1 00:00:00,968 --> 00:00:02,636 >> HOST: IN THIS EDITION 2 00:00:02,703 --> 00:00:03,370 OF ARTWORKS. 3 00:00:03,437 --> 00:00:05,138 A LEGENDARY ROCK STAR. 4 00:00:05,205 --> 00:00:06,640 A SMASH BROADWAY PRODUCTION 5 00:00:06,707 --> 00:00:09,176 GALLOPING ACROSS THE NATION. 6 00:00:09,243 --> 00:00:10,143 AN ARTIST WITH 7 00:00:10,210 --> 00:00:11,612 WEST AFRICAN ROOTS 8 00:00:11,678 --> 00:00:13,847 AND A GLOBAL AESTHETIC. 9 00:00:13,914 --> 00:00:15,048 AND THE IMPACT 10 00:00:15,115 --> 00:00:17,351 OF A FAMOUS POP ARTIST. 11 00:00:17,417 --> 00:00:19,386 IT'S ALL AHEAD ON ARTWORKS. 12 00:00:36,136 --> 00:00:37,604 >> ANNOUNCER: ARTWORKS IS MADE 13 00:00:37,671 --> 00:00:38,772 POSSIBLE IN PART BY: 14 00:00:38,839 --> 00:00:41,041 THE MPT NEW INITIATIVES FUND, 15 00:00:41,108 --> 00:00:41,942 FOUNDED BY 16 00:00:42,009 --> 00:00:43,677 IRENE AND EDWARD H. KAPLAN. 17 00:00:46,780 --> 00:00:47,881 >> HELLO, 18 00:00:47,948 --> 00:00:49,216 I'M RHEA FEIKIN 19 00:00:49,283 --> 00:00:50,250 AND THIS IS ARTWORKS. 20 00:00:50,317 --> 00:00:52,252 STAY TUNED FOR SOME 21 00:00:52,319 --> 00:00:54,121 EXCITING STORIES THIS WEEK. 22 00:00:54,187 --> 00:00:55,522 >> I'M KWAME KWEI-ARMAH. 23 00:00:55,589 --> 00:00:56,857 MANY KNOW PETE TOWNSEND 24 00:00:56,924 --> 00:00:57,691 AS A FOUNDING MEMBER 25 00:00:57,758 --> 00:00:59,426 OF THE LEGENDARY BRITISH 26 00:00:59,493 --> 00:01:00,193 ROCK 'N' ROLL BAND THE WHO. 27 00:01:00,260 --> 00:01:02,563 THE GUITARIST WHO SMASHED 28 00:01:02,629 --> 00:01:03,897 HIS GUITARS ONSTAGE. 29 00:01:03,964 --> 00:01:05,532 >> RHEA: IN THIS INTERVIEW 30 00:01:05,599 --> 00:01:07,601 WITH PAUL HOLDENGRABER 31 00:01:07,668 --> 00:01:08,468 AT THE NEW YORK PUBLIC LIBRARY, 32 00:01:08,535 --> 00:01:10,304 TOWNSEND DESCRIBES HOW 33 00:01:10,370 --> 00:01:11,939 ART SCHOOL INSPIRED HIM 34 00:01:12,005 --> 00:01:13,340 TO FORM ONE OF THE MOST 35 00:01:13,407 --> 00:01:14,308 INFLUENTIAL ROCK BANDS 36 00:01:14,374 --> 00:01:15,375 IN HISTORY. 37 00:01:15,442 --> 00:01:16,276 >> KWAME: AND ABOUT THOSE 38 00:01:16,343 --> 00:01:17,477 SMASHING GUITARS? 39 00:01:17,544 --> 00:01:20,247 THERE WAS METHOD BEHIND 40 00:01:20,314 --> 00:01:20,747 THE MADNESS SO HE SAYS. 41 00:01:20,814 --> 00:01:21,248 HERE'S A LOOK. 42 00:01:21,815 --> 00:01:23,917 >> PETE TOWNSHEND: I WAS VERY 43 00:01:23,984 --> 00:01:24,284 LUCKY. 44 00:01:24,351 --> 00:01:25,719 I WASN'T JUST LUCKY 45 00:01:25,786 --> 00:01:27,521 TO HAVE BEEN THE SON 46 00:01:27,588 --> 00:01:28,956 OF A POPULAR MUSICIAN 47 00:01:29,022 --> 00:01:30,390 OR A MUSICIAN PLAYING 48 00:01:30,457 --> 00:01:31,124 POPULAR MUSIC. 49 00:01:31,191 --> 00:01:33,627 I WAS ALSO VERY LUCKY TO HAVE 50 00:01:33,694 --> 00:01:35,095 THE TIMING FOR ME 51 00:01:35,162 --> 00:01:36,163 WHEN I MOVED. 52 00:01:36,229 --> 00:01:37,297 IF I'D HAVE MOVED INTO MUSIC 53 00:01:37,364 --> 00:01:38,465 PROFESSIONALLY BEFORE I WENT 54 00:01:38,532 --> 00:01:39,333 TO ART SCHOOL 55 00:01:39,399 --> 00:01:40,701 I WOULD HAVE MISSED ONE 56 00:01:40,767 --> 00:01:42,502 OF THE MOST EXTRAORDINARY 57 00:01:42,569 --> 00:01:43,837 ART SCHOOL COURSES 58 00:01:43,904 --> 00:01:45,572 THAT THE UK EVER PRODUCED, 59 00:01:45,639 --> 00:01:46,139 WHICH WAS CALLED 60 00:01:46,206 --> 00:01:47,240 THE BASIC COURSE. 61 00:01:47,307 --> 00:01:50,243 AND IT WAS REVISED BY THIS 62 00:01:50,310 --> 00:01:52,145 EXTRAORDINARY MAN CALLED, 63 00:01:52,212 --> 00:01:55,349 ROY ASCOT WITH TWO OTHER GUYS 64 00:01:55,415 --> 00:01:56,450 HOWARD COHEN, 65 00:01:56,516 --> 00:01:58,552 WHO WAS A COMPUTER VISIONARY 66 00:01:58,619 --> 00:01:59,886 AS AN ARTIST, 67 00:01:59,953 --> 00:02:01,121 AND HIS BROTHER, 68 00:02:01,188 --> 00:02:02,589 BERNARD WHO WENT ON TO BE 69 00:02:02,656 --> 00:02:05,025 THE HEAD AT THE SLADE 70 00:02:05,092 --> 00:02:07,027 THE FINEST ART SCHOOL 71 00:02:07,094 --> 00:02:08,629 IN, IN BRITAIN. 72 00:02:08,695 --> 00:02:11,498 AND YOUNG PAINTERS FROM CORNWALL 73 00:02:11,565 --> 00:02:12,866 AND LECTURERS BROUGHT 74 00:02:12,933 --> 00:02:14,267 IN LIKE LARRY RIVERS, 75 00:02:14,334 --> 00:02:16,036 CAME AND STAYED AT OUR COLLEGE 76 00:02:16,103 --> 00:02:18,472 FOR TWO OR THREE MONTHS. 77 00:02:18,538 --> 00:02:19,840 AND GUSTAV METZGER, 78 00:02:19,906 --> 00:02:21,241 THE AUTO-DESTRUCTIVE ARTIST 79 00:02:21,308 --> 00:02:24,044 WHOSE WORK WAS NOTHING 80 00:02:24,111 --> 00:02:25,812 TO DO WITH DESTRUCTION AT ALL. 81 00:02:25,879 --> 00:02:27,214 IT WAS TO DO WITH THE FACT 82 00:02:27,280 --> 00:02:29,016 THAT WE AS PEOPLE WERE 83 00:02:29,082 --> 00:02:31,985 DESTROYING OUR ENVIRONMENT. 84 00:02:32,052 --> 00:02:32,486 NO, 85 00:02:32,552 --> 00:02:34,554 WE WERE DESTROYING NATURE 86 00:02:34,621 --> 00:02:37,391 AND CALLING IT AN ENVIRONMENT. 87 00:02:37,457 --> 00:02:39,159 AND AS AN ARTIST, 88 00:02:39,226 --> 00:02:41,028 WHAT YOU HAD WAS THE DUTY 89 00:02:41,094 --> 00:02:42,396 TO REFLECT THAT, 90 00:02:42,462 --> 00:02:44,164 TO REFLECT THAT DESTRUCTION. 91 00:02:44,231 --> 00:02:45,465 AND, UH SO, 92 00:02:45,532 --> 00:02:47,067 ARMED WITH THE IDEA THAT, 93 00:02:47,134 --> 00:02:50,871 THAT, THAT THE END WAS COMING. 94 00:02:50,937 --> 00:02:52,139 THE CERTAIN KNOWLEDGE 95 00:02:52,205 --> 00:02:53,473 THAT THE END WAS COMING. 96 00:02:53,540 --> 00:02:54,608 ARMED WITH THE KNOWLEDGE 97 00:02:54,675 --> 00:02:57,377 THAT I HAD A DUTY TO MAKE 98 00:02:57,444 --> 00:03:00,013 MY MUSIC SOUND LIKE 99 00:03:00,080 --> 00:03:01,581 WHAT IT WAS THAT I THOUGHT 100 00:03:01,648 --> 00:03:02,749 WAS COMING, 101 00:03:02,816 --> 00:03:04,718 ARMED WITH THE IDEA 102 00:03:04,785 --> 00:03:06,219 THAT I HAD TO DO SOMETHING 103 00:03:06,286 --> 00:03:09,389 WITH THIS BAND, WHO OKAY, 104 00:03:09,456 --> 00:03:11,892 THEY WERE NOT THE PERFECT 105 00:03:11,958 --> 00:03:13,427 INSTRUMENT. 