WEBVTT

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Host: COMING UP NEXT...

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THE QUIRKY AND THE CURIOUS...

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19TH CENTURY TELEVISIONS....

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CORITA KENT,
PICTURE ANDY WARHOL AS A NUN...

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"NA�VE NATURE" AND
BALTIMORE'S SARAH DITTRICH...

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AND THE THERAPUETIC
JOURNEYS OF PEDRO REYES...

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NEXT, ON ARTWORKS !

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CLOSED CAPTIONING HAS BEEN MADE
POSSIBLE BY MARYLAND RELAY,

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EMPOWERING THOSE WHO ARE DEAF,
HARD OF HEARING,

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OR SPEECH DISABLED TO STAY
CONNECTED BY PHONE.

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*

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Announcer: ARTWORKS IS MADE
POSSIBLE IN PART BY

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THE CITIZENS
OF BALTIMORE COUNTY.

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AND BY...

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THE RUTH R. MARDER
ARTS ENDOWMENT FUND,

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THE ROBERT E. MEYERHOFF
AND RHEDA BECKER ENDOWMENT

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FOR THE ARTS,

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THE E.T. &
ROBERT B. ROCKLIN FUND,

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AND THE HENRY AND RUTH
BLAUSTEIN ROSENBERG FOUNDATION

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ARTS ENDOWMENT
IN MEMORY OF RUTH MARDER.

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WELCOME TO ARTWORKS!

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I'M RHEA FEIKIN.

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THIS IS THE SECOND SHOW
OF NEW SEASON SEVEN.

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AND THE THEME?

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ECCENTRICS!

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TOP OF THE LIST:
ARIZONA'S STEVE GOMPF,

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OR, THE ARTIST AS "TRICKSTER."

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GOMPF WAS A TRUE ECCENTRIC
WHO BUILT 19TH CENTURY

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"ANTIQUE" TELEVISIONS.

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OF COURSE, THERE WERE NO
TELEVISIONS IN THE 19TH CENTURY

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AND GOMPF REVELED IN THE IRONY
THAT PEOPLE ACTUALLY BELIEVED

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HIS ARTFUL FABRICATIONS.

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I'M SAD TO SAY, SINCE THIS
SEGMENT WAS PRODUCED,

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GOMPF HAS PASSED AWAY, AND SO
THIS PROFILE IS LIKELY

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THE LAST OPPORTUNITY TO DISCOVER
A CREATIVE TALENT GONE TOO SOON.

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Steve Gompf: THE PURPOSE OF THE
TELEVISOR MUSEUM INTERNATIONAL

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IS THE PRESERVATION
RESTORATION AND CONSERVATION

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OF VINTAGE DEVICES,
HISTORICAL DOCUMENTS

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AND MATERIALS, TOGETHER WITH
BEING A CENTER FOR THE STUDY OF

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ARCHAIC IMAGE TRANSMISSION
TECHNOLOGIES

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FROM THE TELEVISOR ERA
1884 TO 1928.

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SO WHICH IS ALL BS.

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I'M STEVE GOMPF AND I GO TO
THRIFT STORES BUY A BUNCH OF

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CRAP AND I GLUE IT TOGETHER
AND MAKE IT LOOK LIKE IT IS AN

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ANTIQUE TELEVISION
FROM THE 1800'S.

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AND PEOPLE BELIEVE IT.

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BASICALLY GROWING UP
I WAS A MILITARY BRAT.

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SO I WAS BORN IN PUERTO RICO
MOVED TO MADRID THEN ROME

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THEN ARIZONA THEN TO ENGLAND
THEN TO MISSOURI THEN TO GERMANY

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THEN TO OMAHA THEN TO
KANSAS CITY THEN TO HERE.

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AND I'VE BEEN HERE EVER SINCE.

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HERE BEING MESA, ARIZONA, WHILE
MY FOLKS AND MY FAMILY WAS IN

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THESE DIFFERENT COUNTRIES,
WE'D GO TO A LOT OF JUNK STORES

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OR FLEA MARKETS.

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AND MY PARENTS WERE ANTIQUE
COLLECTORS, ESPECIALLY CLOCKS

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AND STUFF.

