I'M NOT SURE I EVER
REALLY BREATHED BEFORE.*

28:10.189 --> 28:16.161
*LUNGS JUST FILLED WITH IT,
AIR JUST FULL OF IT.*

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*IT CAN'T BE MUCH DIFFERENT
THAN IT WAS BEFORE.*

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*AIRS JUST AIR,
I'M STILL ME.*

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*BEFORE I DIDN'T BELIVE IN
LIFE...*