WEBVTT 00:02.236 --> 00:03.270 >> HOST: IN THIS EDITION 00:03.337 --> 00:04.338 OF ARTWORKS. 00:04.404 --> 00:11.011 PUNK STYLE MEETS HAUTE COUTURE. 00:11.078 --> 00:12.546 A BALTIMORE ARTIST WHO DEFIES 00:12.613 --> 00:18.285 THE EDGE. 00:18.352 --> 00:20.354 A PHOTOGRAPHER PERFECTS A LOST 00:20.420 --> 00:26.994 CRAFT. 00:27.060 --> 00:28.095 AND THE ICONIC ART 00:28.161 --> 00:29.963 OF THE SUPERHERO. 00:30.030 --> 00:32.399 UP NEXT ON ARTWORKS. 00:33.800 --> 00:35.502 CLOSED CAPTIONING HAS BEEN MADE 00:35.569 --> 00:36.970 BY MARYLAND RELAY, 00:37.037 --> 00:38.305 EMPOWERING THOSE WHO ARE DEAF, 00:38.372 --> 00:39.473 HARD OF HEARING OR SPEECH 00:39.540 --> 00:40.841 DISABLED TO STAY CONNECTED 00:40.908 --> 00:42.809 BY PHONE. 00:49.383 --> 00:50.551 >> ANNOUNCER: ARTWORKS IS MADE 00:50.617 --> 00:51.952 POSSIBLE IN PART BY 00:52.019 --> 00:54.488 THE CITIZENS OF BALTIMORE. 00:59.059 --> 01:00.894 >> WELCOME TO ARTWORKS! 01:00.961 --> 01:02.396 I'M RHEA FEIKIN, YOUR HOST. 01:02.462 --> 01:04.731 THIS SHOW OFFICIALLY LAUNCHES 01:04.798 --> 01:06.700 OUR SECOND SEASON. 01:06.767 --> 01:08.068 WE'RE BRINGING YOU ALL NEW 01:08.135 --> 01:10.070 PROFILES OF FASCINATING ARTISTS 01:10.137 --> 01:11.104 FROM ACROSS THE COUNTRY 01:11.171 --> 01:12.339 AND FROM 01:12.406 --> 01:14.007 THE BALTIMORE-WASHINGTON AREA. 01:14.074 --> 01:15.943 BUT MORE ON THAT LATER. 01:16.009 --> 01:17.210 FIRST, THOUGH, 01:17.277 --> 01:18.946 I CAN'T WAIT TO INTRODUCE YOU TO 01:19.012 --> 01:21.782 MY GUEST CO-HOST, STEVE YASKO, 01:21.848 --> 01:23.417 WHO IS THE GENERAL MANAGER 01:23.483 --> 01:25.185 OF WTMD PUBLIC RADIO. 01:25.252 --> 01:26.587 WELCOME, STEVE! 01:26.653 --> 01:27.054 >> STEVE: THANKS RHEA, 01:27.120 --> 01:28.722 I'M VERY EXCITED TO BE HERE. 01:28.789 --> 01:30.157 >> RHEA: I'M SURE YOU ARE BUT 01:30.223 --> 01:31.592 WE ARE SO GRATEFUL YOU FOUND 01:31.658 --> 01:32.826 TIME TO GET HERE WITH ALL 01:32.893 --> 01:33.927 THAT'S GOING ON. 01:33.994 --> 01:34.561 >> STEVE: THAT'S TRUE. 01:34.628 --> 01:35.562 WE ARE IN THE PROCESS 01:35.629 --> 01:38.031 OF BUILDING AN 8000 SQUARE FOOT 01:38.098 --> 01:39.633 STATE OF THE ART BROADCAST 01:39.700 --> 01:41.635 FACILITY THAT TOWSON UNIVERSITY 01:41.702 --> 01:43.236 HAS SO GRACIOUSLY PUT TOGETHER 01:43.303 --> 01:44.237 FOR US. 01:44.304 --> 01:45.739 >> RHEA: WELL, 01:45.806 --> 01:46.807 YOU CALL IT A BROADCAST FACILITY 01:46.873 --> 01:47.841 BUT I UNDERSTAND IT'S GOING 01:47.908 --> 01:49.743 TO BE MORE THAN THAT. 01:49.810 --> 01:50.510 >> STEVE: WE HAVE A HUGE 01:50.577 --> 01:52.245 PERFORMANCE SPACE IN THERE 01:52.312 --> 01:53.480 WHERE WE ARE GOING TO HOST ART 01:53.547 --> 01:54.548 OPENINGS, CONCERTS, 01:54.615 --> 01:56.550 EVEN CHILDREN'S MUSIC EDUCATION 01:56.617 --> 01:57.618 CLASSES. 01:57.684 --> 01:59.486 ANYTHING WE CAN THINK OF WE'RE 01:59.553 --> 02:00.287 GOING TO DO. 02:00.354 --> 02:01.321 >> RHEA: IT SOUNDS ABSOLUTELY 02:01.388 --> 02:01.989 GREAT. 02:02.055 --> 02:03.323 AND WHAT A WELCOME ADDITION TO 02:03.390 --> 02:05.058 THE COMMUNITY. 02:05.125 --> 02:06.827 >> RHEA: IN THE MEANTIME, 02:06.893 --> 02:08.195 WE HAVE AN ECLECTIC GROUP 02:08.261 --> 02:09.329 OF ARTISTS FOR YOU TO MEET 02:09.396 --> 02:10.097 TODAY, 02:10.163 --> 02:11.431 INCLUDING AN ARTIST FROM 02:11.498 --> 02:12.532 BALTIMORE. 02:12.599 --> 02:14.735 AND OUR FIRST STORY IS SURE 02:14.801 --> 02:16.503 TO GRAB WTMD FANS, 02:16.570 --> 02:17.871 WOULDN'T YOU SAY, STEVE? 02:17.938 --> 02:19.006 >> STEVE: ABSOLUTELY, 02:19.072 --> 02:20.040 IT'S ABOUT AN EXHIBIT 02:20.107 --> 02:22.743 OF PUNK HIGH FASHION... 02:22.809 --> 02:23.276 HIGH FASHION, 02:23.343 --> 02:24.311 I REMEMBER HAVING MY SAFETY PINS 02:24.378 --> 02:26.313 IN MY JEANS. 02:26.380 --> 02:26.913 >> RHEA: DID YOU BRING US 02:26.980 --> 02:27.948 A PICTURE OF THAT? 02:28.015 --> 02:28.682 >> STEVE: I DON'T THINK THEY FIT 02:28.749 --> 02:29.616 ANYMORE. 02:29.683 --> 02:31.685 THIS EXHIBIT INCLUDED PUNK 02:31.752 --> 02:33.053 STYLES FROM NEW YORK CITY 02:33.120 --> 02:33.987 AND LONDON AND IT WAS CALLED 02:34.054 --> 02:37.324 "PUNK CHAOS TO COUTURE." 02:37.391 --> 02:38.525 >> RHEA: THE EXHIBIT WAS 02:38.592 --> 02:40.060 AT THE METROPOLITAN MUSEUM 02:40.127 --> 02:41.094 OF ART IN NEW YORK CITY, 02:41.161 --> 02:42.529 AND IT CLOSED IN AUGUST, 02:42.596 --> 02:43.864 SO IF YOU DIDN'T CATCH IT, 02:43.930 --> 02:45.365 THIS MAY BE YOUR ONLY CHANCE 02:45.432 --> 02:46.700 TO SEE IT. 02:46.767 --> 02:47.567 >> STEVE: IT TURNED OUT TO BE 02:47.634 --> 02:49.403 ONE OF THE MOST POPULAR 02:49.469 --> 02:50.904 COSTUME EXHIBITS AT THE MUSEUM 02:50.971 --> 02:52.706 IN TWENTY-FIVE YEARS. 02:52.773 --> 02:54.207 LET'S CHECK IT OUT! 02:55.108 --> 02:56.410 >> NARRATOR: THE EXHIBITION 02:56.476 --> 02:58.545 REALLY FOCUSES ON THE IMPACT 02:58.612 --> 03:02.816 OF PUNK ON HIGH FASHION. 