1 00:00:02,236 --> 00:00:03,270 >> HOST: IN THIS EDITION 2 00:00:03,337 --> 00:00:04,338 OF ARTWORKS. 3 00:00:04,404 --> 00:00:11,011 PUNK STYLE MEETS HAUTE COUTURE. 4 00:00:11,078 --> 00:00:12,546 A BALTIMORE ARTIST WHO DEFIES 5 00:00:12,613 --> 00:00:18,285 THE EDGE. 6 00:00:18,352 --> 00:00:20,354 A PHOTOGRAPHER PERFECTS A LOST 7 00:00:20,420 --> 00:00:26,994 CRAFT. 8 00:00:27,060 --> 00:00:28,095 AND THE ICONIC ART 9 00:00:28,161 --> 00:00:29,963 OF THE SUPERHERO. 10 00:00:30,030 --> 00:00:32,399 UP NEXT ON ARTWORKS. 11 00:00:33,800 --> 00:00:35,502 CLOSED CAPTIONING HAS BEEN MADE 12 00:00:35,569 --> 00:00:36,970 BY MARYLAND RELAY, 13 00:00:37,037 --> 00:00:38,305 EMPOWERING THOSE WHO ARE DEAF, 14 00:00:38,372 --> 00:00:39,473 HARD OF HEARING OR SPEECH 15 00:00:39,540 --> 00:00:40,841 DISABLED TO STAY CONNECTED 16 00:00:40,908 --> 00:00:42,809 BY PHONE. 17 00:00:49,383 --> 00:00:50,551 >> ANNOUNCER: ARTWORKS IS MADE 18 00:00:50,617 --> 00:00:51,952 POSSIBLE IN PART BY 19 00:00:52,019 --> 00:00:54,488 THE CITIZENS OF BALTIMORE. 20 00:00:59,059 --> 00:01:00,894 >> WELCOME TO ARTWORKS! 21 00:01:00,961 --> 00:01:02,396 I'M RHEA FEIKIN, YOUR HOST. 22 00:01:02,462 --> 00:01:04,731 THIS SHOW OFFICIALLY LAUNCHES 23 00:01:04,798 --> 00:01:06,700 OUR SECOND SEASON. 24 00:01:06,767 --> 00:01:08,068 WE'RE BRINGING YOU ALL NEW 25 00:01:08,135 --> 00:01:10,070 PROFILES OF FASCINATING ARTISTS 26 00:01:10,137 --> 00:01:11,104 FROM ACROSS THE COUNTRY 27 00:01:11,171 --> 00:01:12,339 AND FROM 28 00:01:12,406 --> 00:01:14,007 THE BALTIMORE-WASHINGTON AREA. 29 00:01:14,074 --> 00:01:15,943 BUT MORE ON THAT LATER. 30 00:01:16,009 --> 00:01:17,210 FIRST, THOUGH, 31 00:01:17,277 --> 00:01:18,946 I CAN'T WAIT TO INTRODUCE YOU TO 32 00:01:19,012 --> 00:01:21,782 MY GUEST CO-HOST, STEVE YASKO, 33 00:01:21,848 --> 00:01:23,417 WHO IS THE GENERAL MANAGER 34 00:01:23,483 --> 00:01:25,185 OF WTMD PUBLIC RADIO. 35 00:01:25,252 --> 00:01:26,587 WELCOME, STEVE! 36 00:01:26,653 --> 00:01:27,054 >> STEVE: THANKS RHEA, 37 00:01:27,120 --> 00:01:28,722 I'M VERY EXCITED TO BE HERE. 38 00:01:28,789 --> 00:01:30,157 >> RHEA: I'M SURE YOU ARE BUT 39 00:01:30,223 --> 00:01:31,592 WE ARE SO GRATEFUL YOU FOUND 40 00:01:31,658 --> 00:01:32,826 TIME TO GET HERE WITH ALL 41 00:01:32,893 --> 00:01:33,927 THAT'S GOING ON. 42 00:01:33,994 --> 00:01:34,561 >> STEVE: THAT'S TRUE. 43 00:01:34,628 --> 00:01:35,562 WE ARE IN THE PROCESS 44 00:01:35,629 --> 00:01:38,031 OF BUILDING AN 8000 SQUARE FOOT 45 00:01:38,098 --> 00:01:39,633 STATE OF THE ART BROADCAST 46 00:01:39,700 --> 00:01:41,635 FACILITY THAT TOWSON UNIVERSITY 47 00:01:41,702 --> 00:01:43,236 HAS SO GRACIOUSLY PUT TOGETHER 48 00:01:43,303 --> 00:01:44,237 FOR US. 49 00:01:44,304 --> 00:01:45,739 >> RHEA: WELL, 50 00:01:45,806 --> 00:01:46,807 YOU CALL IT A BROADCAST FACILITY 51 00:01:46,873 --> 00:01:47,841 BUT I UNDERSTAND IT'S GOING 52 00:01:47,908 --> 00:01:49,743 TO BE MORE THAN THAT. 53 00:01:49,810 --> 00:01:50,510 >> STEVE: WE HAVE A HUGE 54 00:01:50,577 --> 00:01:52,245 PERFORMANCE SPACE IN THERE 55 00:01:52,312 --> 00:01:53,480 WHERE WE ARE GOING TO HOST ART 56 00:01:53,547 --> 00:01:54,548 OPENINGS, CONCERTS, 57 00:01:54,615 --> 00:01:56,550 EVEN CHILDREN'S MUSIC EDUCATION 58 00:01:56,617 --> 00:01:57,618 CLASSES. 59 00:01:57,684 --> 00:01:59,486 ANYTHING WE CAN THINK OF WE'RE 60 00:01:59,553 --> 00:02:00,287 GOING TO DO. 61 00:02:00,354 --> 00:02:01,321 >> RHEA: IT SOUNDS ABSOLUTELY 62 00:02:01,388 --> 00:02:01,989 GREAT. 63 00:02:02,055 --> 00:02:03,323 AND WHAT A WELCOME ADDITION TO 64 00:02:03,390 --> 00:02:05,058 THE COMMUNITY. 65 00:02:05,125 --> 00:02:06,827 >> RHEA: IN THE MEANTIME, 66 00:02:06,893 --> 00:02:08,195 WE HAVE AN ECLECTIC GROUP 67 00:02:08,261 --> 00:02:09,329 OF ARTISTS FOR YOU TO MEET 68 00:02:09,396 --> 00:02:10,097 TODAY, 69 00:02:10,163 --> 00:02:11,431 INCLUDING AN ARTIST FROM 70 00:02:11,498 --> 00:02:12,532 BALTIMORE. 71 00:02:12,599 --> 00:02:14,735 AND OUR FIRST STORY IS SURE 72 00:02:14,801 --> 00:02:16,503 TO GRAB WTMD FANS, 73 00:02:16,570 --> 00:02:17,871 WOULDN'T YOU SAY, STEVE? 74 00:02:17,938 --> 00:02:19,006 >> STEVE: ABSOLUTELY, 75 00:02:19,072 --> 00:02:20,040 IT'S ABOUT AN EXHIBIT 76 00:02:20,107 --> 00:02:22,743 OF PUNK HIGH FASHION... 77 00:02:22,809 --> 00:02:23,276 HIGH FASHION, 78 00:02:23,343 --> 00:02:24,311 I REMEMBER HAVING MY SAFETY PINS 79 00:02:24,378 --> 00:02:26,313 IN MY JEANS. 80 00:02:26,380 --> 00:02:26,913 >> RHEA: DID YOU BRING US 81 00:02:26,980 --> 00:02:27,948 A PICTURE OF THAT? 82 00:02:28,015 --> 00:02:28,682 >> STEVE: I DON'T THINK THEY FIT 83 00:02:28,749 --> 00:02:29,616 ANYMORE. 84 00:02:29,683 --> 00:02:31,685 THIS EXHIBIT INCLUDED PUNK 85 00:02:31,752 --> 00:02:33,053 STYLES FROM NEW YORK CITY 86 00:02:33,120 --> 00:02:33,987 AND LONDON AND IT WAS CALLED 87 00:02:34,054 --> 00:02:37,324 "PUNK CHAOS TO COUTURE." 88 00:02:37,391 --> 00:02:38,525 >> RHEA: THE EXHIBIT WAS 89 00:02:38,592 --> 00:02:40,060 AT THE METROPOLITAN MUSEUM 90 00:02:40,127 --> 00:02:41,094 OF ART IN NEW YORK CITY, 91 00:02:41,161 --> 00:02:42,529 AND IT CLOSED IN AUGUST, 92 00:02:42,596 --> 00:02:43,864 SO IF YOU DIDN'T CATCH IT, 93 00:02:43,930 --> 00:02:45,365 THIS MAY BE YOUR ONLY CHANCE 94 00:02:45,432 --> 00:02:46,700 TO SEE IT. 95 00:02:46,767 --> 00:02:47,567 >> STEVE: IT TURNED OUT TO BE 96 00:02:47,634 --> 00:02:49,403 ONE OF THE MOST POPULAR 97 00:02:49,469 --> 00:02:50,904 COSTUME EXHIBITS AT THE MUSEUM 98 00:02:50,971 --> 00:02:52,706 IN TWENTY-FIVE YEARS. 99 00:02:52,773 --> 00:02:54,207 LET'S CHECK IT OUT! 100 00:02:55,108 --> 00:02:56,410 >> NARRATOR: THE EXHIBITION 101 00:02:56,476 --> 00:02:58,545 REALLY FOCUSES ON THE IMPACT 102 00:02:58,612 --> 00:03:02,816 OF PUNK ON HIGH FASHION. 103 00:03:02,883 --> 00:03:03,950 WE WANTED TO START OFF 104 00:03:04,017 --> 00:03:05,452 THE EXHIBITION WITH THE ORIGINS 105 00:03:05,519 --> 00:03:07,254 OF PUNK BOTH IN NEW YORK 106 00:03:07,320 --> 00:03:08,155 AND IN LONDON, 107 00:03:08,221 --> 00:03:09,623 IN A WAY TO CONTEXTUALIZE 108 00:03:09,690 --> 00:03:10,824 THE FASHIONS ON DISPLAY. 