WEBVTT 00:00.968 --> 00:02.636 >> HOST: IN THIS EDITION 00:02.703 --> 00:03.370 OF ARTWORKS. 00:03.437 --> 00:05.138 A LEGENDARY ROCK STAR. 00:05.205 --> 00:06.640 A SMASH BROADWAY PRODUCTION 00:06.707 --> 00:09.176 GALLOPING ACROSS THE NATION. 00:09.243 --> 00:10.143 AN ARTIST WITH 00:10.210 --> 00:11.612 WEST AFRICAN ROOTS 00:11.678 --> 00:13.847 AND A GLOBAL AESTHETIC. 00:13.914 --> 00:15.048 AND THE IMPACT 00:15.115 --> 00:17.351 OF A FAMOUS POP ARTIST. 00:17.417 --> 00:19.386 IT'S ALL AHEAD ON ARTWORKS. 00:36.136 --> 00:37.604 >> ANNOUNCER: ARTWORKS IS MADE 00:37.671 --> 00:38.772 POSSIBLE IN PART BY: 00:38.839 --> 00:41.041 THE MPT NEW INITIATIVES FUND, 00:41.108 --> 00:41.942 FOUNDED BY 00:42.009 --> 00:43.677 IRENE AND EDWARD H. KAPLAN. 00:46.780 --> 00:47.881 >> HELLO, 00:47.948 --> 00:49.216 I'M RHEA FEIKIN 00:49.283 --> 00:50.250 AND THIS IS ARTWORKS. 00:50.317 --> 00:52.252 STAY TUNED FOR SOME 00:52.319 --> 00:54.121 EXCITING STORIES THIS WEEK. 00:54.187 --> 00:55.522 >> I'M KWAME KWEI-ARMAH. 00:55.589 --> 00:56.857 MANY KNOW PETE TOWNSEND 00:56.924 --> 00:57.691 AS A FOUNDING MEMBER 00:57.758 --> 00:59.426 OF THE LEGENDARY BRITISH 00:59.493 --> 01:00.193 ROCK 'N' ROLL BAND THE WHO. 01:00.260 --> 01:02.563 THE GUITARIST WHO SMASHED 01:02.629 --> 01:03.897 HIS GUITARS ONSTAGE. 01:03.964 --> 01:05.532 >> RHEA: IN THIS INTERVIEW 01:05.599 --> 01:07.601 WITH PAUL HOLDENGRABER 01:07.668 --> 01:08.468 AT THE NEW YORK PUBLIC LIBRARY, 01:08.535 --> 01:10.304 TOWNSEND DESCRIBES HOW 01:10.370 --> 01:11.939 ART SCHOOL INSPIRED HIM 01:12.005 --> 01:13.340 TO FORM ONE OF THE MOST 01:13.407 --> 01:14.308 INFLUENTIAL ROCK BANDS 01:14.374 --> 01:15.375 IN HISTORY. 01:15.442 --> 01:16.276 >> KWAME: AND ABOUT THOSE 01:16.343 --> 01:17.477 SMASHING GUITARS? 01:17.544 --> 01:20.247 THERE WAS METHOD BEHIND 01:20.314 --> 01:20.747 THE MADNESS SO HE SAYS. 01:20.814 --> 01:21.248 HERE'S A LOOK. 01:21.815 --> 01:23.917 >> PETE TOWNSHEND: I WAS VERY 01:23.984 --> 01:24.284 LUCKY. 01:24.351 --> 01:25.719 I WASN'T JUST LUCKY 01:25.786 --> 01:27.521 TO HAVE BEEN THE SON 01:27.588 --> 01:28.956 OF A POPULAR MUSICIAN 01:29.022 --> 01:30.390 OR A MUSICIAN PLAYING 01:30.457 --> 01:31.124 POPULAR MUSIC. 01:31.191 --> 01:33.627 I WAS ALSO VERY LUCKY TO HAVE 01:33.694 --> 01:35.095 THE TIMING FOR ME 01:35.162 --> 01:36.163 WHEN I MOVED. 01:36.229 --> 01:37.297 IF I'D HAVE MOVED INTO MUSIC 01:37.364 --> 01:38.465 PROFESSIONALLY BEFORE I WENT 01:38.532 --> 01:39.333 TO ART SCHOOL 01:39.399 --> 01:40.701 I WOULD HAVE MISSED ONE 01:40.767 --> 01:42.502 OF THE MOST EXTRAORDINARY 01:42.569 --> 01:43.837 ART SCHOOL COURSES 01:43.904 --> 01:45.572 THAT THE UK EVER PRODUCED, 01:45.639 --> 01:46.139 WHICH WAS CALLED 01:46.206 --> 01:47.240 THE BASIC COURSE. 01:47.307 --> 01:50.243 AND IT WAS REVISED BY THIS 01:50.310 --> 01:52.145 EXTRAORDINARY MAN CALLED, 01:52.212 --> 01:55.349 ROY ASCOT WITH TWO OTHER GUYS 01:55.415 --> 01:56.450 HOWARD COHEN, 01:56.516 --> 01:58.552 WHO WAS A COMPUTER VISIONARY 01:58.619 --> 01:59.886 AS AN ARTIST, 01:59.953 --> 02:01.121 AND HIS BROTHER, 02:01.188 --> 02:02.589 BERNARD WHO WENT ON TO BE 02:02.656 --> 02:05.025 THE HEAD AT THE SLADE 02:05.092 --> 02:07.027 THE FINEST ART SCHOOL 02:07.094 --> 02:08.629 IN, IN BRITAIN. 02:08.695 --> 02:11.498 AND YOUNG PAINTERS FROM CORNWALL 02:11.565 --> 02:12.866 AND LECTURERS BROUGHT 02:12.933 --> 02:14.267 IN LIKE LARRY RIVERS, 02:14.334 --> 02:16.036 CAME AND STAYED AT OUR COLLEGE 02:16.103 --> 02:18.472 FOR TWO OR THREE MONTHS. 02:18.538 --> 02:19.840 AND GUSTAV METZGER, 02:19.906 --> 02:21.241 THE AUTO-DESTRUCTIVE ARTIST 02:21.308 --> 02:24.044 WHOSE WORK WAS NOTHING 02:24.111 --> 02:25.812 TO DO WITH DESTRUCTION AT ALL. 02:25.879 --> 02:27.214 IT WAS TO DO WITH THE FACT 02:27.280 --> 02:29.016 THAT WE AS PEOPLE WERE 02:29.082 --> 02:31.985 DESTROYING OUR ENVIRONMENT. 02:32.052 --> 02:32.486 NO, 02:32.552 --> 02:34.554 WE WERE DESTROYING NATURE 02:34.621 --> 02:37.391 AND CALLING IT AN ENVIRONMENT. 02:37.457 --> 02:39.159 AND AS AN ARTIST, 02:39.226 --> 02:41.028 WHAT YOU HAD WAS THE DUTY 02:41.094 --> 02:42.396 TO REFLECT THAT, 02:42.462 --> 02:44.164 TO REFLECT THAT DESTRUCTION. 02:44.231 --> 02:45.465 AND, UH SO, 02:45.532 --> 02:47.067 ARMED WITH THE IDEA THAT, 02:47.134 --> 02:50.871 THAT, THAT THE END WAS COMING. 02:50.937 --> 02:52.139 THE CERTAIN KNOWLEDGE 02:52.205 --> 02:53.473 THAT THE END WAS COMING. 02:53.540 --> 02:54.608 ARMED WITH THE KNOWLEDGE 02:54.675 --> 02:57.377 THAT I HAD A DUTY TO MAKE 02:57.444 --> 03:00.013 MY MUSIC SOUND LIKE 03:00.080 --> 03:01.581 WHAT IT WAS THAT I THOUGHT 03:01.648 --> 03:02.749 WAS COMING, 03:02.816 --> 03:04.718 ARMED WITH THE IDEA 03:04.785 --> 03:06.219 THAT I HAD TO DO SOMETHING 03:06.286 --> 03:09.389 WITH THIS BAND, WHO OKAY, 03:09.456 --> 03:11.892 THEY WERE NOT THE PERFECT 03:11.958 --> 03:13.427 INSTRUMENT. 