03:02.883 --> 03:03.950 WE WANTED TO START OFF 03:04.017 --> 03:05.452 THE EXHIBITION WITH THE ORIGINS 03:05.519 --> 03:07.254 OF PUNK BOTH IN NEW YORK 03:07.320 --> 03:08.155 AND IN LONDON, 03:08.221 --> 03:09.623 IN A WAY TO CONTEXTUALIZE 03:09.690 --> 03:10.824 THE FASHIONS ON DISPLAY. 03:10.891 --> 03:12.325 NEW YORK IS REALLY WHERE 03:12.392 --> 03:12.926 PUNK ORIGINATED. 03:12.993 --> 03:14.194 PATTI SMITH ONCE FAMOUSLY SAID 03:14.261 --> 03:15.262 THAT ALL THE ACTION HAPPENED 03:15.328 --> 03:17.297 IN THE TOILETS AT CBGB'S. 03:17.364 --> 03:19.633 WE HAVE RECREATED THE TOILETS 03:19.700 --> 03:21.068 AND PRESENTED IT AS A PERIOD 03:21.134 --> 03:25.939 ROOM. 03:26.006 --> 03:27.407 PRIMARILY PUNK IN NEW YORK 03:27.474 --> 03:29.076 WAS MORE OF A MUSIC PHENOMENON 03:29.142 --> 03:30.143 WITH ARTISTIC AND INTELLECTUAL 03:30.210 --> 03:30.977 UNDERPINNINGS, 03:31.044 --> 03:33.080 WHEREAS PUNK IN LONDON WAS MORE 03:33.146 --> 03:35.082 A FASHION MOVEMENT REALLY, 03:35.148 --> 03:37.184 AND IT HAD MORE SOCIO-POLITICAL 03:37.250 --> 03:38.552 UNDERPINNINGS. 03:38.618 --> 03:39.619 IN LONDON, 03:39.686 --> 03:41.221 WE'VE RECREATED THE BOUTIQUE 03:41.288 --> 03:42.956 430 KINGS ROAD, 03:43.023 --> 03:43.824 WHICH WAS A BOUTIQUE THAT 03:43.890 --> 03:45.759 WAS CREATED BY MALCOLM MCLAREN 03:45.826 --> 03:46.927 AND VIVIENNE WESTWOOD. 03:46.993 --> 03:49.262 AND I THINK MORE THAN ANY 03:49.329 --> 03:50.797 OTHER DESIGNER IT REALLY 03:50.864 --> 03:51.965 WAS VIVIENNE WESTWOOD 03:52.032 --> 03:53.133 AND MALCOLM MCLAREN, 03:53.200 --> 03:54.668 WHO NOT ONLY CRYSTALLIZED 03:54.735 --> 03:57.003 THE LOOK OF PUNK BUT ALSO 03:57.070 --> 03:57.771 COMMERCIALIZED IT. 03:57.838 --> 04:00.107 I THINK ONE OF THE SORT 04:00.173 --> 04:02.042 OF CRITIQUES OF THE CO-OPTION 04:02.109 --> 04:03.977 OF PUNK BY HIGH FASHION 04:04.044 --> 04:05.912 DESIGNERS IS THE FACT THAT 04:05.979 --> 04:07.447 IT'S FOR COMMERCIAL GAIN. 04:07.514 --> 04:09.382 BUT PUNK AS ARTICULATED BY 04:09.449 --> 04:10.550 MCLAREN AND WESTWOOD, 04:10.617 --> 04:12.853 IT VERY MUCH WAS A COMMERCIAL 04:12.919 --> 04:13.253 ENTERPRISE. 04:13.320 --> 04:15.188 BRIDGING "THE TALE OF TWO 04:15.255 --> 04:17.124 CITIES" IS A ROOM CALLED 04:17.190 --> 04:18.291 "CLOTHES FOR HEROES", 04:18.358 --> 04:19.826 AND "CLOTHES FOR HEROES" 04:19.893 --> 04:21.762 WAS A SLOGAN UNDER WHICH 04:21.828 --> 04:23.330 MCLAREN AND WESTWOOD MARKETED 04:23.396 --> 04:24.865 THEIR FASHIONS, THEIR CLOTHES. 04:24.931 --> 04:26.800 WHAT WE'VE DONE IS ACTUALLY 04:26.867 --> 04:28.368 JUXTAPOSE ORIGINAL PUNK FASHIONS 04:28.435 --> 04:29.903 BY MCLAREN AND WESTWOOD 04:29.970 --> 04:31.071 WITH CONTEMPORARY DESIGNERS 04:31.138 --> 04:32.239 LIKE CHRISTOPHER BAILEY 04:32.305 --> 04:33.006 FOR BURBERRY. 04:33.073 --> 04:33.373 RODARTE... 04:33.440 --> 04:35.308 REALLY TO SHOW THE SORT 04:35.375 --> 04:37.244 OF ENDURING IMPACT OF MCLAREN 04:37.310 --> 04:38.812 AND WESTWOOD'S PUNK AESTHETIC. 04:38.879 --> 04:40.347 AFTER YOU GO THROUGH 04:40.413 --> 04:41.515 "CLOTHES FOR HEROES", 04:41.581 --> 04:42.682 THE REMAINING SECTIONS 04:42.749 --> 04:44.618 OF THE EXHIBITION ARE REALLY 04:44.684 --> 04:46.153 FOCUSING ON HIGH FASHION. 04:46.219 --> 04:48.889 AND TO ME I THINK THE GREATEST 04:48.955 --> 04:50.423 AND MOST ENDURING LEGACY 04:50.490 --> 04:51.958 OF THE PUNK AESTHETIC 04:52.025 --> 04:53.894 IS THE IDEA OF DO-IT-YOURSELF. 04:53.960 --> 04:55.061 THERE'S FOUR MANIFESTATIONS 04:55.128 --> 04:56.630 OF DO-IT-YOURSELF AS ORIGINALLY 04:56.696 --> 04:57.764 ARTICULATED BY PUNKS 04:57.831 --> 04:59.699 IN THE MID-70'S: THE GALLERY 04:59.766 --> 05:01.268 "HARDWARE" FOCUSES ON PERHAPS 05:01.334 --> 05:03.603 THE MOST OBVIOUS AND THE MOST 05:03.670 --> 05:04.371 FORMALISTIC ASPECTS 05:04.437 --> 05:05.138 OF DO-IT-YOURSELF, 05:05.205 --> 05:07.474 WHICH IS THE SORT OF HARDWARE 05:07.541 --> 05:09.409 PUNKS USED TO IMBUE THEIR 05:09.476 --> 05:10.944 CLOTHING WITH AN AESTHETIC 05:11.011 --> 05:13.280 OF VIOLENCE AND ANARCHY AND EVEN 05:13.346 --> 05:13.647 CRUELTY. 05:13.713 --> 05:15.215 SO PIECES LIKE STUDS 05:15.282 --> 05:17.150 OR SAFETY PINS OR CHAINS 05:17.217 --> 05:17.918 OR ZIPPERS. 05:17.984 --> 05:19.853 THESE ARE PERHAPS THE MOST 05:19.920 --> 05:21.388 OBVIOUS MOST GO-TO ASPECTS 05:21.454 --> 05:23.323 OF PUNK FASHION THAT DESIGNERS 05:23.390 --> 05:24.090 HAVE APPROPRIATED-DESIGNERS 05:24.157 --> 05:24.891 LIKE VERSACE. 05:24.958 --> 05:26.827 BUT IT ALSO HAS GARMENTS 05:26.893 --> 05:28.762 BY ZANDRA RHODES AND DATED 05:28.829 --> 05:30.697 TO 1977 FROM THE COLLECTION 05:30.764 --> 05:34.835 CALLED "THE CONCEPTUAL CHIC 05:34.901 --> 05:36.303 COLLECTION" AND THAT REALLY 05:36.369 --> 05:37.170 WAS THE FIRST TIME 05:37.237 --> 05:38.872 THAT A DESIGNER CO-OPTED 05:38.939 --> 05:41.575 THE PUNK AESTHETIC FOR HIGH 05:41.641 --> 05:46.379 FASHION. 05:46.446 --> 05:48.215 THE NEXT GALLERY IS "BRICOLAGE" 05:48.281 --> 05:49.850 AND "BRICOLAGE" REFERENCES 05:49.916 --> 05:52.619 THE FOUND OBJECTS THAT PUNKS 05:52.686 --> 05:54.020 OFTEN WOULD INCORPORATE 05:54.087 --> 05:56.623 INTO THE CLOTHING PRIMARILY AS, 05:56.690 --> 05:57.224 REALLY, 05:57.290 --> 05:58.491 A CRITIQUE ON THE IDEA 05:58.558 --> 05:59.359 OF GOOD TASTE, 05:59.426 --> 06:01.428 AND ALSO ASPECTS OF CONSUMERISM. 