106 00:03:13,493 --> 00:03:15,729 I DIDN'T FEEL THEY WERE 107 00:03:15,796 --> 00:03:16,830 AT THE TIME. 108 00:03:16,897 --> 00:03:18,865 BUT THEY BECAME SO. 109 00:03:18,932 --> 00:03:19,499 YOU KNOW, 110 00:03:19,566 --> 00:03:21,168 THE WHO, I COULDN'T HAVE 111 00:03:21,234 --> 00:03:24,571 HAD BETTER MEN BESIDE ME. 112 00:03:24,638 --> 00:03:25,439 I COULDN'T HAVE. 113 00:03:25,505 --> 00:03:26,306 YOU KNOW, THAT IN FACT, 114 00:03:26,373 --> 00:03:27,708 IF IT WE HAD BEEN FOUR 115 00:03:27,774 --> 00:03:29,242 ARTY-FARTY ART STUDENTS 116 00:03:29,309 --> 00:03:30,410 WHO ALL THOUGHT LIKE I DID, 117 00:03:30,477 --> 00:03:31,211 IT WOULD HAVE BEEN 118 00:03:31,278 --> 00:03:33,647 A COMPLETE MESS, YOU KNOW. 119 00:03:33,714 --> 00:03:34,381 I JUST USED TO KIND 120 00:03:34,448 --> 00:03:35,449 OF WALK AROUND WITH MY ARTY 121 00:03:35,515 --> 00:03:36,583 IDEAS AND THE REST OF THEM 122 00:03:36,650 --> 00:03:37,718 GOT ON WITH THE JOB. 123 00:03:37,784 --> 00:03:38,485 YOU KNOW, 124 00:03:38,552 --> 00:03:39,953 ROGER OFTEN TALKS ABOUT 125 00:03:40,020 --> 00:03:40,821 THE FACT THAT HE USED 126 00:03:40,887 --> 00:03:41,688 TO HAVE TO COME ROUND 127 00:03:41,755 --> 00:03:43,290 AND DIG ME OUT OF BED, YOU KNOW. 128 00:03:43,356 --> 00:03:45,425 BUT, TO GO TO SHOWS. 129 00:03:45,492 --> 00:03:48,995 BECAUSE I WAS A DEEP THINKER. 130 00:03:49,062 --> 00:03:52,532 I LISTENED TO YOU KNOW, 131 00:03:52,599 --> 00:03:54,735 R&BRECORDS. 132 00:03:54,801 --> 00:04:00,774 BUT THAT MOMENT OF UNITING 133 00:04:00,841 --> 00:04:01,908 WHAT HAD HAPPENED WHAT I 134 00:04:01,975 --> 00:04:03,376 WAS WHAT I'D BEEN TAUGHT 135 00:04:03,443 --> 00:04:04,945 AT ART SCHOOL AND SUDDENLY 136 00:04:05,011 --> 00:04:07,714 REALIZING THAT THIS LITTLE BAND 137 00:04:07,781 --> 00:04:07,981 I WAS IN, 138 00:04:08,048 --> 00:04:09,382 THIS LITTLE R&BBAND 139 00:04:09,449 --> 00:04:10,584 WE WERE JUST ONE OF THE BANDS 140 00:04:10,650 --> 00:04:12,419 AROUND AT THE TIME 141 00:04:12,486 --> 00:04:15,021 IN WEST LONDON 142 00:04:15,088 --> 00:04:18,959 HAD THIS POTENTIAL TO MAKE THIS 143 00:04:19,025 --> 00:04:20,961 EXTRAORDINARY NOISE. 144 00:04:21,027 --> 00:04:23,029 AND ROGER AS A SINGER IS 145 00:04:23,096 --> 00:04:24,164 QUITE INTERESTING BECAUSE 146 00:04:24,231 --> 00:04:26,099 HE HIS TWO OF THE SINGERS 147 00:04:26,166 --> 00:04:27,467 THAT HE LOVED THE MOST 148 00:04:27,534 --> 00:04:29,002 ONE WAS HOWLING WOLF, 149 00:04:29,069 --> 00:04:35,175 WHO HOWLED LIKE A WOLF. 150 00:04:35,242 --> 00:04:37,144 SMOKESTACK LIGHTNING. 151 00:04:37,210 --> 00:04:38,612 YOU KNOW, LIKE THAT. 152 00:04:38,678 --> 00:04:39,880 SING. 153 00:04:39,946 --> 00:04:40,747 AND, 154 00:04:40,814 --> 00:04:42,215 AND THAT THIS LITTLE SKINNY, 155 00:04:42,282 --> 00:04:43,216 LITTLE GUY. 156 00:04:43,283 --> 00:04:44,618 THIS LITTLE MOD GUY 157 00:04:44,684 --> 00:04:45,485 IN FRONT OF THE BAND, 158 00:04:45,552 --> 00:04:47,420 HOWLING WITH THIS HUGE VOICE. 159 00:04:47,487 --> 00:04:48,955 ME, MAKING MY NOISE. 160 00:04:49,022 --> 00:04:50,090 AND JOHN ENTWISTLE 161 00:04:50,157 --> 00:04:52,392 AS A BASS PLAYER WAS ANOTHER 162 00:04:52,459 --> 00:04:53,160 EXTRAORDINARY CHARACTER. 163 00:04:53,226 --> 00:04:55,095 HE WASN'T CONTENT TO PLAY 164 00:04:55,162 --> 00:04:56,429 THE BASS. 165 00:04:56,496 --> 00:04:58,698 HE WANTED IT TO BE MORE. 166 00:04:58,765 --> 00:05:00,167 HE WANTED IT TO BE LIKE 167 00:05:00,233 --> 00:05:02,202 A HUGE ORGAN. 168 00:05:02,269 --> 00:05:04,104 AND HAD THESE SPECIAL STRINGS 169 00:05:04,171 --> 00:05:05,372 MADE THAT DIDN'T GO BOOM. 170 00:05:05,438 --> 00:05:07,541 THEY WENT WANG. 171 00:05:07,607 --> 00:05:09,776 AND, UM WOULD BANG AWAY. 172 00:05:09,843 --> 00:05:11,545 AND, UH KEITH MOON, 173 00:05:11,611 --> 00:05:12,379 OF COURSE, 174 00:05:12,445 --> 00:05:14,414 WE ALL WE ALL KNOW ABOUT 175 00:05:14,481 --> 00:05:15,448 THIS INCREDIBLY EXPRESSIVE, 176 00:05:15,515 --> 00:05:16,016 FLUID, 177 00:05:16,082 --> 00:05:18,418 ALMOST ORCHESTRAL DRUMMER. 178 00:05:18,485 --> 00:05:20,921 HE HE DIDN'T PLAY BOM, 179 00:05:20,987 --> 00:05:22,155 BOM, BOM, 180 00:05:22,222 --> 00:05:23,590 LIKE MOST R&BDRUMMERS DO. 181 00:05:23,657 --> 00:05:24,658 HE'D GO BUM-BUM-PSSSSH, 182 00:05:24,724 --> 00:05:25,358 BUM-BUM-PSSSH, 183 00:05:25,425 --> 00:05:27,761 BUM-BAH-BUM-BAH-BUM-BAH-BO OM. 184 00:05:27,828 --> 00:05:30,497 AND IT WAS ALL KIND OF LIKE 185 00:05:30,564 --> 00:05:31,665 ORCHESTRAL DRUMMING. 186 00:05:31,731 --> 00:05:32,899 IT WAS DECORATIVE. 187 00:05:32,966 --> 00:05:33,900 AND SO, 188 00:05:33,967 --> 00:05:36,970 WHEN I'M STANDING THERE 189 00:05:37,037 --> 00:05:44,144 PRETENDING TO BE, 190 00:05:44,211 --> 00:05:45,078 YOU KNOW, 191 00:05:45,145 --> 00:05:46,046 THE BIG PLANE THAT'S BRINGING 192 00:05:46,112 --> 00:05:47,113 THE BOMB THAT'S GOING TO BE 193 00:05:47,180 --> 00:05:48,248 THE END OF THE WORLD, 194 00:05:48,315 --> 00:05:49,850 ISN'T IT SAD. 195 00:05:49,916 --> 00:05:50,984 YOU KNOW. 196 00:05:51,051 --> 00:05:52,319 RRRRRRRRRRRRR. 197 00:05:52,385 --> 00:05:54,955 DON'T LOOK AT MY NOSE. 198 00:05:55,021 --> 00:05:55,856 IT'S COMING. 199 00:05:55,922 --> 00:05:59,059 RRRRRRR. 200 00:05:59,125 --> 00:06:00,393 AROUND ME, 201 00:06:00,460 --> 00:06:04,097 THIS ROGER GUY RRRRRRRAARRRRR, 202 00:06:04,164 --> 00:06:05,599 JOHN ENTWISTLE BANGING AWAY, 203 00:06:05,665 --> 00:06:06,833 MAKING A NOISE LIKE FIVE 204 00:06:06,900 --> 00:06:08,301 OR SIX, YOU KNOW, 205 00:06:08,368 --> 00:06:09,669 HUGE THEATER ORGANS 206 00:06:09,736 --> 00:06:10,937 ALL PLAYING AT ONCE 207 00:06:11,004 --> 00:06:12,072 AND KEITH MAKING THIS 208 00:06:12,138 --> 00:06:13,306 IN YOU KNOW, 209 00:06:13,373 --> 00:06:15,542 INCREDIBLE KIND OF ALMOST 210 00:06:15,609 --> 00:06:17,377 LIKE TYMPANI AND CYMBALS 211 00:06:17,444 --> 00:06:18,979 AND, YOU KNOW, 212 00:06:19,045 --> 00:06:20,213 NOT LIKE THE NORMAL KIND 213 00:06:20,280 --> 00:06:21,248 OF MUSIC THAT OTHER BANDS 214 00:06:21,314 --> 00:06:23,016 WERE MAKING. 215 00:06:23,083 --> 00:06:24,451 IT WAS BEDLAM, 216 00:06:24,517 --> 00:06:26,987 TO SAY THE LEAST. 217 00:06:27,053 --> 00:06:28,688 AND IT WAS PART OF IT FOR 218 00:06:28,755 --> 00:06:29,389 THE ARTISTIC STATEMENT 219 00:06:29,456 --> 00:06:30,357 I WANTED TO MAKE. 220 00:06:30,423 --> 00:06:31,091 >> PAUL HOLDENGROBER: SO, 221 00:06:31,157 --> 00:06:31,858 THE GENEALOGY 222 00:06:31,925 --> 00:06:34,027 OF THE DESTRUCTION 223 00:06:34,094 --> 00:06:38,164 OF THE GUITARS COMES FROM... 224 00:06:38,231 --> 00:06:39,833 >> PETE TOWNSHEND: IT COMES OUT 225 00:06:39,900 --> 00:06:41,234 OF THAT THING OF THINKING 226 00:06:41,301 --> 00:06:42,636 AFTER A WHILE THAT THIS 227 00:06:42,702 --> 00:06:43,737 ISN'T ENOUGH AND THAT 228 00:06:43,803 --> 00:06:45,138 WHAT I HAVE TO DO 229 00:06:45,205 --> 00:06:47,073 IS I HAVE TO MAKE SOME NEW 230 00:06:47,140 --> 00:06:47,340 SOUNDS. 