>> HOST: IN THIS EDITION

OF ARTWORKS.

PUNK STYLE MEETS HAUTE COUTURE.

A BALTIMORE ARTIST WHO DEFIES

THE EDGE.

A PHOTOGRAPHER PERFECTS A LOST

CRAFT.

AND THE ICONIC ART

OF THE SUPERHERO.

UP NEXT ON ARTWORKS.

CLOSED CAPTIONING HAS BEEN MADE

BY MARYLAND RELAY,

EMPOWERING THOSE WHO ARE DEAF,

HARD OF HEARING OR SPEECH

DISABLED TO STAY CONNECTED

BY PHONE.

>> ANNOUNCER: ARTWORKS IS MADE

POSSIBLE IN PART BY

THE CITIZENS OF BALTIMORE.

>> WELCOME TO ARTWORKS!

I'M RHEA FEIKIN, YOUR HOST.

THIS SHOW OFFICIALLY LAUNCHES

OUR SECOND SEASON.

WE'RE BRINGING YOU ALL NEW

PROFILES OF FASCINATING ARTISTS

FROM ACROSS THE COUNTRY

AND FROM

THE BALTIMORE-WASHINGTON AREA.

BUT MORE ON THAT LATER.

FIRST, THOUGH,

I CAN'T WAIT TO INTRODUCE YOU TO

MY GUEST CO-HOST, STEVE YASKO,

WHO IS THE GENERAL MANAGER

OF WTMD PUBLIC RADIO.

WELCOME, STEVE!

>> STEVE: THANKS RHEA,

I'M VERY EXCITED TO BE HERE.

>> RHEA: I'M SURE YOU ARE BUT

WE ARE SO GRATEFUL YOU FOUND

TIME TO GET HERE WITH ALL

THAT'S GOING ON.

>> STEVE: THAT'S TRUE.

WE ARE IN THE PROCESS

OF BUILDING AN 8000 SQUARE FOOT

STATE OF THE ART BROADCAST

FACILITY THAT TOWSON UNIVERSITY

HAS SO GRACIOUSLY PUT TOGETHER

FOR US.

>> RHEA: WELL,

YOU CALL IT A BROADCAST FACILITY

BUT I UNDERSTAND IT'S GOING

TO BE MORE THAN THAT.

>> STEVE: WE HAVE A HUGE

PERFORMANCE SPACE IN THERE

WHERE WE ARE GOING TO HOST ART

OPENINGS, CONCERTS,

EVEN CHILDREN'S MUSIC EDUCATION

CLASSES.

ANYTHING WE CAN THINK OF WE'RE

GOING TO DO.

>> RHEA: IT SOUNDS ABSOLUTELY

GREAT.

AND WHAT A WELCOME ADDITION TO

THE COMMUNITY.

>> RHEA: IN THE MEANTIME,

WE HAVE AN ECLECTIC GROUP

OF ARTISTS FOR YOU TO MEET

TODAY,

INCLUDING AN ARTIST FROM

BALTIMORE.

AND OUR FIRST STORY IS SURE

TO GRAB WTMD FANS,

WOULDN'T YOU SAY, STEVE?

>> STEVE: ABSOLUTELY,

IT'S ABOUT AN EXHIBIT

OF PUNK HIGH FASHION...

HIGH FASHION,

I REMEMBER HAVING MY SAFETY PINS

IN MY JEANS.

>> RHEA: DID YOU BRING US

A PICTURE OF THAT?

>> STEVE: I DON'T THINK THEY FIT

ANYMORE.

THIS EXHIBIT INCLUDED PUNK

STYLES FROM NEW YORK CITY

AND LONDON AND IT WAS CALLED

"PUNK CHAOS TO COUTURE."

>> RHEA: THE EXHIBIT WAS

AT THE METROPOLITAN MUSEUM

OF ART IN NEW YORK CITY,

AND IT CLOSED IN AUGUST,

SO IF YOU DIDN'T CATCH IT,

THIS MAY BE YOUR ONLY CHANCE

TO SEE IT.