06:01.494 --> 06:03.263 AND PUNKS OFTEN WOULD CO-OPT 06:03.330 --> 06:05.131 OBJECTS FROM THE BASEST 06:05.198 --> 06:06.733 OF CONTEXTS AND THEY WOULD 06:06.800 --> 06:08.134 INCORPORATE THOSE INTO 06:08.201 --> 06:09.035 THE CLOTHING REALLY 06:09.102 --> 06:09.936 AS A MANIFESTATION 06:10.003 --> 06:12.072 OR A CHALLENGE TO WHAT WE MEAN 06:12.138 --> 06:14.741 GOOD TASTE AND BAD TASTE. 06:14.808 --> 06:15.742 I THINK ONE OF THE HEROES 06:15.809 --> 06:16.476 OF THAT GALLERY 06:16.543 --> 06:18.178 IS MARTIN MARGIELA. 06:18.245 --> 06:19.279 MARTIN MARGIELA'S KNOWN 06:19.346 --> 06:21.414 FOR INCORPORATING FOUND OBJECTS 06:21.481 --> 06:23.083 INTO HIS CLOTHING. 06:23.149 --> 06:24.451 SO WE HAVE WAISTCOATS MADE 06:24.517 --> 06:26.186 OUT OF BROKEN CERAMIC DISHES 06:26.253 --> 06:30.523 AND HELD TOGETHER WITH WIRE. 06:30.590 --> 06:31.424 AND IN THE CENTER OF THAT 06:31.491 --> 06:32.392 GALLERY WE HAVE SOME 06:32.459 --> 06:33.493 EXTRAORDINARY DRESSES BY 06:33.560 --> 06:34.828 THE DESIGNER GARETH PUGH, 06:34.895 --> 06:36.029 WHICH ARE ENTIRELY MADE 06:36.096 --> 06:38.598 OF GARBAGE BAGS THAT HE SHREDDED 06:38.665 --> 06:42.669 TO LOOK LIKE FEATHERS AND FUR. 06:42.736 --> 06:43.703 THE THIRD GALLERY AFTER 06:43.770 --> 06:45.538 "BRICOLAGE" IS A GALLERY CALLED 06:45.605 --> 06:46.373 "GRAFFITI", 06:46.439 --> 06:47.707 AND "GRAFFITI" IS SIMILAR 06:47.774 --> 06:48.942 TO HARDWARE IN THE FACT THAT 06:49.009 --> 06:50.010 IT'S A VERY SELF-EVIDENT 06:50.076 --> 06:51.645 EXPRESSION OF DO-IT-YOURSELF. 06:51.711 --> 06:52.946 IT REFERENCES THE SLOGANS 06:53.013 --> 06:54.047 AND THE STENCILING 06:54.114 --> 06:54.881 AND THE DIFFERENT TYPES 06:54.948 --> 06:55.982 OF "GRAFFITI" THAT PUNKS WOULD 06:56.049 --> 06:57.751 USE AS A WAY OF CHALLENGING 06:57.817 --> 06:58.451 THE ESTABLISHMENT, 06:58.518 --> 07:01.254 AS CHALLENGING THE STATUS QUO. 07:01.321 --> 07:02.188 I THINK ONE OF THE HIGHLIGHTS 07:02.255 --> 07:03.356 IS PERHAPS A DRESS 07:03.423 --> 07:06.927 BY ALEXANDER MCQUEEN. 07:06.993 --> 07:07.661 AND IN THE MIDDLE OF THAT 07:07.727 --> 07:09.195 GALLERY WE HAVE FOUR BALL GOWNS 07:09.262 --> 07:13.667 BY DOLCE AND GABBANA. 07:13.733 --> 07:14.734 AND THEN THE FINAL GALLERY 07:14.801 --> 07:15.936 IS CALLED "DESTROY", 07:16.002 --> 07:17.671 AND "DESTROY" LOOKS AT I THINK 07:17.737 --> 07:19.072 PERHAPS WHAT IS THE MOST 07:19.139 --> 07:22.008 ENDURING LEGACY OF THE DIY 07:22.075 --> 07:23.610 AESTHETIC ON HIGH FASHION, 07:23.677 --> 07:24.444 WHICH IS THE IDEA 07:24.511 --> 07:25.679 OF DECONSTRUCTIONISM 07:25.745 --> 07:27.314 AND REFERENCES THE RIPS, 07:27.380 --> 07:28.114 TEARS, AND SLASHES, 07:28.181 --> 07:29.316 THAT PUNKS WOULD INCORPORATE 07:29.382 --> 07:30.550 INTO THEIR CLOTHING, 07:30.617 --> 07:32.152 REALLY SYMBOLS OF URBAN 07:32.218 --> 07:34.020 DERELICTION AND URBAN 07:34.087 --> 07:36.156 DESTITUTION. 07:36.222 --> 07:38.091 I THINK THE HERO OF THAT GALLERY 07:38.158 --> 07:40.060 IS PROBABLY REI KAWAKUBO. 07:40.126 --> 07:41.127 AND I THINK PROBABLY MORE THAN 07:41.194 --> 07:43.430 ANY OTHER DESIGNER REI HAS TAKEN 07:43.496 --> 07:45.332 ON THE MANTLE OF PUNK. 07:45.398 --> 07:46.566 SHE LOOKS AT PUNK ALMOST 07:46.633 --> 07:48.234 AS AN INTELLECTUAL PARADIGM. 07:48.301 --> 07:49.369 SHE'S CONTINUED THE IDEA 07:49.436 --> 07:50.403 OF RIPS AND TEARS INTO 07:50.470 --> 07:51.671 HER FASHIONS, 07:51.738 --> 07:52.772 BUT SHE GOES MANY STEPS FURTHER 07:52.839 --> 07:54.140 IN DECONSTRUCTIONISM, 07:54.207 --> 07:55.775 WHERE SHE IN A WAY CHALLENGES 07:55.842 --> 07:57.410 THE FORMER LOGIC OF CLOTHING 07:57.477 --> 07:59.012 BY HAVING JACKETS MORPHING 07:59.079 --> 08:00.080 INTO SKIRTS, 08:00.146 --> 08:01.414 SKIRTS MORPHING INTO JACKETS 08:01.481 --> 08:02.349 WITH ARMS PROTRUDING 08:02.415 --> 08:03.116 ON THE SKIRT. 08:03.183 --> 08:04.451 SO HER CLOTHES NOT ONLY TAKE 08:04.517 --> 08:07.053 ON THE PUNK TACTICS OF SHOCK 08:07.120 --> 08:08.588 AND PROVOCATION, 08:08.655 --> 08:09.756 BUT CONTINUE THE LANGUAGE 08:09.823 --> 08:11.658 OF PUNK INTO A 21ST CENTURY 08:11.725 --> 08:15.495 IDIOM. 08:15.562 --> 08:16.363 I THINK WHAT'S INTERESTING 08:16.429 --> 08:17.530 IS THERE SEEMS TO BE 08:17.597 --> 08:19.666 A DISJUNCTURE BETWEEN THE IDEA 08:19.733 --> 08:22.035 OF HAUTE COUTURE AND PUNK. 08:22.102 --> 08:23.636 BUT I THINK BOTH VERY MUCH 08:23.703 --> 08:24.738 FOCUSED ON THE CONCEPTS 08:24.804 --> 08:26.606 OF INDIVIDUALITY AND CONCEPTS 08:26.673 --> 08:28.108 OF NOVELTY AND I THINK THAT, 08:28.174 --> 08:29.542 THAT'S SOMETHING THAT THEY SHARE 08:29.609 --> 08:31.277 VERY MUCH IN COMMON. 08:31.344 --> 08:32.178 I THINK WHAT WAS INTERESTING 08:32.245 --> 08:33.113 ABOUT PUNKS IS THAT THEY DID 08:33.179 --> 08:35.482 CHALLENGE THESE VERY NORMATIVE 08:35.548 --> 08:37.317 CONVENTIONS OF BEAUTY 08:37.384 --> 08:38.385 AND FASHION. 