109 00:03:10,891 --> 00:03:12,325 NEW YORK IS REALLY WHERE 110 00:03:12,392 --> 00:03:12,926 PUNK ORIGINATED. 111 00:03:12,993 --> 00:03:14,194 PATTI SMITH ONCE FAMOUSLY SAID 112 00:03:14,261 --> 00:03:15,262 THAT ALL THE ACTION HAPPENED 113 00:03:15,328 --> 00:03:17,297 IN THE TOILETS AT CBGB'S. 114 00:03:17,364 --> 00:03:19,633 WE HAVE RECREATED THE TOILETS 115 00:03:19,700 --> 00:03:21,068 AND PRESENTED IT AS A PERIOD 116 00:03:21,134 --> 00:03:25,939 ROOM. 117 00:03:26,006 --> 00:03:27,407 PRIMARILY PUNK IN NEW YORK 118 00:03:27,474 --> 00:03:29,076 WAS MORE OF A MUSIC PHENOMENON 119 00:03:29,142 --> 00:03:30,143 WITH ARTISTIC AND INTELLECTUAL 120 00:03:30,210 --> 00:03:30,977 UNDERPINNINGS, 121 00:03:31,044 --> 00:03:33,080 WHEREAS PUNK IN LONDON WAS MORE 122 00:03:33,146 --> 00:03:35,082 A FASHION MOVEMENT REALLY, 123 00:03:35,148 --> 00:03:37,184 AND IT HAD MORE SOCIO-POLITICAL 124 00:03:37,250 --> 00:03:38,552 UNDERPINNINGS. 125 00:03:38,618 --> 00:03:39,619 IN LONDON, 126 00:03:39,686 --> 00:03:41,221 WE'VE RECREATED THE BOUTIQUE 127 00:03:41,288 --> 00:03:42,956 430 KINGS ROAD, 128 00:03:43,023 --> 00:03:43,824 WHICH WAS A BOUTIQUE THAT 129 00:03:43,890 --> 00:03:45,759 WAS CREATED BY MALCOLM MCLAREN 130 00:03:45,826 --> 00:03:46,927 AND VIVIENNE WESTWOOD. 131 00:03:46,993 --> 00:03:49,262 AND I THINK MORE THAN ANY 132 00:03:49,329 --> 00:03:50,797 OTHER DESIGNER IT REALLY 133 00:03:50,864 --> 00:03:51,965 WAS VIVIENNE WESTWOOD 134 00:03:52,032 --> 00:03:53,133 AND MALCOLM MCLAREN, 135 00:03:53,200 --> 00:03:54,668 WHO NOT ONLY CRYSTALLIZED 136 00:03:54,735 --> 00:03:57,003 THE LOOK OF PUNK BUT ALSO 137 00:03:57,070 --> 00:03:57,771 COMMERCIALIZED IT. 138 00:03:57,838 --> 00:04:00,107 I THINK ONE OF THE SORT 139 00:04:00,173 --> 00:04:02,042 OF CRITIQUES OF THE CO-OPTION 140 00:04:02,109 --> 00:04:03,977 OF PUNK BY HIGH FASHION 141 00:04:04,044 --> 00:04:05,912 DESIGNERS IS THE FACT THAT 142 00:04:05,979 --> 00:04:07,447 IT'S FOR COMMERCIAL GAIN. 143 00:04:07,514 --> 00:04:09,382 BUT PUNK AS ARTICULATED BY 144 00:04:09,449 --> 00:04:10,550 MCLAREN AND WESTWOOD, 145 00:04:10,617 --> 00:04:12,853 IT VERY MUCH WAS A COMMERCIAL 146 00:04:12,919 --> 00:04:13,253 ENTERPRISE. 147 00:04:13,320 --> 00:04:15,188 BRIDGING "THE TALE OF TWO 148 00:04:15,255 --> 00:04:17,124 CITIES" IS A ROOM CALLED 149 00:04:17,190 --> 00:04:18,291 "CLOTHES FOR HEROES", 150 00:04:18,358 --> 00:04:19,826 AND "CLOTHES FOR HEROES" 151 00:04:19,893 --> 00:04:21,762 WAS A SLOGAN UNDER WHICH 152 00:04:21,828 --> 00:04:23,330 MCLAREN AND WESTWOOD MARKETED 153 00:04:23,396 --> 00:04:24,865 THEIR FASHIONS, THEIR CLOTHES. 154 00:04:24,931 --> 00:04:26,800 WHAT WE'VE DONE IS ACTUALLY 155 00:04:26,867 --> 00:04:28,368 JUXTAPOSE ORIGINAL PUNK FASHIONS 156 00:04:28,435 --> 00:04:29,903 BY MCLAREN AND WESTWOOD 157 00:04:29,970 --> 00:04:31,071 WITH CONTEMPORARY DESIGNERS 158 00:04:31,138 --> 00:04:32,239 LIKE CHRISTOPHER BAILEY 159 00:04:32,305 --> 00:04:33,006 FOR BURBERRY. 160 00:04:33,073 --> 00:04:33,373 RODARTE... 161 00:04:33,440 --> 00:04:35,308 REALLY TO SHOW THE SORT 162 00:04:35,375 --> 00:04:37,244 OF ENDURING IMPACT OF MCLAREN 163 00:04:37,310 --> 00:04:38,812 AND WESTWOOD'S PUNK AESTHETIC. 164 00:04:38,879 --> 00:04:40,347 AFTER YOU GO THROUGH 165 00:04:40,413 --> 00:04:41,515 "CLOTHES FOR HEROES", 166 00:04:41,581 --> 00:04:42,682 THE REMAINING SECTIONS 167 00:04:42,749 --> 00:04:44,618 OF THE EXHIBITION ARE REALLY 168 00:04:44,684 --> 00:04:46,153 FOCUSING ON HIGH FASHION. 169 00:04:46,219 --> 00:04:48,889 AND TO ME I THINK THE GREATEST 170 00:04:48,955 --> 00:04:50,423 AND MOST ENDURING LEGACY 171 00:04:50,490 --> 00:04:51,958 OF THE PUNK AESTHETIC 172 00:04:52,025 --> 00:04:53,894 IS THE IDEA OF DO-IT-YOURSELF. 173 00:04:53,960 --> 00:04:55,061 THERE'S FOUR MANIFESTATIONS 174 00:04:55,128 --> 00:04:56,630 OF DO-IT-YOURSELF AS ORIGINALLY 175 00:04:56,696 --> 00:04:57,764 ARTICULATED BY PUNKS 176 00:04:57,831 --> 00:04:59,699 IN THE MID-70'S: THE GALLERY 177 00:04:59,766 --> 00:05:01,268 "HARDWARE" FOCUSES ON PERHAPS 178 00:05:01,334 --> 00:05:03,603 THE MOST OBVIOUS AND THE MOST 179 00:05:03,670 --> 00:05:04,371 FORMALISTIC ASPECTS 180 00:05:04,437 --> 00:05:05,138 OF DO-IT-YOURSELF, 181 00:05:05,205 --> 00:05:07,474 WHICH IS THE SORT OF HARDWARE 182 00:05:07,541 --> 00:05:09,409 PUNKS USED TO IMBUE THEIR 183 00:05:09,476 --> 00:05:10,944 CLOTHING WITH AN AESTHETIC 184 00:05:11,011 --> 00:05:13,280 OF VIOLENCE AND ANARCHY AND EVEN 185 00:05:13,346 --> 00:05:13,647 CRUELTY. 186 00:05:13,713 --> 00:05:15,215 SO PIECES LIKE STUDS 187 00:05:15,282 --> 00:05:17,150 OR SAFETY PINS OR CHAINS 188 00:05:17,217 --> 00:05:17,918 OR ZIPPERS. 189 00:05:17,984 --> 00:05:19,853 THESE ARE PERHAPS THE MOST 190 00:05:19,920 --> 00:05:21,388 OBVIOUS MOST GO-TO ASPECTS 191 00:05:21,454 --> 00:05:23,323 OF PUNK FASHION THAT DESIGNERS 192 00:05:23,390 --> 00:05:24,090 HAVE APPROPRIATED-DESIGNERS 193 00:05:24,157 --> 00:05:24,891 LIKE VERSACE. 194 00:05:24,958 --> 00:05:26,827 BUT IT ALSO HAS GARMENTS 195 00:05:26,893 --> 00:05:28,762 BY ZANDRA RHODES AND DATED 196 00:05:28,829 --> 00:05:30,697 TO 1977 FROM THE COLLECTION 197 00:05:30,764 --> 00:05:34,835 CALLED "THE CONCEPTUAL CHIC 198 00:05:34,901 --> 00:05:36,303 COLLECTION" AND THAT REALLY 199 00:05:36,369 --> 00:05:37,170 WAS THE FIRST TIME 200 00:05:37,237 --> 00:05:38,872 THAT A DESIGNER CO-OPTED 201 00:05:38,939 --> 00:05:41,575 THE PUNK AESTHETIC FOR HIGH 202 00:05:41,641 --> 00:05:46,379 FASHION. 203 00:05:46,446 --> 00:05:48,215 THE NEXT GALLERY IS "BRICOLAGE" 204 00:05:48,281 --> 00:05:49,850 AND "BRICOLAGE" REFERENCES 205 00:05:49,916 --> 00:05:52,619 THE FOUND OBJECTS THAT PUNKS 206 00:05:52,686 --> 00:05:54,020 OFTEN WOULD INCORPORATE 207 00:05:54,087 --> 00:05:56,623 INTO THE CLOTHING PRIMARILY AS, 208 00:05:56,690 --> 00:05:57,224 REALLY, 209 00:05:57,290 --> 00:05:58,491 A CRITIQUE ON THE IDEA 210 00:05:58,558 --> 00:05:59,359 OF GOOD TASTE, 211 00:05:59,426 --> 00:06:01,428 AND ALSO ASPECTS OF CONSUMERISM. 