>> STEVE: IT TURNED OUT TO BE

ONE OF THE MOST POPULAR

COSTUME EXHIBITS AT THE MUSEUM

IN TWENTY-FIVE YEARS.

LET'S CHECK IT OUT!

>> NARRATOR: THE EXHIBITION

REALLY FOCUSES ON THE IMPACT

OF PUNK ON HIGH FASHION.

WE WANTED TO START OFF

THE EXHIBITION WITH THE ORIGINS

OF PUNK BOTH IN NEW YORK

AND IN LONDON,

IN A WAY TO CONTEXTUALIZE

THE FASHIONS ON DISPLAY.

NEW YORK IS REALLY WHERE

PUNK ORIGINATED.

PATTI SMITH ONCE FAMOUSLY SAID

THAT ALL THE ACTION HAPPENED

IN THE TOILETS AT CBGB'S.

WE HAVE RECREATED THE TOILETS

AND PRESENTED IT AS A PERIOD

ROOM.

PRIMARILY PUNK IN NEW YORK

WAS MORE OF A MUSIC PHENOMENON

WITH ARTISTIC AND INTELLECTUAL

UNDERPINNINGS,

WHEREAS PUNK IN LONDON WAS MORE

A FASHION MOVEMENT REALLY,

AND IT HAD MORE SOCIO-POLITICAL

UNDERPINNINGS.

IN LONDON,

WE'VE RECREATED THE BOUTIQUE

430 KINGS ROAD,

WHICH WAS A BOUTIQUE THAT

WAS CREATED BY MALCOLM MCLAREN

AND VIVIENNE WESTWOOD.

AND I THINK MORE THAN ANY

OTHER DESIGNER IT REALLY

WAS VIVIENNE WESTWOOD

AND MALCOLM MCLAREN,

WHO NOT ONLY CRYSTALLIZED

THE LOOK OF PUNK BUT ALSO

COMMERCIALIZED IT.

I THINK ONE OF THE SORT

OF CRITIQUES OF THE CO-OPTION

OF PUNK BY HIGH FASHION

DESIGNERS IS THE FACT THAT

IT'S FOR COMMERCIAL GAIN.

BUT PUNK AS ARTICULATED BY

MCLAREN AND WESTWOOD,

IT VERY MUCH WAS A COMMERCIAL

ENTERPRISE.

BRIDGING "THE TALE OF TWO

CITIES" IS A ROOM CALLED

"CLOTHES FOR HEROES",

AND "CLOTHES FOR HEROES"

WAS A SLOGAN UNDER WHICH

MCLAREN AND WESTWOOD MARKETED

THEIR FASHIONS, THEIR CLOTHES.

WHAT WE'VE DONE IS ACTUALLY

JUXTAPOSE ORIGINAL PUNK FASHIONS

BY MCLAREN AND WESTWOOD

WITH CONTEMPORARY DESIGNERS

LIKE CHRISTOPHER BAILEY

FOR BURBERRY.

RODARTE...

REALLY TO SHOW THE SORT

OF ENDURING IMPACT OF MCLAREN

AND WESTWOOD'S PUNK AESTHETIC.

AFTER YOU GO THROUGH

"CLOTHES FOR HEROES",

THE REMAINING SECTIONS

OF THE EXHIBITION ARE REALLY

FOCUSING ON HIGH FASHION.

AND TO ME I THINK THE GREATEST

AND MOST ENDURING LEGACY

OF THE PUNK AESTHETIC

IS THE IDEA OF DO-IT-YOURSELF.

THERE'S FOUR MANIFESTATIONS

OF DO-IT-YOURSELF AS ORIGINALLY

ARTICULATED BY PUNKS

IN THE MID-70'S: THE GALLERY

"HARDWARE" FOCUSES ON PERHAPS

THE MOST OBVIOUS AND THE MOST

FORMALISTIC ASPECTS

OF DO-IT-YOURSELF,

WHICH IS THE SORT OF HARDWARE

PUNKS USED TO IMBUE THEIR

CLOTHING WITH AN AESTHETIC

OF VIOLENCE AND ANARCHY AND EVEN

CRUELTY.