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SO I KIND OF KNEW ABOUT THE
DIFFERENT PERIODS OF FURNITURE

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AND STYLES OF DECORATIVE ARTS
FROM THAT EXPERIENCE SO THAT

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WHEN I GO TO THESE THRIFT STORES
AND I SEE A LITTLE ITEM THAT UM,

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I COULD USE PARTS OF TO CREATE,
YOU KNOW, A PERIOD PIECE

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I'LL SNAG IT.

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I'VE EVEN USED JUST,
JUST ITEMS AROUND THE HOUSE.

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I REMEMBER I WAS BUILDING A
PIECE AND OF COURSE

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NOT LAST MINUTE, UP TO THE LAST
MINUTE I WAS WORKING ON IT,

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I ACTUALLY USED THE PLATE OF
WHAT I HAD DINNER ON

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THE NIGHT BEFORE.

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I USED THAT AS A
LENS FOR THE PIECE.

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SO I'LL JUST LOOK FOR SOMETHING
THAT EITHER LOOKS DECO OR LOOKS

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ART NOUVEAU AND KIND OF USE THAT
AND PUT IT TOGETHER

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TO CREATE UH, THE PIECES.

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I HAVE AN UNDERGRAD DEGREE IN
PHOTOGRAPHY AND A GRADUATE

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DEGREE IN INTER MEDIA FROM
ARIZONA STATE UNIVERSITY.

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AND SO I'M A VIDEO ARTIST AND
THIS IS A WAY THAT I CAN SHOW

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VIDEO IN A GALLERY SITUATION.

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BEEN DOING ART FOR
30 ODD YEARS AND I CANNOT STOP.

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TELEVISORS IS ACTUALLY THE
SPANISH AND FRENCH NAME

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FOR TELEVISION.

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AND IN THE VERY BEGINNING THE
DEVELOPMENT OF TELEVISION

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ESPECIALLY IN ENGLAND WITH
JOHN LOGIE BEAR,

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THE SCOTTISH ENGINEER.

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HE BUILT A DEVICE THAT WAS
PARTIALLY MECHANICAL

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AND HE CALLED HIS DEVICE
A TELEVISOR.

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SO I JUST USE THAT NAME AS A
KIND OF HISTORICAL REFERENCE

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FOR IT.

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AND I'VE ACTUALLY IN SOME OF
MY LABEL INFORMATION,

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I'LL USE ACTUAL HISTORICAL
INFORMATION AND KIND OF SLANT IT

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A LITTLE BIT TO FIT THE PIECE.

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AND SOMETIMES I JUST
TOTALLY MAKE IT UP.

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I RECENTLY HAD A SHOW CALLED

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"DISTANT VISION'S: APPARATUS AND
EPHEMERA FROM THE TELEVISOR ERA

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1884 THROUGH 1928".

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WHICH IS 1884 IS THE FIRST
PATENTED TELEVISION SYSTEM.

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PAUL NAPCO, A GERMAN ENGINEER
TO 1928 WHICH IS FOLLOWED TO

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FARNSWORTH'S FULLY
ELECTRONIC VERSION OF IT.

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AND THESE DEVICES THAT I HAVE
THERE, THAT LOOK LIKE DEVICES,

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ARE BASICALLY AN ASSEMBLY OF
OBJECTS THAT ARE FOUND IN

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THRIFT STORES AND PUT THEM
TOGETHER AND I PUT TABLETS,

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COMPUTER TABLETS INSIDE OF THEM
AND IT LOOKS LIKE

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THEY'RE PLAYING VIDEO.

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AND WHAT I'VE DONE TO MAKE IT
LOOK LIKE PERIOD WORK IS TAKE A

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BUNCH OF MY BRIDGE STOP ACTION
MOTION SHOTS THAT HE TOOK IN THE

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1890'S AND RECOMBINE THEM
INTO... DIFFERENT,

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DIFFERENT SCENES.

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ACCOMPANYING THE WORK THEY'LL
HAVE LABELS NEXT TO THEM

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THAT SAY, THAT TALK ABOUT THEIR
SIGNIFICANCE IN THE DEVELOPMENT

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OF TELEVISION, WHO THE INVENTOR
WAS, THE COUNTRY OF ORIGIN

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AND A LITTLE SNIPPET ABOUT THAT
DEVICE ITSELF AND PEOPLE JUST

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BELIEVE IT.