03:13.493 --> 03:15.729 I DIDN'T FEEL THEY WERE 03:15.796 --> 03:16.830 AT THE TIME. 03:16.897 --> 03:18.865 BUT THEY BECAME SO. 03:18.932 --> 03:19.499 YOU KNOW, 03:19.566 --> 03:21.168 THE WHO, I COULDN'T HAVE 03:21.234 --> 03:24.571 HAD BETTER MEN BESIDE ME. 03:24.638 --> 03:25.439 I COULDN'T HAVE. 03:25.505 --> 03:26.306 YOU KNOW, THAT IN FACT, 03:26.373 --> 03:27.708 IF IT WE HAD BEEN FOUR 03:27.774 --> 03:29.242 ARTY-FARTY ART STUDENTS 03:29.309 --> 03:30.410 WHO ALL THOUGHT LIKE I DID, 03:30.477 --> 03:31.211 IT WOULD HAVE BEEN 03:31.278 --> 03:33.647 A COMPLETE MESS, YOU KNOW. 03:33.714 --> 03:34.381 I JUST USED TO KIND 03:34.448 --> 03:35.449 OF WALK AROUND WITH MY ARTY 03:35.515 --> 03:36.583 IDEAS AND THE REST OF THEM 03:36.650 --> 03:37.718 GOT ON WITH THE JOB. 03:37.784 --> 03:38.485 YOU KNOW, 03:38.552 --> 03:39.953 ROGER OFTEN TALKS ABOUT 03:40.020 --> 03:40.821 THE FACT THAT HE USED 03:40.887 --> 03:41.688 TO HAVE TO COME ROUND 03:41.755 --> 03:43.290 AND DIG ME OUT OF BED, YOU KNOW. 03:43.356 --> 03:45.425 BUT, TO GO TO SHOWS. 03:45.492 --> 03:48.995 BECAUSE I WAS A DEEP THINKER. 03:49.062 --> 03:52.532 I LISTENED TO YOU KNOW, 03:52.599 --> 03:54.735 R&BRECORDS. 03:54.801 --> 04:00.774 BUT THAT MOMENT OF UNITING 04:00.841 --> 04:01.908 WHAT HAD HAPPENED WHAT I 04:01.975 --> 04:03.376 WAS WHAT I'D BEEN TAUGHT 04:03.443 --> 04:04.945 AT ART SCHOOL AND SUDDENLY 04:05.011 --> 04:07.714 REALIZING THAT THIS LITTLE BAND 04:07.781 --> 04:07.981 I WAS IN, 04:08.048 --> 04:09.382 THIS LITTLE R&BBAND 04:09.449 --> 04:10.584 WE WERE JUST ONE OF THE BANDS 04:10.650 --> 04:12.419 AROUND AT THE TIME 04:12.486 --> 04:15.021 IN WEST LONDON 04:15.088 --> 04:18.959 HAD THIS POTENTIAL TO MAKE THIS 04:19.025 --> 04:20.961 EXTRAORDINARY NOISE. 04:21.027 --> 04:23.029 AND ROGER AS A SINGER IS 04:23.096 --> 04:24.164 QUITE INTERESTING BECAUSE 04:24.231 --> 04:26.099 HE HIS TWO OF THE SINGERS 04:26.166 --> 04:27.467 THAT HE LOVED THE MOST 04:27.534 --> 04:29.002 ONE WAS HOWLING WOLF, 04:29.069 --> 04:35.175 WHO HOWLED LIKE A WOLF. 04:35.242 --> 04:37.144 SMOKESTACK LIGHTNING. 04:37.210 --> 04:38.612 YOU KNOW, LIKE THAT. 04:38.678 --> 04:39.880 SING. 04:39.946 --> 04:40.747 AND, 04:40.814 --> 04:42.215 AND THAT THIS LITTLE SKINNY, 04:42.282 --> 04:43.216 LITTLE GUY. 04:43.283 --> 04:44.618 THIS LITTLE MOD GUY 04:44.684 --> 04:45.485 IN FRONT OF THE BAND, 04:45.552 --> 04:47.420 HOWLING WITH THIS HUGE VOICE. 04:47.487 --> 04:48.955 ME, MAKING MY NOISE. 04:49.022 --> 04:50.090 AND JOHN ENTWISTLE 04:50.157 --> 04:52.392 AS A BASS PLAYER WAS ANOTHER 04:52.459 --> 04:53.160 EXTRAORDINARY CHARACTER. 04:53.226 --> 04:55.095 HE WASN'T CONTENT TO PLAY 04:55.162 --> 04:56.429 THE BASS. 04:56.496 --> 04:58.698 HE WANTED IT TO BE MORE. 04:58.765 --> 05:00.167 HE WANTED IT TO BE LIKE 05:00.233 --> 05:02.202 A HUGE ORGAN. 05:02.269 --> 05:04.104 AND HAD THESE SPECIAL STRINGS 05:04.171 --> 05:05.372 MADE THAT DIDN'T GO BOOM. 05:05.438 --> 05:07.541 THEY WENT WANG. 05:07.607 --> 05:09.776 AND, UM WOULD BANG AWAY. 05:09.843 --> 05:11.545 AND, UH KEITH MOON, 05:11.611 --> 05:12.379 OF COURSE, 05:12.445 --> 05:14.414 WE ALL WE ALL KNOW ABOUT 05:14.481 --> 05:15.448 THIS INCREDIBLY EXPRESSIVE, 05:15.515 --> 05:16.016 FLUID, 05:16.082 --> 05:18.418 ALMOST ORCHESTRAL DRUMMER. 05:18.485 --> 05:20.921 HE HE DIDN'T PLAY BOM, 05:20.987 --> 05:22.155 BOM, BOM, 05:22.222 --> 05:23.590 LIKE MOST R&BDRUMMERS DO. 05:23.657 --> 05:24.658 HE'D GO BUM-BUM-PSSSSH, 05:24.724 --> 05:25.358 BUM-BUM-PSSSH, 05:25.425 --> 05:27.761 BUM-BAH-BUM-BAH-BUM-BAH-BO OM. 05:27.828 --> 05:30.497 AND IT WAS ALL KIND OF LIKE 05:30.564 --> 05:31.665 ORCHESTRAL DRUMMING. 05:31.731 --> 05:32.899 IT WAS DECORATIVE. 05:32.966 --> 05:33.900 AND SO, 05:33.967 --> 05:36.970 WHEN I'M STANDING THERE 05:37.037 --> 05:44.144 PRETENDING TO BE, 05:44.211 --> 05:45.078 YOU KNOW, 05:45.145 --> 05:46.046 THE BIG PLANE THAT'S BRINGING 05:46.112 --> 05:47.113 THE BOMB THAT'S GOING TO BE 05:47.180 --> 05:48.248 THE END OF THE WORLD, 05:48.315 --> 05:49.850 ISN'T IT SAD. 05:49.916 --> 05:50.984 YOU KNOW. 05:51.051 --> 05:52.319 RRRRRRRRRRRRR. 05:52.385 --> 05:54.955 DON'T LOOK AT MY NOSE. 05:55.021 --> 05:55.856 IT'S COMING. 05:55.922 --> 05:59.059 RRRRRRR. 05:59.125 --> 06:00.393 AROUND ME, 06:00.460 --> 06:04.097 THIS ROGER GUY RRRRRRRAARRRRR, 06:04.164 --> 06:05.599 JOHN ENTWISTLE BANGING AWAY, 06:05.665 --> 06:06.833 MAKING A NOISE LIKE FIVE 06:06.900 --> 06:08.301 OR SIX, YOU KNOW, 06:08.368 --> 06:09.669 HUGE THEATER ORGANS 06:09.736 --> 06:10.937 ALL PLAYING AT ONCE 06:11.004 --> 06:12.072 AND KEITH MAKING THIS 06:12.138 --> 06:13.306 IN YOU KNOW, 06:13.373 --> 06:15.542 INCREDIBLE KIND OF ALMOST 06:15.609 --> 06:17.377 LIKE TYMPANI AND CYMBALS 06:17.444 --> 06:18.979 AND, YOU KNOW, 06:19.045 --> 06:20.213 NOT LIKE THE NORMAL KIND 06:20.280 --> 06:21.248 OF MUSIC THAT OTHER BANDS 06:21.314 --> 06:23.016 WERE MAKING. 06:23.083 --> 06:24.451 IT WAS BEDLAM, 06:24.517 --> 06:26.987 TO SAY THE LEAST. 06:27.053 --> 06:28.688 AND IT WAS PART OF IT FOR 06:28.755 --> 06:29.389 THE ARTISTIC STATEMENT 06:29.456 --> 06:30.357 I WANTED TO MAKE. 06:30.423 --> 06:31.091 >> PAUL HOLDENGROBER: SO, 06:31.157 --> 06:31.858 THE GENEALOGY 06:31.925 --> 06:34.027 OF THE DESTRUCTION 06:34.094 --> 06:38.164 OF THE GUITARS COMES FROM... 06:38.231 --> 06:39.833 >> PETE TOWNSHEND: IT COMES OUT 06:39.900 --> 06:41.234 OF THAT THING OF THINKING 06:41.301 --> 06:42.636 AFTER A WHILE THAT THIS 06:42.702 --> 06:43.737 ISN'T ENOUGH AND THAT 06:43.803 --> 06:45.138 WHAT I HAVE TO DO 06:45.205 --> 06:47.073 IS I HAVE TO MAKE SOME NEW 06:47.140 --> 06:47.340 SOUNDS. 