SO PIECES LIKE STUDS

OR SAFETY PINS OR CHAINS

OR ZIPPERS.

THESE ARE PERHAPS THE MOST

OBVIOUS MOST GO-TO ASPECTS

OF PUNK FASHION THAT DESIGNERS

HAVE APPROPRIATED-DESIGNERS

LIKE VERSACE.

BUT IT ALSO HAS GARMENTS

BY ZANDRA RHODES AND DATED

TO 1977 FROM THE COLLECTION

CALLED "THE CONCEPTUAL CHIC

COLLECTION" AND THAT REALLY

WAS THE FIRST TIME

THAT A DESIGNER CO-OPTED

THE PUNK AESTHETIC FOR HIGH

FASHION.

THE NEXT GALLERY IS "BRICOLAGE"

AND "BRICOLAGE" REFERENCES

THE FOUND OBJECTS THAT PUNKS

OFTEN WOULD INCORPORATE

INTO THE CLOTHING PRIMARILY AS,

REALLY,

A CRITIQUE ON THE IDEA

OF GOOD TASTE,

AND ALSO ASPECTS OF CONSUMERISM.

AND PUNKS OFTEN WOULD CO-OPT

OBJECTS FROM THE BASEST

OF CONTEXTS AND THEY WOULD

INCORPORATE THOSE INTO

THE CLOTHING REALLY

AS A MANIFESTATION

OR A CHALLENGE TO WHAT WE MEAN

GOOD TASTE AND BAD TASTE.

I THINK ONE OF THE HEROES

OF THAT GALLERY

IS MARTIN MARGIELA.

MARTIN MARGIELA'S KNOWN

FOR INCORPORATING FOUND OBJECTS

INTO HIS CLOTHING.

SO WE HAVE WAISTCOATS MADE

OUT OF BROKEN CERAMIC DISHES

AND HELD TOGETHER WITH WIRE.

AND IN THE CENTER OF THAT

GALLERY WE HAVE SOME

EXTRAORDINARY DRESSES BY

THE DESIGNER GARETH PUGH,

WHICH ARE ENTIRELY MADE

OF GARBAGE BAGS THAT HE SHREDDED

TO LOOK LIKE FEATHERS AND FUR.

THE THIRD GALLERY AFTER

"BRICOLAGE" IS A GALLERY CALLED

"GRAFFITI",

AND "GRAFFITI" IS SIMILAR

TO HARDWARE IN THE FACT THAT

IT'S A VERY SELF-EVIDENT

EXPRESSION OF DO-IT-YOURSELF.

IT REFERENCES THE SLOGANS

AND THE STENCILING

AND THE DIFFERENT TYPES

OF "GRAFFITI" THAT PUNKS WOULD

USE AS A WAY OF CHALLENGING

THE ESTABLISHMENT,

AS CHALLENGING THE STATUS QUO.

I THINK ONE OF THE HIGHLIGHTS

IS PERHAPS A DRESS

BY ALEXANDER MCQUEEN.

AND IN THE MIDDLE OF THAT

GALLERY WE HAVE FOUR BALL GOWNS

BY DOLCE AND GABBANA.

AND THEN THE FINAL GALLERY

IS CALLED "DESTROY",

AND "DESTROY" LOOKS AT I THINK

PERHAPS WHAT IS THE MOST

ENDURING LEGACY OF THE DIY

AESTHETIC ON HIGH FASHION,

WHICH IS THE IDEA

OF DECONSTRUCTIONISM

AND REFERENCES THE RIPS,

TEARS, AND SLASHES,

THAT PUNKS WOULD INCORPORATE

INTO THEIR CLOTHING,

REALLY SYMBOLS OF URBAN

DERELICTION AND URBAN

DESTITUTION.

I THINK THE HERO OF THAT GALLERY

IS PROBABLY REI KAWAKUBO.