212 00:06:01,494 --> 00:06:03,263 AND PUNKS OFTEN WOULD CO-OPT 213 00:06:03,330 --> 00:06:05,131 OBJECTS FROM THE BASEST 214 00:06:05,198 --> 00:06:06,733 OF CONTEXTS AND THEY WOULD 215 00:06:06,800 --> 00:06:08,134 INCORPORATE THOSE INTO 216 00:06:08,201 --> 00:06:09,035 THE CLOTHING REALLY 217 00:06:09,102 --> 00:06:09,936 AS A MANIFESTATION 218 00:06:10,003 --> 00:06:12,072 OR A CHALLENGE TO WHAT WE MEAN 219 00:06:12,138 --> 00:06:14,741 GOOD TASTE AND BAD TASTE. 220 00:06:14,808 --> 00:06:15,742 I THINK ONE OF THE HEROES 221 00:06:15,809 --> 00:06:16,476 OF THAT GALLERY 222 00:06:16,543 --> 00:06:18,178 IS MARTIN MARGIELA. 223 00:06:18,245 --> 00:06:19,279 MARTIN MARGIELA'S KNOWN 224 00:06:19,346 --> 00:06:21,414 FOR INCORPORATING FOUND OBJECTS 225 00:06:21,481 --> 00:06:23,083 INTO HIS CLOTHING. 226 00:06:23,149 --> 00:06:24,451 SO WE HAVE WAISTCOATS MADE 227 00:06:24,517 --> 00:06:26,186 OUT OF BROKEN CERAMIC DISHES 228 00:06:26,253 --> 00:06:30,523 AND HELD TOGETHER WITH WIRE. 229 00:06:30,590 --> 00:06:31,424 AND IN THE CENTER OF THAT 230 00:06:31,491 --> 00:06:32,392 GALLERY WE HAVE SOME 231 00:06:32,459 --> 00:06:33,493 EXTRAORDINARY DRESSES BY 232 00:06:33,560 --> 00:06:34,828 THE DESIGNER GARETH PUGH, 233 00:06:34,895 --> 00:06:36,029 WHICH ARE ENTIRELY MADE 234 00:06:36,096 --> 00:06:38,598 OF GARBAGE BAGS THAT HE SHREDDED 235 00:06:38,665 --> 00:06:42,669 TO LOOK LIKE FEATHERS AND FUR. 236 00:06:42,736 --> 00:06:43,703 THE THIRD GALLERY AFTER 237 00:06:43,770 --> 00:06:45,538 "BRICOLAGE" IS A GALLERY CALLED 238 00:06:45,605 --> 00:06:46,373 "GRAFFITI", 239 00:06:46,439 --> 00:06:47,707 AND "GRAFFITI" IS SIMILAR 240 00:06:47,774 --> 00:06:48,942 TO HARDWARE IN THE FACT THAT 241 00:06:49,009 --> 00:06:50,010 IT'S A VERY SELF-EVIDENT 242 00:06:50,076 --> 00:06:51,645 EXPRESSION OF DO-IT-YOURSELF. 243 00:06:51,711 --> 00:06:52,946 IT REFERENCES THE SLOGANS 244 00:06:53,013 --> 00:06:54,047 AND THE STENCILING 245 00:06:54,114 --> 00:06:54,881 AND THE DIFFERENT TYPES 246 00:06:54,948 --> 00:06:55,982 OF "GRAFFITI" THAT PUNKS WOULD 247 00:06:56,049 --> 00:06:57,751 USE AS A WAY OF CHALLENGING 248 00:06:57,817 --> 00:06:58,451 THE ESTABLISHMENT, 249 00:06:58,518 --> 00:07:01,254 AS CHALLENGING THE STATUS QUO. 250 00:07:01,321 --> 00:07:02,188 I THINK ONE OF THE HIGHLIGHTS 251 00:07:02,255 --> 00:07:03,356 IS PERHAPS A DRESS 252 00:07:03,423 --> 00:07:06,927 BY ALEXANDER MCQUEEN. 253 00:07:06,993 --> 00:07:07,661 AND IN THE MIDDLE OF THAT 254 00:07:07,727 --> 00:07:09,195 GALLERY WE HAVE FOUR BALL GOWNS 255 00:07:09,262 --> 00:07:13,667 BY DOLCE AND GABBANA. 256 00:07:13,733 --> 00:07:14,734 AND THEN THE FINAL GALLERY 257 00:07:14,801 --> 00:07:15,936 IS CALLED "DESTROY", 258 00:07:16,002 --> 00:07:17,671 AND "DESTROY" LOOKS AT I THINK 259 00:07:17,737 --> 00:07:19,072 PERHAPS WHAT IS THE MOST 260 00:07:19,139 --> 00:07:22,008 ENDURING LEGACY OF THE DIY 261 00:07:22,075 --> 00:07:23,610 AESTHETIC ON HIGH FASHION, 262 00:07:23,677 --> 00:07:24,444 WHICH IS THE IDEA 263 00:07:24,511 --> 00:07:25,679 OF DECONSTRUCTIONISM 264 00:07:25,745 --> 00:07:27,314 AND REFERENCES THE RIPS, 265 00:07:27,380 --> 00:07:28,114 TEARS, AND SLASHES, 266 00:07:28,181 --> 00:07:29,316 THAT PUNKS WOULD INCORPORATE 267 00:07:29,382 --> 00:07:30,550 INTO THEIR CLOTHING, 268 00:07:30,617 --> 00:07:32,152 REALLY SYMBOLS OF URBAN 269 00:07:32,218 --> 00:07:34,020 DERELICTION AND URBAN 270 00:07:34,087 --> 00:07:36,156 DESTITUTION. 271 00:07:36,222 --> 00:07:38,091 I THINK THE HERO OF THAT GALLERY 272 00:07:38,158 --> 00:07:40,060 IS PROBABLY REI KAWAKUBO. 273 00:07:40,126 --> 00:07:41,127 AND I THINK PROBABLY MORE THAN 274 00:07:41,194 --> 00:07:43,430 ANY OTHER DESIGNER REI HAS TAKEN 275 00:07:43,496 --> 00:07:45,332 ON THE MANTLE OF PUNK. 276 00:07:45,398 --> 00:07:46,566 SHE LOOKS AT PUNK ALMOST 277 00:07:46,633 --> 00:07:48,234 AS AN INTELLECTUAL PARADIGM. 278 00:07:48,301 --> 00:07:49,369 SHE'S CONTINUED THE IDEA 279 00:07:49,436 --> 00:07:50,403 OF RIPS AND TEARS INTO 280 00:07:50,470 --> 00:07:51,671 HER FASHIONS, 281 00:07:51,738 --> 00:07:52,772 BUT SHE GOES MANY STEPS FURTHER 282 00:07:52,839 --> 00:07:54,140 IN DECONSTRUCTIONISM, 283 00:07:54,207 --> 00:07:55,775 WHERE SHE IN A WAY CHALLENGES 284 00:07:55,842 --> 00:07:57,410 THE FORMER LOGIC OF CLOTHING 285 00:07:57,477 --> 00:07:59,012 BY HAVING JACKETS MORPHING 286 00:07:59,079 --> 00:08:00,080 INTO SKIRTS, 287 00:08:00,146 --> 00:08:01,414 SKIRTS MORPHING INTO JACKETS 288 00:08:01,481 --> 00:08:02,349 WITH ARMS PROTRUDING 289 00:08:02,415 --> 00:08:03,116 ON THE SKIRT. 290 00:08:03,183 --> 00:08:04,451 SO HER CLOTHES NOT ONLY TAKE 291 00:08:04,517 --> 00:08:07,053 ON THE PUNK TACTICS OF SHOCK 292 00:08:07,120 --> 00:08:08,588 AND PROVOCATION, 293 00:08:08,655 --> 00:08:09,756 BUT CONTINUE THE LANGUAGE 294 00:08:09,823 --> 00:08:11,658 OF PUNK INTO A 21ST CENTURY 295 00:08:11,725 --> 00:08:15,495 IDIOM. 296 00:08:15,562 --> 00:08:16,363 I THINK WHAT'S INTERESTING 297 00:08:16,429 --> 00:08:17,530 IS THERE SEEMS TO BE 298 00:08:17,597 --> 00:08:19,666 A DISJUNCTURE BETWEEN THE IDEA 299 00:08:19,733 --> 00:08:22,035 OF HAUTE COUTURE AND PUNK. 300 00:08:22,102 --> 00:08:23,636 BUT I THINK BOTH VERY MUCH 301 00:08:23,703 --> 00:08:24,738 FOCUSED ON THE CONCEPTS 302 00:08:24,804 --> 00:08:26,606 OF INDIVIDUALITY AND CONCEPTS 303 00:08:26,673 --> 00:08:28,108 OF NOVELTY AND I THINK THAT, 304 00:08:28,174 --> 00:08:29,542 THAT'S SOMETHING THAT THEY SHARE 305 00:08:29,609 --> 00:08:31,277 VERY MUCH IN COMMON. 306 00:08:31,344 --> 00:08:32,178 I THINK WHAT WAS INTERESTING 307 00:08:32,245 --> 00:08:33,113 ABOUT PUNKS IS THAT THEY DID 308 00:08:33,179 --> 00:08:35,482 CHALLENGE THESE VERY NORMATIVE 309 00:08:35,548 --> 00:08:37,317 CONVENTIONS OF BEAUTY 310 00:08:37,384 --> 00:08:38,385 AND FASHION. 