06:47.407 --> 06:49.042 AND I START BANGING THE GUITAR 06:49.109 --> 06:50.410 AROUND AND I AND THEN 06:50.477 --> 06:51.244 THAT BECOMES VERY, 06:51.311 --> 06:51.811 VERY INTERESTING. 06:51.878 --> 06:52.879 THE GUITAR I WAS USING IN THESE 06:52.946 --> 06:54.714 EARLY DAYS, 06:54.781 --> 06:56.049 WAS A RICKENBACKER. 06:56.116 --> 06:58.218 IT'S A VERY LIGHT-BUILT GUITAR. 06:58.285 --> 07:00.153 IT'S VERY DELICATE. 07:00.220 --> 07:02.088 AND THIN WOOD. 07:02.155 --> 07:03.523 AND VERY VIBRANT. 07:03.590 --> 07:04.991 IT'S A SEMI-ACOUSTIC GUITAR. 07:05.058 --> 07:05.625 SO, 07:05.692 --> 07:06.960 IT WOULD FEEDBACK EASILY 07:07.027 --> 07:08.495 AND MAKE THIS INCREDIBLY 07:08.561 --> 07:09.596 EXTRAORDINARY SOUND. 07:09.663 --> 07:10.764 BUT THEN I WOULD BANG IT 07:10.830 --> 07:11.765 IN THE AMPLIFIER 07:11.831 --> 07:12.632 AND AS I DID SO, 07:12.699 --> 07:14.367 IT WOULD KIND OF GO BOING-CRASH. 07:14.434 --> 07:16.770 AND SCRAPE THE STRINGS 07:16.836 --> 07:19.072 AND THAT KIND OF BECAME 07:19.139 --> 07:20.874 ANOTHER SOUND AND SCRAPE 07:20.941 --> 07:23.643 SCRAPING THE STRINGS UP AND DOWN 07:23.710 --> 07:25.011 THE MIC STAND. 07:25.078 --> 07:25.445 AND, 07:25.512 --> 07:28.214 I IMAGINED THAT WHEN I BROKE 07:28.281 --> 07:29.115 THE GUITAR, 07:29.182 --> 07:30.050 I HIT THE GUITAR ON THE GROUND, 07:30.116 --> 07:30.784 BOUNCED THE GUITAR 07:30.850 --> 07:31.618 ON THE GROUND, 07:31.685 --> 07:33.620 BASHED IT ON THE CEILING 07:33.687 --> 07:34.421 OR WHATEVER, 07:34.487 --> 07:36.056 THAT IT WOULD MAKE 07:36.122 --> 07:37.257 AN INTERESTING SOUND. 07:37.324 --> 07:38.458 AND IT DID. 07:38.525 --> 07:40.860 AND IT WAS ALSO, YOU KNOW, 07:40.927 --> 07:42.495 I LOOKED PRETTY COOL 07:42.562 --> 07:44.097 DOING IT AS WELL. 07:44.164 --> 07:45.198 [LAUGHTER] 07:48.335 --> 07:49.970 >> RHEA: SO, DID YOU SEE THEM? 07:50.036 --> 07:50.537 >> KWAME: WHO? 07:50.603 --> 07:52.839 >> RHEA: THE WHO THEY JUST 07:52.906 --> 07:55.275 COMPLETED A NORTH AMERICAN TOUR 07:55.342 --> 07:56.242 IN FEBRUARY. 07:56.309 --> 07:57.510 BUT YOU'LL FIND 07:57.577 --> 07:59.379 PETE TOWNSHEND'S MEMOIR, 07:59.446 --> 08:00.947 "WHO I AM" ON THE BOOKSHELVES 08:01.014 --> 08:03.583 NOW. 08:18.131 --> 08:19.332 >> KWAME: SINCE ITS DEBUT 08:19.399 --> 08:20.000 AT THE NATIONAL THEATER 08:20.066 --> 08:21.434 IN LONDON'S WEST END, 08:21.501 --> 08:23.303 "WAR HORSE" HAS GALLOPED AWAY 08:23.370 --> 08:24.938 WITH A STREAM OF ACCOLADES, 08:25.005 --> 08:26.506 INCLUDING A TONY AWARD 08:26.573 --> 08:28.842 FOR BEST PLAY IN 2011. 08:28.908 --> 08:29.976 NOW THE FIRST NATIONAL 08:30.043 --> 08:31.511 TOURING PRODUCTION OF THE PLAY 08:31.578 --> 08:33.813 IS TRAVELING ACROSS THE U.S.. 08:33.880 --> 08:35.548 JARED BOWEN SEIZED A CHANCE 08:35.615 --> 08:36.816 TO MEET WITH THE COMPANY 08:36.883 --> 08:38.051 AND GET A REVEALING LOOK 08:38.118 --> 08:40.020 AT THE SHOW'S UNIQUE EQUINE 08:40.086 --> 08:41.121 STAR. 08:41.755 --> 08:42.155 >> JARED BOWEN: IT'S 08:42.222 --> 08:42.856 THE ENGLISH COUNTRYSIDE, 08:42.922 --> 08:44.024 1912. 08:44.090 --> 08:45.025 A TEENAGER NAMED ALBERT RAISES 08:45.091 --> 08:47.260 A COLT HE CALLS JOEY. 08:47.327 --> 08:49.062 THEIR BOND IS IMMEDIATE 08:49.129 --> 08:49.963 AND UNWAVERING. 08:50.030 --> 08:51.731 BUT AT THE OUTBREAK 08:51.798 --> 08:53.533 OF WORLD WAR I, 08:53.600 --> 08:54.868 JOEY IS CONSCRIPTED 08:54.934 --> 08:56.369 INTO THE BRITISH ARMY. 08:56.436 --> 08:57.804 >> I DO SOLEMLY SWEAR 08:57.871 --> 09:00.473 THAT WE SHALL BE TOGETHER AGAIN. 09:00.540 --> 09:01.074 >> JARED: WAR HORSE TRACES 09:01.141 --> 09:03.109 JOEY'S BRUTAL PATH THROUGH WAR 09:03.176 --> 09:04.411 AND THE MAJESTIC ANIMAL'S 09:04.477 --> 09:05.879 ENDURANCE IN A LANDSCAPE 09:05.945 --> 09:07.147 OF HORROR. 09:07.213 --> 09:09.015 ANDREW VEENSTRA PLAYS ALBERT. 09:09.082 --> 09:09.649 >> ANDREW VEENSTRA: I DEFINITELY 09:09.716 --> 09:10.517 THINK IT'S AN ANTHEM OF PEACE. 09:10.583 --> 09:11.918 YOU LOOK AT THE ATROCITIES 09:11.985 --> 09:12.986 THAT WERE COMMITTED 09:13.053 --> 09:14.654 AND WHY THEY WERE COMMITTED 09:14.721 --> 09:15.855 AND YOU'RE LEFT QUESTIONING 09:15.922 --> 09:16.756 WHAT IT WAS ALL ABOUT 09:16.823 --> 09:17.290 AND WHY IT'S THERE. 09:17.357 --> 09:17.924 >> JARED: THE EMOTIONAL 09:17.991 --> 09:19.626 HEFT OF THE SHOW COMES 09:19.692 --> 09:20.994 FROM THE HORSES LIFE-SIZED 09:21.061 --> 09:21.995 PUPPETS CREATED BY 09:22.062 --> 09:23.530 THE HANDSPRING PUPPET COMPANY 09:23.596 --> 09:25.031 WHICH RECEIVED A SPECIAL 09:25.098 --> 09:28.034 TONY AWARD FOR THE EFFORT. 09:28.101 --> 09:29.502 IT'S AT THE BOSTON OPERA HOUSE 09:29.569 --> 09:30.837 WHERE JOEY TROTTED IN TO MEET 09:30.904 --> 09:31.805 US. 09:31.871 --> 09:33.573 >> VEENSTRA: THIS IS JOEY. 09:33.640 --> 09:38.878 HE'LL GET TO KNOW YOU. 09:38.945 --> 09:39.979 HE'LL SMELL YOU. 09:40.046 --> 09:41.247 YOU JUST REACH OUT. 09:41.314 --> 09:42.215 HE'S NO DIFFERENT FROM ANY OTHER 09:42.282 --> 09:43.850 HORSE. 