>> HOST: IN THIS EDITION

OF ARTWORKS.

A LEGENDARY ROCK STAR.

A SMASH BROADWAY PRODUCTION

GALLOPING ACROSS THE NATION.

AN ARTIST WITH

WEST AFRICAN ROOTS

AND A GLOBAL AESTHETIC.

AND THE IMPACT

OF A FAMOUS POP ARTIST.

IT'S ALL AHEAD ON ARTWORKS.

>> ANNOUNCER: ARTWORKS IS MADE

POSSIBLE IN PART BY:

THE MPT NEW INITIATIVES FUND,

FOUNDED BY

IRENE AND EDWARD H. KAPLAN.

>> HELLO,

I'M RHEA FEIKIN

AND THIS IS ARTWORKS.

STAY TUNED FOR SOME

EXCITING STORIES THIS WEEK.

>> I'M KWAME KWEI-ARMAH.

MANY KNOW PETE TOWNSEND

AS A FOUNDING MEMBER

OF THE LEGENDARY BRITISH

ROCK 'N' ROLL BAND THE WHO.

THE GUITARIST WHO SMASHED

HIS GUITARS ONSTAGE.

>> RHEA: IN THIS INTERVIEW

WITH PAUL HOLDENGRABER

AT THE NEW YORK PUBLIC LIBRARY,

TOWNSEND DESCRIBES HOW

ART SCHOOL INSPIRED HIM

TO FORM ONE OF THE MOST

INFLUENTIAL ROCK BANDS

IN HISTORY.

>> KWAME: AND ABOUT THOSE

SMASHING GUITARS?

THERE WAS METHOD BEHIND

THE MADNESS SO HE SAYS.

HERE'S A LOOK.

>> PETE TOWNSHEND: I WAS VERY

LUCKY.

I WASN'T JUST LUCKY

TO HAVE BEEN THE SON

OF A POPULAR MUSICIAN

OR A MUSICIAN PLAYING

POPULAR MUSIC.

I WAS ALSO VERY LUCKY TO HAVE

THE TIMING FOR ME

WHEN I MOVED.

IF I'D HAVE MOVED INTO MUSIC

PROFESSIONALLY BEFORE I WENT

TO ART SCHOOL

I WOULD HAVE MISSED ONE

OF THE MOST EXTRAORDINARY

ART SCHOOL COURSES

THAT THE UK EVER PRODUCED,

WHICH WAS CALLED

THE BASIC COURSE.

AND IT WAS REVISED BY THIS

EXTRAORDINARY MAN CALLED,

ROY ASCOT WITH TWO OTHER GUYS

HOWARD COHEN,

WHO WAS A COMPUTER VISIONARY

AS AN ARTIST,

AND HIS BROTHER,

BERNARD WHO WENT ON TO BE

THE HEAD AT THE SLADE

THE FINEST ART SCHOOL

IN, IN BRITAIN.

AND YOUNG PAINTERS FROM CORNWALL

AND LECTURERS BROUGHT

IN LIKE LARRY RIVERS,

CAME AND STAYED AT OUR COLLEGE

FOR TWO OR THREE MONTHS.

AND GUSTAV METZGER,

THE AUTO-DESTRUCTIVE ARTIST

WHOSE WORK WAS NOTHING

TO DO WITH DESTRUCTION AT ALL.

IT WAS TO DO WITH THE FACT

THAT WE AS PEOPLE WERE

DESTROYING OUR ENVIRONMENT.

NO,

WE WERE DESTROYING NATURE

AND CALLING IT AN ENVIRONMENT.

AND AS AN ARTIST,

WHAT YOU HAD WAS THE DUTY

TO REFLECT THAT,

TO REFLECT THAT DESTRUCTION.

AND, UH SO,

ARMED WITH THE IDEA THAT,

THAT, THAT THE END WAS COMING.

THE CERTAIN KNOWLEDGE

THAT THE END WAS COMING.

ARMED WITH THE KNOWLEDGE

THAT I HAD A DUTY TO MAKE

MY MUSIC SOUND LIKE

WHAT IT WAS THAT I THOUGHT

WAS COMING,

ARMED WITH THE IDEA

THAT I HAD TO DO SOMETHING

WITH THIS BAND, WHO OKAY,

THEY WERE NOT THE PERFECT

INSTRUMENT.

I DIDN'T FEEL THEY WERE

AT THE TIME.

BUT THEY BECAME SO.

YOU KNOW,

THE WHO, I COULDN'T HAVE

HAD BETTER MEN BESIDE ME.

I COULDN'T HAVE.