311 00:08:38,451 --> 00:08:39,252 I DON'T THINK YOU'RE SEEING 312 00:08:39,319 --> 00:08:39,953 THAT ON THE STREET, 313 00:08:40,020 --> 00:08:40,854 AND WHERE YOU REALLY ARE SEEING 314 00:08:40,920 --> 00:08:41,988 IT IS THE RUNWAY. 315 00:08:42,055 --> 00:08:43,123 SO IN THAT RESPECT, 316 00:08:43,189 --> 00:08:44,224 HIGH FASHION HAS COMPLETELY 317 00:08:44,290 --> 00:08:45,492 OVERTAKEN PUNK IN TERMS OF THIS 318 00:08:45,558 --> 00:08:50,296 ARENA IN WHICH INDIVIDUALISM, 319 00:08:50,363 --> 00:08:51,631 IN WHICH CREATIVITY, 320 00:08:51,698 --> 00:08:53,333 IN WHICH ARTISTIC EXPRESSION 321 00:08:53,400 --> 00:08:54,134 IS CELEBRATED ABOVE THE IDEA 322 00:08:54,200 --> 00:08:58,238 OF JUST THE STATUS QUO. 323 00:08:59,406 --> 00:09:00,006 >> RHEA: WELL, 324 00:09:00,073 --> 00:09:01,107 I'M NOT SURE PUNK IS MY STYLE 325 00:09:01,174 --> 00:09:04,244 BUT IT'S DEFINITELY A DEFINEABLE 326 00:09:04,310 --> 00:09:04,944 STYLE! 327 00:09:05,011 --> 00:09:06,179 I THINK AS LONG AS ROCK & ROLL 328 00:09:06,246 --> 00:09:07,480 IS ABOUT REBELLION, 329 00:09:07,547 --> 00:09:08,882 YOU'RE GOING TO SEE IT IN 330 00:09:08,948 --> 00:09:10,116 CLOTHES AS WELL. 331 00:09:10,183 --> 00:09:10,850 >> STEVE: THAT'S ABSOLUTELY TRUE 332 00:09:10,917 --> 00:09:11,451 RHEA. 333 00:09:11,518 --> 00:09:12,619 AND I'M SURE YOU'VE LIVED 334 00:09:12,685 --> 00:09:13,753 THROUGH FELLS POINT IN THE 70'S 335 00:09:13,820 --> 00:09:15,388 AND I'M SURE YOU USED GLUE 336 00:09:15,455 --> 00:09:16,456 TO SPIKE UP THAT BEAUTIFUL HAIR 337 00:09:16,523 --> 00:09:17,690 OF YOURS. 338 00:09:17,757 --> 00:09:18,591 >> RHEA: COULD WE TALK ABOUT 339 00:09:18,658 --> 00:09:19,459 SOMETHING ELSE? 340 00:09:19,526 --> 00:09:21,327 >> STEVE: SURE. 341 00:09:21,394 --> 00:09:22,195 >> RHEA: TO FIND OUT MORE ABOUT 342 00:09:22,262 --> 00:09:23,329 THIS EXHIBIT, 343 00:09:23,396 --> 00:09:26,332 VISIT METMUSEUM.ORG. 344 00:09:37,811 --> 00:09:38,778 >> RHEA: OUR NEXT ARTIST HALES 345 00:09:38,845 --> 00:09:40,747 FROM BALTIMORE AND LAST SPRING 346 00:09:40,814 --> 00:09:43,450 HE WON A PRESTIGIOUS $25,000 347 00:09:43,516 --> 00:09:45,752 BAKER ARTIST AWARD. 348 00:09:45,819 --> 00:09:47,620 JONATHAN LATIANO IS AN 349 00:09:47,687 --> 00:09:49,489 INSTALLATION ARTIST CREATING 350 00:09:49,556 --> 00:09:52,158 MOTION AND VERVE WITH SALT, 351 00:09:52,225 --> 00:09:53,760 STEEL, GLASS, 352 00:09:53,827 --> 00:09:55,528 AND THE FLEETING MOMENT. 353 00:09:55,595 --> 00:09:56,729 >> STEVE: MANY OF LATIANO'S 354 00:09:56,796 --> 00:09:58,731 WORKS EXIST ONLY TEMPORARILY 355 00:09:58,798 --> 00:10:00,166 THEY'RE DESIGNED TO VANISH AFTER 356 00:10:00,233 --> 00:10:01,034 THE EXHIBIT. 357 00:10:01,101 --> 00:10:02,602 SO TAKE A GOOD LOOK.... 358 00:10:05,438 --> 00:10:06,039 >> JONATHAN LATIANO: THEY TALK 359 00:10:06,106 --> 00:10:08,308 ABOUT THIS THING IN SCULPTURE 360 00:10:08,374 --> 00:10:09,676 WHERE SCULPTURE ENDS 361 00:10:09,742 --> 00:10:10,844 AT THE FLOOR. 362 00:10:10,910 --> 00:10:11,544 HOW DO YOU MAKE SOMEONE 363 00:10:11,611 --> 00:10:12,979 HYPER AWARE OF THE SPACE AROUND 364 00:10:13,046 --> 00:10:15,148 THEM SO THAT YOU BEGIN TO TALK 365 00:10:15,215 --> 00:10:16,583 ABOUT HOW IT DOESN'T END 366 00:10:16,649 --> 00:10:17,150 AT THE FLOOR? 367 00:10:17,217 --> 00:10:27,494 MAYBE IT CONTINUES. 368 00:10:27,560 --> 00:10:29,562 INSTALLATION ART IS SCULPTURE 369 00:10:29,629 --> 00:10:31,564 THAT YOU CAN WALK INTO. 370 00:10:31,631 --> 00:10:34,601 IT'S AN IMMERSIVE ENVIRONMENT. 371 00:10:34,667 --> 00:10:35,902 IT'S ONE OF THOSE THINGS WHERE 372 00:10:35,969 --> 00:10:36,970 YOU HAPPEN UPON IT, 373 00:10:37,036 --> 00:10:46,513 AND THEN YOU'RE INSIDE IT. 374 00:10:46,579 --> 00:10:48,047 I REALLY DO HAVE THINGS EMERGING 375 00:10:48,114 --> 00:10:49,048 OUT OF WALLS AND CEILINGS 376 00:10:49,115 --> 00:10:49,983 AND FLOORS. 377 00:10:50,049 --> 00:10:51,885 THINGS EXPLODING OUT, 378 00:10:51,951 --> 00:10:54,354 KIND OF LIKE ORGANIZED CHAOS. 379 00:10:54,420 --> 00:10:57,323 I LIKE THIS KIND OF PAIRING 380 00:10:57,390 --> 00:10:58,324 OF ART AND SCIENCE, 381 00:10:58,391 --> 00:10:59,459 SPECIFICALLY FIELDS OF SCIENCE 382 00:10:59,526 --> 00:11:01,728 THAT DEAL WITH FIELDS OF LARGE 383 00:11:01,794 --> 00:11:02,328 EXPANSES OF TIME. 384 00:11:02,395 --> 00:11:04,264 SO, GEOLOGY IS A HUGE ONE. 385 00:11:04,330 --> 00:11:05,832 EVOLUTION. EXTINCTION. 386 00:11:05,899 --> 00:11:08,768 I'M DEALING WITH THESE REALLY 387 00:11:08,835 --> 00:11:10,537 IMPORTANT THINGS THAT 388 00:11:10,603 --> 00:11:12,906 ARE HAPPENING IN SCIENCE 389 00:11:12,972 --> 00:11:13,806 OF THE DAY. 390 00:11:13,873 --> 00:11:15,742 IT HAPPENS TO BE VERY DARK. 391 00:11:15,808 --> 00:11:16,876 BUT IT'S NOT SO MUCH AS ME 392 00:11:16,943 --> 00:11:20,313 BEING AN ACTIVIST AS ME TRYING 393 00:11:20,380 --> 00:11:24,317 TO CAPTURE THOSE REALLY SAD 394 00:11:24,384 --> 00:11:25,151 MOMENTS, 395 00:11:25,218 --> 00:11:26,419 THOSE REALLY SAD AND EPHEMERAL 396 00:11:26,486 --> 00:11:29,455 MOMENTS THAT ARE GOING ON 397 00:11:29,522 --> 00:11:32,091 IN THE WORLD AROUND US. 398 00:11:32,158 --> 00:11:33,626 I'M ATTRACTED TO SALT, 399 00:11:33,693 --> 00:11:34,794 WHICH SHOWS UP IN SO MUCH 400 00:11:34,861 --> 00:11:35,795 OF MY WORK. 401 00:11:35,862 --> 00:11:38,031 I USE TABLE SALT, 402 00:11:38,097 --> 00:11:39,933 JUST REGULAR TABLE SALT, 403 00:11:39,999 --> 00:11:42,302 BECAUSE IT'S INCREDIBLY REFINED. 404 00:11:42,368 --> 00:11:43,937 AS IT EVAPORATES, 405 00:11:44,003 --> 00:11:46,172 THE SALT BEGINS TO REBOND, 406 00:11:46,239 --> 00:11:47,740 AND IT BEGINS TO FORM THESE 407 00:11:47,807 --> 00:11:48,775 REALLY BEAUTIFUL INTRICATE 408 00:11:48,841 --> 00:11:49,442 PATTERNS, 409 00:11:49,509 --> 00:11:50,910 SO IT'S PHYSICALLY GROWING, 410 00:11:50,977 --> 00:11:51,911 EVEN IF IT'S JUST BY HALF 411 00:11:51,978 --> 00:11:56,482 A MILLIMETER. 