09:43.917 --> 09:44.918 HE'LL GIVE YOU A LOT OF PRESSURE 09:44.984 --> 09:48.154 ON YOUR HAND. 09:48.221 --> 09:51.057 >> JARED: THIS IS REMARKABLE. 09:51.124 --> 09:52.892 I'M SOMEONE WHO GREW UP 09:52.959 --> 09:53.426 RIDING HORSES, 09:53.493 --> 09:54.461 I RIDE EVERY SUMMER 09:54.527 --> 09:55.762 AND THEY HAVE THE MANNERISMS 09:55.829 --> 09:56.296 EXACTLY DOWN. 09:56.362 --> 09:57.330 THIS IS A HORSE! 09:57.397 --> 09:58.398 >> VEENSTRA: YEAH ABSOLUTELY. 09:58.465 --> 09:59.966 >> JARED: JOEY IS AN ELABORATE 10:00.033 --> 10:03.336 CREATION HANDMADE BY OVER 10:03.403 --> 10:04.504 A DOZEN PEOPLE, 10:04.571 --> 10:06.039 HE IS 120 POUNDS, 10:06.106 --> 10:07.440 ROUGHLY TEN FEET LONG 10:07.507 --> 10:09.209 AND EIGHT FEET TALL. 10:09.275 --> 10:10.543 HE IS FRAMED IN CANE 10:10.610 --> 10:11.811 AND ALUMINUM. 10:11.878 --> 10:13.313 LEATHER DRAPES HIS BACK 10:13.379 --> 10:14.881 AND A HOSIERY-LIKE FABRIC 10:14.948 --> 10:16.850 COMPRISES HIS SKIN. 10:16.916 --> 10:19.319 BUT HE IS IMBUED WITH LIFE. 10:19.385 --> 10:19.919 >> VEENSTRA: "THE LUNGS 10:19.986 --> 10:20.753 OF THE HORSE ARE ABOUT 10:20.820 --> 10:21.955 THREE TIMES THE SIZE 10:22.021 --> 10:23.990 OF HUMAN BEINGS LUNGS. 10:24.057 --> 10:25.692 SO TO GET THE SOUND PRODUCED, 10:25.758 --> 10:27.193 THE EXHALES, INHALES, 10:27.260 --> 10:28.728 IT TAKES THREE PEOPLE TO CREATE 10:28.795 --> 10:29.529 THAT. 10:29.596 --> 10:31.097 AND ALL THREE OF THEM CREATE 10:31.164 --> 10:32.565 THE HORSE SOUNDS AND EVERYTHING 10:32.632 --> 10:34.701 INVOLVING THE HORSE. 10:34.767 --> 10:35.335 >> JARED: THE THREE ACTORS SLASH 10:35.401 --> 10:37.337 PUPPETEERS INHABITING JOEY 10:37.403 --> 10:38.371 SERVE AS THE HEAD, 10:38.438 --> 10:40.006 HEART AND HIND MANIPULATING 10:40.073 --> 10:41.407 THE HORSE THROUGH A SERIES 10:41.474 --> 10:43.843 OF LEVERS CONTROLLING 20 JOINTS. 10:43.910 --> 10:45.712 >> BRIAN ROBERT BURNS: "WE ALL 10:45.778 --> 10:46.646 INFORM EACH OTHER. 10:46.713 --> 10:48.515 THE HIND THAT IS THE ENGINE 10:48.581 --> 10:50.683 OF THE BODY AND THE HEAD BEING 10:50.750 --> 10:52.252 THE THOUGHT OF THAT ANIMAL, 10:52.318 --> 10:53.786 THE BREATH AND THE ENGINE 10:53.853 --> 10:55.655 AND THE MIND ALL WORK TOGETHER 10:55.722 --> 10:57.524 AND YOU KNOW CREATE THIS REALLY 10:57.590 --> 10:58.158 BEAUTIFUL ORGANISM." 10:58.224 --> 11:00.026 >> JARED: AND IT'S A PROCESS 11:00.093 --> 11:01.361 THAT HAS BECOME ORGANIC SAY 11:01.427 --> 11:02.795 THE ACTORS. 11:02.862 --> 11:03.563 WHILE THEY HAVE BASIC 11:03.630 --> 11:04.330 CHOREOGRAPHY ON STAGE 11:04.397 --> 11:06.099 TELLING THEM WHERE TO BE 11:06.166 --> 11:07.233 AND WHEN, 11:07.300 --> 11:08.535 THEY'RE OTHERWISE GIVEN FREE 11:08.601 --> 11:09.536 REIGN. 11:09.602 --> 11:10.403 >> DANNY YOERGES: "AS WE GET 11:10.470 --> 11:11.304 FURTHER INTO THIS TOUR WE START 11:11.371 --> 11:13.907 TO REALLY FLESH OUT THESE REALLY 11:13.973 --> 11:16.242 TINY DETAILS OF WHAT THE HORSE 11:16.309 --> 11:16.943 IS THINKING. 11:17.010 --> 11:18.144 AND THEY SURPRISE US WHEN 11:18.211 --> 11:18.845 WE'RE ON STAGE. 11:18.912 --> 11:20.313 THAT'S THE EXCITING THING." 11:20.380 --> 11:21.047 >> JESSICA KRUEGER: "I HAVE 11:21.114 --> 11:22.015 A TERRIBLE HABIT 11:22.081 --> 11:22.882 OF SEEING SOMETHING, 11:22.949 --> 11:24.083 STEALING IT, 11:24.150 --> 11:24.751 PUTTING IT IN THE SHOW 11:24.817 --> 11:26.586 LIKE RIGHT AWAY WITHOUT TELLING 11:26.653 --> 11:28.087 ANYBODY I'LL SEE THINGS 11:28.154 --> 11:30.290 ON YOUTUBE, IN A LIVE HORSE, 11:30.356 --> 11:31.791 ANYTHING AND I'LL JUST 11:31.858 --> 11:33.626 AHHH I'LL FIND A PLACE 11:33.693 --> 11:35.862 TO PUT IT AND I WILL. 11:35.929 --> 11:36.963 MAYBE IT WORKS, 11:37.030 --> 11:38.064 MAYBE IT DOESN'T." 11:38.131 --> 11:39.699 >> JARED: FOR VEENSTRA THERE 11:39.766 --> 11:40.667 IS LITTLE QUESTION. 11:40.733 --> 11:42.302 >> VEENSTRA: "JOEY IS NEVER 11:42.368 --> 11:43.937 ANYTHING BUT JOEY TO US 11:44.003 --> 11:44.904 IN THE CAST. 11:44.971 --> 11:46.206 I FORGET QUITE HONESTLY 11:46.272 --> 11:47.207 PROBABLY QUICKER THAN 11:47.273 --> 11:48.508 THE AUDIENCE DOES WHICH 11:48.575 --> 11:50.443 IS PRETTY QUICK THAT IT'S EVEN 11:50.510 --> 11:51.444 OPERATED BY PEOPLE. 11:51.511 --> 11:53.079 YOU JUST IMMEDIATELY ARE FEELING 11:53.146 --> 11:54.047 FOR THIS ANIMAL. 11:54.113 --> 11:55.148 >> JARED: WHICH MAKES WAR HORSE 11:55.215 --> 11:56.749 AN UNBRIDLED SUCCESS. 11:59.852 --> 12:00.220 >> KWAME: FILMMAKER 12:00.286 --> 12:01.521 STEVEN SPIELBERG ADAPTED 12:01.588 --> 12:02.755 THE PLAY INTO A FILM, 12:02.822 --> 12:03.790 WHICH WAS NOMINATED 12:03.856 --> 12:05.124 FOR EIGHT ACADEMY AWARDS 12:05.191 --> 12:06.626 IN 2012. 12:06.693 --> 12:07.493 NOW, 12:07.560 --> 12:08.595 OUR NEXT ARTIST'S WORK 12:08.661 --> 12:10.530 IS ALL ABOUT TRANSFORMATION. 12:10.597 --> 12:11.264 THE CELEBRATED 12:11.331 --> 12:12.632 WEST AFRICAN ARTIST, 12:12.699 --> 12:14.067 EL ANATSUI, 12:14.133 --> 12:15.568 USES FOUND MATERIALS 12:15.635 --> 12:17.103 SUCH AS CONDENSED MILK TINS 12:17.170 --> 12:19.339 AND ALUMINUM BOTTLE CAPS. 12:19.405 --> 12:20.506 THIS ARTIST DRAWS 12:20.573 --> 12:21.474 ON THE AESTHETIC TRADITIONS 12:21.541 --> 12:23.576 OF HIS NATIVE COUNTRY AS WELL 12:23.643 --> 12:24.944 AS WESTERN INFLUENCES. 