08:38.451 --> 08:39.252 I DON'T THINK YOU'RE SEEING 08:39.319 --> 08:39.953 THAT ON THE STREET, 08:40.020 --> 08:40.854 AND WHERE YOU REALLY ARE SEEING 08:40.920 --> 08:41.988 IT IS THE RUNWAY. 08:42.055 --> 08:43.123 SO IN THAT RESPECT, 08:43.189 --> 08:44.224 HIGH FASHION HAS COMPLETELY 08:44.290 --> 08:45.492 OVERTAKEN PUNK IN TERMS OF THIS 08:45.558 --> 08:50.296 ARENA IN WHICH INDIVIDUALISM, 08:50.363 --> 08:51.631 IN WHICH CREATIVITY, 08:51.698 --> 08:53.333 IN WHICH ARTISTIC EXPRESSION 08:53.400 --> 08:54.134 IS CELEBRATED ABOVE THE IDEA 08:54.200 --> 08:58.238 OF JUST THE STATUS QUO. 08:59.406 --> 09:00.006 >> RHEA: WELL, 09:00.073 --> 09:01.107 I'M NOT SURE PUNK IS MY STYLE 09:01.174 --> 09:04.244 BUT IT'S DEFINITELY A DEFINEABLE 09:04.310 --> 09:04.944 STYLE! 09:05.011 --> 09:06.179 I THINK AS LONG AS ROCK & ROLL 09:06.246 --> 09:07.480 IS ABOUT REBELLION, 09:07.547 --> 09:08.882 YOU'RE GOING TO SEE IT IN 09:08.948 --> 09:10.116 CLOTHES AS WELL. 09:10.183 --> 09:10.850 >> STEVE: THAT'S ABSOLUTELY TRUE 09:10.917 --> 09:11.451 RHEA. 09:11.518 --> 09:12.619 AND I'M SURE YOU'VE LIVED 09:12.685 --> 09:13.753 THROUGH FELLS POINT IN THE 70'S 09:13.820 --> 09:15.388 AND I'M SURE YOU USED GLUE 09:15.455 --> 09:16.456 TO SPIKE UP THAT BEAUTIFUL HAIR 09:16.523 --> 09:17.690 OF YOURS. 09:17.757 --> 09:18.591 >> RHEA: COULD WE TALK ABOUT 09:18.658 --> 09:19.459 SOMETHING ELSE? 09:19.526 --> 09:21.327 >> STEVE: SURE. 09:21.394 --> 09:22.195 >> RHEA: TO FIND OUT MORE ABOUT 09:22.262 --> 09:23.329 THIS EXHIBIT, 09:23.396 --> 09:26.332 VISIT METMUSEUM.ORG. 09:37.811 --> 09:38.778 >> RHEA: OUR NEXT ARTIST HALES 09:38.845 --> 09:40.747 FROM BALTIMORE AND LAST SPRING 09:40.814 --> 09:43.450 HE WON A PRESTIGIOUS $25,000 09:43.516 --> 09:45.752 BAKER ARTIST AWARD. 09:45.819 --> 09:47.620 JONATHAN LATIANO IS AN 09:47.687 --> 09:49.489 INSTALLATION ARTIST CREATING 09:49.556 --> 09:52.158 MOTION AND VERVE WITH SALT, 09:52.225 --> 09:53.760 STEEL, GLASS, 09:53.827 --> 09:55.528 AND THE FLEETING MOMENT. 09:55.595 --> 09:56.729 >> STEVE: MANY OF LATIANO'S 09:56.796 --> 09:58.731 WORKS EXIST ONLY TEMPORARILY 09:58.798 --> 10:00.166 THEY'RE DESIGNED TO VANISH AFTER 10:00.233 --> 10:01.034 THE EXHIBIT. 10:01.101 --> 10:02.602 SO TAKE A GOOD LOOK.... 10:05.438 --> 10:06.039 >> JONATHAN LATIANO: THEY TALK 10:06.106 --> 10:08.308 ABOUT THIS THING IN SCULPTURE 10:08.374 --> 10:09.676 WHERE SCULPTURE ENDS 10:09.742 --> 10:10.844 AT THE FLOOR. 10:10.910 --> 10:11.544 HOW DO YOU MAKE SOMEONE 10:11.611 --> 10:12.979 HYPER AWARE OF THE SPACE AROUND 10:13.046 --> 10:15.148 THEM SO THAT YOU BEGIN TO TALK 10:15.215 --> 10:16.583 ABOUT HOW IT DOESN'T END 10:16.649 --> 10:17.150 AT THE FLOOR? 10:17.217 --> 10:27.494 MAYBE IT CONTINUES. 10:27.560 --> 10:29.562 INSTALLATION ART IS SCULPTURE 10:29.629 --> 10:31.564 THAT YOU CAN WALK INTO. 10:31.631 --> 10:34.601 IT'S AN IMMERSIVE ENVIRONMENT. 10:34.667 --> 10:35.902 IT'S ONE OF THOSE THINGS WHERE 10:35.969 --> 10:36.970 YOU HAPPEN UPON IT, 10:37.036 --> 10:46.513 AND THEN YOU'RE INSIDE IT. 10:46.579 --> 10:48.047 I REALLY DO HAVE THINGS EMERGING 10:48.114 --> 10:49.048 OUT OF WALLS AND CEILINGS 10:49.115 --> 10:49.983 AND FLOORS. 10:50.049 --> 10:51.885 THINGS EXPLODING OUT, 10:51.951 --> 10:54.354 KIND OF LIKE ORGANIZED CHAOS. 10:54.420 --> 10:57.323 I LIKE THIS KIND OF PAIRING 10:57.390 --> 10:58.324 OF ART AND SCIENCE, 10:58.391 --> 10:59.459 SPECIFICALLY FIELDS OF SCIENCE 10:59.526 --> 11:01.728 THAT DEAL WITH FIELDS OF LARGE 11:01.794 --> 11:02.328 EXPANSES OF TIME. 11:02.395 --> 11:04.264 SO, GEOLOGY IS A HUGE ONE. 11:04.330 --> 11:05.832 EVOLUTION. EXTINCTION. 11:05.899 --> 11:08.768 I'M DEALING WITH THESE REALLY 11:08.835 --> 11:10.537 IMPORTANT THINGS THAT 11:10.603 --> 11:12.906 ARE HAPPENING IN SCIENCE 11:12.972 --> 11:13.806 OF THE DAY. 11:13.873 --> 11:15.742 IT HAPPENS TO BE VERY DARK. 11:15.808 --> 11:16.876 BUT IT'S NOT SO MUCH AS ME 11:16.943 --> 11:20.313 BEING AN ACTIVIST AS ME TRYING 11:20.380 --> 11:24.317 TO CAPTURE THOSE REALLY SAD 11:24.384 --> 11:25.151 MOMENTS, 11:25.218 --> 11:26.419 THOSE REALLY SAD AND EPHEMERAL 11:26.486 --> 11:29.455 MOMENTS THAT ARE GOING ON 11:29.522 --> 11:32.091 IN THE WORLD AROUND US. 11:32.158 --> 11:33.626 I'M ATTRACTED TO SALT, 11:33.693 --> 11:34.794 WHICH SHOWS UP IN SO MUCH 11:34.861 --> 11:35.795 OF MY WORK. 11:35.862 --> 11:38.031 I USE TABLE SALT, 11:38.097 --> 11:39.933 JUST REGULAR TABLE SALT, 11:39.999 --> 11:42.302 BECAUSE IT'S INCREDIBLY REFINED. 11:42.368 --> 11:43.937 AS IT EVAPORATES, 11:44.003 --> 11:46.172 THE SALT BEGINS TO REBOND, 11:46.239 --> 11:47.740 AND IT BEGINS TO FORM THESE 11:47.807 --> 11:48.775 REALLY BEAUTIFUL INTRICATE 11:48.841 --> 11:49.442 PATTERNS, 11:49.509 --> 11:50.910 SO IT'S PHYSICALLY GROWING, 11:50.977 --> 11:51.911 EVEN IF IT'S JUST BY HALF 11:51.978 --> 11:56.482 A MILLIMETER. 