AND I THINK PROBABLY MORE THAN

ANY OTHER DESIGNER REI HAS TAKEN

ON THE MANTLE OF PUNK.

SHE LOOKS AT PUNK ALMOST

AS AN INTELLECTUAL PARADIGM.

SHE'S CONTINUED THE IDEA

OF RIPS AND TEARS INTO

HER FASHIONS,

BUT SHE GOES MANY STEPS FURTHER

IN DECONSTRUCTIONISM,

WHERE SHE IN A WAY CHALLENGES

THE FORMER LOGIC OF CLOTHING

BY HAVING JACKETS MORPHING

INTO SKIRTS,

SKIRTS MORPHING INTO JACKETS

WITH ARMS PROTRUDING

ON THE SKIRT.

SO HER CLOTHES NOT ONLY TAKE

ON THE PUNK TACTICS OF SHOCK

AND PROVOCATION,

BUT CONTINUE THE LANGUAGE

OF PUNK INTO A 21ST CENTURY

IDIOM.

I THINK WHAT'S INTERESTING

IS THERE SEEMS TO BE

A DISJUNCTURE BETWEEN THE IDEA

OF HAUTE COUTURE AND PUNK.

BUT I THINK BOTH VERY MUCH

FOCUSED ON THE CONCEPTS

OF INDIVIDUALITY AND CONCEPTS

OF NOVELTY AND I THINK THAT,

THAT'S SOMETHING THAT THEY SHARE

VERY MUCH IN COMMON.

I THINK WHAT WAS INTERESTING

ABOUT PUNKS IS THAT THEY DID

CHALLENGE THESE VERY NORMATIVE

CONVENTIONS OF BEAUTY

AND FASHION.

I DON'T THINK YOU'RE SEEING

THAT ON THE STREET,

AND WHERE YOU REALLY ARE SEEING

IT IS THE RUNWAY.

SO IN THAT RESPECT,

HIGH FASHION HAS COMPLETELY

OVERTAKEN PUNK IN TERMS OF THIS

ARENA IN WHICH INDIVIDUALISM,

IN WHICH CREATIVITY,

IN WHICH ARTISTIC EXPRESSION

IS CELEBRATED ABOVE THE IDEA

OF JUST THE STATUS QUO.

>> RHEA: WELL,

I'M NOT SURE PUNK IS MY STYLE

BUT IT'S DEFINITELY A DEFINEABLE

STYLE!

I THINK AS LONG AS ROCK & ROLL

IS ABOUT REBELLION,

YOU'RE GOING TO SEE IT IN

CLOTHES AS WELL.

>> STEVE: THAT'S ABSOLUTELY TRUE

RHEA.

AND I'M SURE YOU'VE LIVED

THROUGH FELLS POINT IN THE 70'S

AND I'M SURE YOU USED GLUE

TO SPIKE UP THAT BEAUTIFUL HAIR

OF YOURS.

>> RHEA: COULD WE TALK ABOUT

SOMETHING ELSE?

>> STEVE: SURE.

>> RHEA: TO FIND OUT MORE ABOUT

THIS EXHIBIT,

VISIT METMUSEUM.ORG.

>> RHEA: OUR NEXT ARTIST HALES

FROM BALTIMORE AND LAST SPRING

HE WON A PRESTIGIOUS $25,000

BAKER ARTIST AWARD.

JONATHAN LATIANO IS AN

INSTALLATION ARTIST CREATING

MOTION AND VERVE WITH SALT,

STEEL, GLASS,

AND THE FLEETING MOMENT.

>> STEVE: MANY OF LATIANO'S

WORKS EXIST ONLY TEMPORARILY

THEY'RE DESIGNED TO VANISH AFTER

THE EXHIBIT.

SO TAKE A GOOD LOOK....

>> JONATHAN LATIANO: THEY TALK

ABOUT THIS THING IN SCULPTURE

WHERE SCULPTURE ENDS

AT THE FLOOR.

HOW DO YOU MAKE SOMEONE

HYPER AWARE OF THE SPACE AROUND

THEM SO THAT YOU BEGIN TO TALK

ABOUT HOW IT DOESN'T END

AT THE FLOOR?