12:25.011 --> 12:26.813 HIS 40 YEAR RETROSPECTIVE, 12:26.879 --> 12:27.947 RECENTLY AT THE DENVER ART 12:28.014 --> 12:28.815 MUSEUM, 12:28.881 --> 12:30.350 REVEALS EL ANATSUI'S 12:30.416 --> 12:32.485 CREATIVE PROCESS AND GLOBAL 12:32.552 --> 12:34.487 APPROACH TO ART. 12:36.689 --> 12:37.290 >> EL ANATSUI: I THINK ART 12:37.357 --> 12:38.291 SHOULD ALLOW US TO QUESTION 12:38.358 --> 12:39.292 OUR OWN EXPERIENCES 12:39.359 --> 12:40.627 AND CHALLENGE US TO WANT TO KNOW 12:40.693 --> 12:42.695 MORE ABOUT OTHERS. 12:42.762 --> 12:43.763 SPECIFICALLY FOR THE WORK 12:43.830 --> 12:45.031 OF EL ANATSUI IT'S VERY EASY 12:45.098 --> 12:46.266 TO DO THAT. 12:46.332 --> 12:47.400 YOU COME TO HIS WORK AND YOU SEE 12:47.467 --> 12:48.735 THAT CLEARY IT'S SOMETHING 12:48.801 --> 12:49.736 FROM AFRICA OR FROM A PLACE 12:49.802 --> 12:51.471 THAT YOU'RE NOT FAMILIAR WITH 12:51.537 --> 12:53.006 AND IT MAKES YOU QUESTION 12:53.072 --> 12:54.340 YOURSELF AND YOUR PLACE 12:54.407 --> 12:57.110 IN THE WORLD AND YOUR 12:57.176 --> 12:59.312 RELATIONSHIP WITH OTHER SPACES. 12:59.379 --> 13:02.081 >> THIS IS A RETROSPECTIVE 13:02.148 --> 13:04.851 OF HIS 40 YEAR CAREER. 13:04.917 --> 13:08.187 >> EL ANATSUI: SEEING 40 YEARS 13:08.254 --> 13:11.491 OF MY WORK AND BROUGHT TOGETHER 13:11.557 --> 13:14.260 UNDER ONE ROOF IS HUMBLING, 13:14.327 --> 13:16.462 GIVES ME A FEELING 13:16.529 --> 13:17.563 OF EXHILARATION. 13:17.630 --> 13:20.333 IT'S LIKE HAVING A REUNION 13:20.400 --> 13:24.203 OF PEOPLE I'VE MET SO MANY YEARS 13:24.270 --> 13:24.771 BACK. 13:24.837 --> 13:26.239 YOU GO TO SOME OF THE EARLIER 13:26.306 --> 13:28.474 WORKS AND IT GIVES YOU THE SENSE 13:28.541 --> 13:31.811 THAT YOU ACTUALLY DIDN'T TAKE 13:31.878 --> 13:33.346 A BIG LEAP BUT THAT WHAT YOU 13:33.413 --> 13:36.082 WERE DOING WAS TAKING LITTLE 13:36.149 --> 13:40.186 STEPS TO GET TO THIS STAGE. 13:40.253 --> 13:41.287 >> NANCY BLOMBERG: THIS IS AN 13:41.354 --> 13:42.522 EXTRAORDINARY OPPORTUNITY 13:42.588 --> 13:43.423 FOR PEOPLE TO REALLY LOOK 13:43.489 --> 13:44.123 AT AN ARTIST. 13:44.190 --> 13:45.258 HOW HE HAS CHANGED. 13:45.325 --> 13:46.859 HOW HIS IDEAS HAVE CHANGED 13:46.926 --> 13:48.061 OVER TIME AND YOU DON'T OFTEN 13:48.127 --> 13:52.665 SEE THAT. 13:52.732 --> 13:53.733 >> LISA BINDER: EL IS A VERY 13:53.800 --> 13:54.701 QUIET MAN, 13:54.767 --> 13:56.369 VERY PRIVATE PERSON BUT SOMEONE 13:56.436 --> 13:57.770 WHO LOVES TO ENGAGE 13:57.837 --> 14:00.073 WITH INDIVIDUALS THAT HE MEETS 14:00.139 --> 14:02.108 ALL OVER THE WORLD AND HE LOVES 14:02.175 --> 14:05.778 TO ENGAGE WITH PEOPLE ABOUT ART. 14:05.845 --> 14:06.446 >> NANCY: WELL, 14:06.512 --> 14:07.146 HE IS CERTAINLY 14:07.213 --> 14:08.648 AN INTERNATIONALLY KNOWN ARTIST. 14:08.715 --> 14:09.882 HE WAS PRETTY WELL KNOWN 14:09.949 --> 14:10.817 IN AFRICA FOR THE FIRST 30 YEARS 14:10.883 --> 14:15.655 AND KNOWN IN EUROPE AS WELL. 14:15.722 --> 14:16.322 >> LISA: HE REMAINS 14:16.389 --> 14:17.990 VERY IMPORTANT IN AFRICA 14:18.057 --> 14:19.926 SPECIFICALLY WEST AFRICA. 14:19.992 --> 14:21.127 HE'S FROM GHANA BUT HAS LIVED 14:21.194 --> 14:22.929 AND WORKED IN NIGERIA SINCE 1975 14:22.995 --> 14:26.265 AND IS VERY WELL-KNOWN THERE. 14:26.332 --> 14:27.400 >> NANCY: BUT, 14:27.467 --> 14:28.401 HE REALLY BURST 14:28.468 --> 14:30.169 ONTO THE INTERNATIONAL SCENE 14:30.236 --> 14:32.638 IN ABOUT 2007 WHEN HE BEGAN 14:32.705 --> 14:33.840 CREATING A SERIES OF THESE 14:33.906 --> 14:36.576 METAL WALL SCULPTURES. 14:36.642 --> 14:37.777 >> AMANDA THOMPSON: FOR ME 14:37.844 --> 14:38.678 THE AMAZING THING ABOUT 14:38.745 --> 14:39.846 EL ANATSUI'S WORK 14:39.912 --> 14:41.981 IS THAT IT IS SO ACCESSIBLE. 14:42.048 --> 14:44.517 DESIGN PEOPLE CAN ENGAGE 14:44.584 --> 14:45.518 WITH IT, 14:45.585 --> 14:46.719 CRAFTS PEOPLE CAN ENGAGE 14:46.786 --> 14:47.720 WITH IT, 14:47.787 --> 14:49.722 PAINTERS CAN ENGAGE WITH IT 14:49.789 --> 14:51.224 AND THE BACK STORY OF IT, 14:51.290 --> 14:52.792 THE USE OF RECYCLED, 14:52.859 --> 14:54.160 REUSED BOTTLE CAPS IT'S 14:54.227 --> 14:56.863 SO VERY CURRENT TO ISSUES 14:56.929 --> 14:59.699 GOING ON IN THE WORLD 14:59.766 --> 15:01.501 AND THE STORY IS INTIMATE 15:01.567 --> 15:02.368 TO THE HISTORY OF WEST AFRICA 15:02.435 --> 15:03.903 AS WELL. 15:03.970 --> 15:04.837 >> EL ANATSUI: THERE CAME 15:04.904 --> 15:06.439 A TIME WHEN I DEVELOPED 15:06.506 --> 15:08.141 THE AFFINITY FOR ONLY MATERIAL 15:08.207 --> 15:11.811 THAT HAS SEEN SOME USE, 15:11.878 --> 15:13.813 THAT HAD HAD SOME CONTACT 15:13.880 --> 15:14.914 WITH PEOPLE. 15:14.981 --> 15:16.549 I FIND THAT THEY HAVE SOMETHING 15:16.616 --> 15:17.984 RICH ABOUT THEM. 15:18.050 --> 15:20.286 MAYBE SOMETHING PSYCHIC 15:20.353 --> 15:21.654 OR SPIRITUAL IT'S KIND 15:21.721 --> 15:23.022 OF BUILDS A BOND BETWEEN ME 15:23.089 --> 15:23.990 AND ANYBODY WHO HAS HAD REACTION 15:24.056 --> 15:29.228 WITH THE OBJECT. 