231 00:06:47,407 --> 00:06:49,042 AND I START BANGING THE GUITAR 232 00:06:49,109 --> 00:06:50,410 AROUND AND I AND THEN 233 00:06:50,477 --> 00:06:51,244 THAT BECOMES VERY, 234 00:06:51,311 --> 00:06:51,811 VERY INTERESTING. 235 00:06:51,878 --> 00:06:52,879 THE GUITAR I WAS USING IN THESE 236 00:06:52,946 --> 00:06:54,714 EARLY DAYS, 237 00:06:54,781 --> 00:06:56,049 WAS A RICKENBACKER. 238 00:06:56,116 --> 00:06:58,218 IT'S A VERY LIGHT-BUILT GUITAR. 239 00:06:58,285 --> 00:07:00,153 IT'S VERY DELICATE. 240 00:07:00,220 --> 00:07:02,088 AND THIN WOOD. 241 00:07:02,155 --> 00:07:03,523 AND VERY VIBRANT. 242 00:07:03,590 --> 00:07:04,991 IT'S A SEMI-ACOUSTIC GUITAR. 243 00:07:05,058 --> 00:07:05,625 SO, 244 00:07:05,692 --> 00:07:06,960 IT WOULD FEEDBACK EASILY 245 00:07:07,027 --> 00:07:08,495 AND MAKE THIS INCREDIBLY 246 00:07:08,561 --> 00:07:09,596 EXTRAORDINARY SOUND. 247 00:07:09,663 --> 00:07:10,764 BUT THEN I WOULD BANG IT 248 00:07:10,830 --> 00:07:11,765 IN THE AMPLIFIER 249 00:07:11,831 --> 00:07:12,632 AND AS I DID SO, 250 00:07:12,699 --> 00:07:14,367 IT WOULD KIND OF GO BOING-CRASH. 251 00:07:14,434 --> 00:07:16,770 AND SCRAPE THE STRINGS 252 00:07:16,836 --> 00:07:19,072 AND THAT KIND OF BECAME 253 00:07:19,139 --> 00:07:20,874 ANOTHER SOUND AND SCRAPE 254 00:07:20,941 --> 00:07:23,643 SCRAPING THE STRINGS UP AND DOWN 255 00:07:23,710 --> 00:07:25,011 THE MIC STAND. 256 00:07:25,078 --> 00:07:25,445 AND, 257 00:07:25,512 --> 00:07:28,214 I IMAGINED THAT WHEN I BROKE 258 00:07:28,281 --> 00:07:29,115 THE GUITAR, 259 00:07:29,182 --> 00:07:30,050 I HIT THE GUITAR ON THE GROUND, 260 00:07:30,116 --> 00:07:30,784 BOUNCED THE GUITAR 261 00:07:30,850 --> 00:07:31,618 ON THE GROUND, 262 00:07:31,685 --> 00:07:33,620 BASHED IT ON THE CEILING 263 00:07:33,687 --> 00:07:34,421 OR WHATEVER, 264 00:07:34,487 --> 00:07:36,056 THAT IT WOULD MAKE 265 00:07:36,122 --> 00:07:37,257 AN INTERESTING SOUND. 266 00:07:37,324 --> 00:07:38,458 AND IT DID. 267 00:07:38,525 --> 00:07:40,860 AND IT WAS ALSO, YOU KNOW, 268 00:07:40,927 --> 00:07:42,495 I LOOKED PRETTY COOL 269 00:07:42,562 --> 00:07:44,097 DOING IT AS WELL. 270 00:07:44,164 --> 00:07:45,198 [LAUGHTER] 271 00:07:48,335 --> 00:07:49,970 >> RHEA: SO, DID YOU SEE THEM? 272 00:07:50,036 --> 00:07:50,537 >> KWAME: WHO? 273 00:07:50,603 --> 00:07:52,839 >> RHEA: THE WHO THEY JUST 274 00:07:52,906 --> 00:07:55,275 COMPLETED A NORTH AMERICAN TOUR 275 00:07:55,342 --> 00:07:56,242 IN FEBRUARY. 276 00:07:56,309 --> 00:07:57,510 BUT YOU'LL FIND 277 00:07:57,577 --> 00:07:59,379 PETE TOWNSHEND'S MEMOIR, 278 00:07:59,446 --> 00:08:00,947 "WHO I AM" ON THE BOOKSHELVES 279 00:08:01,014 --> 00:08:03,583 NOW. 280 00:08:18,131 --> 00:08:19,332 >> KWAME: SINCE ITS DEBUT 281 00:08:19,399 --> 00:08:20,000 AT THE NATIONAL THEATER 282 00:08:20,066 --> 00:08:21,434 IN LONDON'S WEST END, 283 00:08:21,501 --> 00:08:23,303 "WAR HORSE" HAS GALLOPED AWAY 284 00:08:23,370 --> 00:08:24,938 WITH A STREAM OF ACCOLADES, 285 00:08:25,005 --> 00:08:26,506 INCLUDING A TONY AWARD 286 00:08:26,573 --> 00:08:28,842 FOR BEST PLAY IN 2011. 287 00:08:28,908 --> 00:08:29,976 NOW THE FIRST NATIONAL 288 00:08:30,043 --> 00:08:31,511 TOURING PRODUCTION OF THE PLAY 289 00:08:31,578 --> 00:08:33,813 IS TRAVELING ACROSS THE U.S.. 290 00:08:33,880 --> 00:08:35,548 JARED BOWEN SEIZED A CHANCE 291 00:08:35,615 --> 00:08:36,816 TO MEET WITH THE COMPANY 292 00:08:36,883 --> 00:08:38,051 AND GET A REVEALING LOOK 293 00:08:38,118 --> 00:08:40,020 AT THE SHOW'S UNIQUE EQUINE 294 00:08:40,086 --> 00:08:41,121 STAR. 295 00:08:41,755 --> 00:08:42,155 >> JARED BOWEN: IT'S 296 00:08:42,222 --> 00:08:42,856 THE ENGLISH COUNTRYSIDE, 297 00:08:42,922 --> 00:08:44,024 1912. 298 00:08:44,090 --> 00:08:45,025 A TEENAGER NAMED ALBERT RAISES 299 00:08:45,091 --> 00:08:47,260 A COLT HE CALLS JOEY. 300 00:08:47,327 --> 00:08:49,062 THEIR BOND IS IMMEDIATE 301 00:08:49,129 --> 00:08:49,963 AND UNWAVERING. 302 00:08:50,030 --> 00:08:51,731 BUT AT THE OUTBREAK 303 00:08:51,798 --> 00:08:53,533 OF WORLD WAR I, 304 00:08:53,600 --> 00:08:54,868 JOEY IS CONSCRIPTED 305 00:08:54,934 --> 00:08:56,369 INTO THE BRITISH ARMY. 306 00:08:56,436 --> 00:08:57,804 >> I DO SOLEMLY SWEAR 307 00:08:57,871 --> 00:09:00,473 THAT WE SHALL BE TOGETHER AGAIN. 308 00:09:00,540 --> 00:09:01,074 >> JARED: WAR HORSE TRACES 309 00:09:01,141 --> 00:09:03,109 JOEY'S BRUTAL PATH THROUGH WAR 310 00:09:03,176 --> 00:09:04,411 AND THE MAJESTIC ANIMAL'S 311 00:09:04,477 --> 00:09:05,879 ENDURANCE IN A LANDSCAPE 312 00:09:05,945 --> 00:09:07,147 OF HORROR. 313 00:09:07,213 --> 00:09:09,015 ANDREW VEENSTRA PLAYS ALBERT. 314 00:09:09,082 --> 00:09:09,649 >> ANDREW VEENSTRA: I DEFINITELY 315 00:09:09,716 --> 00:09:10,517 THINK IT'S AN ANTHEM OF PEACE. 316 00:09:10,583 --> 00:09:11,918 YOU LOOK AT THE ATROCITIES 317 00:09:11,985 --> 00:09:12,986 THAT WERE COMMITTED 318 00:09:13,053 --> 00:09:14,654 AND WHY THEY WERE COMMITTED 319 00:09:14,721 --> 00:09:15,855 AND YOU'RE LEFT QUESTIONING 320 00:09:15,922 --> 00:09:16,756 WHAT IT WAS ALL ABOUT 321 00:09:16,823 --> 00:09:17,290 AND WHY IT'S THERE. 322 00:09:17,357 --> 00:09:17,924 >> JARED: THE EMOTIONAL 323 00:09:17,991 --> 00:09:19,626 HEFT OF THE SHOW COMES 324 00:09:19,692 --> 00:09:20,994 FROM THE HORSES LIFE-SIZED 325 00:09:21,061 --> 00:09:21,995 PUPPETS CREATED BY 326 00:09:22,062 --> 00:09:23,530 THE HANDSPRING PUPPET COMPANY 327 00:09:23,596 --> 00:09:25,031 WHICH RECEIVED A SPECIAL 328 00:09:25,098 --> 00:09:28,034 TONY AWARD FOR THE EFFORT. 329 00:09:28,101 --> 00:09:29,502 IT'S AT THE BOSTON OPERA HOUSE 330 00:09:29,569 --> 00:09:30,837 WHERE JOEY TROTTED IN TO MEET 331 00:09:30,904 --> 00:09:31,805 US. 332 00:09:31,871 --> 00:09:33,573 >> VEENSTRA: THIS IS JOEY. 333 00:09:33,640 --> 00:09:38,878 HE'LL GET TO KNOW YOU. 334 00:09:38,945 --> 00:09:39,979 HE'LL SMELL YOU. 335 00:09:40,046 --> 00:09:41,247 YOU JUST REACH OUT. 336 00:09:41,314 --> 00:09:42,215 HE'S NO DIFFERENT FROM ANY OTHER 337 00:09:42,282 --> 00:09:43,850 HORSE. 