MAYBE IT CONTINUES.

INSTALLATION ART IS SCULPTURE

THAT YOU CAN WALK INTO.

IT'S AN IMMERSIVE ENVIRONMENT.

IT'S ONE OF THOSE THINGS WHERE

YOU HAPPEN UPON IT,

AND THEN YOU'RE INSIDE IT.

I REALLY DO HAVE THINGS EMERGING

OUT OF WALLS AND CEILINGS

AND FLOORS.

THINGS EXPLODING OUT,

KIND OF LIKE ORGANIZED CHAOS.

I LIKE THIS KIND OF PAIRING

OF ART AND SCIENCE,

SPECIFICALLY FIELDS OF SCIENCE

THAT DEAL WITH FIELDS OF LARGE

EXPANSES OF TIME.

SO, GEOLOGY IS A HUGE ONE.

EVOLUTION. EXTINCTION.

I'M DEALING WITH THESE REALLY

IMPORTANT THINGS THAT

ARE HAPPENING IN SCIENCE

OF THE DAY.

IT HAPPENS TO BE VERY DARK.

BUT IT'S NOT SO MUCH AS ME

BEING AN ACTIVIST AS ME TRYING

TO CAPTURE THOSE REALLY SAD

MOMENTS,

THOSE REALLY SAD AND EPHEMERAL

MOMENTS THAT ARE GOING ON

IN THE WORLD AROUND US.

I'M ATTRACTED TO SALT,

WHICH SHOWS UP IN SO MUCH

OF MY WORK.

I USE TABLE SALT,

JUST REGULAR TABLE SALT,

BECAUSE IT'S INCREDIBLY REFINED.

AS IT EVAPORATES,

THE SALT BEGINS TO REBOND,

AND IT BEGINS TO FORM THESE

REALLY BEAUTIFUL INTRICATE

PATTERNS,

SO IT'S PHYSICALLY GROWING,

EVEN IF IT'S JUST BY HALF

A MILLIMETER.

MIRRORS ARE EXTREMELY IMPORTANT

TO ME.

WHEN THE VIEWER SEES THEMSELVES

IN THE WORK,

THEY BECOME VERY HYPER AWARE

OF THEIR RELATIONSHIP TO IT.

THERE'S ALSO THIS IDEA

OF THE ATMOSPHERE AND THE SKY

BEING SUCH AN IMPORTANT VISUAL

ELEMENT,

BECAUSE I'M TAKING THAT

AND SHOVING IT DOWN,

SCRUNCHING IT UP INTO

THE GROUND.

DURING THE DAY IT WAS REALLY

BRIGHT.

IF IT WAS CLOUDY IT BECAME

THIS REALLY GRAY PIECE.

AT SUNSET IT WOULD BE THIS NICE

COOL PINK ON THE INSIDE.

AND THEN AT NIGHT,

WHICH ENDED UP BEING MY FAVORITE

TIME WITH THE WORK,

IT WAS JUST THIS BLACK ROCK.

SO AGAIN,

IT'S THIS BACK AND FORTH BETWEEN

THESE REALLY EARTHY MATERIALS

VERSUS THESE REALLY ARTIFICIAL

MATERIALS.

PLASTICS AND RESINS

AND STYROFOAMS,

THESE THINGS THAT HAVE

A HALF LIFE OF TENS OF THOUSANDS

OF YEARS BEFORE THEY BEGIN

TO DECOMPOSE.

BECAUSE EVEN THE ARTIFICIAL

MATERIALS ARE BEAUTIFUL.

THEY'RE STAGGERINGLY BEAUTIFUL.

SO MANY THINGS IN OUR ECOSYSTEM

ARE COLLAPSING RIGHT NOW.

AND THEY WILL BE GONE.

WHEN SOMETHING IS EXTINCT,

THAT'S PRETTY MUCH IT.

MOST OF MY WORK HAS THIS

LIFECYCLE.

IT'LL EXIST FOR TWO WEEKS

OR A MONTH.