YOU KNOW, THAT IN FACT,

IF IT WE HAD BEEN FOUR

ARTY-FARTY ART STUDENTS

WHO ALL THOUGHT LIKE I DID,

IT WOULD HAVE BEEN

A COMPLETE MESS, YOU KNOW.

I JUST USED TO KIND

OF WALK AROUND WITH MY ARTY

IDEAS AND THE REST OF THEM

GOT ON WITH THE JOB.

YOU KNOW,

ROGER OFTEN TALKS ABOUT

THE FACT THAT HE USED

TO HAVE TO COME ROUND

AND DIG ME OUT OF BED, YOU KNOW.

BUT, TO GO TO SHOWS.

BECAUSE I WAS A DEEP THINKER.

I LISTENED TO YOU KNOW,

R&BRECORDS.

BUT THAT MOMENT OF UNITING

WHAT HAD HAPPENED WHAT I

WAS WHAT I'D BEEN TAUGHT

AT ART SCHOOL AND SUDDENLY

REALIZING THAT THIS LITTLE BAND

I WAS IN,

THIS LITTLE R&BBAND

WE WERE JUST ONE OF THE BANDS

AROUND AT THE TIME

IN WEST LONDON

HAD THIS POTENTIAL TO MAKE THIS

EXTRAORDINARY NOISE.

AND ROGER AS A SINGER IS

QUITE INTERESTING BECAUSE

HE HIS TWO OF THE SINGERS

THAT HE LOVED THE MOST

ONE WAS HOWLING WOLF,

WHO HOWLED LIKE A WOLF.

SMOKESTACK LIGHTNING.

YOU KNOW, LIKE THAT.

SING.

AND,

AND THAT THIS LITTLE SKINNY,

LITTLE GUY.

THIS LITTLE MOD GUY

IN FRONT OF THE BAND,

HOWLING WITH THIS HUGE VOICE.

ME, MAKING MY NOISE.

AND JOHN ENTWISTLE

AS A BASS PLAYER WAS ANOTHER

EXTRAORDINARY CHARACTER.

HE WASN'T CONTENT TO PLAY

THE BASS.

HE WANTED IT TO BE MORE.

HE WANTED IT TO BE LIKE

A HUGE ORGAN.

AND HAD THESE SPECIAL STRINGS

MADE THAT DIDN'T GO BOOM.

THEY WENT WANG.

AND, UM WOULD BANG AWAY.

AND, UH KEITH MOON,

OF COURSE,

WE ALL WE ALL KNOW ABOUT

THIS INCREDIBLY EXPRESSIVE,

FLUID,

ALMOST ORCHESTRAL DRUMMER.

HE HE DIDN'T PLAY BOM,

BOM, BOM,

LIKE MOST R&BDRUMMERS DO.

HE'D GO BUM-BUM-PSSSSH,

BUM-BUM-PSSSH,

BUM-BAH-BUM-BAH-BUM-BAH-BO OM.

AND IT WAS ALL KIND OF LIKE

ORCHESTRAL DRUMMING.

IT WAS DECORATIVE.

AND SO,

WHEN I'M STANDING THERE

PRETENDING TO BE,

YOU KNOW,

THE BIG PLANE THAT'S BRINGING

THE BOMB THAT'S GOING TO BE

THE END OF THE WORLD,

ISN'T IT SAD.

YOU KNOW.

RRRRRRRRRRRRR.

DON'T LOOK AT MY NOSE.

IT'S COMING.

RRRRRRR.

AROUND ME,

THIS ROGER GUY RRRRRRRAARRRRR,

JOHN ENTWISTLE BANGING AWAY,

MAKING A NOISE LIKE FIVE

OR SIX, YOU KNOW,

HUGE THEATER ORGANS

ALL PLAYING AT ONCE

AND KEITH MAKING THIS

IN YOU KNOW,

INCREDIBLE KIND OF ALMOST

LIKE TYMPANI AND CYMBALS

AND, YOU KNOW,

NOT LIKE THE NORMAL KIND

OF MUSIC THAT OTHER BANDS

WERE MAKING.

IT WAS BEDLAM,

TO SAY THE LEAST.

AND IT WAS PART OF IT FOR

THE ARTISTIC STATEMENT

I WANTED TO MAKE.

>> PAUL HOLDENGROBER: SO,

THE GENEALOGY

OF THE DESTRUCTION

OF THE GUITARS COMES FROM...

>> PETE TOWNSHEND: IT COMES OUT

OF THAT THING OF THINKING

AFTER A WHILE THAT THIS

ISN'T ENOUGH AND THAT

WHAT I HAVE TO DO

IS I HAVE TO MAKE SOME NEW

SOUNDS.