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THEY ACTUALLY BELIEVE THAT THEY
ARE ANTIQUES AND...

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THIS WHOLE THING
ACTUALLY EXISTED.

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Tiffany Fairall: IT'S
INTERESTING PEOPLE WILL COME IN

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HERE AND THEY WILL THINK ITS
REAL TELEVISIONS, THAT EARLY

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FORM OF THE TELEVISION AND
THAT'S WHAT STEVE IS

06:41.767 --> 06:43.100 position:10% line:50% size:80%
TRYING TO CREATE.

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HE WANTS TO CREATE THIS
FICTITIOUS HISTORY

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OF THE EARLY TELEVISION.

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AND SO WHEN YOU, YOU'VE GOT THIS
FUN NAME TELEVISOR,

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WHICH ACTUALLY IS A REAL TERM.

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AND HE'S MADE THESE CREATIONS
BASED OFF OF WHAT HIS OWN

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IMAGINATION AND WHAT THEY WOULD
HAVE LOOKED LIKE.

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SO YOU'RE KIND OF ALMOST
PEEKING INTO STEVE'S HEAD.

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Steve: I JUST THINK THAT
PEOPLE BUY THE PIECES BECAUSE

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THEY'VE BEEN FOOLED BY THEM.

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AND THEY WANT TO TAKE IT HOME
AND KIND OF SAY THAT THIS IS AN

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ANTIQUE DEVICE AND KIND
OF FOOL THEIR FRIENDS.

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I WAS ACTUALLY INSTALLING A
PIECE AT SOMEBODY'S HOUSE

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AND HE CALLED ME HIS
TELEVISOR REPAIRMAN.

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Tiffany:
I THINK THAT STEVE IS KIND OF

07:21.567 --> 07:23.033 position:10% line:50% size:80%
A LITTLE BIT OF A TRICKSTER.

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I THINK HE DOES LIKE THE TONGUE
AND CHEEK-OF-NESS OF IT

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AND HE WANTS PEOPLE TO TAKE A
CLOSER LOOK AT HIS WORK,

07:28.901 --> 07:30.467 position:10% line:50% size:80%
SEE WHAT'S GOING ON THERE.

07:30.567 --> 07:32.667 position:10% line:50% size:80%
HE'S EVEN MENTIONED TO ME HOW
HE'D LOVED TO TAKE IT ON

07:32.767 --> 07:36.734 position:10% line:50% size:80%
THE ANTIQUES ROADSHOW AND SEE
WHAT THEY WOULD SAY AT THIS

07:36.834 --> 07:40.501 position:10% line:50% size:80%
CREATION AND (CHUCKLES) SEE WHAT
THEIR EXPRESSION WOULD BE.

07:40.601 --> 07:43.634 position:10% line:50% size:80%
SO I THINK HE KIND OF LIKES THE
FOOLING VALUE OF IT AND HE LIKES

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TO ALSO HEAR, HE'LL SOMETIMES
COME IN THE GALLERY AND BE HERE

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AND HEAR WHAT THE VISITORS
ARE SAYING.

07:49.567 --> 07:51.200 position:10% line:50% size:80%
SO I THINK KIND HE WANTS TO HEAR
WHAT THEY'RE SAYING

07:51.300 --> 07:52.534 position:10% line:50% size:80%
ABOUT HIS WORK.

07:52.634 --> 07:55.033 position:10% line:50% size:80%
I THINK THAT'S AN IMPORTANT PART
OF IT AND ELEMENT AND HOW PEOPLE

07:55.133 --> 07:58.734 position:10% line:50% size:80%
INTERACT WITH HIS WORK
IS IMPORTANT TO HIM.

07:58.834 --> 08:02.033 position:10% line:50% size:80%
Steve: I THINK IT'S EVOLVED IN
THAT THE FIRST TIME I PRESENTED

08:02.133 --> 08:05.501 position:10% line:50% size:80%
THEM I SAID I COLLECTED
THESE DEVICES AND THEN I DECIDED

08:05.601 --> 08:09.200 position:10% line:50% size:80%
TO COME UP WITH THIS MUSEUM THAT
ADDED AN EXTRA LAYER TO IT

08:09.300 --> 08:12.901 position:10% line:50% size:80%
AND ADDED BELIEVABILITY TO IT.