412 00:11:56,549 --> 00:11:57,417 MIRRORS ARE EXTREMELY IMPORTANT 413 00:11:57,483 --> 00:11:58,117 TO ME. 414 00:11:58,184 --> 00:11:59,652 WHEN THE VIEWER SEES THEMSELVES 415 00:11:59,719 --> 00:12:00,286 IN THE WORK, 416 00:12:00,353 --> 00:12:02,288 THEY BECOME VERY HYPER AWARE 417 00:12:02,355 --> 00:12:04,224 OF THEIR RELATIONSHIP TO IT. 418 00:12:04,290 --> 00:12:05,225 THERE'S ALSO THIS IDEA 419 00:12:05,291 --> 00:12:08,394 OF THE ATMOSPHERE AND THE SKY 420 00:12:08,461 --> 00:12:09,629 BEING SUCH AN IMPORTANT VISUAL 421 00:12:09,696 --> 00:12:10,296 ELEMENT, 422 00:12:10,363 --> 00:12:11,197 BECAUSE I'M TAKING THAT 423 00:12:11,264 --> 00:12:13,499 AND SHOVING IT DOWN, 424 00:12:13,566 --> 00:12:14,367 SCRUNCHING IT UP INTO 425 00:12:14,434 --> 00:12:15,602 THE GROUND. 426 00:12:15,668 --> 00:12:16,536 DURING THE DAY IT WAS REALLY 427 00:12:16,603 --> 00:12:17,303 BRIGHT. 428 00:12:17,370 --> 00:12:18,338 IF IT WAS CLOUDY IT BECAME 429 00:12:18,404 --> 00:12:19,639 THIS REALLY GRAY PIECE. 430 00:12:19,706 --> 00:12:22,008 AT SUNSET IT WOULD BE THIS NICE 431 00:12:22,075 --> 00:12:23,710 COOL PINK ON THE INSIDE. 432 00:12:23,776 --> 00:12:24,744 AND THEN AT NIGHT, 433 00:12:24,811 --> 00:12:26,446 WHICH ENDED UP BEING MY FAVORITE 434 00:12:26,512 --> 00:12:29,816 TIME WITH THE WORK, 435 00:12:29,882 --> 00:12:32,352 IT WAS JUST THIS BLACK ROCK. 436 00:12:32,418 --> 00:12:33,253 SO AGAIN, 437 00:12:33,319 --> 00:12:34,053 IT'S THIS BACK AND FORTH BETWEEN 438 00:12:34,120 --> 00:12:35,154 THESE REALLY EARTHY MATERIALS 439 00:12:35,221 --> 00:12:36,322 VERSUS THESE REALLY ARTIFICIAL 440 00:12:36,389 --> 00:12:37,190 MATERIALS. 441 00:12:37,257 --> 00:12:38,891 PLASTICS AND RESINS 442 00:12:38,958 --> 00:12:39,993 AND STYROFOAMS, 443 00:12:40,059 --> 00:12:41,060 THESE THINGS THAT HAVE 444 00:12:41,127 --> 00:12:42,228 A HALF LIFE OF TENS OF THOUSANDS 445 00:12:42,295 --> 00:12:43,129 OF YEARS BEFORE THEY BEGIN 446 00:12:43,196 --> 00:12:44,364 TO DECOMPOSE. 447 00:12:44,430 --> 00:12:45,064 BECAUSE EVEN THE ARTIFICIAL 448 00:12:45,131 --> 00:12:47,533 MATERIALS ARE BEAUTIFUL. 449 00:12:47,600 --> 00:12:50,570 THEY'RE STAGGERINGLY BEAUTIFUL. 450 00:12:50,637 --> 00:12:52,505 SO MANY THINGS IN OUR ECOSYSTEM 451 00:12:52,572 --> 00:12:57,143 ARE COLLAPSING RIGHT NOW. 452 00:12:57,210 --> 00:12:59,946 AND THEY WILL BE GONE. 453 00:13:00,013 --> 00:13:00,913 WHEN SOMETHING IS EXTINCT, 454 00:13:00,980 --> 00:13:06,152 THAT'S PRETTY MUCH IT. 455 00:13:06,219 --> 00:13:07,487 MOST OF MY WORK HAS THIS 456 00:13:07,553 --> 00:13:08,655 LIFECYCLE. 457 00:13:08,721 --> 00:13:10,390 IT'LL EXIST FOR TWO WEEKS 458 00:13:10,456 --> 00:13:11,991 OR A MONTH. 459 00:13:12,058 --> 00:13:16,496 ONCE I DEINSTALL IT, 460 00:13:16,562 --> 00:13:17,163 IT WILL NOT BE SHOWN AGAIN. 461 00:13:17,230 --> 00:13:21,167 WHETHER THE VIEWER LIKES 462 00:13:21,234 --> 00:13:22,168 THIS PIECE, OR DISLIKES IT, 463 00:13:22,235 --> 00:13:22,869 OR THEY AGREE WITH IT 464 00:13:22,935 --> 00:13:23,736 OR THEY HATE IT, 465 00:13:23,803 --> 00:13:25,204 IT ONLY EXISTS JUST FOR THIS 466 00:13:25,271 --> 00:13:28,875 MOMENT. 467 00:13:28,941 --> 00:13:30,343 THERE IS SO MUCH BEAUTY IN THAT 468 00:13:30,410 --> 00:13:31,511 FLEETING MOMENT. 469 00:13:34,981 --> 00:13:35,715 >> RHEA: YOU KNOW, 470 00:13:35,782 --> 00:13:38,051 I INTERVIEWED JONATHAN LATIANO 471 00:13:38,117 --> 00:13:40,553 AND HE'S AMAZINGLY CEREBRAL 472 00:13:40,620 --> 00:13:43,222 FOR SOMEONE WHO'S SO YOUNG 473 00:13:43,289 --> 00:13:44,991 AND WHOSE WORK IS SO VISUALLY 474 00:13:45,058 --> 00:13:46,159 ENTICING. 475 00:13:46,225 --> 00:13:48,428 AND WHAT I LIKED MOST I THINK 476 00:13:48,494 --> 00:13:51,230 IS THAT GLOWING SALTY TEXTURE. 477 00:13:51,297 --> 00:13:52,765 >> STEVE: YEAH. I'M JUST TOTALLY 478 00:13:52,832 --> 00:13:53,833 SHOCKED THAT HE COULD MAKE 479 00:13:53,900 --> 00:13:55,001 SOMETHING SO INTRICATE OUT 480 00:13:55,068 --> 00:13:57,337 OF SOMETHING SIMPLE AS SALT. 481 00:13:57,403 --> 00:13:58,438 >> RHEA: HE IS REALLY TALENTED 482 00:13:58,504 --> 00:14:00,440 AND SO SMART. 483 00:14:00,506 --> 00:14:02,241 YOU CAN FIND OUT MORE ABOUT THIS 484 00:14:02,308 --> 00:14:03,543 AND MANY OTHER ARTISTS 485 00:14:03,609 --> 00:14:06,446 AT THE BAKER ARTIST AWARDS 486 00:14:06,512 --> 00:14:07,580 ONLINE GALLERY: 487 00:14:07,647 --> 00:14:08,147 BAKERARTISTAWARDS.ORG. 488 00:14:08,214 --> 00:14:11,050 AND YOU CAN SEE SOME 489 00:14:11,117 --> 00:14:12,785 OF JONATHAN LATIANO'S 490 00:14:12,852 --> 00:14:15,088 INSTALLATIONS AT THE BMA'S 491 00:14:15,154 --> 00:14:16,723 BAKER ARTIST AWARD EXHIBIT 492 00:14:16,789 --> 00:14:18,157 IN FEBRUARY. 493 00:14:18,224 --> 00:14:19,859 WE'RE GOING TO KEEP YOU POSTED. 494 00:14:31,003 --> 00:14:31,738 >> RHEA: OUR NEXT ARTIST'S 495 00:14:31,804 --> 00:14:33,740 WORK IS SUCH A CONTRAST TO 496 00:14:33,806 --> 00:14:34,774 THE LAST ONE. 497 00:14:34,841 --> 00:14:37,110 GILES CLEMENT IS A PHOTOGRAPHER 498 00:14:37,176 --> 00:14:38,711 WHO STRIVES TO PERFECT 499 00:14:38,778 --> 00:14:41,114 THE DISAPPEARING 1900'S CRAFT 500 00:14:41,180 --> 00:14:44,150 OF WET PLATE PHOTOGRAPHY. 501 00:14:44,217 --> 00:14:44,951 >> STEVE: YOU'LL SEE WHY 502 00:14:45,017 --> 00:14:45,918 HE'S SO HOOKED ON THIS HAUNTING 503 00:14:45,985 --> 00:14:49,756 BEAUTIFUL AND LASTING PROCESS. 504 00:14:59,499 --> 00:15:00,333 >> MY NAME IS GILES CLEMENT 505 00:15:00,400 --> 00:15:02,168 AND I'M A WET PLATE COLLODIAN 506 00:15:02,235 --> 00:15:05,204 PHOTOGRAPHER. 507 00:15:05,271 --> 00:15:06,406 SO YOU WANT A PHOTO OF YOU 508 00:15:06,472 --> 00:15:07,507 AND YOUR DOG FOR YOUR DAD? 509 00:15:07,573 --> 00:15:09,275 >> YES. I'M ASHLEY SCHAHFER. 510 00:15:09,342 --> 00:15:10,610 I'M HERE TO HAVE A PORTRAIT 511 00:15:10,676 --> 00:15:13,379 TAKEN BY GILES TO SEND TO MY DAD 512 00:15:13,446 --> 00:15:15,715 AND MAKE HIM HAPPY. 513 00:15:15,782 --> 00:15:16,315 >> GILES: IF WE HAVE JACK 514 00:15:16,382 --> 00:15:17,717 ALONG SIDE YOUR FACE THERE. 515 00:15:17,784 --> 00:15:18,818 AND THEN WE JUST GOTTA KEEP HIM 516 00:15:18,885 --> 00:15:19,752 PARALLEL TO YOUR EYES. 517 00:15:19,819 --> 00:15:20,686 SO HE STAYS IN FOCUS, 518 00:15:20,753 --> 00:15:21,621 AND YOU DO TOO. 519 00:15:21,687 --> 00:15:22,488 AND HOPEFULLY HE DOESN'T 520 00:15:22,555 --> 00:15:23,823 HATE THE FLASH TOO MUCH RIGHT. 