AND I START BANGING THE GUITAR

AROUND AND I AND THEN

THAT BECOMES VERY,

VERY INTERESTING.

THE GUITAR I WAS USING IN THESE

EARLY DAYS,

WAS A RICKENBACKER.

IT'S A VERY LIGHT-BUILT GUITAR.

IT'S VERY DELICATE.

AND THIN WOOD.

AND VERY VIBRANT.

IT'S A SEMI-ACOUSTIC GUITAR.

SO,

IT WOULD FEEDBACK EASILY

AND MAKE THIS INCREDIBLY

EXTRAORDINARY SOUND.

BUT THEN I WOULD BANG IT

IN THE AMPLIFIER

AND AS I DID SO,

IT WOULD KIND OF GO BOING-CRASH.

AND SCRAPE THE STRINGS

AND THAT KIND OF BECAME

ANOTHER SOUND AND SCRAPE

SCRAPING THE STRINGS UP AND DOWN

THE MIC STAND.

AND,

I IMAGINED THAT WHEN I BROKE

THE GUITAR,

I HIT THE GUITAR ON THE GROUND,

BOUNCED THE GUITAR

ON THE GROUND,

BASHED IT ON THE CEILING

OR WHATEVER,

THAT IT WOULD MAKE

AN INTERESTING SOUND.

AND IT DID.

AND IT WAS ALSO, YOU KNOW,

I LOOKED PRETTY COOL

DOING IT AS WELL.

[LAUGHTER]

>> RHEA: SO, DID YOU SEE THEM?

>> KWAME: WHO?

>> RHEA: THE WHO THEY JUST

COMPLETED A NORTH AMERICAN TOUR

IN FEBRUARY.

BUT YOU'LL FIND

PETE TOWNSHEND'S MEMOIR,

"WHO I AM" ON THE BOOKSHELVES

NOW.

>> KWAME: SINCE ITS DEBUT

AT THE NATIONAL THEATER

IN LONDON'S WEST END,

"WAR HORSE" HAS GALLOPED AWAY

WITH A STREAM OF ACCOLADES,

INCLUDING A TONY AWARD

FOR BEST PLAY IN 2011.

NOW THE FIRST NATIONAL

TOURING PRODUCTION OF THE PLAY

IS TRAVELING ACROSS THE U.S..

JARED BOWEN SEIZED A CHANCE

TO MEET WITH THE COMPANY

AND GET A REVEALING LOOK

AT THE SHOW'S UNIQUE EQUINE

STAR.

>> JARED BOWEN: IT'S

THE ENGLISH COUNTRYSIDE,

1912.

A TEENAGER NAMED ALBERT RAISES

A COLT HE CALLS JOEY.

THEIR BOND IS IMMEDIATE

AND UNWAVERING.

BUT AT THE OUTBREAK

OF WORLD WAR I,

JOEY IS CONSCRIPTED

INTO THE BRITISH ARMY.

>> I DO SOLEMLY SWEAR

THAT WE SHALL BE TOGETHER AGAIN.

>> JARED: WAR HORSE TRACES

JOEY'S BRUTAL PATH THROUGH WAR

AND THE MAJESTIC ANIMAL'S

ENDURANCE IN A LANDSCAPE

OF HORROR.

ANDREW VEENSTRA PLAYS ALBERT.

>> ANDREW VEENSTRA: I DEFINITELY

THINK IT'S AN ANTHEM OF PEACE.

YOU LOOK AT THE ATROCITIES

THAT WERE COMMITTED

AND WHY THEY WERE COMMITTED

AND YOU'RE LEFT QUESTIONING

WHAT IT WAS ALL ABOUT

AND WHY IT'S THERE.

>> JARED: THE EMOTIONAL

HEFT OF THE SHOW COMES

FROM THE HORSES LIFE-SIZED

PUPPETS CREATED BY

THE HANDSPRING PUPPET COMPANY

WHICH RECEIVED A SPECIAL

TONY AWARD FOR THE EFFORT.

IT'S AT THE BOSTON OPERA HOUSE

WHERE JOEY TROTTED IN TO MEET

US.

>> VEENSTRA: THIS IS JOEY.

HE'LL GET TO KNOW YOU.

HE'LL SMELL YOU.

YOU JUST REACH OUT.

HE'S NO DIFFERENT FROM ANY OTHER

HORSE.

HE'LL GIVE YOU A LOT OF PRESSURE

ON YOUR HAND.

>> JARED: THIS IS REMARKABLE.