08:13.000 --> 08:15.801 position:10% line:50% size:80%
MORE FAKE STUFF TO
MAKE IT MORE REAL.

08:15.901 --> 08:19.667 position:10% line:50% size:80%
AS A LAYER TO THE PROJECT,
I'VE CREATED A WEB SITE CALLED

08:19.767 --> 08:27.634 position:10% line:50% size:80%
TELESEUM.ORG T-E-L-E-S-E-U-M
ORG AND IT'S SET UP AS IF IT

08:27.734 --> 08:30.033 position:10% line:50% size:80%
WAS A MUSEUM'S WEBSITE.

08:30.133 --> 08:34.067 position:10% line:50% size:80%
AND IT'S THE TELEVISOR MUSEUM
INTERNATIONAL WHICH THE

08:34.167 --> 08:37.801 position:10% line:50% size:80%
ABBREVIATION TMI,
TOO MUCH INFORMATION.

08:37.901 --> 08:40.100 position:10% line:50% size:80%
THAT'S WHAT IT IS
TOO MUCH INFORMATION.

08:40.200 --> 08:46.534 position:10% line:50% size:80%
IT PRESENTS MY WORK AS IF THIS
WAS A LEGITIMATE ACTUAL

08:46.634 --> 08:51.434 position:10% line:50% size:80%
REAL MUSEUM THAT COLLECTS THESE
DEVICES THAT REALLY KIND OF

08:51.534 --> 08:52.968 position:10% line:50% size:80%
DIDN'T EXIST.

08:53.067 --> 08:56.968 position:10% line:50% size:80%
THERE'S A LITTLE SECTION THAT
SAYS YOU KNOW ON THURSDAY IT'S

08:57.067 --> 09:02.567 position:10% line:50% size:80%
FREE FOR SENIOR CITIZENS AND FOR
STUDENTS AND CALL US FOR GROUPS

09:02.667 --> 09:04.834 position:10% line:50% size:80%
MORE THAN 10 BECAUSE DOCENT
TOURS CAN BE ARRANGED,

09:04.934 --> 09:06.434 position:10% line:50% size:80%
BUT THERE'S NO CONTACT
INFORMATION,

09:06.534 --> 09:08.601 position:10% line:50% size:80%
THERE'S NO ADDRESS,
THERE'S NO PHONE NUMBER.

09:08.701 --> 09:12.534 position:10% line:50% size:80%
THERE'S NOTHING BUT THAT
PAGE ON THE INTERNET.

09:12.634 --> 09:16.400 position:10% line:50% size:80%
AS ANOTHER LAYER TO THE PROJECT
OR TO THE ARTWORK OF IT.

09:16.501 --> 09:20.200 position:10% line:50% size:80%
I DECIDED ON THE LAST SHOW THAT
I MADE TO COME UP WITH A CATALOG

09:20.300 --> 09:23.234 position:10% line:50% size:80%
THAT IS ACTUALLY PRESENTED
AS IF IT WAS MADE BY

09:23.334 --> 09:26.067 position:10% line:50% size:80%
THE TELEVISOR MUSEUM
INTERNATIONAL.

09:26.167 --> 09:29.467 position:10% line:50% size:80%
PART OF THE PREMISE IS IF
PEOPLE WOULD BELIEVE ANYTHING

09:29.567 --> 09:34.434 position:10% line:50% size:80%
ON TV, WHY WOULDN'T THEY BELIEVE
ANYTHING IS A TV AND THEY DO.

09:39.734 --> 09:43.167 position:10% line:50% size:80%
*

10:44.267 --> 10:47.334 position:10% line:50% size:80%
Rhea: THE POP ART MOVEMENT
OF THE 1960'S WAS

10:47.434 --> 10:50.934 position:10% line:50% size:80%
REVOLUTIONARY IN MANY WAYS,
BUT IT WAS SOMETHING OF AN

10:51.033 --> 10:53.567 position:10% line:50% size:80%
"OLD BOYS CLUB," TOO.