15:29.295 --> 15:30.263 >> LISA: HIS WORK IS MADE 15:30.329 --> 15:31.264 OF THE THINGS OF LIFE. 15:31.330 --> 15:33.332 OF THE THINGS THAT WE EXPERIENCE 15:33.399 --> 15:35.067 IN OUR EVERY DAY WORLD 15:35.134 --> 15:36.436 AND SO WE ARE ABLE TO COME 15:36.502 --> 15:37.303 TO IT WITH OUR OWN EXPERIENCES 15:37.370 --> 15:38.070 AND SAY OK I UNDERSTAND 15:38.137 --> 15:38.905 THAT THAT'S SOME THING 15:38.971 --> 15:43.075 THAT IS IN MY WORLD TOO. 15:43.142 --> 15:44.110 >> EL: I LIKE THE IDEA 15:44.177 --> 15:46.479 OF PICKING COMMONPLACE THINGS 15:46.546 --> 15:48.881 AND GIVING THEM A NEW LEASE 15:48.948 --> 15:51.551 OF LIFE. 15:51.617 --> 15:53.286 MOST OF THE TIME THE MEDIA 15:53.352 --> 15:54.887 I WORKED WITH CAME 15:54.954 --> 15:56.622 INADVERTENTLY. 15:56.689 --> 15:58.691 IT HAS TO ANNOUNCE ITSELF 15:58.758 --> 16:00.460 OR BRING ITSELF 16:00.526 --> 16:04.497 IN SURREPTITIOUSLY. 16:04.564 --> 16:05.364 >> NANCY: EL USES 16:05.431 --> 16:08.067 VERY ORDINARY MATERIALS 16:08.134 --> 16:09.836 TO CREATE INCREDIBLE WORKS 16:09.902 --> 16:10.736 OF ART. 16:10.803 --> 16:12.071 HE USES THESE PIECES 16:12.138 --> 16:13.706 IN INSTALLATIONS OR IN SINGLE 16:13.773 --> 16:14.807 WORKS TO TELL VERY PERSONAL 16:14.874 --> 16:16.509 STORIES. 16:16.576 --> 16:17.910 SOMETIMES HIS OWN PERSONAL 16:17.977 --> 16:19.278 STORIES AND OTHER TIMES 16:19.345 --> 16:21.013 TO TELL UNIVERSAL STORIES 16:21.080 --> 16:22.515 OR STORIES ABOUT AFRICAN 16:22.582 --> 16:24.684 HISTORY. 16:24.750 --> 16:26.886 >> EL: ALMOST ALL THE WORK 16:26.953 --> 16:27.753 I'VE DONE, 16:27.820 --> 16:28.754 ALL THE PHASES 16:28.821 --> 16:30.223 THAT I'VE PASSED THROUGH, 16:30.289 --> 16:32.058 COULD BE LINKED ONE WAY 16:32.124 --> 16:35.027 OR ANOTHER WITH HISTORY. 16:35.094 --> 16:36.128 NOT THAT I WAS TRYING 16:36.195 --> 16:39.432 TO RECOUNT HISTORY BUT WAS KIND 16:39.499 --> 16:41.667 OF LOOKING AT HISTORY 16:41.734 --> 16:44.470 AS SOMETHING THAT REFLECTS 16:44.537 --> 16:45.938 BACK TO ME. 16:46.005 --> 16:46.806 >> AMANDA THOMPSON: THIS IS MY 16:46.873 --> 16:48.107 5TH TIME INSTALLING THIS 16:48.174 --> 16:49.075 EXHIBITION. 16:49.141 --> 16:50.309 SO IT'S WONDERFUL FOR ME 16:50.376 --> 16:52.345 TO SEET INSTALLED 16:52.411 --> 16:53.212 IN A DIFFERENT SPACE EACH TIME 16:53.279 --> 16:54.413 BECAUSE THE PIECES TAKE ON 16:54.480 --> 16:56.716 A WHOLE NEW LIFE. 16:56.782 --> 16:57.483 THE DENVER ART MUSEUM IS 16:57.550 --> 16:58.551 GOING TO BE FANTASTIC 16:58.618 --> 17:00.620 BECAUSE OF ALL THE ANGLES. 17:00.686 --> 17:01.454 >> LISA: THE LIBESKIND BUILDING 17:01.521 --> 17:02.455 IS PERFECT FOR AN ARTIST 17:02.522 --> 17:04.156 SUCH AS EL WHO MAKES WORKS 17:04.223 --> 17:06.225 SPECIFICALLY TO ADAPT 17:06.292 --> 17:07.894 TO THE ENVIRONMENT 17:07.960 --> 17:09.996 IN WHICH IT IS DISPLAYED. 17:10.062 --> 17:10.830 IT CAN BE, 17:10.897 --> 17:11.831 IT'S MEANT TO BE, 17:11.898 --> 17:12.865 DIFFERENT EVERY TIME 17:12.932 --> 17:15.334 IT'S INSTALLED. 17:15.401 --> 17:15.902 >> NANCY: OUR WALLS 17:15.968 --> 17:17.303 ARE CHALLENGING THEY SLANT 17:17.370 --> 17:18.537 OUTWARD. 17:18.604 --> 17:19.572 AND SO, 17:19.639 --> 17:20.540 HOW DO YOU HANG THEM 17:20.606 --> 17:21.941 BECAUSE THEY CAN'T BE HUNG FLAT 17:22.008 --> 17:22.742 ON THE WALL? 17:22.808 --> 17:23.409 SO, 17:23.476 --> 17:24.810 WE WORKED WITH FORKLIFTS. 17:24.877 --> 17:26.178 WE WORK WITH TEAMS OF PEOPLE 17:26.245 --> 17:27.680 TO SHAPE THEM. 17:27.747 --> 17:29.682 AND THAT'S WHAT I GET TO DO. 17:29.749 --> 17:30.683 SO, 17:30.750 --> 17:32.752 I HAVE SOMEONE IN THE BACK 17:32.818 --> 17:34.053 AND I'M IN THE FRONT 17:34.120 --> 17:35.621 AND I'M LITERALLY LIFTING UP 17:35.688 --> 17:37.924 THE PIECES AND SAYING OKAY, 17:37.990 --> 17:39.025 LET'S PUT A HOOK HERE 17:39.091 --> 17:39.892 AND THEN I'LL STEP BACK 17:39.959 --> 17:41.093 AND SAY UM, 17:41.160 --> 17:41.928 THAT DOESN'T WORK. 17:41.994 --> 17:42.595 TAKE THAT OUT. 17:42.662 --> 17:44.130 SO, 17:44.196 --> 17:45.364 IT'S A PROCESS THAT YOU WORK ON 17:45.431 --> 17:46.966 FOR A COUPLE OF HOURS 17:47.033 --> 17:48.901 TO SHAPE EACH OF THESE PIECES. 17:48.968 --> 17:49.235 AND, 17:49.302 --> 17:50.503 IT IS GREAT FUN 17:50.570 --> 17:52.138 BECAUSE I GET TO CREATE 17:52.204 --> 17:53.406 ALONG WITH THE ARTIST. 17:53.472 --> 17:55.675 IT IS A COMPLETE JOY TO HANG 17:55.741 --> 17:56.309 HIS WORKS. 17:56.375 --> 17:57.043 WHETHER THEY ARE HANGING, 17:57.109 --> 17:58.678 WHETHER THEY ARE ON PLATFORMS, 17:58.744 --> 18:00.179 THERE'S NO ONE RIGHT WAY 18:00.246 --> 18:01.213 TO DO IT. 18:01.280 --> 18:02.148 MOST ARTISTS HAVE 18:02.214 --> 18:04.016 A PARTICULAR WAY THAT THEY LIKE 18:04.083 --> 18:05.551 THE PIECE TO BE SEEN, 18:05.618 --> 18:07.720 THEY CREATE IT IN A CERTAIN WAY 18:07.787 --> 18:09.288 AND THEY LIKE IT PRESENTED 18:09.355 --> 18:10.523 IN A CERTAIN WAY. 18:10.590 --> 18:11.757 AND EL ENCOURAGES EVERYONE 18:11.824 --> 18:12.992 TO SHAPE THE PIECES 18:13.059 --> 18:14.226 AS THEY SEE FIT 18:14.293 --> 18:15.161 FOR THEIR SPACES. 18:15.227 --> 18:18.998 I THINK ART SHOULD INSPIRE YOU. 18:19.065 --> 18:20.032 YOU CAN WALK THROUGH HERE 18:20.099 --> 18:20.900 AND SEE A JUST 18:20.967 --> 18:23.803 A TREMENDOUS AMOUNT OF BEAUTY. 18:23.869 --> 18:26.505 I THINK IT SHOULD TELL STORIES, 18:26.572 --> 18:31.210 I THINK IT SHOULD MATTER TO YOU. 18:35.081 --> 18:36.215 >> RHEA: EL ANATSUI'S WORK 18:36.282 --> 18:37.817 HAS BEEN SEEN THROUGHOUT 18:37.883 --> 18:38.618 THE WORLD. 