ONCE I DEINSTALL IT,

IT WILL NOT BE SHOWN AGAIN.

WHETHER THE VIEWER LIKES

THIS PIECE, OR DISLIKES IT,

OR THEY AGREE WITH IT

OR THEY HATE IT,

IT ONLY EXISTS JUST FOR THIS

MOMENT.

THERE IS SO MUCH BEAUTY IN THAT

FLEETING MOMENT.

>> RHEA: YOU KNOW,

I INTERVIEWED JONATHAN LATIANO

AND HE'S AMAZINGLY CEREBRAL

FOR SOMEONE WHO'S SO YOUNG

AND WHOSE WORK IS SO VISUALLY

ENTICING.

AND WHAT I LIKED MOST I THINK

IS THAT GLOWING SALTY TEXTURE.

>> STEVE: YEAH. I'M JUST TOTALLY

SHOCKED THAT HE COULD MAKE

SOMETHING SO INTRICATE OUT

OF SOMETHING SIMPLE AS SALT.

>> RHEA: HE IS REALLY TALENTED

AND SO SMART.

YOU CAN FIND OUT MORE ABOUT THIS

AND MANY OTHER ARTISTS

AT THE BAKER ARTIST AWARDS

ONLINE GALLERY:

BAKERARTISTAWARDS.ORG.

AND YOU CAN SEE SOME

OF JONATHAN LATIANO'S

INSTALLATIONS AT THE BMA'S

BAKER ARTIST AWARD EXHIBIT

IN FEBRUARY.

WE'RE GOING TO KEEP YOU POSTED.

>> RHEA: OUR NEXT ARTIST'S

WORK IS SUCH A CONTRAST TO

THE LAST ONE.

GILES CLEMENT IS A PHOTOGRAPHER

WHO STRIVES TO PERFECT

THE DISAPPEARING 1900'S CRAFT

OF WET PLATE PHOTOGRAPHY.

>> STEVE: YOU'LL SEE WHY

HE'S SO HOOKED ON THIS HAUNTING

BEAUTIFUL AND LASTING PROCESS.

>> MY NAME IS GILES CLEMENT

AND I'M A WET PLATE COLLODIAN

PHOTOGRAPHER.

SO YOU WANT A PHOTO OF YOU

AND YOUR DOG FOR YOUR DAD?

>> YES. I'M ASHLEY SCHAHFER.

I'M HERE TO HAVE A PORTRAIT

TAKEN BY GILES TO SEND TO MY DAD

AND MAKE HIM HAPPY.

>> GILES: IF WE HAVE JACK

ALONG SIDE YOUR FACE THERE.

AND THEN WE JUST GOTTA KEEP HIM

PARALLEL TO YOUR EYES.

SO HE STAYS IN FOCUS,

AND YOU DO TOO.

AND HOPEFULLY HE DOESN'T

HATE THE FLASH TOO MUCH RIGHT.

>> ASHLEY: HE'S GOING TO HATE

IT.

[GILES PETS JACK]

>> GILES: WET PLATE WAS INVENTED

IN 1851 AND THEN USED UP UNTIL

THE EARLY 1900's.

AND WITH WET PLATE YOU HAVE

TO MAKE THE PLATE, SHOOT IT,

AND DEVELOP IT IN TEN MINUTES

OR SO.

THAT'S WHY IT'S CALLED WET PLATE

BECAUSE THE PROCESS IS WET

AND ITS VERY FLUID,

FLUID FAST MOVING,

FAST PACED THING.

>> ASHLEY: SO YOU SIT HERE

AND YOU JUST WAIT FOR HIM TO DO

HIS THING AND THEN YOU GET

FLASHED AND YOU'RE DONE.

YOU'RE OKAY.

>> GILES: IT CAN BE BETTER.

>> ASHLEY: I THINK ITS CUTE.

>> GILES: WE CAN DO BETTER

I JUST HAD SOME DIRT THAT GOT ON

RIGHT THERE AND THEN THOSE

DROOLS ARE FROM THE TOP RUNNING

DOWN.