338 00:09:43,917 --> 00:09:44,918 HE'LL GIVE YOU A LOT OF PRESSURE 339 00:09:44,984 --> 00:09:48,154 ON YOUR HAND. 340 00:09:48,221 --> 00:09:51,057 >> JARED: THIS IS REMARKABLE. 341 00:09:51,124 --> 00:09:52,892 I'M SOMEONE WHO GREW UP 342 00:09:52,959 --> 00:09:53,426 RIDING HORSES, 343 00:09:53,493 --> 00:09:54,461 I RIDE EVERY SUMMER 344 00:09:54,527 --> 00:09:55,762 AND THEY HAVE THE MANNERISMS 345 00:09:55,829 --> 00:09:56,296 EXACTLY DOWN. 346 00:09:56,362 --> 00:09:57,330 THIS IS A HORSE! 347 00:09:57,397 --> 00:09:58,398 >> VEENSTRA: YEAH ABSOLUTELY. 348 00:09:58,465 --> 00:09:59,966 >> JARED: JOEY IS AN ELABORATE 349 00:10:00,033 --> 00:10:03,336 CREATION HANDMADE BY OVER 350 00:10:03,403 --> 00:10:04,504 A DOZEN PEOPLE, 351 00:10:04,571 --> 00:10:06,039 HE IS 120 POUNDS, 352 00:10:06,106 --> 00:10:07,440 ROUGHLY TEN FEET LONG 353 00:10:07,507 --> 00:10:09,209 AND EIGHT FEET TALL. 354 00:10:09,275 --> 00:10:10,543 HE IS FRAMED IN CANE 355 00:10:10,610 --> 00:10:11,811 AND ALUMINUM. 356 00:10:11,878 --> 00:10:13,313 LEATHER DRAPES HIS BACK 357 00:10:13,379 --> 00:10:14,881 AND A HOSIERY-LIKE FABRIC 358 00:10:14,948 --> 00:10:16,850 COMPRISES HIS SKIN. 359 00:10:16,916 --> 00:10:19,319 BUT HE IS IMBUED WITH LIFE. 360 00:10:19,385 --> 00:10:19,919 >> VEENSTRA: "THE LUNGS 361 00:10:19,986 --> 00:10:20,753 OF THE HORSE ARE ABOUT 362 00:10:20,820 --> 00:10:21,955 THREE TIMES THE SIZE 363 00:10:22,021 --> 00:10:23,990 OF HUMAN BEINGS LUNGS. 364 00:10:24,057 --> 00:10:25,692 SO TO GET THE SOUND PRODUCED, 365 00:10:25,758 --> 00:10:27,193 THE EXHALES, INHALES, 366 00:10:27,260 --> 00:10:28,728 IT TAKES THREE PEOPLE TO CREATE 367 00:10:28,795 --> 00:10:29,529 THAT. 368 00:10:29,596 --> 00:10:31,097 AND ALL THREE OF THEM CREATE 369 00:10:31,164 --> 00:10:32,565 THE HORSE SOUNDS AND EVERYTHING 370 00:10:32,632 --> 00:10:34,701 INVOLVING THE HORSE. 371 00:10:34,767 --> 00:10:35,335 >> JARED: THE THREE ACTORS SLASH 372 00:10:35,401 --> 00:10:37,337 PUPPETEERS INHABITING JOEY 373 00:10:37,403 --> 00:10:38,371 SERVE AS THE HEAD, 374 00:10:38,438 --> 00:10:40,006 HEART AND HIND MANIPULATING 375 00:10:40,073 --> 00:10:41,407 THE HORSE THROUGH A SERIES 376 00:10:41,474 --> 00:10:43,843 OF LEVERS CONTROLLING 20 JOINTS. 377 00:10:43,910 --> 00:10:45,712 >> BRIAN ROBERT BURNS: "WE ALL 378 00:10:45,778 --> 00:10:46,646 INFORM EACH OTHER. 379 00:10:46,713 --> 00:10:48,515 THE HIND THAT IS THE ENGINE 380 00:10:48,581 --> 00:10:50,683 OF THE BODY AND THE HEAD BEING 381 00:10:50,750 --> 00:10:52,252 THE THOUGHT OF THAT ANIMAL, 382 00:10:52,318 --> 00:10:53,786 THE BREATH AND THE ENGINE 383 00:10:53,853 --> 00:10:55,655 AND THE MIND ALL WORK TOGETHER 384 00:10:55,722 --> 00:10:57,524 AND YOU KNOW CREATE THIS REALLY 385 00:10:57,590 --> 00:10:58,158 BEAUTIFUL ORGANISM." 386 00:10:58,224 --> 00:11:00,026 >> JARED: AND IT'S A PROCESS 387 00:11:00,093 --> 00:11:01,361 THAT HAS BECOME ORGANIC SAY 388 00:11:01,427 --> 00:11:02,795 THE ACTORS. 389 00:11:02,862 --> 00:11:03,563 WHILE THEY HAVE BASIC 390 00:11:03,630 --> 00:11:04,330 CHOREOGRAPHY ON STAGE 391 00:11:04,397 --> 00:11:06,099 TELLING THEM WHERE TO BE 392 00:11:06,166 --> 00:11:07,233 AND WHEN, 393 00:11:07,300 --> 00:11:08,535 THEY'RE OTHERWISE GIVEN FREE 394 00:11:08,601 --> 00:11:09,536 REIGN. 395 00:11:09,602 --> 00:11:10,403 >> DANNY YOERGES: "AS WE GET 396 00:11:10,470 --> 00:11:11,304 FURTHER INTO THIS TOUR WE START 397 00:11:11,371 --> 00:11:13,907 TO REALLY FLESH OUT THESE REALLY 398 00:11:13,973 --> 00:11:16,242 TINY DETAILS OF WHAT THE HORSE 399 00:11:16,309 --> 00:11:16,943 IS THINKING. 400 00:11:17,010 --> 00:11:18,144 AND THEY SURPRISE US WHEN 401 00:11:18,211 --> 00:11:18,845 WE'RE ON STAGE. 402 00:11:18,912 --> 00:11:20,313 THAT'S THE EXCITING THING." 403 00:11:20,380 --> 00:11:21,047 >> JESSICA KRUEGER: "I HAVE 404 00:11:21,114 --> 00:11:22,015 A TERRIBLE HABIT 405 00:11:22,081 --> 00:11:22,882 OF SEEING SOMETHING, 406 00:11:22,949 --> 00:11:24,083 STEALING IT, 407 00:11:24,150 --> 00:11:24,751 PUTTING IT IN THE SHOW 408 00:11:24,817 --> 00:11:26,586 LIKE RIGHT AWAY WITHOUT TELLING 409 00:11:26,653 --> 00:11:28,087 ANYBODY I'LL SEE THINGS 410 00:11:28,154 --> 00:11:30,290 ON YOUTUBE, IN A LIVE HORSE, 411 00:11:30,356 --> 00:11:31,791 ANYTHING AND I'LL JUST 412 00:11:31,858 --> 00:11:33,626 AHHH I'LL FIND A PLACE 413 00:11:33,693 --> 00:11:35,862 TO PUT IT AND I WILL. 414 00:11:35,929 --> 00:11:36,963 MAYBE IT WORKS, 415 00:11:37,030 --> 00:11:38,064 MAYBE IT DOESN'T." 416 00:11:38,131 --> 00:11:39,699 >> JARED: FOR VEENSTRA THERE 417 00:11:39,766 --> 00:11:40,667 IS LITTLE QUESTION. 418 00:11:40,733 --> 00:11:42,302 >> VEENSTRA: "JOEY IS NEVER 419 00:11:42,368 --> 00:11:43,937 ANYTHING BUT JOEY TO US 420 00:11:44,003 --> 00:11:44,904 IN THE CAST. 421 00:11:44,971 --> 00:11:46,206 I FORGET QUITE HONESTLY 422 00:11:46,272 --> 00:11:47,207 PROBABLY QUICKER THAN 423 00:11:47,273 --> 00:11:48,508 THE AUDIENCE DOES WHICH 424 00:11:48,575 --> 00:11:50,443 IS PRETTY QUICK THAT IT'S EVEN 425 00:11:50,510 --> 00:11:51,444 OPERATED BY PEOPLE. 426 00:11:51,511 --> 00:11:53,079 YOU JUST IMMEDIATELY ARE FEELING 427 00:11:53,146 --> 00:11:54,047 FOR THIS ANIMAL. 428 00:11:54,113 --> 00:11:55,148 >> JARED: WHICH MAKES WAR HORSE 429 00:11:55,215 --> 00:11:56,749 AN UNBRIDLED SUCCESS. 430 00:11:59,852 --> 00:12:00,220 >> KWAME: FILMMAKER 431 00:12:00,286 --> 00:12:01,521 STEVEN SPIELBERG ADAPTED 432 00:12:01,588 --> 00:12:02,755 THE PLAY INTO A FILM, 433 00:12:02,822 --> 00:12:03,790 WHICH WAS NOMINATED 434 00:12:03,856 --> 00:12:05,124 FOR EIGHT ACADEMY AWARDS 435 00:12:05,191 --> 00:12:06,626 IN 2012. 436 00:12:06,693 --> 00:12:07,493 NOW, 437 00:12:07,560 --> 00:12:08,595 OUR NEXT ARTIST'S WORK 438 00:12:08,661 --> 00:12:10,530 IS ALL ABOUT TRANSFORMATION. 439 00:12:10,597 --> 00:12:11,264 THE CELEBRATED 440 00:12:11,331 --> 00:12:12,632 WEST AFRICAN ARTIST, 441 00:12:12,699 --> 00:12:14,067 EL ANATSUI, 442 00:12:14,133 --> 00:12:15,568 USES FOUND MATERIALS 443 00:12:15,635 --> 00:12:17,103 SUCH AS CONDENSED MILK TINS 444 00:12:17,170 --> 00:12:19,339 AND ALUMINUM BOTTLE CAPS. 445 00:12:19,405 --> 00:12:20,506 THIS ARTIST DRAWS 446 00:12:20,573 --> 00:12:21,474 ON THE AESTHETIC TRADITIONS 447 00:12:21,541 --> 00:12:23,576 OF HIS NATIVE COUNTRY AS WELL 448 00:12:23,643 --> 00:12:24,944 AS WESTERN INFLUENCES. 