18:38.684 --> 18:39.585 AND NOW, 18:39.652 --> 18:40.486 HERE'S THIS WEEK 18:40.553 --> 18:43.756 IN ARTS HISTORY. 18:55.868 --> 18:56.769 IN HIS OWN TIME, 18:56.836 --> 18:58.537 ARTIST ANDY WARHOL PUSHED 18:58.604 --> 18:59.739 THE BOUNDARIES OF WHAT DEFINED 18:59.805 --> 19:01.073 ART, 19:01.140 --> 19:02.675 CHALLENGING EXPECTATIONS 19:02.742 --> 19:04.276 WITH HIS PORTRAYALS 19:04.343 --> 19:06.245 OF POPULAR CULTURE. 19:06.312 --> 19:07.580 IN THE RECENT EXHIBITION, 19:07.647 --> 19:10.149 CALLED "REGARDING WARHOL 19:10.216 --> 19:11.117 SIXTY ARTISTS, FIFTY YEARS" 19:11.183 --> 19:13.786 AT THE METROPOLITAN MUSEUM 19:13.853 --> 19:15.488 OF ART IN NEW YORK CITY, 19:15.554 --> 19:17.390 THE WORKS OF WARHOL WERE SHOWN 19:17.456 --> 19:19.025 FOR THE FIRST TIME 19:19.091 --> 19:21.193 JUXTAPOSED WITH THE ARTISTS 19:21.260 --> 19:22.628 THAT REINTERPRETED 19:22.695 --> 19:24.597 HIS GROUNDBREAKING WORK. 19:25.898 --> 19:37.476 >> MARK ROSENTHAL: 19:37.543 --> 19:38.577 THE EXHIBITION IS MEANT 19:38.644 --> 19:39.745 TO BE A LOOK AT WARHOL 19:39.812 --> 19:44.550 AND HIS IMPACT 19:44.617 --> 19:45.518 ON CONTEMPORARY ART 19:45.584 --> 19:47.186 OF THE LAST 50 YEARS. 19:47.253 --> 19:49.255 WARHOL WAS WILLING TO EMBRACE 19:49.321 --> 19:50.356 ANYTHING. 19:50.423 --> 19:52.558 AND THAT'S THE WARHOL EFFECT. 19:52.625 --> 19:54.193 >> MARLA PRATHER: WELL IT'S 19:54.260 --> 19:55.094 A VERY LARGE SHOW SO THERE 19:55.161 --> 19:56.996 ARE 157 WORKS TOTAL 19:57.063 --> 20:00.199 AND 51 OF THOSE ARE BY WARHOL. 20:00.266 --> 20:01.467 >> MARK: IN EACH GROUPING 20:01.534 --> 20:03.969 OF WORKS THERE'LL BE A WARHOL, 20:04.036 --> 20:05.738 OR MAYBE 2 WARHOLS, 20:05.805 --> 20:07.606 AND A GROUP OF WORKS BY OTHER 20:07.673 --> 20:08.908 ARTISTS. 20:08.974 --> 20:10.142 EACH GROUPING IS MEANT 20:10.209 --> 20:12.678 TO INTRODUCE OTHER APPROACHES 20:12.745 --> 20:15.281 TO WHAT WARHOL SET OUT. 20:15.347 --> 20:16.282 >> MARLA: THE FIRST SECTION 20:16.348 --> 20:17.650 IS A VERY LARGE SECTION 20:17.717 --> 20:18.918 CALLED "DAILY NEWS 20:18.984 --> 20:21.620 FROM BANALITY TO DISASTER" 20:21.687 --> 20:22.722 HE WAS CONSTANTLY LOOKING 20:22.788 --> 20:26.092 AT CURRENT EVENTS AND LOOKING 20:26.158 --> 20:27.460 TO NEWSPAPERS, TO MAGAZINES. 20:27.526 --> 20:28.694 >> MARK: WARHOL'S SOURCES 20:28.761 --> 20:29.895 WERE SO OFTEN THE MOST BANAL 20:29.962 --> 20:32.231 OF SUBJECTS. 20:32.298 --> 20:35.034 BUT ALSO FROM THE DAILY NEWS 20:35.101 --> 20:37.403 HE TOOK DISASTERS, 20:37.470 --> 20:38.637 AND HE WOULD MAKE PAINTINGS 20:38.704 --> 20:40.139 BASED ON THAT. 20:40.206 --> 20:41.173 >> MARLA: SO THEN THAT SECTION 20:41.240 --> 20:42.408 MOVES INTO AN AREA THAT HAS 20:42.475 --> 20:44.677 TO DO WITH AMERICAN CONSUMERISM, 20:44.744 --> 20:45.578 WITH LOGOS, 20:45.644 --> 20:46.879 AND HOW OTHER ARTISTS LIKE 20:46.946 --> 20:48.681 AI WEI WEI HAVE APPROPRIATED 20:48.748 --> 20:50.950 THOSE IMAGES. 20:51.016 --> 20:51.684 >> MARK: FOR ME ONE 20:51.751 --> 20:53.986 OF THE EXCITING THINGS ABOUT 20:54.053 --> 20:56.222 THE SHOW IS TO SEE WARHOL 20:56.288 --> 20:57.323 JUXTAPOSED, 20:57.389 --> 20:59.792 FOR EXAMPLE AN ARTIST 20:59.859 --> 21:01.494 NAMED HANS HAACKE, 21:01.560 --> 21:02.962 AND HE CARRIES THE WARHOL 21:03.028 --> 21:05.865 EXAMPLE INTO VERY POLITICAL 21:05.931 --> 21:06.932 DIMENSIONS. 21:06.999 --> 21:08.434 SO HERE HE'S USING THE LOOK 21:08.501 --> 21:10.302 OF PACKAGING, 21:10.369 --> 21:12.304 LIKE WARHOL'S SOUP CAN, 21:12.371 --> 21:13.072 TO THEN MAKE 21:13.139 --> 21:14.240 A POLITICAL STATEMENT 21:14.306 --> 21:16.008 ABOUT WHERE CIGARETTES ARE MADE, 21:16.075 --> 21:18.511 AND THE SENATOR JESSE HELMS. 21:18.577 --> 21:20.379 THERE'S LOTS OF SURPRISES 21:20.446 --> 21:22.748 LIKE THAT WHERE ARTISTS 21:22.815 --> 21:25.384 CAN CARRY THE WARHOL EXAMPLE. 21:25.451 --> 21:26.452 >> MARLA: ANOTHER VERY LARGE 21:26.519 --> 21:27.853 SECTION IS THE PORTRAITURE 21:27.920 --> 21:29.855 SECTION. 21:29.922 --> 21:40.566 WE CALL IT CELEBRITY AND POWER. 21:40.633 --> 21:44.203 FOR ME THE 1964 TURQUOISE 21:44.270 --> 21:45.771 MARILYN, 21:45.838 --> 21:48.007 IS SUCH AN ICONIC IMAGE 21:48.073 --> 21:49.208 AND IS SO, 21:49.275 --> 21:50.276 BEAUTIFUL TO BEGIN WITH, 21:50.342 --> 21:51.577 IT'S ABSOLUTELY ELECTRIC 21:51.644 --> 21:52.845 IN TERMS OF ITS TURQUOISE 21:52.912 --> 21:55.648 COLORATION. 21:55.714 --> 21:56.949 I LOVE THE FACT THAT MARILYN 21:57.016 --> 21:58.617 SAID THAT MARILYN WAS THE VEIL 21:58.684 --> 22:00.786 THAT SHE WORE OVER NORMA JEAN, 22:00.853 --> 22:02.488 AND I THINK THAT WARHOL REALLY 22:02.555 --> 22:03.923 SORT OF UNDERSTOOD 22:03.989 --> 22:05.057 THAT THERE WAS SOME OTHER 22:05.124 --> 22:07.259 HUMAN BEING BENEATH THIS SURFACE 22:07.326 --> 22:08.828 OF ALL OF THIS BLONDE HAIR 22:08.894 --> 22:09.728 AND COLOR. 22:09.795 --> 22:11.797 >> MARK: IN 1960 IN NEW YORK 22:11.864 --> 22:13.933 THERE WERE ALMOST NO PEOPLE 22:13.999 --> 22:15.868 MAKING PORTRAITS. 22:15.935 --> 22:18.470 WE HAVE WARHOL'S "DIAMOND DUST 22:18.537 --> 22:19.905 PORTRAIT OF JOSEPH BEUYS" 22:19.972 --> 22:23.108 TO EXEMPLIFY WARHOL CELEBRATING 22:23.175 --> 22:24.610 ARTISTS. 