I'M SOMEONE WHO GREW UP

RIDING HORSES,

I RIDE EVERY SUMMER

AND THEY HAVE THE MANNERISMS

EXACTLY DOWN.

THIS IS A HORSE!

>> VEENSTRA: YEAH ABSOLUTELY.

>> JARED: JOEY IS AN ELABORATE

CREATION HANDMADE BY OVER

A DOZEN PEOPLE,

HE IS 120 POUNDS,

ROUGHLY TEN FEET LONG

AND EIGHT FEET TALL.

HE IS FRAMED IN CANE

AND ALUMINUM.

LEATHER DRAPES HIS BACK

AND A HOSIERY-LIKE FABRIC

COMPRISES HIS SKIN.

BUT HE IS IMBUED WITH LIFE.

>> VEENSTRA: "THE LUNGS

OF THE HORSE ARE ABOUT

THREE TIMES THE SIZE

OF HUMAN BEINGS LUNGS.

SO TO GET THE SOUND PRODUCED,

THE EXHALES, INHALES,

IT TAKES THREE PEOPLE TO CREATE

THAT.

AND ALL THREE OF THEM CREATE

THE HORSE SOUNDS AND EVERYTHING

INVOLVING THE HORSE.

>> JARED: THE THREE ACTORS SLASH

PUPPETEERS INHABITING JOEY

SERVE AS THE HEAD,

HEART AND HIND MANIPULATING

THE HORSE THROUGH A SERIES

OF LEVERS CONTROLLING 20 JOINTS.

>> BRIAN ROBERT BURNS: "WE ALL

INFORM EACH OTHER.

THE HIND THAT IS THE ENGINE

OF THE BODY AND THE HEAD BEING

THE THOUGHT OF THAT ANIMAL,

THE BREATH AND THE ENGINE

AND THE MIND ALL WORK TOGETHER

AND YOU KNOW CREATE THIS REALLY

BEAUTIFUL ORGANISM."

>> JARED: AND IT'S A PROCESS

THAT HAS BECOME ORGANIC SAY

THE ACTORS.

WHILE THEY HAVE BASIC

CHOREOGRAPHY ON STAGE

TELLING THEM WHERE TO BE

AND WHEN,

THEY'RE OTHERWISE GIVEN FREE

REIGN.

>> DANNY YOERGES: "AS WE GET

FURTHER INTO THIS TOUR WE START

TO REALLY FLESH OUT THESE REALLY

TINY DETAILS OF WHAT THE HORSE

IS THINKING.

AND THEY SURPRISE US WHEN

WE'RE ON STAGE.

THAT'S THE EXCITING THING."

>> JESSICA KRUEGER: "I HAVE

A TERRIBLE HABIT

OF SEEING SOMETHING,

STEALING IT,

PUTTING IT IN THE SHOW

LIKE RIGHT AWAY WITHOUT TELLING

ANYBODY I'LL SEE THINGS

ON YOUTUBE, IN A LIVE HORSE,

ANYTHING AND I'LL JUST

AHHH I'LL FIND A PLACE

TO PUT IT AND I WILL.

MAYBE IT WORKS,

MAYBE IT DOESN'T."

>> JARED: FOR VEENSTRA THERE

IS LITTLE QUESTION.

>> VEENSTRA: "JOEY IS NEVER

ANYTHING BUT JOEY TO US

IN THE CAST.

I FORGET QUITE HONESTLY

PROBABLY QUICKER THAN

THE AUDIENCE DOES WHICH

IS PRETTY QUICK THAT IT'S EVEN

OPERATED BY PEOPLE.

YOU JUST IMMEDIATELY ARE FEELING

FOR THIS ANIMAL.

>> JARED: WHICH MAKES WAR HORSE

AN UNBRIDLED SUCCESS.

>> KWAME: FILMMAKER

STEVEN SPIELBERG ADAPTED

THE PLAY INTO A FILM,

WHICH WAS NOMINATED

FOR EIGHT ACADEMY AWARDS

IN 2012.

NOW,

OUR NEXT ARTIST'S WORK

IS ALL ABOUT TRANSFORMATION.

THE CELEBRATED

WEST AFRICAN ARTIST,

EL ANATSUI,

USES FOUND MATERIALS

SUCH AS CONDENSED MILK TINS

AND ALUMINUM BOTTLE CAPS.

THIS ARTIST DRAWS

ON THE AESTHETIC TRADITIONS

OF HIS NATIVE COUNTRY AS WELL

AS WESTERN INFLUENCES.

HIS 40 YEAR RETROSPECTIVE,

RECENTLY AT THE DENVER ART

MUSEUM,

REVEALS EL ANATSUI'S

CREATIVE PROCESS AND GLOBAL

APPROACH TO ART.