449 00:12:25,011 --> 00:12:26,813 HIS 40 YEAR RETROSPECTIVE, 450 00:12:26,879 --> 00:12:27,947 RECENTLY AT THE DENVER ART 451 00:12:28,014 --> 00:12:28,815 MUSEUM, 452 00:12:28,881 --> 00:12:30,350 REVEALS EL ANATSUI'S 453 00:12:30,416 --> 00:12:32,485 CREATIVE PROCESS AND GLOBAL 454 00:12:32,552 --> 00:12:34,487 APPROACH TO ART. 455 00:12:36,689 --> 00:12:37,290 >> EL ANATSUI: I THINK ART 456 00:12:37,357 --> 00:12:38,291 SHOULD ALLOW US TO QUESTION 457 00:12:38,358 --> 00:12:39,292 OUR OWN EXPERIENCES 458 00:12:39,359 --> 00:12:40,627 AND CHALLENGE US TO WANT TO KNOW 459 00:12:40,693 --> 00:12:42,695 MORE ABOUT OTHERS. 460 00:12:42,762 --> 00:12:43,763 SPECIFICALLY FOR THE WORK 461 00:12:43,830 --> 00:12:45,031 OF EL ANATSUI IT'S VERY EASY 462 00:12:45,098 --> 00:12:46,266 TO DO THAT. 463 00:12:46,332 --> 00:12:47,400 YOU COME TO HIS WORK AND YOU SEE 464 00:12:47,467 --> 00:12:48,735 THAT CLEARY IT'S SOMETHING 465 00:12:48,801 --> 00:12:49,736 FROM AFRICA OR FROM A PLACE 466 00:12:49,802 --> 00:12:51,471 THAT YOU'RE NOT FAMILIAR WITH 467 00:12:51,537 --> 00:12:53,006 AND IT MAKES YOU QUESTION 468 00:12:53,072 --> 00:12:54,340 YOURSELF AND YOUR PLACE 469 00:12:54,407 --> 00:12:57,110 IN THE WORLD AND YOUR 470 00:12:57,176 --> 00:12:59,312 RELATIONSHIP WITH OTHER SPACES. 471 00:12:59,379 --> 00:13:02,081 >> THIS IS A RETROSPECTIVE 472 00:13:02,148 --> 00:13:04,851 OF HIS 40 YEAR CAREER. 473 00:13:04,917 --> 00:13:08,187 >> EL ANATSUI: SEEING 40 YEARS 474 00:13:08,254 --> 00:13:11,491 OF MY WORK AND BROUGHT TOGETHER 475 00:13:11,557 --> 00:13:14,260 UNDER ONE ROOF IS HUMBLING, 476 00:13:14,327 --> 00:13:16,462 GIVES ME A FEELING 477 00:13:16,529 --> 00:13:17,563 OF EXHILARATION. 478 00:13:17,630 --> 00:13:20,333 IT'S LIKE HAVING A REUNION 479 00:13:20,400 --> 00:13:24,203 OF PEOPLE I'VE MET SO MANY YEARS 480 00:13:24,270 --> 00:13:24,771 BACK. 481 00:13:24,837 --> 00:13:26,239 YOU GO TO SOME OF THE EARLIER 482 00:13:26,306 --> 00:13:28,474 WORKS AND IT GIVES YOU THE SENSE 483 00:13:28,541 --> 00:13:31,811 THAT YOU ACTUALLY DIDN'T TAKE 484 00:13:31,878 --> 00:13:33,346 A BIG LEAP BUT THAT WHAT YOU 485 00:13:33,413 --> 00:13:36,082 WERE DOING WAS TAKING LITTLE 486 00:13:36,149 --> 00:13:40,186 STEPS TO GET TO THIS STAGE. 487 00:13:40,253 --> 00:13:41,287 >> NANCY BLOMBERG: THIS IS AN 488 00:13:41,354 --> 00:13:42,522 EXTRAORDINARY OPPORTUNITY 489 00:13:42,588 --> 00:13:43,423 FOR PEOPLE TO REALLY LOOK 490 00:13:43,489 --> 00:13:44,123 AT AN ARTIST. 491 00:13:44,190 --> 00:13:45,258 HOW HE HAS CHANGED. 492 00:13:45,325 --> 00:13:46,859 HOW HIS IDEAS HAVE CHANGED 493 00:13:46,926 --> 00:13:48,061 OVER TIME AND YOU DON'T OFTEN 494 00:13:48,127 --> 00:13:52,665 SEE THAT. 495 00:13:52,732 --> 00:13:53,733 >> LISA BINDER: EL IS A VERY 496 00:13:53,800 --> 00:13:54,701 QUIET MAN, 497 00:13:54,767 --> 00:13:56,369 VERY PRIVATE PERSON BUT SOMEONE 498 00:13:56,436 --> 00:13:57,770 WHO LOVES TO ENGAGE 499 00:13:57,837 --> 00:14:00,073 WITH INDIVIDUALS THAT HE MEETS 500 00:14:00,139 --> 00:14:02,108 ALL OVER THE WORLD AND HE LOVES 501 00:14:02,175 --> 00:14:05,778 TO ENGAGE WITH PEOPLE ABOUT ART. 502 00:14:05,845 --> 00:14:06,446 >> NANCY: WELL, 503 00:14:06,512 --> 00:14:07,146 HE IS CERTAINLY 504 00:14:07,213 --> 00:14:08,648 AN INTERNATIONALLY KNOWN ARTIST. 505 00:14:08,715 --> 00:14:09,882 HE WAS PRETTY WELL KNOWN 506 00:14:09,949 --> 00:14:10,817 IN AFRICA FOR THE FIRST 30 YEARS 507 00:14:10,883 --> 00:14:15,655 AND KNOWN IN EUROPE AS WELL. 508 00:14:15,722 --> 00:14:16,322 >> LISA: HE REMAINS 509 00:14:16,389 --> 00:14:17,990 VERY IMPORTANT IN AFRICA 510 00:14:18,057 --> 00:14:19,926 SPECIFICALLY WEST AFRICA. 511 00:14:19,992 --> 00:14:21,127 HE'S FROM GHANA BUT HAS LIVED 512 00:14:21,194 --> 00:14:22,929 AND WORKED IN NIGERIA SINCE 1975 513 00:14:22,995 --> 00:14:26,265 AND IS VERY WELL-KNOWN THERE. 514 00:14:26,332 --> 00:14:27,400 >> NANCY: BUT, 515 00:14:27,467 --> 00:14:28,401 HE REALLY BURST 516 00:14:28,468 --> 00:14:30,169 ONTO THE INTERNATIONAL SCENE 517 00:14:30,236 --> 00:14:32,638 IN ABOUT 2007 WHEN HE BEGAN 518 00:14:32,705 --> 00:14:33,840 CREATING A SERIES OF THESE 519 00:14:33,906 --> 00:14:36,576 METAL WALL SCULPTURES. 520 00:14:36,642 --> 00:14:37,777 >> AMANDA THOMPSON: FOR ME 521 00:14:37,844 --> 00:14:38,678 THE AMAZING THING ABOUT 522 00:14:38,745 --> 00:14:39,846 EL ANATSUI'S WORK 523 00:14:39,912 --> 00:14:41,981 IS THAT IT IS SO ACCESSIBLE. 524 00:14:42,048 --> 00:14:44,517 DESIGN PEOPLE CAN ENGAGE 525 00:14:44,584 --> 00:14:45,518 WITH IT, 526 00:14:45,585 --> 00:14:46,719 CRAFTS PEOPLE CAN ENGAGE 527 00:14:46,786 --> 00:14:47,720 WITH IT, 528 00:14:47,787 --> 00:14:49,722 PAINTERS CAN ENGAGE WITH IT 529 00:14:49,789 --> 00:14:51,224 AND THE BACK STORY OF IT, 530 00:14:51,290 --> 00:14:52,792 THE USE OF RECYCLED, 531 00:14:52,859 --> 00:14:54,160 REUSED BOTTLE CAPS IT'S 532 00:14:54,227 --> 00:14:56,863 SO VERY CURRENT TO ISSUES 533 00:14:56,929 --> 00:14:59,699 GOING ON IN THE WORLD 534 00:14:59,766 --> 00:15:01,501 AND THE STORY IS INTIMATE 535 00:15:01,567 --> 00:15:02,368 TO THE HISTORY OF WEST AFRICA 536 00:15:02,435 --> 00:15:03,903 AS WELL. 537 00:15:03,970 --> 00:15:04,837 >> EL ANATSUI: THERE CAME 538 00:15:04,904 --> 00:15:06,439 A TIME WHEN I DEVELOPED 539 00:15:06,506 --> 00:15:08,141 THE AFFINITY FOR ONLY MATERIAL 540 00:15:08,207 --> 00:15:11,811 THAT HAS SEEN SOME USE, 541 00:15:11,878 --> 00:15:13,813 THAT HAD HAD SOME CONTACT 542 00:15:13,880 --> 00:15:14,914 WITH PEOPLE. 543 00:15:14,981 --> 00:15:16,549 I FIND THAT THEY HAVE SOMETHING 544 00:15:16,616 --> 00:15:17,984 RICH ABOUT THEM. 545 00:15:18,050 --> 00:15:20,286 MAYBE SOMETHING PSYCHIC 546 00:15:20,353 --> 00:15:21,654 OR SPIRITUAL IT'S KIND 547 00:15:21,721 --> 00:15:23,022 OF BUILDS A BOND BETWEEN ME 548 00:15:23,089 --> 00:15:23,990 AND ANYBODY WHO HAS HAD REACTION 549 00:15:24,056 --> 00:15:29,228 WITH THE OBJECT. 