10:53.667 --> 10:58.667 position:10% line:50% size:80%
THE HARVARD ART MUSEUM RECENTLY
SHOWCASED THE POP ART WORK OF

10:58.767 --> 11:02.334 position:10% line:50% size:80%
SISTER CORITA KENT WITH THE
GOAL OF ESTABLISHING HER

11:02.434 --> 11:06.567 position:10% line:50% size:80%
IN THE PANTHEON OF MAJOR
20TH CENTURY ARTISTS.

11:06.667 --> 11:09.300 position:10% line:50% size:80%
FRANKLY, I'D NEVER
HEARD OF HER BEFORE.

11:09.400 --> 11:12.567 position:10% line:50% size:80%
BUT-- THAT'S THE WHOLE
POINT OF MEETING HER NOW...

11:13.634 --> 11:15.434 position:10% line:50% size:80%
Narrator: SEARCHING FOR
RELIGIOUS INSPIRATION

11:15.534 --> 11:18.167 position:10% line:50% size:80%
IN THE 1960'S,
AN ACTIVIST NUN TURNED

11:18.267 --> 11:22.200 position:10% line:50% size:80%
ACTIVE ARTIST NAMED SISTER
CORITA KENT FOUND IT...

11:22.300 --> 11:23.634 position:10% line:50% size:80%
IN THE SUPERMARKET.

11:23.734 --> 11:25.601 position:10% line:50% size:80%
Jennifer Quick: ONE MIGHT NOT
NORMALLY THINK OF WONDER BREAD

11:25.701 --> 11:27.901 position:10% line:50% size:80%
AS RELATED TO COMMUNION BUT SHE
WANTED TO MAKE THAT CONNECTION

11:28.000 --> 11:29.200 position:10% line:50% size:80%
IN HER WORK.

11:29.300 --> 11:32.000 position:10% line:50% size:80%
Narrator: IN AN ERA OF UPHEAVAL,
KENT WANTED TO GROUND PEOPLE

11:32.100 --> 11:33.367 position:10% line:50% size:80%
THROUGH ART.

11:33.467 --> 11:36.701 position:10% line:50% size:80%
A ROMAN CATHOLIC NUN, SHE LIVED
IN LOS ANGELES AND HEADED THE

11:36.801 --> 11:39.234 position:10% line:50% size:80%
ART DEPARTMENT AT A
RELIGIOUS SCHOOL THERE.

11:39.334 --> 11:41.534 position:10% line:50% size:80%
Jennifer: SHE WOULD DRIVE
AROUND THE CITY AND SHE SENT HER

11:41.634 --> 11:43.968 position:10% line:50% size:80%
STUDENTS OUT TO DO WHAT
SHE CALLED "LOOKING ASSIGNMENTS"

11:44.067 --> 11:46.767 position:10% line:50% size:80%
IN THESE CAR DEALERSHIPS
AND, UH, SUPERMARKETS.

11:46.868 --> 11:50.067 position:10% line:50% size:80%
BUT IT'S ALSO IMPORTANT
HISTORICALLY BECAUSE AS POP ART

11:50.167 --> 11:53.734 position:10% line:50% size:80%
IS IMMERGING AROUND 1962, THE
TWO MAIN CENTERS ARE NEW YORK,

11:53.834 --> 11:55.734 position:10% line:50% size:80%
OF COURSE, AND LOS ANGELES.

11:55.834 --> 11:58.968 position:10% line:50% size:80%
Narrator: AND KENT WAS PAYING
ATTENTION-REVELING IN

11:59.067 --> 12:01.534 position:10% line:50% size:80%
JOSEF ALBER'S EXPERIMENTS
IN COLOR.

12:01.634 --> 12:05.033 position:10% line:50% size:80%
SHE MARVELED AT THE POP ART
STYLINGS OF JASPER JOHNS

12:05.133 --> 12:08.934 position:10% line:50% size:80%
AND ROY LICHTENSTEIN WHO WERE
RECEIVING EARLY LA SHOWS.

12:09.033 --> 12:11.701 position:10% line:50% size:80%
AND SHE SOUGHT OUT
ANDY WARHOL'S WORK.

12:11.801 --> 12:14.634 position:10% line:50% size:80%
Jennifer:SHE NEVER HAD NEAR
THE NATIONAL RECOGNITION

12:14.734 --> 12:15.901 position:10% line:50% size:80%
THAT WARHOL DID.