>> EL ANATSUI: I THINK ART

SHOULD ALLOW US TO QUESTION

OUR OWN EXPERIENCES

AND CHALLENGE US TO WANT TO KNOW

MORE ABOUT OTHERS.

SPECIFICALLY FOR THE WORK

OF EL ANATSUI IT'S VERY EASY

TO DO THAT.

YOU COME TO HIS WORK AND YOU SEE

THAT CLEARY IT'S SOMETHING

FROM AFRICA OR FROM A PLACE

THAT YOU'RE NOT FAMILIAR WITH

AND IT MAKES YOU QUESTION

YOURSELF AND YOUR PLACE

IN THE WORLD AND YOUR

RELATIONSHIP WITH OTHER SPACES.

>> THIS IS A RETROSPECTIVE

OF HIS 40 YEAR CAREER.

>> EL ANATSUI: SEEING 40 YEARS

OF MY WORK AND BROUGHT TOGETHER

UNDER ONE ROOF IS HUMBLING,

GIVES ME A FEELING

OF EXHILARATION.

IT'S LIKE HAVING A REUNION

OF PEOPLE I'VE MET SO MANY YEARS

BACK.

YOU GO TO SOME OF THE EARLIER

WORKS AND IT GIVES YOU THE SENSE

THAT YOU ACTUALLY DIDN'T TAKE

A BIG LEAP BUT THAT WHAT YOU

WERE DOING WAS TAKING LITTLE

STEPS TO GET TO THIS STAGE.

>> NANCY BLOMBERG: THIS IS AN

EXTRAORDINARY OPPORTUNITY

FOR PEOPLE TO REALLY LOOK

AT AN ARTIST.

HOW HE HAS CHANGED.

HOW HIS IDEAS HAVE CHANGED

OVER TIME AND YOU DON'T OFTEN

SEE THAT.

>> LISA BINDER: EL IS A VERY

QUIET MAN,

VERY PRIVATE PERSON BUT SOMEONE

WHO LOVES TO ENGAGE

WITH INDIVIDUALS THAT HE MEETS

ALL OVER THE WORLD AND HE LOVES

TO ENGAGE WITH PEOPLE ABOUT ART.

>> NANCY: WELL,

HE IS CERTAINLY

AN INTERNATIONALLY KNOWN ARTIST.

HE WAS PRETTY WELL KNOWN

IN AFRICA FOR THE FIRST 30 YEARS

AND KNOWN IN EUROPE AS WELL.

>> LISA: HE REMAINS

VERY IMPORTANT IN AFRICA

SPECIFICALLY WEST AFRICA.

HE'S FROM GHANA BUT HAS LIVED

AND WORKED IN NIGERIA SINCE 1975

AND IS VERY WELL-KNOWN THERE.

>> NANCY: BUT,

HE REALLY BURST

ONTO THE INTERNATIONAL SCENE

IN ABOUT 2007 WHEN HE BEGAN

CREATING A SERIES OF THESE

METAL WALL SCULPTURES.

>> AMANDA THOMPSON: FOR ME

THE AMAZING THING ABOUT

EL ANATSUI'S WORK

IS THAT IT IS SO ACCESSIBLE.

DESIGN PEOPLE CAN ENGAGE

WITH IT,

CRAFTS PEOPLE CAN ENGAGE

WITH IT,

PAINTERS CAN ENGAGE WITH IT

AND THE BACK STORY OF IT,

THE USE OF RECYCLED,

REUSED BOTTLE CAPS IT'S

SO VERY CURRENT TO ISSUES

GOING ON IN THE WORLD

AND THE STORY IS INTIMATE

TO THE HISTORY OF WEST AFRICA

AS WELL.

>> EL ANATSUI: THERE CAME

A TIME WHEN I DEVELOPED

THE AFFINITY FOR ONLY MATERIAL

THAT HAS SEEN SOME USE,

THAT HAD HAD SOME CONTACT

WITH PEOPLE.

I FIND THAT THEY HAVE SOMETHING

RICH ABOUT THEM.

MAYBE SOMETHING PSYCHIC

OR SPIRITUAL IT'S KIND

OF BUILDS A BOND BETWEEN ME

AND ANYBODY WHO HAS HAD REACTION

WITH THE OBJECT.

>> LISA: HIS WORK IS MADE

OF THE THINGS OF LIFE.