11:56.549 --> 11:57.417 MIRRORS ARE EXTREMELY IMPORTANT 11:57.483 --> 11:58.117 TO ME. 11:58.184 --> 11:59.652 WHEN THE VIEWER SEES THEMSELVES 11:59.719 --> 12:00.286 IN THE WORK, 12:00.353 --> 12:02.288 THEY BECOME VERY HYPER AWARE 12:02.355 --> 12:04.224 OF THEIR RELATIONSHIP TO IT. 12:04.290 --> 12:05.225 THERE'S ALSO THIS IDEA 12:05.291 --> 12:08.394 OF THE ATMOSPHERE AND THE SKY 12:08.461 --> 12:09.629 BEING SUCH AN IMPORTANT VISUAL 12:09.696 --> 12:10.296 ELEMENT, 12:10.363 --> 12:11.197 BECAUSE I'M TAKING THAT 12:11.264 --> 12:13.499 AND SHOVING IT DOWN, 12:13.566 --> 12:14.367 SCRUNCHING IT UP INTO 12:14.434 --> 12:15.602 THE GROUND. 12:15.668 --> 12:16.536 DURING THE DAY IT WAS REALLY 12:16.603 --> 12:17.303 BRIGHT. 12:17.370 --> 12:18.338 IF IT WAS CLOUDY IT BECAME 12:18.404 --> 12:19.639 THIS REALLY GRAY PIECE. 12:19.706 --> 12:22.008 AT SUNSET IT WOULD BE THIS NICE 12:22.075 --> 12:23.710 COOL PINK ON THE INSIDE. 12:23.776 --> 12:24.744 AND THEN AT NIGHT, 12:24.811 --> 12:26.446 WHICH ENDED UP BEING MY FAVORITE 12:26.512 --> 12:29.816 TIME WITH THE WORK, 12:29.882 --> 12:32.352 IT WAS JUST THIS BLACK ROCK. 12:32.418 --> 12:33.253 SO AGAIN, 12:33.319 --> 12:34.053 IT'S THIS BACK AND FORTH BETWEEN 12:34.120 --> 12:35.154 THESE REALLY EARTHY MATERIALS 12:35.221 --> 12:36.322 VERSUS THESE REALLY ARTIFICIAL 12:36.389 --> 12:37.190 MATERIALS. 12:37.257 --> 12:38.891 PLASTICS AND RESINS 12:38.958 --> 12:39.993 AND STYROFOAMS, 12:40.059 --> 12:41.060 THESE THINGS THAT HAVE 12:41.127 --> 12:42.228 A HALF LIFE OF TENS OF THOUSANDS 12:42.295 --> 12:43.129 OF YEARS BEFORE THEY BEGIN 12:43.196 --> 12:44.364 TO DECOMPOSE. 12:44.430 --> 12:45.064 BECAUSE EVEN THE ARTIFICIAL 12:45.131 --> 12:47.533 MATERIALS ARE BEAUTIFUL. 12:47.600 --> 12:50.570 THEY'RE STAGGERINGLY BEAUTIFUL. 12:50.637 --> 12:52.505 SO MANY THINGS IN OUR ECOSYSTEM 12:52.572 --> 12:57.143 ARE COLLAPSING RIGHT NOW. 12:57.210 --> 12:59.946 AND THEY WILL BE GONE. 13:00.013 --> 13:00.913 WHEN SOMETHING IS EXTINCT, 13:00.980 --> 13:06.152 THAT'S PRETTY MUCH IT. 13:06.219 --> 13:07.487 MOST OF MY WORK HAS THIS 13:07.553 --> 13:08.655 LIFECYCLE. 13:08.721 --> 13:10.390 IT'LL EXIST FOR TWO WEEKS 13:10.456 --> 13:11.991 OR A MONTH. 13:12.058 --> 13:16.496 ONCE I DEINSTALL IT, 13:16.562 --> 13:17.163 IT WILL NOT BE SHOWN AGAIN. 13:17.230 --> 13:21.167 WHETHER THE VIEWER LIKES 13:21.234 --> 13:22.168 THIS PIECE, OR DISLIKES IT, 13:22.235 --> 13:22.869 OR THEY AGREE WITH IT 13:22.935 --> 13:23.736 OR THEY HATE IT, 13:23.803 --> 13:25.204 IT ONLY EXISTS JUST FOR THIS 13:25.271 --> 13:28.875 MOMENT. 13:28.941 --> 13:30.343 THERE IS SO MUCH BEAUTY IN THAT 13:30.410 --> 13:31.511 FLEETING MOMENT. 13:34.981 --> 13:35.715 >> RHEA: YOU KNOW, 13:35.782 --> 13:38.051 I INTERVIEWED JONATHAN LATIANO 13:38.117 --> 13:40.553 AND HE'S AMAZINGLY CEREBRAL 13:40.620 --> 13:43.222 FOR SOMEONE WHO'S SO YOUNG 13:43.289 --> 13:44.991 AND WHOSE WORK IS SO VISUALLY 13:45.058 --> 13:46.159 ENTICING. 13:46.225 --> 13:48.428 AND WHAT I LIKED MOST I THINK 13:48.494 --> 13:51.230 IS THAT GLOWING SALTY TEXTURE. 13:51.297 --> 13:52.765 >> STEVE: YEAH. I'M JUST TOTALLY 13:52.832 --> 13:53.833 SHOCKED THAT HE COULD MAKE 13:53.900 --> 13:55.001 SOMETHING SO INTRICATE OUT 13:55.068 --> 13:57.337 OF SOMETHING SIMPLE AS SALT. 13:57.403 --> 13:58.438 >> RHEA: HE IS REALLY TALENTED 13:58.504 --> 14:00.440 AND SO SMART. 14:00.506 --> 14:02.241 YOU CAN FIND OUT MORE ABOUT THIS 14:02.308 --> 14:03.543 AND MANY OTHER ARTISTS 14:03.609 --> 14:06.446 AT THE BAKER ARTIST AWARDS 14:06.512 --> 14:07.580 ONLINE GALLERY: 14:07.647 --> 14:08.147 BAKERARTISTAWARDS.ORG. 14:08.214 --> 14:11.050 AND YOU CAN SEE SOME 14:11.117 --> 14:12.785 OF JONATHAN LATIANO'S 14:12.852 --> 14:15.088 INSTALLATIONS AT THE BMA'S 14:15.154 --> 14:16.723 BAKER ARTIST AWARD EXHIBIT 14:16.789 --> 14:18.157 IN FEBRUARY. 14:18.224 --> 14:19.859 WE'RE GOING TO KEEP YOU POSTED. 14:31.003 --> 14:31.738 >> RHEA: OUR NEXT ARTIST'S 14:31.804 --> 14:33.740 WORK IS SUCH A CONTRAST TO 14:33.806 --> 14:34.774 THE LAST ONE. 14:34.841 --> 14:37.110 GILES CLEMENT IS A PHOTOGRAPHER 14:37.176 --> 14:38.711 WHO STRIVES TO PERFECT 14:38.778 --> 14:41.114 THE DISAPPEARING 1900'S CRAFT 14:41.180 --> 14:44.150 OF WET PLATE PHOTOGRAPHY. 14:44.217 --> 14:44.951 >> STEVE: YOU'LL SEE WHY 14:45.017 --> 14:45.918 HE'S SO HOOKED ON THIS HAUNTING 14:45.985 --> 14:49.756 BEAUTIFUL AND LASTING PROCESS. 14:59.499 --> 15:00.333 >> MY NAME IS GILES CLEMENT 15:00.400 --> 15:02.168 AND I'M A WET PLATE COLLODIAN 15:02.235 --> 15:05.204 PHOTOGRAPHER. 15:05.271 --> 15:06.406 SO YOU WANT A PHOTO OF YOU 15:06.472 --> 15:07.507 AND YOUR DOG FOR YOUR DAD? 15:07.573 --> 15:09.275 >> YES. I'M ASHLEY SCHAHFER. 15:09.342 --> 15:10.610 I'M HERE TO HAVE A PORTRAIT 15:10.676 --> 15:13.379 TAKEN BY GILES TO SEND TO MY DAD 15:13.446 --> 15:15.715 AND MAKE HIM HAPPY. 15:15.782 --> 15:16.315 >> GILES: IF WE HAVE JACK 15:16.382 --> 15:17.717 ALONG SIDE YOUR FACE THERE. 