12:16.000 --> 12:18.067 position:10% line:50% size:80%
PEOPLE WERE- DIDN'T REALLY KNOW
WHAT TO DO WITH THE NUN

12:18.167 --> 12:19.534 position:10% line:50% size:80%
WHO WAS MAKING POP ART.

12:19.634 --> 12:21.200 position:10% line:50% size:80%
Narrator: AND THEY STILL DON'T.

12:21.300 --> 12:25.601 position:10% line:50% size:80%
ENTER THE HARVARD ART MUSEUMS
WHICH ARGUES IN ITS LATEST SHOW

12:25.701 --> 12:28.667 position:10% line:50% size:80%
THAT CORITA KENT BELONGS IN THE
PANTHEON OF POP ARTISTS

12:28.767 --> 12:31.200 position:10% line:50% size:80%
WHO DEFINED A GENERATION.

12:31.300 --> 12:33.767 position:10% line:50% size:80%
JENNIFER QUICK HELPED
CURATE THE SHOW.

12:33.868 --> 12:36.167 position:10% line:50% size:80%
Interviewer: WHAT HAPPENED TO
HER THAT SHE DIDN'T HAVE THE

12:36.267 --> 12:37.801 position:10% line:50% size:80%
SAME TRAJECTORY THAT THEY HAD?

12:37.901 --> 12:40.267 position:10% line:50% size:80%
Jennifer: FRANKLY BEING A WOMAN
ARTIST WITHIN THE POP ART WORLD

12:40.367 --> 12:45.033 position:10% line:50% size:80%
WAS... YOU DON'T HEAR AS MUCH
ABOUT WOMEN POP ARTISTS.

12:45.133 --> 12:46.634 position:10% line:50% size:80%
IT WAS PRETTY MALE DOMINATED.

12:46.734 --> 12:50.167 position:10% line:50% size:80%
Narrator: BUT KENT WAS UNDAUNTED
AND SAW OPPORTUNITY WHERE OTHERS

12:50.267 --> 12:52.434 position:10% line:50% size:80%
SAW POTATO CHIP PACKAGING.

12:52.534 --> 12:56.133 position:10% line:50% size:80%
TO HER, WELL-KNOWN IMAGES WERE
THE PERFECT WAY TO TEACH

12:56.234 --> 12:57.467 position:10% line:50% size:80%
VATICAN II.

12:57.567 --> 12:59.667 position:10% line:50% size:80%
THE MOVEMENT TO
MODERNIZE THE CHURCH,

12:59.767 --> 13:02.567 position:10% line:50% size:80%
PARTLY WITH MORE
ACCESSIBLE LANGUAGE.

13:02.667 --> 13:05.000 position:10% line:50% size:80%
Jennifer: WE SEE CORITA KENT
BORROWING WORDS,

13:05.100 --> 13:07.234 position:10% line:50% size:80%
LIKELY SHE FOUND IN THE
GROCERY STORE-BREAD,

13:07.334 --> 13:08.834 position:10% line:50% size:80%
PEACHES-VERY COMMON PRODUCTS.

13:08.934 --> 13:11.567 position:10% line:50% size:80%
BUT IT'S ALSO ENCOURAGING HER
VIEWERS TO THINK ABOUT,

13:11.667 --> 13:13.501 position:10% line:50% size:80%
WHY DO WE NEED THIS
WAR ON POVERTY?

13:13.601 --> 13:15.701 position:10% line:50% size:80%
HOW CAN WE HELP FIGHT
AGAINST POVERTY?

13:15.801 --> 13:19.033 position:10% line:50% size:80%
AND AS CATHOLICS,
WE'RE COMPELLED TO DO SO.

13:19.133 --> 13:22.167 position:10% line:50% size:80%
Narrator: KENT DREW A MOUNTAIN
OF CONTROVERSY THOUGH AS SHE

13:22.267 --> 13:26.968 position:10% line:50% size:80%
TRIED TO MAKE THE VIRGIN MARY
MORE RELATABLE VIA TOMATOES.