OF THE THINGS THAT WE EXPERIENCE

IN OUR EVERY DAY WORLD

AND SO WE ARE ABLE TO COME

TO IT WITH OUR OWN EXPERIENCES

AND SAY OK I UNDERSTAND

THAT THAT'S SOME THING

THAT IS IN MY WORLD TOO.

>> EL: I LIKE THE IDEA

OF PICKING COMMONPLACE THINGS

AND GIVING THEM A NEW LEASE

OF LIFE.

MOST OF THE TIME THE MEDIA

I WORKED WITH CAME

INADVERTENTLY.

IT HAS TO ANNOUNCE ITSELF

OR BRING ITSELF

IN SURREPTITIOUSLY.

>> NANCY: EL USES

VERY ORDINARY MATERIALS

TO CREATE INCREDIBLE WORKS

OF ART.

HE USES THESE PIECES

IN INSTALLATIONS OR IN SINGLE

WORKS TO TELL VERY PERSONAL

STORIES.

SOMETIMES HIS OWN PERSONAL

STORIES AND OTHER TIMES

TO TELL UNIVERSAL STORIES

OR STORIES ABOUT AFRICAN

HISTORY.

>> EL: ALMOST ALL THE WORK

I'VE DONE,

ALL THE PHASES

THAT I'VE PASSED THROUGH,

COULD BE LINKED ONE WAY

OR ANOTHER WITH HISTORY.

NOT THAT I WAS TRYING

TO RECOUNT HISTORY BUT WAS KIND

OF LOOKING AT HISTORY

AS SOMETHING THAT REFLECTS

BACK TO ME.

>> AMANDA THOMPSON: THIS IS MY

5TH TIME INSTALLING THIS

EXHIBITION.

SO IT'S WONDERFUL FOR ME

TO SEET INSTALLED

IN A DIFFERENT SPACE EACH TIME

BECAUSE THE PIECES TAKE ON

A WHOLE NEW LIFE.

THE DENVER ART MUSEUM IS

GOING TO BE FANTASTIC

BECAUSE OF ALL THE ANGLES.

>> LISA: THE LIBESKIND BUILDING

IS PERFECT FOR AN ARTIST

SUCH AS EL WHO MAKES WORKS

SPECIFICALLY TO ADAPT

TO THE ENVIRONMENT

IN WHICH IT IS DISPLAYED.

IT CAN BE,

IT'S MEANT TO BE,

DIFFERENT EVERY TIME

IT'S INSTALLED.

>> NANCY: OUR WALLS

ARE CHALLENGING THEY SLANT

OUTWARD.

AND SO,

HOW DO YOU HANG THEM

BECAUSE THEY CAN'T BE HUNG FLAT

ON THE WALL?

SO,

WE WORKED WITH FORKLIFTS.

WE WORK WITH TEAMS OF PEOPLE

TO SHAPE THEM.

AND THAT'S WHAT I GET TO DO.

SO,

I HAVE SOMEONE IN THE BACK

AND I'M IN THE FRONT

AND I'M LITERALLY LIFTING UP

THE PIECES AND SAYING OKAY,

LET'S PUT A HOOK HERE

AND THEN I'LL STEP BACK

AND SAY UM,

THAT DOESN'T WORK.

TAKE THAT OUT.

SO,

IT'S A PROCESS THAT YOU WORK ON

FOR A COUPLE OF HOURS

TO SHAPE EACH OF THESE PIECES.

AND,

IT IS GREAT FUN

BECAUSE I GET TO CREATE

ALONG WITH THE ARTIST.

IT IS A COMPLETE JOY TO HANG

HIS WORKS.

WHETHER THEY ARE HANGING,

WHETHER THEY ARE ON PLATFORMS,

THERE'S NO ONE RIGHT WAY

TO DO IT.

MOST ARTISTS HAVE

A PARTICULAR WAY THAT THEY LIKE

THE PIECE TO BE SEEN,

THEY CREATE IT IN A CERTAIN WAY

AND THEY LIKE IT PRESENTED

IN A CERTAIN WAY.

AND EL ENCOURAGES EVERYONE

TO SHAPE THE PIECES

AS THEY SEE FIT

FOR THEIR SPACES.

I THINK ART SHOULD INSPIRE YOU.

YOU CAN WALK THROUGH HERE

AND SEE A JUST

A TREMENDOUS AMOUNT OF BEAUTY.

I THINK IT SHOULD TELL STORIES,

I THINK IT SHOULD MATTER TO YOU.

>> RHEA: EL ANATSUI'S WORK

HAS BEEN SEEN THROUGHOUT

THE WORLD.

AND NOW,

HERE'S THIS WEEK

IN ARTS HISTORY.