15:17.784 --> 15:18.818 AND THEN WE JUST GOTTA KEEP HIM 15:18.885 --> 15:19.752 PARALLEL TO YOUR EYES. 15:19.819 --> 15:20.686 SO HE STAYS IN FOCUS, 15:20.753 --> 15:21.621 AND YOU DO TOO. 15:21.687 --> 15:22.488 AND HOPEFULLY HE DOESN'T 15:22.555 --> 15:23.823 HATE THE FLASH TOO MUCH RIGHT. 15:23.890 --> 15:24.457 >> ASHLEY: HE'S GOING TO HATE 15:24.524 --> 15:25.024 IT. 15:25.091 --> 15:26.159 [GILES PETS JACK] 15:26.225 --> 15:27.460 >> GILES: WET PLATE WAS INVENTED 15:27.527 --> 15:30.430 IN 1851 AND THEN USED UP UNTIL 15:30.496 --> 15:36.302 THE EARLY 1900's. 15:36.369 --> 15:36.903 AND WITH WET PLATE YOU HAVE 15:36.969 --> 15:38.638 TO MAKE THE PLATE, SHOOT IT, 15:38.704 --> 15:40.072 AND DEVELOP IT IN TEN MINUTES 15:40.139 --> 15:41.073 OR SO. 15:41.140 --> 15:42.074 THAT'S WHY IT'S CALLED WET PLATE 15:42.141 --> 15:43.709 BECAUSE THE PROCESS IS WET 15:43.776 --> 15:46.279 AND ITS VERY FLUID, 15:46.345 --> 15:47.146 FLUID FAST MOVING, 15:47.213 --> 15:57.690 FAST PACED THING. 15:57.757 --> 15:58.925 >> ASHLEY: SO YOU SIT HERE 15:58.991 --> 16:00.326 AND YOU JUST WAIT FOR HIM TO DO 16:00.393 --> 16:01.828 HIS THING AND THEN YOU GET 16:01.894 --> 16:08.468 FLASHED AND YOU'RE DONE. 16:08.534 --> 16:11.571 YOU'RE OKAY. 16:11.637 --> 16:12.472 >> GILES: IT CAN BE BETTER. 16:12.538 --> 16:13.206 >> ASHLEY: I THINK ITS CUTE. 16:13.272 --> 16:13.940 >> GILES: WE CAN DO BETTER 16:14.006 --> 16:16.375 I JUST HAD SOME DIRT THAT GOT ON 16:16.442 --> 16:17.543 RIGHT THERE AND THEN THOSE 16:17.610 --> 16:19.879 DROOLS ARE FROM THE TOP RUNNING 16:19.946 --> 16:20.413 DOWN. 16:20.480 --> 16:21.247 SO YOU WANT TO JUST TRY ANOTHER 16:21.314 --> 16:22.215 ONE AND WE'LL GET IT BETTER? 16:22.281 --> 16:23.549 >> ASHLEY: SURE. 16:23.616 --> 16:24.383 >> GILES: I JUST START WITH 16:24.450 --> 16:26.352 A REGULAR PIECE OF BLACK GLASS 16:26.419 --> 16:27.753 AND I POUR COLLIDING ON IT 16:27.820 --> 16:29.889 AND IT'S A SOLUTION OF COTTON 16:29.956 --> 16:31.824 MIXED WITH ALCOHOL ETHER 16:31.891 --> 16:35.828 AND SOME ACID... 16:35.895 --> 16:36.963 WHEN I DUNK THE PLATE INTO 16:37.029 --> 16:38.498 A TANK OF SILVER NITRATE 16:38.564 --> 16:39.532 THE SILVER NITRATE REACTS TO 16:39.599 --> 16:40.900 THE CHEMICALS IN THE COLLIDING 16:40.967 --> 16:42.468 AND THE SILVER THEN BECOMES 16:42.535 --> 16:43.636 LIGHT SENSITIVE. 16:43.703 --> 16:44.403 SO ESSENTIALLY WHAT I'M DOING 16:44.470 --> 16:45.338 IS JUST TAKING A PIECE 16:45.404 --> 16:46.339 OF BLACK GLASS AND TURNING IT 16:46.405 --> 16:47.473 INTO A PIECE OF FILM THAT I CAN 16:47.540 --> 16:48.908 THEN TAKE A PICTURE ON. 16:48.975 --> 16:49.842 WHEN I'M IN THE DARKROOM THERE, 16:49.909 --> 16:51.444 I PUT THE PLATE IN LIKE THIS 16:51.511 --> 16:52.278 AND THEN CLOSE IT, 16:52.345 --> 16:54.514 AND THEN THAT HOLDS THE FILM. 16:54.580 --> 16:55.314 AND THIS IS WHAT GOES INTO 16:55.381 --> 16:56.582 THE CAMERA AND THEN THERE'S 16:56.649 --> 16:58.150 A DARK SLIDE THAT PROTECTS IT, 16:58.217 --> 16:58.918 AND WHEN I'M READY TO TAKE 16:58.985 --> 17:00.119 A PICTURE I'LL PULL THAT 17:00.186 --> 17:01.287 DARK SLIDE OUT AND YOU CAN SEE 17:01.354 --> 17:02.655 THE FILM WITH THE GLASS RIGHT 17:02.722 --> 17:03.256 THERE, 17:03.322 --> 17:04.023 SO THE IMAGE IS MADE RIGHT 17:04.090 --> 17:06.859 ON THAT. 17:28.014 --> 17:28.548 >> ASHLEY: YOU'RE JUST LOOKING 17:28.614 --> 17:30.750 INTO THIS BIG LENS AND DON'T 17:30.816 --> 17:32.184 REALLY KNOW WHAT'S GOING ON 17:32.251 --> 17:33.486 CAUSE IT DOESN'T REALLY DO 17:33.553 --> 17:35.555 A WHOLE LOT IT JUST SITS THERE. 17:35.621 --> 17:36.556 >> GILES: THE LENS IS MADE 17:36.622 --> 17:37.823 IN 1849 SO IT'S A HUNDRED 17:37.890 --> 17:40.026 AND SIXTY FOUR YEARS OLD 17:40.092 --> 17:41.060 AND IT ACTUALLY PREDATES 17:41.127 --> 17:41.627 WEB PLATES, 17:41.694 --> 17:42.328 SO IT WAS MADE 17:42.395 --> 17:43.062 FOR DAGUERREOTYPES, 17:43.129 --> 17:44.130 WHICH IS THE FIRST REAL METHOD 17:44.196 --> 17:47.233 OF PHOTOGRAPHY. 17:47.300 --> 17:48.301 IF EVERYTHING IS GOING FINE 17:48.367 --> 17:50.436 ITS EASY AND ANYBODY CAN DO IT, 17:50.503 --> 17:52.405 BUT IT'S WHEN THINGS START 17:52.471 --> 17:53.639 TO GO WRONG THEN TRYING 17:53.706 --> 17:54.440 TO TROUBLE SHOOT, 17:54.507 --> 17:55.474 FIND OUT WHAT'S GOING ON. 17:55.541 --> 17:56.375 LEARNING FROM YOUR MISTAKES 17:56.442 --> 17:58.644 IS THE LONG LEARNING CURVE 17:58.711 --> 18:04.483 I THINK WITH IT. 18:04.550 --> 18:05.351 YOU ACTUALLY POUR DEVELOPER 18:05.418 --> 18:07.720 RIGHT OVER THE PLATE IT'LL GO 18:07.787 --> 18:09.555 FROM JUST BEING A WHITE, 18:09.622 --> 18:10.456 IT JUST LOOKS LIKE A YELLOWISH 18:10.523 --> 18:11.857 WHITE THE SILVER, 18:11.924 --> 18:13.459 AND YOU'LL SEE A NEGATIVE IMAGE 18:13.526 --> 18:20.633 EMERGE OUT OF THE WHITE. 18:20.700 --> 18:21.534 AND YOU'LL TAKE THAT AND PUT 18:21.601 --> 18:22.602 IT IN THE FIXER, 18:22.668 --> 18:23.302 AND THAT'S REALLY WHERE 18:23.369 --> 18:24.470 THE IMAGE IS MADE. 18:24.537 --> 18:26.105 YOU SEE A BLANK PIECE OF GLASS, 18:26.172 --> 18:26.806 BASICALLY, 18:26.872 --> 18:27.940 AND THEN YOU SEE AN IMAGE 18:28.007 --> 18:31.377 MAGICALLY KIND OF APPEAR ON IT. 18:38.918 --> 18:39.986 >> ASHLEY: I LIKE THAT. 18:40.052 --> 18:41.988 IT'S ALWAYS REALLY COOL AND FUN 18:42.054 --> 18:45.558 TO SEE IT COME TO LIGHT. 