SO YOU WANT TO JUST TRY ANOTHER

ONE AND WE'LL GET IT BETTER?

>> ASHLEY: SURE.

>> GILES: I JUST START WITH

A REGULAR PIECE OF BLACK GLASS

AND I POUR COLLIDING ON IT

AND IT'S A SOLUTION OF COTTON

MIXED WITH ALCOHOL ETHER

AND SOME ACID...

WHEN I DUNK THE PLATE INTO

A TANK OF SILVER NITRATE

THE SILVER NITRATE REACTS TO

THE CHEMICALS IN THE COLLIDING

AND THE SILVER THEN BECOMES

LIGHT SENSITIVE.

SO ESSENTIALLY WHAT I'M DOING

IS JUST TAKING A PIECE

OF BLACK GLASS AND TURNING IT

INTO A PIECE OF FILM THAT I CAN

THEN TAKE A PICTURE ON.

WHEN I'M IN THE DARKROOM THERE,

I PUT THE PLATE IN LIKE THIS

AND THEN CLOSE IT,

AND THEN THAT HOLDS THE FILM.

AND THIS IS WHAT GOES INTO

THE CAMERA AND THEN THERE'S

A DARK SLIDE THAT PROTECTS IT,

AND WHEN I'M READY TO TAKE

A PICTURE I'LL PULL THAT

DARK SLIDE OUT AND YOU CAN SEE

THE FILM WITH THE GLASS RIGHT

THERE,

SO THE IMAGE IS MADE RIGHT

ON THAT.

>> ASHLEY: YOU'RE JUST LOOKING

INTO THIS BIG LENS AND DON'T

REALLY KNOW WHAT'S GOING ON

CAUSE IT DOESN'T REALLY DO

A WHOLE LOT IT JUST SITS THERE.

>> GILES: THE LENS IS MADE

IN 1849 SO IT'S A HUNDRED

AND SIXTY FOUR YEARS OLD

AND IT ACTUALLY PREDATES

WEB PLATES,

SO IT WAS MADE

FOR DAGUERREOTYPES,

WHICH IS THE FIRST REAL METHOD

OF PHOTOGRAPHY.

IF EVERYTHING IS GOING FINE

ITS EASY AND ANYBODY CAN DO IT,

BUT IT'S WHEN THINGS START

TO GO WRONG THEN TRYING

TO TROUBLE SHOOT,

FIND OUT WHAT'S GOING ON.

LEARNING FROM YOUR MISTAKES

IS THE LONG LEARNING CURVE

I THINK WITH IT.

YOU ACTUALLY POUR DEVELOPER

RIGHT OVER THE PLATE IT'LL GO

FROM JUST BEING A WHITE,

IT JUST LOOKS LIKE A YELLOWISH

WHITE THE SILVER,

AND YOU'LL SEE A NEGATIVE IMAGE

EMERGE OUT OF THE WHITE.

AND YOU'LL TAKE THAT AND PUT

IT IN THE FIXER,

AND THAT'S REALLY WHERE

THE IMAGE IS MADE.

YOU SEE A BLANK PIECE OF GLASS,

BASICALLY,

AND THEN YOU SEE AN IMAGE

MAGICALLY KIND OF APPEAR ON IT.

>> ASHLEY: I LIKE THAT.

IT'S ALWAYS REALLY COOL AND FUN

TO SEE IT COME TO LIGHT.

>> GILES: YOU KNOW A DIGITAL

PICTURE,

AN HISTOGRAM OR WHATEVER,

IT'S HERE ONE SECOND AND YOU

FORGET ABOUT IT THE NEXT.

IT'S ON YOUR HARD DRIVE

SOMEWHERE.

AND THIS IS SOMETHING THAT

YOU CAN HANG ON YOUR WALL

AND IT'S GOING TO LAST 200 YEARS

OR MORE.

IT'S VERY ADDICTING.