IN HIS OWN TIME,

ARTIST ANDY WARHOL PUSHED

THE BOUNDARIES OF WHAT DEFINED

ART,

CHALLENGING EXPECTATIONS

WITH HIS PORTRAYALS

OF POPULAR CULTURE.

IN THE RECENT EXHIBITION,

CALLED "REGARDING WARHOL

SIXTY ARTISTS, FIFTY YEARS"

AT THE METROPOLITAN MUSEUM

OF ART IN NEW YORK CITY,

THE WORKS OF WARHOL WERE SHOWN

FOR THE FIRST TIME

JUXTAPOSED WITH THE ARTISTS

THAT REINTERPRETED

HIS GROUNDBREAKING WORK.

>> MARK ROSENTHAL:

THE EXHIBITION IS MEANT

TO BE A LOOK AT WARHOL

AND HIS IMPACT

ON CONTEMPORARY ART

OF THE LAST 50 YEARS.

WARHOL WAS WILLING TO EMBRACE

ANYTHING.

AND THAT'S THE WARHOL EFFECT.

>> MARLA PRATHER: WELL IT'S

A VERY LARGE SHOW SO THERE

ARE 157 WORKS TOTAL

AND 51 OF THOSE ARE BY WARHOL.

>> MARK: IN EACH GROUPING

OF WORKS THERE'LL BE A WARHOL,

OR MAYBE 2 WARHOLS,

AND A GROUP OF WORKS BY OTHER

ARTISTS.

EACH GROUPING IS MEANT

TO INTRODUCE OTHER APPROACHES

TO WHAT WARHOL SET OUT.

>> MARLA: THE FIRST SECTION

IS A VERY LARGE SECTION

CALLED "DAILY NEWS

FROM BANALITY TO DISASTER"

HE WAS CONSTANTLY LOOKING

AT CURRENT EVENTS AND LOOKING

TO NEWSPAPERS, TO MAGAZINES.

>> MARK: WARHOL'S SOURCES

WERE SO OFTEN THE MOST BANAL

OF SUBJECTS.

BUT ALSO FROM THE DAILY NEWS

HE TOOK DISASTERS,

AND HE WOULD MAKE PAINTINGS

BASED ON THAT.

>> MARLA: SO THEN THAT SECTION

MOVES INTO AN AREA THAT HAS

TO DO WITH AMERICAN CONSUMERISM,

WITH LOGOS,

AND HOW OTHER ARTISTS LIKE

AI WEI WEI HAVE APPROPRIATED

THOSE IMAGES.

>> MARK: FOR ME ONE

OF THE EXCITING THINGS ABOUT

THE SHOW IS TO SEE WARHOL

JUXTAPOSED,

FOR EXAMPLE AN ARTIST

NAMED HANS HAACKE,

AND HE CARRIES THE WARHOL

EXAMPLE INTO VERY POLITICAL

DIMENSIONS.

SO HERE HE'S USING THE LOOK

OF PACKAGING,

LIKE WARHOL'S SOUP CAN,

TO THEN MAKE

A POLITICAL STATEMENT

ABOUT WHERE CIGARETTES ARE MADE,

AND THE SENATOR JESSE HELMS.

THERE'S LOTS OF SURPRISES

LIKE THAT WHERE ARTISTS

CAN CARRY THE WARHOL EXAMPLE.

>> MARLA: ANOTHER VERY LARGE

SECTION IS THE PORTRAITURE

SECTION.

WE CALL IT CELEBRITY AND POWER.

FOR ME THE 1964 TURQUOISE

MARILYN,

IS SUCH AN ICONIC IMAGE

AND IS SO,

BEAUTIFUL TO BEGIN WITH,

IT'S ABSOLUTELY ELECTRIC

IN TERMS OF ITS TURQUOISE

COLORATION.

I LOVE THE FACT THAT MARILYN

SAID THAT MARILYN WAS THE VEIL

THAT SHE WORE OVER NORMA JEAN,

AND I THINK THAT WARHOL REALLY

SORT OF UNDERSTOOD

THAT THERE WAS SOME OTHER

HUMAN BEING BENEATH THIS SURFACE

OF ALL OF THIS BLONDE HAIR

AND COLOR.

>> MARK: IN 1960 IN NEW YORK

THERE WERE ALMOST NO PEOPLE

MAKING PORTRAITS.

WE HAVE WARHOL'S "DIAMOND DUST

PORTRAIT OF JOSEPH BEUYS"

TO EXEMPLIFY WARHOL CELEBRATING

ARTISTS.

SO BEHIND ME IS A FAMOUS

PORTRAIT BY CHUCK CLOSE

OF THE MUSICIAN PHIL GLASS.