521 00:15:23,890 --> 00:15:24,457 >> ASHLEY: HE'S GOING TO HATE 522 00:15:24,524 --> 00:15:25,024 IT. 523 00:15:25,091 --> 00:15:26,159 [GILES PETS JACK] 524 00:15:26,225 --> 00:15:27,460 >> GILES: WET PLATE WAS INVENTED 525 00:15:27,527 --> 00:15:30,430 IN 1851 AND THEN USED UP UNTIL 526 00:15:30,496 --> 00:15:36,302 THE EARLY 1900's. 527 00:15:36,369 --> 00:15:36,903 AND WITH WET PLATE YOU HAVE 528 00:15:36,969 --> 00:15:38,638 TO MAKE THE PLATE, SHOOT IT, 529 00:15:38,704 --> 00:15:40,072 AND DEVELOP IT IN TEN MINUTES 530 00:15:40,139 --> 00:15:41,073 OR SO. 531 00:15:41,140 --> 00:15:42,074 THAT'S WHY IT'S CALLED WET PLATE 532 00:15:42,141 --> 00:15:43,709 BECAUSE THE PROCESS IS WET 533 00:15:43,776 --> 00:15:46,279 AND ITS VERY FLUID, 534 00:15:46,345 --> 00:15:47,146 FLUID FAST MOVING, 535 00:15:47,213 --> 00:15:57,690 FAST PACED THING. 536 00:15:57,757 --> 00:15:58,925 >> ASHLEY: SO YOU SIT HERE 537 00:15:58,991 --> 00:16:00,326 AND YOU JUST WAIT FOR HIM TO DO 538 00:16:00,393 --> 00:16:01,828 HIS THING AND THEN YOU GET 539 00:16:01,894 --> 00:16:08,468 FLASHED AND YOU'RE DONE. 540 00:16:08,534 --> 00:16:11,571 YOU'RE OKAY. 541 00:16:11,637 --> 00:16:12,472 >> GILES: IT CAN BE BETTER. 542 00:16:12,538 --> 00:16:13,206 >> ASHLEY: I THINK ITS CUTE. 543 00:16:13,272 --> 00:16:13,940 >> GILES: WE CAN DO BETTER 544 00:16:14,006 --> 00:16:16,375 I JUST HAD SOME DIRT THAT GOT ON 545 00:16:16,442 --> 00:16:17,543 RIGHT THERE AND THEN THOSE 546 00:16:17,610 --> 00:16:19,879 DROOLS ARE FROM THE TOP RUNNING 547 00:16:19,946 --> 00:16:20,413 DOWN. 548 00:16:20,480 --> 00:16:21,247 SO YOU WANT TO JUST TRY ANOTHER 549 00:16:21,314 --> 00:16:22,215 ONE AND WE'LL GET IT BETTER? 550 00:16:22,281 --> 00:16:23,549 >> ASHLEY: SURE. 551 00:16:23,616 --> 00:16:24,383 >> GILES: I JUST START WITH 552 00:16:24,450 --> 00:16:26,352 A REGULAR PIECE OF BLACK GLASS 553 00:16:26,419 --> 00:16:27,753 AND I POUR COLLIDING ON IT 554 00:16:27,820 --> 00:16:29,889 AND IT'S A SOLUTION OF COTTON 555 00:16:29,956 --> 00:16:31,824 MIXED WITH ALCOHOL ETHER 556 00:16:31,891 --> 00:16:35,828 AND SOME ACID... 557 00:16:35,895 --> 00:16:36,963 WHEN I DUNK THE PLATE INTO 558 00:16:37,029 --> 00:16:38,498 A TANK OF SILVER NITRATE 559 00:16:38,564 --> 00:16:39,532 THE SILVER NITRATE REACTS TO 560 00:16:39,599 --> 00:16:40,900 THE CHEMICALS IN THE COLLIDING 561 00:16:40,967 --> 00:16:42,468 AND THE SILVER THEN BECOMES 562 00:16:42,535 --> 00:16:43,636 LIGHT SENSITIVE. 563 00:16:43,703 --> 00:16:44,403 SO ESSENTIALLY WHAT I'M DOING 564 00:16:44,470 --> 00:16:45,338 IS JUST TAKING A PIECE 565 00:16:45,404 --> 00:16:46,339 OF BLACK GLASS AND TURNING IT 566 00:16:46,405 --> 00:16:47,473 INTO A PIECE OF FILM THAT I CAN 567 00:16:47,540 --> 00:16:48,908 THEN TAKE A PICTURE ON. 568 00:16:48,975 --> 00:16:49,842 WHEN I'M IN THE DARKROOM THERE, 569 00:16:49,909 --> 00:16:51,444 I PUT THE PLATE IN LIKE THIS 570 00:16:51,511 --> 00:16:52,278 AND THEN CLOSE IT, 571 00:16:52,345 --> 00:16:54,514 AND THEN THAT HOLDS THE FILM. 572 00:16:54,580 --> 00:16:55,314 AND THIS IS WHAT GOES INTO 573 00:16:55,381 --> 00:16:56,582 THE CAMERA AND THEN THERE'S 574 00:16:56,649 --> 00:16:58,150 A DARK SLIDE THAT PROTECTS IT, 575 00:16:58,217 --> 00:16:58,918 AND WHEN I'M READY TO TAKE 576 00:16:58,985 --> 00:17:00,119 A PICTURE I'LL PULL THAT 577 00:17:00,186 --> 00:17:01,287 DARK SLIDE OUT AND YOU CAN SEE 578 00:17:01,354 --> 00:17:02,655 THE FILM WITH THE GLASS RIGHT 579 00:17:02,722 --> 00:17:03,256 THERE, 580 00:17:03,322 --> 00:17:04,023 SO THE IMAGE IS MADE RIGHT 581 00:17:04,090 --> 00:17:06,859 ON THAT. 582 00:17:28,014 --> 00:17:28,548 >> ASHLEY: YOU'RE JUST LOOKING 583 00:17:28,614 --> 00:17:30,750 INTO THIS BIG LENS AND DON'T 584 00:17:30,816 --> 00:17:32,184 REALLY KNOW WHAT'S GOING ON 585 00:17:32,251 --> 00:17:33,486 CAUSE IT DOESN'T REALLY DO 586 00:17:33,553 --> 00:17:35,555 A WHOLE LOT IT JUST SITS THERE. 587 00:17:35,621 --> 00:17:36,556 >> GILES: THE LENS IS MADE 588 00:17:36,622 --> 00:17:37,823 IN 1849 SO IT'S A HUNDRED 589 00:17:37,890 --> 00:17:40,026 AND SIXTY FOUR YEARS OLD 590 00:17:40,092 --> 00:17:41,060 AND IT ACTUALLY PREDATES 591 00:17:41,127 --> 00:17:41,627 WEB PLATES, 592 00:17:41,694 --> 00:17:42,328 SO IT WAS MADE 593 00:17:42,395 --> 00:17:43,062 FOR DAGUERREOTYPES, 594 00:17:43,129 --> 00:17:44,130 WHICH IS THE FIRST REAL METHOD 595 00:17:44,196 --> 00:17:47,233 OF PHOTOGRAPHY. 596 00:17:47,300 --> 00:17:48,301 IF EVERYTHING IS GOING FINE 597 00:17:48,367 --> 00:17:50,436 ITS EASY AND ANYBODY CAN DO IT, 598 00:17:50,503 --> 00:17:52,405 BUT IT'S WHEN THINGS START 599 00:17:52,471 --> 00:17:53,639 TO GO WRONG THEN TRYING 600 00:17:53,706 --> 00:17:54,440 TO TROUBLE SHOOT, 601 00:17:54,507 --> 00:17:55,474 FIND OUT WHAT'S GOING ON. 602 00:17:55,541 --> 00:17:56,375 LEARNING FROM YOUR MISTAKES 603 00:17:56,442 --> 00:17:58,644 IS THE LONG LEARNING CURVE 604 00:17:58,711 --> 00:18:04,483 I THINK WITH IT. 605 00:18:04,550 --> 00:18:05,351 YOU ACTUALLY POUR DEVELOPER 606 00:18:05,418 --> 00:18:07,720 RIGHT OVER THE PLATE IT'LL GO 607 00:18:07,787 --> 00:18:09,555 FROM JUST BEING A WHITE, 608 00:18:09,622 --> 00:18:10,456 IT JUST LOOKS LIKE A YELLOWISH 609 00:18:10,523 --> 00:18:11,857 WHITE THE SILVER, 610 00:18:11,924 --> 00:18:13,459 AND YOU'LL SEE A NEGATIVE IMAGE 611 00:18:13,526 --> 00:18:20,633 EMERGE OUT OF THE WHITE. 612 00:18:20,700 --> 00:18:21,534 AND YOU'LL TAKE THAT AND PUT 613 00:18:21,601 --> 00:18:22,602 IT IN THE FIXER, 614 00:18:22,668 --> 00:18:23,302 AND THAT'S REALLY WHERE 615 00:18:23,369 --> 00:18:24,470 THE IMAGE IS MADE. 616 00:18:24,537 --> 00:18:26,105 YOU SEE A BLANK PIECE OF GLASS, 617 00:18:26,172 --> 00:18:26,806 BASICALLY, 618 00:18:26,872 --> 00:18:27,940 AND THEN YOU SEE AN IMAGE 619 00:18:28,007 --> 00:18:31,377 MAGICALLY KIND OF APPEAR ON IT. 620 00:18:38,918 --> 00:18:39,986 >> ASHLEY: I LIKE THAT. 621 00:18:40,052 --> 00:18:41,988 IT'S ALWAYS REALLY COOL AND FUN 622 00:18:42,054 --> 00:18:45,558 TO SEE IT COME TO LIGHT. 