13:27.067 --> 13:29.734 position:10% line:50% size:80%
Jennifer: SHE USES, UH,
DEL MONTE TOMATOES,

13:29.834 --> 13:33.701 position:10% line:50% size:80%
THE BRAND NAME AND THE LOGO, TO
REINVENT THE WAY WE THINK ABOUT

13:33.801 --> 13:37.667 position:10% line:50% size:80%
MARY AND SO TO SAY THAT IF WE
SAY DEL MONTE TOMATOES ARE THE

13:37.767 --> 13:40.501 position:10% line:50% size:80%
JUICIEST OF ALL, THEN CERTAINTY
IF WE THINK THIS FOOD PRODUCT

13:40.601 --> 13:43.567 position:10% line:50% size:80%
IS SO WONDERFUL, WE CAN SAY THAT
THE VIRGIN MARY IS THE

13:43.667 --> 13:45.501 position:10% line:50% size:80%
JUICIEST TOMATO OF THEM ALL.

13:45.601 --> 13:47.000 position:10% line:50% size:80%
Narrator:
WORKING OUT OF HER LA STUDIO,

13:47.100 --> 13:49.868 position:10% line:50% size:80%
KENT USED A PRINTING PROCESS
WHERE SHE EXPERIMENTED WITH

13:49.968 --> 13:53.901 position:10% line:50% size:80%
ANGLES, DAY-GLO COLORS
AND FAMILIAR BRANDING.

13:54.000 --> 13:57.467 position:10% line:50% size:80%
SHE THEN INFUSED HER WORK WITH
TEXT FROM EVERYONE

13:57.567 --> 13:59.467 position:10% line:50% size:80%
FROM THE POPE TO THE BEATLES.

13:59.567 --> 14:03.434 position:10% line:50% size:80%
FEELING GROOVY
IS A PRINT FROM 1967.

14:03.534 --> 14:06.434 position:10% line:50% size:80%
Jennifer: SHE'S INCLUDED LYRICS
FROM A SIMON AND GARFUNKEL SONG.

14:06.534 --> 14:09.100 position:10% line:50% size:80%
THE LYRICS ARE
"SLOW DOWN, YOU MOVE TOO FAST."

14:09.200 --> 14:11.033 position:10% line:50% size:80%
SO WE SEE JUXTAPOSED
ON ONE HAND,

14:11.133 --> 14:14.767 position:10% line:50% size:80%
THESE SIGNIFIERS OF TRAFFIC,
SPEED, LOS ANGELES,

14:14.868 --> 14:18.801 position:10% line:50% size:80%
MOVING THROUGH THE CITY,
WITH... FROM A POPULAR SONG,

14:18.901 --> 14:21.968 position:10% line:50% size:80%
NONETHELESS, AN ADMONITION THAT
PERHAPS WE SHOULD SLOW DOWN

14:22.067 --> 14:23.834 position:10% line:50% size:80%
SOMETIMES AND CONSIDER
WHAT'S AROUND US.

14:23.934 --> 14:26.367 position:10% line:50% size:80%
Narrator: IN 1968 KENT LEFT HER
RELIGIOUS ORDER

14:26.467 --> 14:27.868 position:10% line:50% size:80%
AND MOVED TO BOSTON.

14:27.968 --> 14:31.667 position:10% line:50% size:80%
SHE BECAME EVEN MORE RADICAL
AND MORE POINTED AS PROTESTS

14:31.767 --> 14:34.167 position:10% line:50% size:80%
AND WAR CONSUMED THE NATION.

14:34.267 --> 14:38.434 position:10% line:50% size:80%
JUST LIKE WARHOL, HER WORK
BECAME STRIKINGLY VISCERAL.

14:38.534 --> 14:41.067 position:10% line:50% size:80%
Jennifer: SHE USES PHOTOGRAPHS
INSTEAD OF HAND-CUT STENCILS.

14:41.167 --> 14:44.834 position:10% line:50% size:80%
AND THESE PHOTOGRAPHS ARE VERY
DIRECT ABOUT WHAT'S HAPPENING

14:44.934 --> 14:47.300 position:10% line:50% size:80%
POLITICALLY AND SOCIALLY
IN THE COUNTRY.

14:47.400 --> 14:51.634 position:10% line:50% size:80%
SO LIFE MAGAZINE COVERS
PROFILING THE VIETNAM WAR, UM,

14:51.734 --> 14:53.634 position:10% line:50% size:80%
PHOTOGRAPHS SHOWING THE
ASSASSINATIONS OF

14:53.734 --> 14:58.868 position:10% line:50% size:80%
MARTIN LUTHER KING, OR
ROBERT F. KENNEDY, RACE RIOTS.