THERE'S ALSO A PHOTOGRAPH

RICHARD AVEDON MADE

OF TRUMAN CAPOTE.

THERE'S A PAINTING BY ALEX KATZ

OF THE POET TED BERRIGAN,

SO THIS GIVES YOU A SENSE

OF HOW WITH WARHOL AS AN EXAMPLE

THINGS EXPAND OUT

AND BECOME VERY EXCITING.

>> MARLA: THERE'S ANOTHER

SECTION CALLED "QUEER STUDIES,"

WHICH IS REALLY

ABOUT SHIFTING IDENTITIES,

ASSUMED PERSONALITIES,

THE IDEA THAT IDENTITY,

ESPECIALLY SEXUAL IDENTITY,

IS SOMETHING

THAT CAN BE ALTERED,

CAN BE USED IN A KIND OF FLUID

AND SHIFTING AND CHANGING WAY.

AND THEN THE LAST SECTIONS

ARE REALLY MORE ABOUT

WARHOL-IAN TECHNIQUES,

THERE'S A SECTION CALLED

"CONSUMING IMAGES" ABOUT

ABSTRACTION,

SERIALITY AND REPETITION.

AND IT BEGINS WITH A WONDERFUL

IMAGE OF THE "MONA LISA."

SO THE REST OF THE GALLERY

IS IN PART ABOUT HOW OTHER

ARTISTS HAVE ABSORBED

THIS APPROPRIATION TECHNIQUE.

AND THEN THERE IS A SECTION

CALLED "NO BOUNDARIES,"

AND IT REALLY HAS TO DO

WITH THIS WONDERFUL KIND

OF EXPLOSION OF THE WHOLE

WARHOL-IAN PHENOMENON,

AND THE IDEA THAT ART

REALLY CAN BE ANYTHING.

>> MARK: ONE OF THE INTERESTING

THINGS ABOUT DOING

THIS EXHIBITION,

WAS TO THINK ABOUT HOW ALIVE

THE LEGACY IS RIGHT NOW.

RYAN TRECARTIN IS A FILMMAKER.

IF YOU COMPARE THEM

TO THE ANDY WARHOL FILMS

YOU QUICKLY REALIZE THAT

RYAN TRECARTIN IS A DESCENDANT

OF ANDY WARHOL,

A SHOW OF HIS WORK OPENED

A LITTLE OVER A YEAR AGO

AND WAS MET BY UNBELIEVABLE

PRAISE.

IF A CONTEMPORARY ARTIST

IS STILL MOVED BY ANDY WARHOL

AND THAT ARTIST HAPPENS

TO BE SO CELEBRATED,

THEN THE WARHOL EFFECT IS STILL

WITH US.

>> MARLA: OUR IDEA ABOUT

THE EXHIBITION WAS NOT SIMPLY

AN IDEA OF DIRECT INFLUENCE,

BUT THE IMPACT THROUGH

THE CULTURE OF WARHOL.

BUT ALSO NOT WITH THE IDEA

THAT THIS IS THE DEFINITIVE

SHOW.

IT SHOULD GET PEOPLE TALKING.

I WOULD HOPE THAT PEOPLE THINK

ABOUT WHERE WARHOL'S IMPACT

GOES BEYOND THE GALLERIES,

AND TO HAVE A KIND OF HEIGHTENED

AWARENESS,

WHEN THEY NEXT GO TO GALLERIES

OR TO A DEPARTMENT STORE

OR FLIP THROUGH A MAGAZINE

OR SURF THE WEB,

AND HOW WARHOL WILL SEEM

VERY EVER PRESENT.

>> RHEA: AFTER WARHOL'S

UNEXPECTED DEATH IN 1987,

A FOUNDATION WAS SET UP

IN HIS NAME TO ADVANCE

THE VISUAL ARTS.

FOR MORE INFORMATION VISIT

WARHOLFOUNDATION.ORG.

>> KWAME: THAT'S IT FOR TONIGHT,

BUT TUNE IN NEXT WEEK

FOR MORE ARTIST PROFILES.

I'M KWAME KWEI-ARMAH.

>> AND I'M RHEA FEIKIN.

DON'T FORGET TO VISIT

MPT.ORG/ARTWORKS,

FOR FEATURE VIDEOS

AND MORE UPCOMING ARTS EVENTS.

THANKS FOR WATCHING.

>> ANNOUNCER: ARTWORKS IS MADE

POSSIBLE IN PART BY:

THE MPT NEW INITIATIVES FUND,

FOUNDED BY

IRENE AND EDWARD H. KAPLAN.