623 00:18:45,625 --> 00:18:46,492 >> GILES: YOU KNOW A DIGITAL 624 00:18:46,559 --> 00:18:46,726 PICTURE, 625 00:18:46,792 --> 00:18:48,327 AN HISTOGRAM OR WHATEVER, 626 00:18:48,394 --> 00:18:50,830 IT'S HERE ONE SECOND AND YOU 627 00:18:50,896 --> 00:18:51,797 FORGET ABOUT IT THE NEXT. 628 00:18:51,864 --> 00:18:52,498 IT'S ON YOUR HARD DRIVE 629 00:18:52,565 --> 00:18:53,265 SOMEWHERE. 630 00:18:53,332 --> 00:18:54,133 AND THIS IS SOMETHING THAT 631 00:18:54,200 --> 00:18:55,101 YOU CAN HANG ON YOUR WALL 632 00:18:55,167 --> 00:18:59,805 AND IT'S GOING TO LAST 200 YEARS 633 00:18:59,872 --> 00:19:01,173 OR MORE. 634 00:19:01,240 --> 00:19:03,175 IT'S VERY ADDICTING. 635 00:19:03,242 --> 00:19:04,610 IT'S REALLY DIFFICULT TO DO, 636 00:19:04,677 --> 00:19:06,145 AND IT'S DIFFICULT TO PERFECT, 637 00:19:06,212 --> 00:19:07,747 AND I ALWAYS WANT TO GET 638 00:19:07,813 --> 00:19:08,914 IT PERFECT, 639 00:19:08,981 --> 00:19:11,150 OR AS CLOSE TO PERFECT AS I CAN. 640 00:19:11,217 --> 00:19:13,019 SO I JUST KEEP GOING. 641 00:19:13,085 --> 00:19:14,520 I KEEP GOING. I KEEP GOING. 642 00:19:14,587 --> 00:19:17,356 AND I CERTAINLY DON'T GET BORED. 643 00:19:17,423 --> 00:19:18,224 FRUSTRATED, YES. 644 00:19:18,290 --> 00:19:19,458 BORED, NOT SO MUCH. 645 00:19:28,200 --> 00:19:29,301 >> RHEA: I ABSOLUTELY NEVER 646 00:19:29,368 --> 00:19:30,569 GET BORED LOOKING AT OLD 647 00:19:30,636 --> 00:19:31,737 PHOTOGRAPHS. 648 00:19:31,804 --> 00:19:32,571 >> STEVE: YOU KNOW WHEN I WAS 649 00:19:32,638 --> 00:19:33,806 A KID I WAS A PHOTOGRAPHER WITH 650 00:19:33,873 --> 00:19:34,840 ALL THE CHEMICALS. 651 00:19:34,907 --> 00:19:36,308 SO THIS WAS JUST REALLY A WALK 652 00:19:36,375 --> 00:19:38,077 DOWN MEMORY LANE FOR ME. 653 00:19:38,144 --> 00:19:39,478 YOU CAN CHECK OUT 654 00:19:39,545 --> 00:19:41,213 GILES CLEMENT AT HIS WEB SITE. 655 00:19:41,280 --> 00:19:41,747 >> RHEA: AND NOW, 656 00:19:41,814 --> 00:19:43,616 OUR FINAL ARTIST WHO STARTED 657 00:19:43,683 --> 00:19:46,285 DOODLING AS A KID AND ENDED UP 658 00:19:46,352 --> 00:19:48,154 CREATING A COMIC BOOK SUPERHERO. 659 00:19:48,220 --> 00:19:49,388 >> STEVE: MEET ALLEN BELLMAN, 660 00:19:49,455 --> 00:19:50,856 A RETIREE IN SOUTH FLORIDA, 661 00:19:50,923 --> 00:19:52,391 STILL GOING STRONG. 662 00:19:52,458 --> 00:19:53,993 >> RHEA: RIGHT HERE AND NOW 663 00:19:54,060 --> 00:19:56,095 WE'RE REVEALING HIS SECRET 664 00:19:56,162 --> 00:19:58,564 IDENTITY AS THE MAN WHO DREW 665 00:19:58,631 --> 00:20:00,633 "CAPTAIN AMERICA." 666 00:20:00,700 --> 00:20:02,101 TAKE A LOOK! 667 00:20:12,845 --> 00:20:14,980 >> MY NAME IS ALLEN BELLMAN 668 00:20:15,047 --> 00:20:17,750 AND I WORK FOR TIMELY MARVEL 669 00:20:17,817 --> 00:20:24,256 COMICS IN 1942. 670 00:20:24,323 --> 00:20:27,460 I STARTED DOING BACKGROUNDS 671 00:20:27,526 --> 00:20:30,262 CAPTAIN AMERICA. 672 00:20:30,329 --> 00:20:32,298 I ALWAYS WANTED TO DRAW COMICS. 673 00:20:32,364 --> 00:20:34,066 MY FATHER HAD A BAKERY. 674 00:20:34,133 --> 00:20:35,034 EVERY CHANCE I HAD, 675 00:20:35,101 --> 00:20:36,535 I'D DRAW ON THE PAPER BAG 676 00:20:36,602 --> 00:20:40,406 AND I'D OPEN A BOOK AND THERE 677 00:20:40,473 --> 00:20:41,674 WAS A WHITE SPACE IN 678 00:20:41,741 --> 00:20:42,708 A HARD COVERED BOOK, 679 00:20:42,775 --> 00:20:43,909 I'D DRAW IN THERE. 680 00:20:43,976 --> 00:20:45,344 IT'S JUST SOMETHING YOU HAVE 681 00:20:45,411 --> 00:20:48,781 IN YOU. 682 00:20:48,848 --> 00:20:52,685 IT WAS COLUMBUS DAY 1942. 683 00:20:52,752 --> 00:20:54,019 AND I SAID TO MY DAD, 684 00:20:54,086 --> 00:20:55,721 I SAYS I'LL GO TOMORROW, 685 00:20:55,788 --> 00:20:57,389 IT'S A HOLIDAY. 686 00:20:57,456 --> 00:20:59,925 HE SAID NO, YOU'LL GO TODAY. 687 00:20:59,992 --> 00:21:00,793 AND I SAID DAD AND WE WENT 688 00:21:00,860 --> 00:21:01,494 BACK AND FORTH 689 00:21:01,560 --> 00:21:04,130 AND BACK AND FORTH AND HE WON. 690 00:21:04,196 --> 00:21:05,631 AND I THANK MY DEAD DAD BECAUSE 691 00:21:05,698 --> 00:21:07,466 I DON'T KNOW WHERE I'D BE NOW 692 00:21:07,533 --> 00:21:08,901 IF I DIDN'T LISTEN TO HIM 693 00:21:08,968 --> 00:21:09,969 CAUSE I GOT THAT JOB 694 00:21:10,035 --> 00:21:11,704 IN 10-15 MINUTES AND THEY SAID 695 00:21:11,771 --> 00:21:17,243 YOU START MONDAY. 696 00:21:17,309 --> 00:21:18,677 I WENT TO THE HIGH SCHOOL 697 00:21:18,744 --> 00:21:20,546 OF INDUSTRIAL ART AND I WENT 698 00:21:20,613 --> 00:21:21,814 ON AND OFF AT NIGHT 699 00:21:21,881 --> 00:21:23,282 AT PRATT INSTITUTE. 700 00:21:23,349 --> 00:21:24,650 BUT ACTUALLY, 701 00:21:24,717 --> 00:21:27,153 IT WAS ON THE JOB THAT I GOT 702 00:21:27,219 --> 00:21:29,755 MY TRAINING AND THE ABILITY 703 00:21:29,822 --> 00:21:30,689 TO IMPROVE, 704 00:21:30,756 --> 00:21:31,924 THE OPPORTUNITY TO KEEP 705 00:21:31,991 --> 00:21:33,759 IMPROVING MY WORK AND I ALWAYS 706 00:21:33,826 --> 00:21:36,395 WORKED AND STRIVED TO HAVE 707 00:21:36,462 --> 00:21:37,229 A BETTER JOB. 708 00:21:37,296 --> 00:21:38,764 I WAS NEVER REALLY EVER HAPPY 709 00:21:38,831 --> 00:21:41,033 WHATEVER I DO EVEN NOW. 710 00:21:41,100 --> 00:21:42,802 I ALWAYS FEEL I COULD DO BETTER, 711 00:21:42,868 --> 00:21:43,869 MORE AND MORE. 712 00:21:43,936 --> 00:21:45,104 BUT WHEN I DO A DRAWING 713 00:21:45,171 --> 00:21:45,805 FOR A FAN, 714 00:21:45,871 --> 00:21:49,308 I WANT IT TO BE GOOD. 715 00:21:49,375 --> 00:21:50,776 I'M SO HAPPY TO DRAW IT 716 00:21:50,843 --> 00:21:52,077 THE OLD WAY BECAUSE THIS IS WHAT 717 00:21:52,144 --> 00:21:56,048 THE FANS WANT. 718 00:21:56,115 --> 00:21:57,483 WHEN I GET A NOTE OR EMAIL 719 00:21:57,550 --> 00:21:58,984 SAYING, MR. BELLMAN, 720 00:21:59,051 --> 00:22:00,186 YOU MADE ME HAPPY WITH 721 00:22:00,252 --> 00:22:00,886 YOUR WORK. 722 00:22:00,953 --> 00:22:01,754 IT'S FRAMED, 723 00:22:01,821 --> 00:22:03,022 THIS MEANS MORE TO ME THAN 724 00:22:03,088 --> 00:22:04,256 ANYTHING ELSE. 725 00:22:04,323 --> 00:22:06,692 IT'S JUST A PERSONAL 726 00:22:06,759 --> 00:22:08,360 GRATIFICATION THAT I GET 727 00:22:08,427 --> 00:22:11,130 THAT I CAN MAKE SOMEONE HAPPY 728 00:22:11,197 --> 00:22:12,765 WITH JUST MY ART. 729 00:22:12,832 --> 00:22:16,335 THEY LIKE MY ART. 730 00:22:16,402 --> 00:22:18,470 SOME STORIES I LOVE TO DO 731 00:22:18,537 --> 00:22:20,272 MORE THAN OTHER STORIES. 