18:45.625 --> 18:46.492 >> GILES: YOU KNOW A DIGITAL 18:46.559 --> 18:46.726 PICTURE, 18:46.792 --> 18:48.327 AN HISTOGRAM OR WHATEVER, 18:48.394 --> 18:50.830 IT'S HERE ONE SECOND AND YOU 18:50.896 --> 18:51.797 FORGET ABOUT IT THE NEXT. 18:51.864 --> 18:52.498 IT'S ON YOUR HARD DRIVE 18:52.565 --> 18:53.265 SOMEWHERE. 18:53.332 --> 18:54.133 AND THIS IS SOMETHING THAT 18:54.200 --> 18:55.101 YOU CAN HANG ON YOUR WALL 18:55.167 --> 18:59.805 AND IT'S GOING TO LAST 200 YEARS 18:59.872 --> 19:01.173 OR MORE. 19:01.240 --> 19:03.175 IT'S VERY ADDICTING. 19:03.242 --> 19:04.610 IT'S REALLY DIFFICULT TO DO, 19:04.677 --> 19:06.145 AND IT'S DIFFICULT TO PERFECT, 19:06.212 --> 19:07.747 AND I ALWAYS WANT TO GET 19:07.813 --> 19:08.914 IT PERFECT, 19:08.981 --> 19:11.150 OR AS CLOSE TO PERFECT AS I CAN. 19:11.217 --> 19:13.019 SO I JUST KEEP GOING. 19:13.085 --> 19:14.520 I KEEP GOING. I KEEP GOING. 19:14.587 --> 19:17.356 AND I CERTAINLY DON'T GET BORED. 19:17.423 --> 19:18.224 FRUSTRATED, YES. 19:18.290 --> 19:19.458 BORED, NOT SO MUCH. 19:28.200 --> 19:29.301 >> RHEA: I ABSOLUTELY NEVER 19:29.368 --> 19:30.569 GET BORED LOOKING AT OLD 19:30.636 --> 19:31.737 PHOTOGRAPHS. 19:31.804 --> 19:32.571 >> STEVE: YOU KNOW WHEN I WAS 19:32.638 --> 19:33.806 A KID I WAS A PHOTOGRAPHER WITH 19:33.873 --> 19:34.840 ALL THE CHEMICALS. 19:34.907 --> 19:36.308 SO THIS WAS JUST REALLY A WALK 19:36.375 --> 19:38.077 DOWN MEMORY LANE FOR ME. 19:38.144 --> 19:39.478 YOU CAN CHECK OUT 19:39.545 --> 19:41.213 GILES CLEMENT AT HIS WEB SITE. 19:41.280 --> 19:41.747 >> RHEA: AND NOW, 19:41.814 --> 19:43.616 OUR FINAL ARTIST WHO STARTED 19:43.683 --> 19:46.285 DOODLING AS A KID AND ENDED UP 19:46.352 --> 19:48.154 CREATING A COMIC BOOK SUPERHERO. 19:48.220 --> 19:49.388 >> STEVE: MEET ALLEN BELLMAN, 19:49.455 --> 19:50.856 A RETIREE IN SOUTH FLORIDA, 19:50.923 --> 19:52.391 STILL GOING STRONG. 19:52.458 --> 19:53.993 >> RHEA: RIGHT HERE AND NOW 19:54.060 --> 19:56.095 WE'RE REVEALING HIS SECRET 19:56.162 --> 19:58.564 IDENTITY AS THE MAN WHO DREW 19:58.631 --> 20:00.633 "CAPTAIN AMERICA." 20:00.700 --> 20:02.101 TAKE A LOOK! 20:12.845 --> 20:14.980 >> MY NAME IS ALLEN BELLMAN 20:15.047 --> 20:17.750 AND I WORK FOR TIMELY MARVEL 20:17.817 --> 20:24.256 COMICS IN 1942. 20:24.323 --> 20:27.460 I STARTED DOING BACKGROUNDS 20:27.526 --> 20:30.262 CAPTAIN AMERICA. 20:30.329 --> 20:32.298 I ALWAYS WANTED TO DRAW COMICS. 20:32.364 --> 20:34.066 MY FATHER HAD A BAKERY. 20:34.133 --> 20:35.034 EVERY CHANCE I HAD, 20:35.101 --> 20:36.535 I'D DRAW ON THE PAPER BAG 20:36.602 --> 20:40.406 AND I'D OPEN A BOOK AND THERE 20:40.473 --> 20:41.674 WAS A WHITE SPACE IN 20:41.741 --> 20:42.708 A HARD COVERED BOOK, 20:42.775 --> 20:43.909 I'D DRAW IN THERE. 20:43.976 --> 20:45.344 IT'S JUST SOMETHING YOU HAVE 20:45.411 --> 20:48.781 IN YOU. 20:48.848 --> 20:52.685 IT WAS COLUMBUS DAY 1942. 20:52.752 --> 20:54.019 AND I SAID TO MY DAD, 20:54.086 --> 20:55.721 I SAYS I'LL GO TOMORROW, 20:55.788 --> 20:57.389 IT'S A HOLIDAY. 20:57.456 --> 20:59.925 HE SAID NO, YOU'LL GO TODAY. 20:59.992 --> 21:00.793 AND I SAID DAD AND WE WENT 21:00.860 --> 21:01.494 BACK AND FORTH 21:01.560 --> 21:04.130 AND BACK AND FORTH AND HE WON. 21:04.196 --> 21:05.631 AND I THANK MY DEAD DAD BECAUSE 21:05.698 --> 21:07.466 I DON'T KNOW WHERE I'D BE NOW 21:07.533 --> 21:08.901 IF I DIDN'T LISTEN TO HIM 21:08.968 --> 21:09.969 CAUSE I GOT THAT JOB 21:10.035 --> 21:11.704 IN 10-15 MINUTES AND THEY SAID 21:11.771 --> 21:17.243 YOU START MONDAY. 21:17.309 --> 21:18.677 I WENT TO THE HIGH SCHOOL 21:18.744 --> 21:20.546 OF INDUSTRIAL ART AND I WENT 21:20.613 --> 21:21.814 ON AND OFF AT NIGHT 21:21.881 --> 21:23.282 AT PRATT INSTITUTE. 21:23.349 --> 21:24.650 BUT ACTUALLY, 21:24.717 --> 21:27.153 IT WAS ON THE JOB THAT I GOT 21:27.219 --> 21:29.755 MY TRAINING AND THE ABILITY 21:29.822 --> 21:30.689 TO IMPROVE, 21:30.756 --> 21:31.924 THE OPPORTUNITY TO KEEP 21:31.991 --> 21:33.759 IMPROVING MY WORK AND I ALWAYS 21:33.826 --> 21:36.395 WORKED AND STRIVED TO HAVE 21:36.462 --> 21:37.229 A BETTER JOB. 21:37.296 --> 21:38.764 I WAS NEVER REALLY EVER HAPPY 21:38.831 --> 21:41.033 WHATEVER I DO EVEN NOW. 21:41.100 --> 21:42.802 I ALWAYS FEEL I COULD DO BETTER, 21:42.868 --> 21:43.869 MORE AND MORE. 21:43.936 --> 21:45.104 BUT WHEN I DO A DRAWING 21:45.171 --> 21:45.805 FOR A FAN, 21:45.871 --> 21:49.308 I WANT IT TO BE GOOD. 21:49.375 --> 21:50.776 I'M SO HAPPY TO DRAW IT 21:50.843 --> 21:52.077 THE OLD WAY BECAUSE THIS IS WHAT 21:52.144 --> 21:56.048 THE FANS WANT. 21:56.115 --> 21:57.483 WHEN I GET A NOTE OR EMAIL 21:57.550 --> 21:58.984 SAYING, MR. BELLMAN, 21:59.051 --> 22:00.186 YOU MADE ME HAPPY WITH 22:00.252 --> 22:00.886 YOUR WORK. 22:00.953 --> 22:01.754 IT'S FRAMED, 22:01.821 --> 22:03.022 THIS MEANS MORE TO ME THAN 22:03.088 --> 22:04.256 ANYTHING ELSE. 22:04.323 --> 22:06.692 IT'S JUST A PERSONAL 22:06.759 --> 22:08.360 GRATIFICATION THAT I GET 22:08.427 --> 22:11.130 THAT I CAN MAKE SOMEONE HAPPY 22:11.197 --> 22:12.765 WITH JUST MY ART. 22:12.832 --> 22:16.335 THEY LIKE MY ART. 22:16.402 --> 22:18.470 SOME STORIES I LOVE TO DO 22:18.537 --> 22:20.272 MORE THAN OTHER STORIES. 