550 00:15:29,295 --> 00:15:30,263 >> LISA: HIS WORK IS MADE 551 00:15:30,329 --> 00:15:31,264 OF THE THINGS OF LIFE. 552 00:15:31,330 --> 00:15:33,332 OF THE THINGS THAT WE EXPERIENCE 553 00:15:33,399 --> 00:15:35,067 IN OUR EVERY DAY WORLD 554 00:15:35,134 --> 00:15:36,436 AND SO WE ARE ABLE TO COME 555 00:15:36,502 --> 00:15:37,303 TO IT WITH OUR OWN EXPERIENCES 556 00:15:37,370 --> 00:15:38,070 AND SAY OK I UNDERSTAND 557 00:15:38,137 --> 00:15:38,905 THAT THAT'S SOME THING 558 00:15:38,971 --> 00:15:43,075 THAT IS IN MY WORLD TOO. 559 00:15:43,142 --> 00:15:44,110 >> EL: I LIKE THE IDEA 560 00:15:44,177 --> 00:15:46,479 OF PICKING COMMONPLACE THINGS 561 00:15:46,546 --> 00:15:48,881 AND GIVING THEM A NEW LEASE 562 00:15:48,948 --> 00:15:51,551 OF LIFE. 563 00:15:51,617 --> 00:15:53,286 MOST OF THE TIME THE MEDIA 564 00:15:53,352 --> 00:15:54,887 I WORKED WITH CAME 565 00:15:54,954 --> 00:15:56,622 INADVERTENTLY. 566 00:15:56,689 --> 00:15:58,691 IT HAS TO ANNOUNCE ITSELF 567 00:15:58,758 --> 00:16:00,460 OR BRING ITSELF 568 00:16:00,526 --> 00:16:04,497 IN SURREPTITIOUSLY. 569 00:16:04,564 --> 00:16:05,364 >> NANCY: EL USES 570 00:16:05,431 --> 00:16:08,067 VERY ORDINARY MATERIALS 571 00:16:08,134 --> 00:16:09,836 TO CREATE INCREDIBLE WORKS 572 00:16:09,902 --> 00:16:10,736 OF ART. 573 00:16:10,803 --> 00:16:12,071 HE USES THESE PIECES 574 00:16:12,138 --> 00:16:13,706 IN INSTALLATIONS OR IN SINGLE 575 00:16:13,773 --> 00:16:14,807 WORKS TO TELL VERY PERSONAL 576 00:16:14,874 --> 00:16:16,509 STORIES. 577 00:16:16,576 --> 00:16:17,910 SOMETIMES HIS OWN PERSONAL 578 00:16:17,977 --> 00:16:19,278 STORIES AND OTHER TIMES 579 00:16:19,345 --> 00:16:21,013 TO TELL UNIVERSAL STORIES 580 00:16:21,080 --> 00:16:22,515 OR STORIES ABOUT AFRICAN 581 00:16:22,582 --> 00:16:24,684 HISTORY. 582 00:16:24,750 --> 00:16:26,886 >> EL: ALMOST ALL THE WORK 583 00:16:26,953 --> 00:16:27,753 I'VE DONE, 584 00:16:27,820 --> 00:16:28,754 ALL THE PHASES 585 00:16:28,821 --> 00:16:30,223 THAT I'VE PASSED THROUGH, 586 00:16:30,289 --> 00:16:32,058 COULD BE LINKED ONE WAY 587 00:16:32,124 --> 00:16:35,027 OR ANOTHER WITH HISTORY. 588 00:16:35,094 --> 00:16:36,128 NOT THAT I WAS TRYING 589 00:16:36,195 --> 00:16:39,432 TO RECOUNT HISTORY BUT WAS KIND 590 00:16:39,499 --> 00:16:41,667 OF LOOKING AT HISTORY 591 00:16:41,734 --> 00:16:44,470 AS SOMETHING THAT REFLECTS 592 00:16:44,537 --> 00:16:45,938 BACK TO ME. 593 00:16:46,005 --> 00:16:46,806 >> AMANDA THOMPSON: THIS IS MY 594 00:16:46,873 --> 00:16:48,107 5TH TIME INSTALLING THIS 595 00:16:48,174 --> 00:16:49,075 EXHIBITION. 596 00:16:49,141 --> 00:16:50,309 SO IT'S WONDERFUL FOR ME 597 00:16:50,376 --> 00:16:52,345 TO SEET INSTALLED 598 00:16:52,411 --> 00:16:53,212 IN A DIFFERENT SPACE EACH TIME 599 00:16:53,279 --> 00:16:54,413 BECAUSE THE PIECES TAKE ON 600 00:16:54,480 --> 00:16:56,716 A WHOLE NEW LIFE. 601 00:16:56,782 --> 00:16:57,483 THE DENVER ART MUSEUM IS 602 00:16:57,550 --> 00:16:58,551 GOING TO BE FANTASTIC 603 00:16:58,618 --> 00:17:00,620 BECAUSE OF ALL THE ANGLES. 604 00:17:00,686 --> 00:17:01,454 >> LISA: THE LIBESKIND BUILDING 605 00:17:01,521 --> 00:17:02,455 IS PERFECT FOR AN ARTIST 606 00:17:02,522 --> 00:17:04,156 SUCH AS EL WHO MAKES WORKS 607 00:17:04,223 --> 00:17:06,225 SPECIFICALLY TO ADAPT 608 00:17:06,292 --> 00:17:07,894 TO THE ENVIRONMENT 609 00:17:07,960 --> 00:17:09,996 IN WHICH IT IS DISPLAYED. 610 00:17:10,062 --> 00:17:10,830 IT CAN BE, 611 00:17:10,897 --> 00:17:11,831 IT'S MEANT TO BE, 612 00:17:11,898 --> 00:17:12,865 DIFFERENT EVERY TIME 613 00:17:12,932 --> 00:17:15,334 IT'S INSTALLED. 614 00:17:15,401 --> 00:17:15,902 >> NANCY: OUR WALLS 615 00:17:15,968 --> 00:17:17,303 ARE CHALLENGING THEY SLANT 616 00:17:17,370 --> 00:17:18,537 OUTWARD. 617 00:17:18,604 --> 00:17:19,572 AND SO, 618 00:17:19,639 --> 00:17:20,540 HOW DO YOU HANG THEM 619 00:17:20,606 --> 00:17:21,941 BECAUSE THEY CAN'T BE HUNG FLAT 620 00:17:22,008 --> 00:17:22,742 ON THE WALL? 621 00:17:22,808 --> 00:17:23,409 SO, 622 00:17:23,476 --> 00:17:24,810 WE WORKED WITH FORKLIFTS. 623 00:17:24,877 --> 00:17:26,178 WE WORK WITH TEAMS OF PEOPLE 624 00:17:26,245 --> 00:17:27,680 TO SHAPE THEM. 625 00:17:27,747 --> 00:17:29,682 AND THAT'S WHAT I GET TO DO. 626 00:17:29,749 --> 00:17:30,683 SO, 627 00:17:30,750 --> 00:17:32,752 I HAVE SOMEONE IN THE BACK 628 00:17:32,818 --> 00:17:34,053 AND I'M IN THE FRONT 629 00:17:34,120 --> 00:17:35,621 AND I'M LITERALLY LIFTING UP 630 00:17:35,688 --> 00:17:37,924 THE PIECES AND SAYING OKAY, 631 00:17:37,990 --> 00:17:39,025 LET'S PUT A HOOK HERE 632 00:17:39,091 --> 00:17:39,892 AND THEN I'LL STEP BACK 633 00:17:39,959 --> 00:17:41,093 AND SAY UM, 634 00:17:41,160 --> 00:17:41,928 THAT DOESN'T WORK. 635 00:17:41,994 --> 00:17:42,595 TAKE THAT OUT. 636 00:17:42,662 --> 00:17:44,130 SO, 637 00:17:44,196 --> 00:17:45,364 IT'S A PROCESS THAT YOU WORK ON 638 00:17:45,431 --> 00:17:46,966 FOR A COUPLE OF HOURS 639 00:17:47,033 --> 00:17:48,901 TO SHAPE EACH OF THESE PIECES. 640 00:17:48,968 --> 00:17:49,235 AND, 641 00:17:49,302 --> 00:17:50,503 IT IS GREAT FUN 642 00:17:50,570 --> 00:17:52,138 BECAUSE I GET TO CREATE 643 00:17:52,204 --> 00:17:53,406 ALONG WITH THE ARTIST. 644 00:17:53,472 --> 00:17:55,675 IT IS A COMPLETE JOY TO HANG 645 00:17:55,741 --> 00:17:56,309 HIS WORKS. 646 00:17:56,375 --> 00:17:57,043 WHETHER THEY ARE HANGING, 647 00:17:57,109 --> 00:17:58,678 WHETHER THEY ARE ON PLATFORMS, 648 00:17:58,744 --> 00:18:00,179 THERE'S NO ONE RIGHT WAY 649 00:18:00,246 --> 00:18:01,213 TO DO IT. 650 00:18:01,280 --> 00:18:02,148 MOST ARTISTS HAVE 651 00:18:02,214 --> 00:18:04,016 A PARTICULAR WAY THAT THEY LIKE 652 00:18:04,083 --> 00:18:05,551 THE PIECE TO BE SEEN, 653 00:18:05,618 --> 00:18:07,720 THEY CREATE IT IN A CERTAIN WAY 654 00:18:07,787 --> 00:18:09,288 AND THEY LIKE IT PRESENTED 655 00:18:09,355 --> 00:18:10,523 IN A CERTAIN WAY. 656 00:18:10,590 --> 00:18:11,757 AND EL ENCOURAGES EVERYONE 657 00:18:11,824 --> 00:18:12,992 TO SHAPE THE PIECES 658 00:18:13,059 --> 00:18:14,226 AS THEY SEE FIT 659 00:18:14,293 --> 00:18:15,161 FOR THEIR SPACES. 660 00:18:15,227 --> 00:18:18,998 I THINK ART SHOULD INSPIRE YOU. 661 00:18:19,065 --> 00:18:20,032 YOU CAN WALK THROUGH HERE 662 00:18:20,099 --> 00:18:20,900 AND SEE A JUST 663 00:18:20,967 --> 00:18:23,803 A TREMENDOUS AMOUNT OF BEAUTY. 664 00:18:23,869 --> 00:18:26,505 I THINK IT SHOULD TELL STORIES, 665 00:18:26,572 --> 00:18:31,210 I THINK IT SHOULD MATTER TO YOU. 666 00:18:35,081 --> 00:18:36,215 >> RHEA: EL ANATSUI'S WORK 667 00:18:36,282 --> 00:18:37,817 HAS BEEN SEEN THROUGHOUT 668 00:18:37,883 --> 00:18:38,618 THE WORLD. 