22:24.677 --> 22:26.212 SO BEHIND ME IS A FAMOUS 22:26.278 --> 22:27.246 PORTRAIT BY CHUCK CLOSE 22:27.313 --> 22:31.483 OF THE MUSICIAN PHIL GLASS. 22:31.550 --> 22:33.819 THERE'S ALSO A PHOTOGRAPH 22:33.886 --> 22:35.855 RICHARD AVEDON MADE 22:35.921 --> 22:38.224 OF TRUMAN CAPOTE. 22:38.290 --> 22:41.227 THERE'S A PAINTING BY ALEX KATZ 22:41.293 --> 22:43.529 OF THE POET TED BERRIGAN, 22:43.596 --> 22:45.464 SO THIS GIVES YOU A SENSE 22:45.531 --> 22:49.068 OF HOW WITH WARHOL AS AN EXAMPLE 22:49.134 --> 22:51.237 THINGS EXPAND OUT 22:51.303 --> 22:53.372 AND BECOME VERY EXCITING. 22:53.439 --> 22:54.306 >> MARLA: THERE'S ANOTHER 22:54.373 --> 22:55.808 SECTION CALLED "QUEER STUDIES," 22:55.875 --> 22:56.675 WHICH IS REALLY 22:56.742 --> 22:59.278 ABOUT SHIFTING IDENTITIES, 22:59.345 --> 23:00.846 ASSUMED PERSONALITIES, 23:00.913 --> 23:01.981 THE IDEA THAT IDENTITY, 23:02.047 --> 23:02.815 ESPECIALLY SEXUAL IDENTITY, 23:02.882 --> 23:03.549 IS SOMETHING 23:03.616 --> 23:06.085 THAT CAN BE ALTERED, 23:06.151 --> 23:07.319 CAN BE USED IN A KIND OF FLUID 23:07.386 --> 23:08.821 AND SHIFTING AND CHANGING WAY. 23:08.888 --> 23:10.189 AND THEN THE LAST SECTIONS 23:10.256 --> 23:11.991 ARE REALLY MORE ABOUT 23:12.057 --> 23:13.926 WARHOL-IAN TECHNIQUES, 23:13.993 --> 23:15.094 THERE'S A SECTION CALLED 23:15.160 --> 23:16.662 "CONSUMING IMAGES" ABOUT 23:16.729 --> 23:18.264 ABSTRACTION, 23:18.330 --> 23:19.698 SERIALITY AND REPETITION. 23:19.765 --> 23:22.334 AND IT BEGINS WITH A WONDERFUL 23:22.401 --> 23:24.603 IMAGE OF THE "MONA LISA." 23:24.670 --> 23:25.638 SO THE REST OF THE GALLERY 23:25.704 --> 23:28.107 IS IN PART ABOUT HOW OTHER 23:28.173 --> 23:29.375 ARTISTS HAVE ABSORBED 23:29.441 --> 23:33.879 THIS APPROPRIATION TECHNIQUE. 23:33.946 --> 23:35.648 AND THEN THERE IS A SECTION 23:35.714 --> 23:36.882 CALLED "NO BOUNDARIES," 23:36.949 --> 23:38.017 AND IT REALLY HAS TO DO 23:38.083 --> 23:39.184 WITH THIS WONDERFUL KIND 23:39.251 --> 23:40.753 OF EXPLOSION OF THE WHOLE 23:40.819 --> 23:42.288 WARHOL-IAN PHENOMENON, 23:42.354 --> 23:43.689 AND THE IDEA THAT ART 23:43.756 --> 23:45.991 REALLY CAN BE ANYTHING. 23:46.058 --> 23:46.825 >> MARK: ONE OF THE INTERESTING 23:46.892 --> 23:48.327 THINGS ABOUT DOING 23:48.394 --> 23:49.328 THIS EXHIBITION, 23:49.395 --> 23:51.563 WAS TO THINK ABOUT HOW ALIVE 23:51.630 --> 23:53.866 THE LEGACY IS RIGHT NOW. 23:53.933 --> 23:56.268 RYAN TRECARTIN IS A FILMMAKER. 23:56.335 --> 23:57.836 IF YOU COMPARE THEM 23:57.903 --> 23:59.805 TO THE ANDY WARHOL FILMS 23:59.872 --> 24:01.373 YOU QUICKLY REALIZE THAT 24:01.440 --> 24:03.342 RYAN TRECARTIN IS A DESCENDANT 24:03.409 --> 24:05.044 OF ANDY WARHOL, 24:05.110 --> 24:06.545 A SHOW OF HIS WORK OPENED 24:06.612 --> 24:08.681 A LITTLE OVER A YEAR AGO 24:08.747 --> 24:11.617 AND WAS MET BY UNBELIEVABLE 24:11.684 --> 24:12.818 PRAISE. 24:12.885 --> 24:14.320 IF A CONTEMPORARY ARTIST 24:14.386 --> 24:16.689 IS STILL MOVED BY ANDY WARHOL 24:16.755 --> 24:17.990 AND THAT ARTIST HAPPENS 24:18.057 --> 24:19.558 TO BE SO CELEBRATED, 24:19.625 --> 24:22.328 THEN THE WARHOL EFFECT IS STILL 24:22.394 --> 24:23.629 WITH US. 24:23.696 --> 24:24.463 >> MARLA: OUR IDEA ABOUT 24:24.530 --> 24:26.799 THE EXHIBITION WAS NOT SIMPLY 24:26.865 --> 24:28.701 AN IDEA OF DIRECT INFLUENCE, 24:28.767 --> 24:30.269 BUT THE IMPACT THROUGH 24:30.336 --> 24:32.938 THE CULTURE OF WARHOL. 24:33.005 --> 24:35.274 BUT ALSO NOT WITH THE IDEA 24:35.341 --> 24:36.742 THAT THIS IS THE DEFINITIVE 24:36.809 --> 24:37.710 SHOW. 24:37.776 --> 24:39.311 IT SHOULD GET PEOPLE TALKING. 24:39.378 --> 24:40.846 I WOULD HOPE THAT PEOPLE THINK 24:40.913 --> 24:42.781 ABOUT WHERE WARHOL'S IMPACT 24:42.848 --> 24:44.416 GOES BEYOND THE GALLERIES, 24:44.483 --> 24:45.951 AND TO HAVE A KIND OF HEIGHTENED 24:46.018 --> 24:46.819 AWARENESS, 24:46.885 --> 24:49.288 WHEN THEY NEXT GO TO GALLERIES 24:49.355 --> 24:51.290 OR TO A DEPARTMENT STORE 24:51.357 --> 24:52.858 OR FLIP THROUGH A MAGAZINE 24:52.925 --> 24:54.426 OR SURF THE WEB, 24:54.493 --> 24:56.762 AND HOW WARHOL WILL SEEM 24:56.829 --> 24:59.131 VERY EVER PRESENT. 25:02.001 --> 25:02.735 >> RHEA: AFTER WARHOL'S 25:02.801 --> 25:05.304 UNEXPECTED DEATH IN 1987, 25:05.371 --> 25:06.705 A FOUNDATION WAS SET UP 25:06.772 --> 25:08.207 IN HIS NAME TO ADVANCE 25:08.273 --> 25:09.808 THE VISUAL ARTS. 25:09.875 --> 25:13.045 FOR MORE INFORMATION VISIT 25:13.112 --> 25:15.581 WARHOLFOUNDATION.ORG. 25:38.037 --> 25:39.104 >> KWAME: THAT'S IT FOR TONIGHT, 25:39.171 --> 25:40.172 BUT TUNE IN NEXT WEEK 25:40.239 --> 25:41.974 FOR MORE ARTIST PROFILES. 25:42.041 --> 25:43.742 I'M KWAME KWEI-ARMAH. 25:43.809 --> 25:45.177 >> AND I'M RHEA FEIKIN. 25:45.244 --> 25:46.378 DON'T FORGET TO VISIT 25:46.445 --> 25:48.614 MPT.ORG/ARTWORKS, 25:48.680 --> 25:49.948 FOR FEATURE VIDEOS 25:50.015 --> 25:52.684 AND MORE UPCOMING ARTS EVENTS. 25:52.751 --> 25:54.553 THANKS FOR WATCHING. 25:55.654 --> 25:56.655 >> ANNOUNCER: ARTWORKS IS MADE 25:56.722 --> 25:57.689 POSSIBLE IN PART BY: 25:57.756 --> 26:00.025 THE MPT NEW INITIATIVES FUND, 26:00.092 --> 26:01.126 FOUNDED BY 26:01.193 --> 26:05.193 IRENE AND EDWARD H. KAPLAN.