22:20.339 --> 22:22.441 IT'S LIKE AN ACTOR GETTING 22:22.508 --> 22:23.809 THE SCRIPT AND THEY READ 22:23.876 --> 22:24.977 THE SCRIPT AND THEY SAY 22:25.044 --> 22:26.111 NOT FOR ME AND THEY GIVE IT 22:26.178 --> 22:27.246 TO SOMEBODY ELSE AND IT BECOMES 22:27.313 --> 22:28.013 A BIG HIT. 22:28.080 --> 22:30.049 BUT YOU KNOW THE FACT IS IT'S 22:30.115 --> 22:30.683 THE SAME THING. 22:30.749 --> 22:31.584 WITH CERTAIN STORIES JUST 22:31.650 --> 22:33.552 WOULD MOTIVATE ME MORE THAN 22:33.619 --> 22:36.255 OTHER SCRIPTS. 22:36.322 --> 22:38.624 DOING A COMIC BOOK OR DOING ANY 22:38.691 --> 22:39.758 KIND OF COMIC STRIP, 22:39.825 --> 22:41.227 IT'S DOING A MOVIE. 22:41.293 --> 22:42.494 YOU HAVE YOUR LONG SHOT, 22:42.561 --> 22:43.295 YOUR CLOSE UP, 22:43.362 --> 22:44.897 YOUR BIRD'S EYE VIEW, 22:44.964 --> 22:46.398 WORM'S EYE VIEW, 22:46.465 --> 22:48.901 YOU HAVE TO CHANGE EACH PANEL 22:48.968 --> 22:50.436 SO YOU KEEP THE INTEREST 22:50.502 --> 22:53.038 OF THE READER. 22:53.105 --> 22:54.940 A LOT IS LEFT TO THE IMAGINATION 22:55.007 --> 22:56.442 AND THE WRITER WOULD DESCRIBE, 22:56.508 --> 22:57.176 SAYING, 22:57.243 --> 22:59.111 HAVE HIM DRINKING OR SOMETHING 22:59.178 --> 23:00.179 TO THAT EFFECT, 23:00.246 --> 23:01.413 BUT YOU USE YOUR OWN 23:01.480 --> 23:02.781 IMAGINATION. 23:02.848 --> 23:03.716 LIKE I SAID, 23:03.782 --> 23:04.683 IT'S LIKE DOING A MOVIE 23:04.750 --> 23:07.152 AND YOU HAVE TO THINK AS A MOVIE 23:07.219 --> 23:11.457 WITH STILL PICTURES. 23:11.523 --> 23:13.459 IT WAS ONE BOOK ALREADY WRITTEN 23:13.525 --> 23:15.094 ABOUT THE COMIC BOOK INDUSTRY, 23:15.160 --> 23:16.462 BUT IT CAME AND WENT. 23:16.528 --> 23:18.130 BUT I HAD SPOKEN TO MANY 23:18.197 --> 23:18.964 WRITERS, ASKED THEM, 23:19.031 --> 23:20.733 WHY DON'T YOU WRITE A BOOK ABOUT 23:20.799 --> 23:22.301 THE COMIC BOOK INDUSTRY. 23:22.368 --> 23:26.338 EVERYONE HAD A STORY TO TELL. 23:26.405 --> 23:27.406 YOU'RE LIVING IN THE BEST 23:27.473 --> 23:29.208 COUNTRY OF THE WORLD. 23:29.275 --> 23:31.577 THE OPPORTUNITIES ARE HERE. 23:31.644 --> 23:33.512 YOU CANNOT GIVE UP, 23:33.579 --> 23:35.614 YOU CANNOT SURRENDER WITH 23:35.681 --> 23:37.650 REJECTION BECAUSE YOU WILL HIT 23:37.716 --> 23:40.052 SOMEWHERE. 23:40.119 --> 23:41.020 LEARN HOW TO DRAW. 23:41.086 --> 23:42.688 DO NOT COPY THE COMIC BOOK 23:42.755 --> 23:44.390 CHARACTERS BECAUSE YOU WILL 23:44.456 --> 23:46.759 NEVER LEARN TO DRAW. 23:46.825 --> 23:48.560 LEARN HOW TO DRAW ANATOMY. 23:48.627 --> 23:49.795 A WOMAN'S ANATOMY, 23:49.862 --> 23:51.697 A MAN'S ANATOMY, 23:51.764 --> 23:52.865 SO WHEN YOU PUT THE COSTUME 23:52.932 --> 23:54.133 ON THE MAN, 23:54.199 --> 23:55.167 YOU WILL KNOW WHERE THE MUSCLES 23:55.234 --> 23:56.402 ARE, 23:56.468 --> 24:01.874 YOU'LL KNOW WHERE THE HANDS ARE. 24:01.941 --> 24:03.575 I ALWAYS WANTED TO DRAW AND TELL 24:03.642 --> 24:07.446 A STORY IN PICTURES AND MY DREAM 24:07.513 --> 24:09.214 CAME TRUE AT THE TENDER AGE 24:09.281 --> 24:11.383 OF 18. 24:32.004 --> 24:32.838 >> (OUT TAKE STYLE) HI MY NAME 24:32.905 --> 24:34.373 IS ALAN BELLMAN AND I'M AN 24:34.440 --> 24:40.145 ALCO... OPPS, WRONG MEETING. 24:40.212 --> 24:42.448 EXCUSE ME, THAT'S MY CANE. 24:42.514 --> 24:45.184 SOMETIMES I LIKE TO RACE CANE 24:45.250 --> 24:47.753 MYSELF. 24:47.820 --> 24:50.356 LET'S BE NICE TO EVERYONE. 24:50.422 --> 24:53.792 WE CANNOT BE EVERYONE'S FRIEND, 24:53.859 --> 24:55.561 BUT LET'S TRY. 24:55.627 --> 24:56.562 THERE'S SO MUCH GOING ON 24:56.628 --> 24:59.665 RIGHT NOW, SO PLEASE, 24:59.732 --> 25:02.401 PLEASE, CHEERS! 25:05.204 --> 25:06.572 >> RHEA: TO LEARN MORE, 25:06.638 --> 25:09.274 VISIT ALLENBELLMAN.COM. 25:31.830 --> 25:32.965 >> RHEA: AND THAT WRAPS IT UP 25:33.032 --> 25:33.932 FOR THIS WEEK'S SHOW. 25:33.999 --> 25:35.067 PLEASE VISIT 25:35.134 --> 25:37.703 MPT.ORG/ARTWORKS, 25:37.770 --> 25:39.171 WHERE YOU'LL FIND MORE ARTS 25:39.238 --> 25:41.740 EVENTS AND PREVIOUS SHOWS. 25:41.807 --> 25:42.908 I'M RHEA FEIKIN. 25:42.975 --> 25:43.742 >> STEVE: AND I'M STEVE 25:43.809 --> 25:46.812 YASKO FROM WTMD 89.7. 25:46.879 --> 25:47.813 >> RHEA: WE'LL SEE YOU NEXT WEEK 25:47.880 --> 25:49.448 THANKS FOR WATCHING. 25:50.349 --> 25:51.417 >> ANNOUNCER: ARTWORKS IS MADE 25:51.483 --> 25:52.818 POSSIBLE IN PART BY 25:52.885 --> 25:54.753 THE CITIZENS OF BALTIMORE. 25:56.588 --> 25:57.956 CLOSED CAPTIONING HAS BEEN MADE 25:58.023 --> 25:59.358 BY MARYLAND RELAY, 25:59.425 --> 26:00.893 EMPOWERING THOSE WHO ARE DEAF, 26:00.959 --> 26:02.194 HARD OF HEARING OR SPEECH 26:02.261 --> 26:03.429 DISABLED TO STAY CONNECTED 26:03.495 --> 26:05.097 BY PHONE.