732 00:22:20,339 --> 00:22:22,441 IT'S LIKE AN ACTOR GETTING 733 00:22:22,508 --> 00:22:23,809 THE SCRIPT AND THEY READ 734 00:22:23,876 --> 00:22:24,977 THE SCRIPT AND THEY SAY 735 00:22:25,044 --> 00:22:26,111 NOT FOR ME AND THEY GIVE IT 736 00:22:26,178 --> 00:22:27,246 TO SOMEBODY ELSE AND IT BECOMES 737 00:22:27,313 --> 00:22:28,013 A BIG HIT. 738 00:22:28,080 --> 00:22:30,049 BUT YOU KNOW THE FACT IS IT'S 739 00:22:30,115 --> 00:22:30,683 THE SAME THING. 740 00:22:30,749 --> 00:22:31,584 WITH CERTAIN STORIES JUST 741 00:22:31,650 --> 00:22:33,552 WOULD MOTIVATE ME MORE THAN 742 00:22:33,619 --> 00:22:36,255 OTHER SCRIPTS. 743 00:22:36,322 --> 00:22:38,624 DOING A COMIC BOOK OR DOING ANY 744 00:22:38,691 --> 00:22:39,758 KIND OF COMIC STRIP, 745 00:22:39,825 --> 00:22:41,227 IT'S DOING A MOVIE. 746 00:22:41,293 --> 00:22:42,494 YOU HAVE YOUR LONG SHOT, 747 00:22:42,561 --> 00:22:43,295 YOUR CLOSE UP, 748 00:22:43,362 --> 00:22:44,897 YOUR BIRD'S EYE VIEW, 749 00:22:44,964 --> 00:22:46,398 WORM'S EYE VIEW, 750 00:22:46,465 --> 00:22:48,901 YOU HAVE TO CHANGE EACH PANEL 751 00:22:48,968 --> 00:22:50,436 SO YOU KEEP THE INTEREST 752 00:22:50,502 --> 00:22:53,038 OF THE READER. 753 00:22:53,105 --> 00:22:54,940 A LOT IS LEFT TO THE IMAGINATION 754 00:22:55,007 --> 00:22:56,442 AND THE WRITER WOULD DESCRIBE, 755 00:22:56,508 --> 00:22:57,176 SAYING, 756 00:22:57,243 --> 00:22:59,111 HAVE HIM DRINKING OR SOMETHING 757 00:22:59,178 --> 00:23:00,179 TO THAT EFFECT, 758 00:23:00,246 --> 00:23:01,413 BUT YOU USE YOUR OWN 759 00:23:01,480 --> 00:23:02,781 IMAGINATION. 760 00:23:02,848 --> 00:23:03,716 LIKE I SAID, 761 00:23:03,782 --> 00:23:04,683 IT'S LIKE DOING A MOVIE 762 00:23:04,750 --> 00:23:07,152 AND YOU HAVE TO THINK AS A MOVIE 763 00:23:07,219 --> 00:23:11,457 WITH STILL PICTURES. 764 00:23:11,523 --> 00:23:13,459 IT WAS ONE BOOK ALREADY WRITTEN 765 00:23:13,525 --> 00:23:15,094 ABOUT THE COMIC BOOK INDUSTRY, 766 00:23:15,160 --> 00:23:16,462 BUT IT CAME AND WENT. 767 00:23:16,528 --> 00:23:18,130 BUT I HAD SPOKEN TO MANY 768 00:23:18,197 --> 00:23:18,964 WRITERS, ASKED THEM, 769 00:23:19,031 --> 00:23:20,733 WHY DON'T YOU WRITE A BOOK ABOUT 770 00:23:20,799 --> 00:23:22,301 THE COMIC BOOK INDUSTRY. 771 00:23:22,368 --> 00:23:26,338 EVERYONE HAD A STORY TO TELL. 772 00:23:26,405 --> 00:23:27,406 YOU'RE LIVING IN THE BEST 773 00:23:27,473 --> 00:23:29,208 COUNTRY OF THE WORLD. 774 00:23:29,275 --> 00:23:31,577 THE OPPORTUNITIES ARE HERE. 775 00:23:31,644 --> 00:23:33,512 YOU CANNOT GIVE UP, 776 00:23:33,579 --> 00:23:35,614 YOU CANNOT SURRENDER WITH 777 00:23:35,681 --> 00:23:37,650 REJECTION BECAUSE YOU WILL HIT 778 00:23:37,716 --> 00:23:40,052 SOMEWHERE. 779 00:23:40,119 --> 00:23:41,020 LEARN HOW TO DRAW. 780 00:23:41,086 --> 00:23:42,688 DO NOT COPY THE COMIC BOOK 781 00:23:42,755 --> 00:23:44,390 CHARACTERS BECAUSE YOU WILL 782 00:23:44,456 --> 00:23:46,759 NEVER LEARN TO DRAW. 783 00:23:46,825 --> 00:23:48,560 LEARN HOW TO DRAW ANATOMY. 784 00:23:48,627 --> 00:23:49,795 A WOMAN'S ANATOMY, 785 00:23:49,862 --> 00:23:51,697 A MAN'S ANATOMY, 786 00:23:51,764 --> 00:23:52,865 SO WHEN YOU PUT THE COSTUME 787 00:23:52,932 --> 00:23:54,133 ON THE MAN, 788 00:23:54,199 --> 00:23:55,167 YOU WILL KNOW WHERE THE MUSCLES 789 00:23:55,234 --> 00:23:56,402 ARE, 790 00:23:56,468 --> 00:24:01,874 YOU'LL KNOW WHERE THE HANDS ARE. 791 00:24:01,941 --> 00:24:03,575 I ALWAYS WANTED TO DRAW AND TELL 792 00:24:03,642 --> 00:24:07,446 A STORY IN PICTURES AND MY DREAM 793 00:24:07,513 --> 00:24:09,214 CAME TRUE AT THE TENDER AGE 794 00:24:09,281 --> 00:24:11,383 OF 18. 795 00:24:32,004 --> 00:24:32,838 >> (OUT TAKE STYLE) HI MY NAME 796 00:24:32,905 --> 00:24:34,373 IS ALAN BELLMAN AND I'M AN 797 00:24:34,440 --> 00:24:40,145 ALCO... OPPS, WRONG MEETING. 798 00:24:40,212 --> 00:24:42,448 EXCUSE ME, THAT'S MY CANE. 799 00:24:42,514 --> 00:24:45,184 SOMETIMES I LIKE TO RACE CANE 800 00:24:45,250 --> 00:24:47,753 MYSELF. 801 00:24:47,820 --> 00:24:50,356 LET'S BE NICE TO EVERYONE. 802 00:24:50,422 --> 00:24:53,792 WE CANNOT BE EVERYONE'S FRIEND, 803 00:24:53,859 --> 00:24:55,561 BUT LET'S TRY. 804 00:24:55,627 --> 00:24:56,562 THERE'S SO MUCH GOING ON 805 00:24:56,628 --> 00:24:59,665 RIGHT NOW, SO PLEASE, 806 00:24:59,732 --> 00:25:02,401 PLEASE, CHEERS! 807 00:25:05,204 --> 00:25:06,572 >> RHEA: TO LEARN MORE, 808 00:25:06,638 --> 00:25:09,274 VISIT ALLENBELLMAN.COM. 809 00:25:31,830 --> 00:25:32,965 >> RHEA: AND THAT WRAPS IT UP 810 00:25:33,032 --> 00:25:33,932 FOR THIS WEEK'S SHOW. 811 00:25:33,999 --> 00:25:35,067 PLEASE VISIT 812 00:25:35,134 --> 00:25:37,703 MPT.ORG/ARTWORKS, 813 00:25:37,770 --> 00:25:39,171 WHERE YOU'LL FIND MORE ARTS 814 00:25:39,238 --> 00:25:41,740 EVENTS AND PREVIOUS SHOWS. 815 00:25:41,807 --> 00:25:42,908 I'M RHEA FEIKIN. 816 00:25:42,975 --> 00:25:43,742 >> STEVE: AND I'M STEVE 817 00:25:43,809 --> 00:25:46,812 YASKO FROM WTMD 89.7. 818 00:25:46,879 --> 00:25:47,813 >> RHEA: WE'LL SEE YOU NEXT WEEK 819 00:25:47,880 --> 00:25:49,448 THANKS FOR WATCHING. 820 00:25:50,349 --> 00:25:51,417 >> ANNOUNCER: ARTWORKS IS MADE 821 00:25:51,483 --> 00:25:52,818 POSSIBLE IN PART BY 822 00:25:52,885 --> 00:25:54,753 THE CITIZENS OF BALTIMORE. 823 00:25:56,588 --> 00:25:57,956 CLOSED CAPTIONING HAS BEEN MADE 824 00:25:58,023 --> 00:25:59,358 BY MARYLAND RELAY, 825 00:25:59,425 --> 00:26:00,893 EMPOWERING THOSE WHO ARE DEAF, 826 00:26:00,959 --> 00:26:02,194 HARD OF HEARING OR SPEECH 827 00:26:02,261 --> 00:26:03,429 DISABLED TO STAY CONNECTED 828 00:26:03,495 --> 00:26:05,097 BY PHONE.