669 00:18:38,684 --> 00:18:39,585 AND NOW, 670 00:18:39,652 --> 00:18:40,486 HERE'S THIS WEEK 671 00:18:40,553 --> 00:18:43,756 IN ARTS HISTORY. 672 00:18:55,868 --> 00:18:56,769 IN HIS OWN TIME, 673 00:18:56,836 --> 00:18:58,537 ARTIST ANDY WARHOL PUSHED 674 00:18:58,604 --> 00:18:59,739 THE BOUNDARIES OF WHAT DEFINED 675 00:18:59,805 --> 00:19:01,073 ART, 676 00:19:01,140 --> 00:19:02,675 CHALLENGING EXPECTATIONS 677 00:19:02,742 --> 00:19:04,276 WITH HIS PORTRAYALS 678 00:19:04,343 --> 00:19:06,245 OF POPULAR CULTURE. 679 00:19:06,312 --> 00:19:07,580 IN THE RECENT EXHIBITION, 680 00:19:07,647 --> 00:19:10,149 CALLED "REGARDING WARHOL 681 00:19:10,216 --> 00:19:11,117 SIXTY ARTISTS, FIFTY YEARS" 682 00:19:11,183 --> 00:19:13,786 AT THE METROPOLITAN MUSEUM 683 00:19:13,853 --> 00:19:15,488 OF ART IN NEW YORK CITY, 684 00:19:15,554 --> 00:19:17,390 THE WORKS OF WARHOL WERE SHOWN 685 00:19:17,456 --> 00:19:19,025 FOR THE FIRST TIME 686 00:19:19,091 --> 00:19:21,193 JUXTAPOSED WITH THE ARTISTS 687 00:19:21,260 --> 00:19:22,628 THAT REINTERPRETED 688 00:19:22,695 --> 00:19:24,597 HIS GROUNDBREAKING WORK. 689 00:19:25,898 --> 00:19:37,476 >> MARK ROSENTHAL: 690 00:19:37,543 --> 00:19:38,577 THE EXHIBITION IS MEANT 691 00:19:38,644 --> 00:19:39,745 TO BE A LOOK AT WARHOL 692 00:19:39,812 --> 00:19:44,550 AND HIS IMPACT 693 00:19:44,617 --> 00:19:45,518 ON CONTEMPORARY ART 694 00:19:45,584 --> 00:19:47,186 OF THE LAST 50 YEARS. 695 00:19:47,253 --> 00:19:49,255 WARHOL WAS WILLING TO EMBRACE 696 00:19:49,321 --> 00:19:50,356 ANYTHING. 697 00:19:50,423 --> 00:19:52,558 AND THAT'S THE WARHOL EFFECT. 698 00:19:52,625 --> 00:19:54,193 >> MARLA PRATHER: WELL IT'S 699 00:19:54,260 --> 00:19:55,094 A VERY LARGE SHOW SO THERE 700 00:19:55,161 --> 00:19:56,996 ARE 157 WORKS TOTAL 701 00:19:57,063 --> 00:20:00,199 AND 51 OF THOSE ARE BY WARHOL. 702 00:20:00,266 --> 00:20:01,467 >> MARK: IN EACH GROUPING 703 00:20:01,534 --> 00:20:03,969 OF WORKS THERE'LL BE A WARHOL, 704 00:20:04,036 --> 00:20:05,738 OR MAYBE 2 WARHOLS, 705 00:20:05,805 --> 00:20:07,606 AND A GROUP OF WORKS BY OTHER 706 00:20:07,673 --> 00:20:08,908 ARTISTS. 707 00:20:08,974 --> 00:20:10,142 EACH GROUPING IS MEANT 708 00:20:10,209 --> 00:20:12,678 TO INTRODUCE OTHER APPROACHES 709 00:20:12,745 --> 00:20:15,281 TO WHAT WARHOL SET OUT. 710 00:20:15,347 --> 00:20:16,282 >> MARLA: THE FIRST SECTION 711 00:20:16,348 --> 00:20:17,650 IS A VERY LARGE SECTION 712 00:20:17,717 --> 00:20:18,918 CALLED "DAILY NEWS 713 00:20:18,984 --> 00:20:21,620 FROM BANALITY TO DISASTER" 714 00:20:21,687 --> 00:20:22,722 HE WAS CONSTANTLY LOOKING 715 00:20:22,788 --> 00:20:26,092 AT CURRENT EVENTS AND LOOKING 716 00:20:26,158 --> 00:20:27,460 TO NEWSPAPERS, TO MAGAZINES. 717 00:20:27,526 --> 00:20:28,694 >> MARK: WARHOL'S SOURCES 718 00:20:28,761 --> 00:20:29,895 WERE SO OFTEN THE MOST BANAL 719 00:20:29,962 --> 00:20:32,231 OF SUBJECTS. 720 00:20:32,298 --> 00:20:35,034 BUT ALSO FROM THE DAILY NEWS 721 00:20:35,101 --> 00:20:37,403 HE TOOK DISASTERS, 722 00:20:37,470 --> 00:20:38,637 AND HE WOULD MAKE PAINTINGS 723 00:20:38,704 --> 00:20:40,139 BASED ON THAT. 724 00:20:40,206 --> 00:20:41,173 >> MARLA: SO THEN THAT SECTION 725 00:20:41,240 --> 00:20:42,408 MOVES INTO AN AREA THAT HAS 726 00:20:42,475 --> 00:20:44,677 TO DO WITH AMERICAN CONSUMERISM, 727 00:20:44,744 --> 00:20:45,578 WITH LOGOS, 728 00:20:45,644 --> 00:20:46,879 AND HOW OTHER ARTISTS LIKE 729 00:20:46,946 --> 00:20:48,681 AI WEI WEI HAVE APPROPRIATED 730 00:20:48,748 --> 00:20:50,950 THOSE IMAGES. 731 00:20:51,016 --> 00:20:51,684 >> MARK: FOR ME ONE 732 00:20:51,751 --> 00:20:53,986 OF THE EXCITING THINGS ABOUT 733 00:20:54,053 --> 00:20:56,222 THE SHOW IS TO SEE WARHOL 734 00:20:56,288 --> 00:20:57,323 JUXTAPOSED, 735 00:20:57,389 --> 00:20:59,792 FOR EXAMPLE AN ARTIST 736 00:20:59,859 --> 00:21:01,494 NAMED HANS HAACKE, 737 00:21:01,560 --> 00:21:02,962 AND HE CARRIES THE WARHOL 738 00:21:03,028 --> 00:21:05,865 EXAMPLE INTO VERY POLITICAL 739 00:21:05,931 --> 00:21:06,932 DIMENSIONS. 740 00:21:06,999 --> 00:21:08,434 SO HERE HE'S USING THE LOOK 741 00:21:08,501 --> 00:21:10,302 OF PACKAGING, 742 00:21:10,369 --> 00:21:12,304 LIKE WARHOL'S SOUP CAN, 743 00:21:12,371 --> 00:21:13,072 TO THEN MAKE 744 00:21:13,139 --> 00:21:14,240 A POLITICAL STATEMENT 745 00:21:14,306 --> 00:21:16,008 ABOUT WHERE CIGARETTES ARE MADE, 746 00:21:16,075 --> 00:21:18,511 AND THE SENATOR JESSE HELMS. 747 00:21:18,577 --> 00:21:20,379 THERE'S LOTS OF SURPRISES 748 00:21:20,446 --> 00:21:22,748 LIKE THAT WHERE ARTISTS 749 00:21:22,815 --> 00:21:25,384 CAN CARRY THE WARHOL EXAMPLE. 750 00:21:25,451 --> 00:21:26,452 >> MARLA: ANOTHER VERY LARGE 751 00:21:26,519 --> 00:21:27,853 SECTION IS THE PORTRAITURE 752 00:21:27,920 --> 00:21:29,855 SECTION. 753 00:21:29,922 --> 00:21:40,566 WE CALL IT CELEBRITY AND POWER. 754 00:21:40,633 --> 00:21:44,203 FOR ME THE 1964 TURQUOISE 755 00:21:44,270 --> 00:21:45,771 MARILYN, 756 00:21:45,838 --> 00:21:48,007 IS SUCH AN ICONIC IMAGE 757 00:21:48,073 --> 00:21:49,208 AND IS SO, 758 00:21:49,275 --> 00:21:50,276 BEAUTIFUL TO BEGIN WITH, 759 00:21:50,342 --> 00:21:51,577 IT'S ABSOLUTELY ELECTRIC 760 00:21:51,644 --> 00:21:52,845 IN TERMS OF ITS TURQUOISE 761 00:21:52,912 --> 00:21:55,648 COLORATION. 762 00:21:55,714 --> 00:21:56,949 I LOVE THE FACT THAT MARILYN 763 00:21:57,016 --> 00:21:58,617 SAID THAT MARILYN WAS THE VEIL 764 00:21:58,684 --> 00:22:00,786 THAT SHE WORE OVER NORMA JEAN, 765 00:22:00,853 --> 00:22:02,488 AND I THINK THAT WARHOL REALLY 766 00:22:02,555 --> 00:22:03,923 SORT OF UNDERSTOOD 767 00:22:03,989 --> 00:22:05,057 THAT THERE WAS SOME OTHER 768 00:22:05,124 --> 00:22:07,259 HUMAN BEING BENEATH THIS SURFACE 769 00:22:07,326 --> 00:22:08,828 OF ALL OF THIS BLONDE HAIR 770 00:22:08,894 --> 00:22:09,728 AND COLOR. 771 00:22:09,795 --> 00:22:11,797 >> MARK: IN 1960 IN NEW YORK 772 00:22:11,864 --> 00:22:13,933 THERE WERE ALMOST NO PEOPLE 773 00:22:13,999 --> 00:22:15,868 MAKING PORTRAITS. 774 00:22:15,935 --> 00:22:18,470 WE HAVE WARHOL'S "DIAMOND DUST 775 00:22:18,537 --> 00:22:19,905 PORTRAIT OF JOSEPH BEUYS" 776 00:22:19,972 --> 00:22:23,108 TO EXEMPLIFY WARHOL CELEBRATING 777 00:22:23,175 --> 00:22:24,610 ARTISTS. 