IT'S REALLY DIFFICULT TO DO,

AND IT'S DIFFICULT TO PERFECT,

AND I ALWAYS WANT TO GET

IT PERFECT,

OR AS CLOSE TO PERFECT AS I CAN.

SO I JUST KEEP GOING.

I KEEP GOING. I KEEP GOING.

AND I CERTAINLY DON'T GET BORED.

FRUSTRATED, YES.

BORED, NOT SO MUCH.

>> RHEA: I ABSOLUTELY NEVER

GET BORED LOOKING AT OLD

PHOTOGRAPHS.

>> STEVE: YOU KNOW WHEN I WAS

A KID I WAS A PHOTOGRAPHER WITH

ALL THE CHEMICALS.

SO THIS WAS JUST REALLY A WALK

DOWN MEMORY LANE FOR ME.

YOU CAN CHECK OUT

GILES CLEMENT AT HIS WEB SITE.

>> RHEA: AND NOW,

OUR FINAL ARTIST WHO STARTED

DOODLING AS A KID AND ENDED UP

CREATING A COMIC BOOK SUPERHERO.

>> STEVE: MEET ALLEN BELLMAN,

A RETIREE IN SOUTH FLORIDA,

STILL GOING STRONG.

>> RHEA: RIGHT HERE AND NOW

WE'RE REVEALING HIS SECRET

IDENTITY AS THE MAN WHO DREW

"CAPTAIN AMERICA."

TAKE A LOOK!

>> MY NAME IS ALLEN BELLMAN

AND I WORK FOR TIMELY MARVEL

COMICS IN 1942.

I STARTED DOING BACKGROUNDS

CAPTAIN AMERICA.

I ALWAYS WANTED TO DRAW COMICS.

MY FATHER HAD A BAKERY.

EVERY CHANCE I HAD,

I'D DRAW ON THE PAPER BAG

AND I'D OPEN A BOOK AND THERE

WAS A WHITE SPACE IN

A HARD COVERED BOOK,

I'D DRAW IN THERE.

IT'S JUST SOMETHING YOU HAVE

IN YOU.

IT WAS COLUMBUS DAY 1942.

AND I SAID TO MY DAD,

I SAYS I'LL GO TOMORROW,

IT'S A HOLIDAY.

HE SAID NO, YOU'LL GO TODAY.

AND I SAID DAD AND WE WENT

BACK AND FORTH

AND BACK AND FORTH AND HE WON.

AND I THANK MY DEAD DAD BECAUSE

I DON'T KNOW WHERE I'D BE NOW

IF I DIDN'T LISTEN TO HIM

CAUSE I GOT THAT JOB

IN 10-15 MINUTES AND THEY SAID

YOU START MONDAY.

I WENT TO THE HIGH SCHOOL

OF INDUSTRIAL ART AND I WENT

ON AND OFF AT NIGHT

AT PRATT INSTITUTE.

BUT ACTUALLY,

IT WAS ON THE JOB THAT I GOT

MY TRAINING AND THE ABILITY

TO IMPROVE,

THE OPPORTUNITY TO KEEP

IMPROVING MY WORK AND I ALWAYS

WORKED AND STRIVED TO HAVE

A BETTER JOB.

I WAS NEVER REALLY EVER HAPPY

WHATEVER I DO EVEN NOW.

I ALWAYS FEEL I COULD DO BETTER,

MORE AND MORE.

BUT WHEN I DO A DRAWING

FOR A FAN,

I WANT IT TO BE GOOD.

I'M SO HAPPY TO DRAW IT

THE OLD WAY BECAUSE THIS IS WHAT

THE FANS WANT.

WHEN I GET A NOTE OR EMAIL

SAYING, MR. BELLMAN,

YOU MADE ME HAPPY WITH

YOUR WORK.

IT'S FRAMED,

THIS MEANS MORE TO ME THAN

ANYTHING ELSE.

IT'S JUST A PERSONAL

GRATIFICATION THAT I GET

THAT I CAN MAKE SOMEONE HAPPY

WITH JUST MY ART.

THEY LIKE MY ART.

SOME STORIES I LOVE TO DO