778 00:22:24,677 --> 00:22:26,212 SO BEHIND ME IS A FAMOUS 779 00:22:26,278 --> 00:22:27,246 PORTRAIT BY CHUCK CLOSE 780 00:22:27,313 --> 00:22:31,483 OF THE MUSICIAN PHIL GLASS. 781 00:22:31,550 --> 00:22:33,819 THERE'S ALSO A PHOTOGRAPH 782 00:22:33,886 --> 00:22:35,855 RICHARD AVEDON MADE 783 00:22:35,921 --> 00:22:38,224 OF TRUMAN CAPOTE. 784 00:22:38,290 --> 00:22:41,227 THERE'S A PAINTING BY ALEX KATZ 785 00:22:41,293 --> 00:22:43,529 OF THE POET TED BERRIGAN, 786 00:22:43,596 --> 00:22:45,464 SO THIS GIVES YOU A SENSE 787 00:22:45,531 --> 00:22:49,068 OF HOW WITH WARHOL AS AN EXAMPLE 788 00:22:49,134 --> 00:22:51,237 THINGS EXPAND OUT 789 00:22:51,303 --> 00:22:53,372 AND BECOME VERY EXCITING. 790 00:22:53,439 --> 00:22:54,306 >> MARLA: THERE'S ANOTHER 791 00:22:54,373 --> 00:22:55,808 SECTION CALLED "QUEER STUDIES," 792 00:22:55,875 --> 00:22:56,675 WHICH IS REALLY 793 00:22:56,742 --> 00:22:59,278 ABOUT SHIFTING IDENTITIES, 794 00:22:59,345 --> 00:23:00,846 ASSUMED PERSONALITIES, 795 00:23:00,913 --> 00:23:01,981 THE IDEA THAT IDENTITY, 796 00:23:02,047 --> 00:23:02,815 ESPECIALLY SEXUAL IDENTITY, 797 00:23:02,882 --> 00:23:03,549 IS SOMETHING 798 00:23:03,616 --> 00:23:06,085 THAT CAN BE ALTERED, 799 00:23:06,151 --> 00:23:07,319 CAN BE USED IN A KIND OF FLUID 800 00:23:07,386 --> 00:23:08,821 AND SHIFTING AND CHANGING WAY. 801 00:23:08,888 --> 00:23:10,189 AND THEN THE LAST SECTIONS 802 00:23:10,256 --> 00:23:11,991 ARE REALLY MORE ABOUT 803 00:23:12,057 --> 00:23:13,926 WARHOL-IAN TECHNIQUES, 804 00:23:13,993 --> 00:23:15,094 THERE'S A SECTION CALLED 805 00:23:15,160 --> 00:23:16,662 "CONSUMING IMAGES" ABOUT 806 00:23:16,729 --> 00:23:18,264 ABSTRACTION, 807 00:23:18,330 --> 00:23:19,698 SERIALITY AND REPETITION. 808 00:23:19,765 --> 00:23:22,334 AND IT BEGINS WITH A WONDERFUL 809 00:23:22,401 --> 00:23:24,603 IMAGE OF THE "MONA LISA." 810 00:23:24,670 --> 00:23:25,638 SO THE REST OF THE GALLERY 811 00:23:25,704 --> 00:23:28,107 IS IN PART ABOUT HOW OTHER 812 00:23:28,173 --> 00:23:29,375 ARTISTS HAVE ABSORBED 813 00:23:29,441 --> 00:23:33,879 THIS APPROPRIATION TECHNIQUE. 814 00:23:33,946 --> 00:23:35,648 AND THEN THERE IS A SECTION 815 00:23:35,714 --> 00:23:36,882 CALLED "NO BOUNDARIES," 816 00:23:36,949 --> 00:23:38,017 AND IT REALLY HAS TO DO 817 00:23:38,083 --> 00:23:39,184 WITH THIS WONDERFUL KIND 818 00:23:39,251 --> 00:23:40,753 OF EXPLOSION OF THE WHOLE 819 00:23:40,819 --> 00:23:42,288 WARHOL-IAN PHENOMENON, 820 00:23:42,354 --> 00:23:43,689 AND THE IDEA THAT ART 821 00:23:43,756 --> 00:23:45,991 REALLY CAN BE ANYTHING. 822 00:23:46,058 --> 00:23:46,825 >> MARK: ONE OF THE INTERESTING 823 00:23:46,892 --> 00:23:48,327 THINGS ABOUT DOING 824 00:23:48,394 --> 00:23:49,328 THIS EXHIBITION, 825 00:23:49,395 --> 00:23:51,563 WAS TO THINK ABOUT HOW ALIVE 826 00:23:51,630 --> 00:23:53,866 THE LEGACY IS RIGHT NOW. 827 00:23:53,933 --> 00:23:56,268 RYAN TRECARTIN IS A FILMMAKER. 828 00:23:56,335 --> 00:23:57,836 IF YOU COMPARE THEM 829 00:23:57,903 --> 00:23:59,805 TO THE ANDY WARHOL FILMS 830 00:23:59,872 --> 00:24:01,373 YOU QUICKLY REALIZE THAT 831 00:24:01,440 --> 00:24:03,342 RYAN TRECARTIN IS A DESCENDANT 832 00:24:03,409 --> 00:24:05,044 OF ANDY WARHOL, 833 00:24:05,110 --> 00:24:06,545 A SHOW OF HIS WORK OPENED 834 00:24:06,612 --> 00:24:08,681 A LITTLE OVER A YEAR AGO 835 00:24:08,747 --> 00:24:11,617 AND WAS MET BY UNBELIEVABLE 836 00:24:11,684 --> 00:24:12,818 PRAISE. 837 00:24:12,885 --> 00:24:14,320 IF A CONTEMPORARY ARTIST 838 00:24:14,386 --> 00:24:16,689 IS STILL MOVED BY ANDY WARHOL 839 00:24:16,755 --> 00:24:17,990 AND THAT ARTIST HAPPENS 840 00:24:18,057 --> 00:24:19,558 TO BE SO CELEBRATED, 841 00:24:19,625 --> 00:24:22,328 THEN THE WARHOL EFFECT IS STILL 842 00:24:22,394 --> 00:24:23,629 WITH US. 843 00:24:23,696 --> 00:24:24,463 >> MARLA: OUR IDEA ABOUT 844 00:24:24,530 --> 00:24:26,799 THE EXHIBITION WAS NOT SIMPLY 845 00:24:26,865 --> 00:24:28,701 AN IDEA OF DIRECT INFLUENCE, 846 00:24:28,767 --> 00:24:30,269 BUT THE IMPACT THROUGH 847 00:24:30,336 --> 00:24:32,938 THE CULTURE OF WARHOL. 848 00:24:33,005 --> 00:24:35,274 BUT ALSO NOT WITH THE IDEA 849 00:24:35,341 --> 00:24:36,742 THAT THIS IS THE DEFINITIVE 850 00:24:36,809 --> 00:24:37,710 SHOW. 851 00:24:37,776 --> 00:24:39,311 IT SHOULD GET PEOPLE TALKING. 852 00:24:39,378 --> 00:24:40,846 I WOULD HOPE THAT PEOPLE THINK 853 00:24:40,913 --> 00:24:42,781 ABOUT WHERE WARHOL'S IMPACT 854 00:24:42,848 --> 00:24:44,416 GOES BEYOND THE GALLERIES, 855 00:24:44,483 --> 00:24:45,951 AND TO HAVE A KIND OF HEIGHTENED 856 00:24:46,018 --> 00:24:46,819 AWARENESS, 857 00:24:46,885 --> 00:24:49,288 WHEN THEY NEXT GO TO GALLERIES 858 00:24:49,355 --> 00:24:51,290 OR TO A DEPARTMENT STORE 859 00:24:51,357 --> 00:24:52,858 OR FLIP THROUGH A MAGAZINE 860 00:24:52,925 --> 00:24:54,426 OR SURF THE WEB, 861 00:24:54,493 --> 00:24:56,762 AND HOW WARHOL WILL SEEM 862 00:24:56,829 --> 00:24:59,131 VERY EVER PRESENT. 863 00:25:02,001 --> 00:25:02,735 >> RHEA: AFTER WARHOL'S 864 00:25:02,801 --> 00:25:05,304 UNEXPECTED DEATH IN 1987, 865 00:25:05,371 --> 00:25:06,705 A FOUNDATION WAS SET UP 866 00:25:06,772 --> 00:25:08,207 IN HIS NAME TO ADVANCE 867 00:25:08,273 --> 00:25:09,808 THE VISUAL ARTS. 868 00:25:09,875 --> 00:25:13,045 FOR MORE INFORMATION VISIT 869 00:25:13,112 --> 00:25:15,581 WARHOLFOUNDATION.ORG. 870 00:25:38,037 --> 00:25:39,104 >> KWAME: THAT'S IT FOR TONIGHT, 871 00:25:39,171 --> 00:25:40,172 BUT TUNE IN NEXT WEEK 872 00:25:40,239 --> 00:25:41,974 FOR MORE ARTIST PROFILES. 873 00:25:42,041 --> 00:25:43,742 I'M KWAME KWEI-ARMAH. 874 00:25:43,809 --> 00:25:45,177 >> AND I'M RHEA FEIKIN. 875 00:25:45,244 --> 00:25:46,378 DON'T FORGET TO VISIT 876 00:25:46,445 --> 00:25:48,614 MPT.ORG/ARTWORKS, 877 00:25:48,680 --> 00:25:49,948 FOR FEATURE VIDEOS 878 00:25:50,015 --> 00:25:52,684 AND MORE UPCOMING ARTS EVENTS. 879 00:25:52,751 --> 00:25:54,553 THANKS FOR WATCHING. 880 00:25:55,654 --> 00:25:56,655 >> ANNOUNCER: ARTWORKS IS MADE 881 00:25:56,722 --> 00:25:57,689 POSSIBLE IN PART BY: 882 00:25:57,756 --> 00:26:00,025 THE MPT NEW INITIATIVES FUND, 883 00:26:00,092 --> 00:26:01,126 FOUNDED BY 884 00:26:01,193 --> 00:26:05,193 IRENE AND EDWARD H. KAPLAN.