14:58.968 --> 15:03.133 position:10% line:50% size:80%
SO THE WORK BECOMES A LOT MORE
DIRECT IN ITS COMMENTARY

15:03.234 --> 15:04.601 position:10% line:50% size:80%
ON POLITICS.

15:04.701 --> 15:07.067 position:10% line:50% size:80%
Narrator: KENT REMAINED IN
BOSTON FOR THE REST OF HER LIFE,

15:07.167 --> 15:11.901 position:10% line:50% size:80%
PRODUCING PRINTS AND A
LANDMARK LEGACY: A GAS TANK

15:12.000 --> 15:16.400 position:10% line:50% size:80%
ADORNED WITH HER RAINBOW SWASH
OVERLOOKING DORCHESTER BAY.

15:16.501 --> 15:19.033 position:10% line:50% size:80%
Jennifer: SHE THOUGHT OF IT IN
TERMS OF IDEA OF A RAINBOW

15:19.133 --> 15:21.734 position:10% line:50% size:80%
BEING A JOYFUL EXPRESSION,
AS BEING RELATED TO GENESIS,

15:21.834 --> 15:24.300 position:10% line:50% size:80%
AND GOD'S PROMISE NEVER
TO FLOOD THE EARTH AGAIN,

15:24.400 --> 15:26.000 position:10% line:50% size:80%
AS IT'S RECORDING
THE SCRIPTURES.

15:26.100 --> 15:29.400 position:10% line:50% size:80%
BUT ON THE LEVEL OF POP ART,
IT'S ALSO VERY SIGNIFICANT.

15:29.501 --> 15:33.234 position:10% line:50% size:80%
BECAUSE CORITA KENT IS MAKING
HER OWN POP ART MONUMENT.

15:33.334 --> 15:35.567 position:10% line:50% size:80%
GIVING BOSTON ITS
OWN POP ART MONUMENT.

15:35.667 --> 15:38.934 position:10% line:50% size:80%
Narrator: NOW ELEVATING THIS
SISTER TO THE QUEEN OF POP ART.

15:42.801 --> 15:44.167 position:10% line:50% size:80%
Rhea:
FIND OUT MORE AT:

15:47.667 --> 15:51.601 position:10% line:50% size:80%
Rhea: OUR NEXT STORY IS A
SHORT PROFILE OF A YOUNG LOCAL

15:51.701 --> 15:56.267 position:10% line:50% size:80%
MULTI-MEDIA ARTIST WHO'S ALREADY
WON A BAKER ARTIST AWARD

15:56.367 --> 16:00.667 position:10% line:50% size:80%
AND WAS A SONDHEIM PRIZE
FINALIST, JUST LAST YEAR!

16:00.767 --> 16:04.868 position:10% line:50% size:80%
SARA DITTRICH THINKS
WAY OUTSIDE OF THE BOX.

16:04.968 --> 16:08.501 position:10% line:50% size:80%
AND I CAN'T HELP WONDERING
WHERE SHE'S HEADED NEXT.

16:10.133 --> 16:13.067 position:10% line:50% size:80%
*

16:13.167 --> 16:15.067 position:10% line:50% size:80%
Sara Dittrich: I ENJOY USING
A LOT OF DIFFERENT MEDIA

16:15.167 --> 16:19.267 position:10% line:50% size:80%
BECAUSE THERE'S A LOT OF FREEDOM
THAT COMES WITH WORKING

16:19.367 --> 16:24.601 position:10% line:50% size:80%
IN WHAT I CALL A NAIVE NATURE,
SO YOU DON'T GET CAUGHT UP

16:24.701 --> 16:28.901 position:10% line:50% size:80%
IN WHAT OTHER PEOPLE HAVE DONE
OR WHAT YOU THINK IS POSSIBLE,

16:29.000 --> 16:30.567 position:10% line:50% size:80%
AND THERE'S KIND OF LIKE
A LOT OF FREEDOM,

16:30.667 --> 16:32.267 position:10% line:50% size:80%
AND DISCOVERY THAT COMES
WITH THAT.

16:32.367 --> 16:37.367 position:10% line:50% size:80%
*

16:37.467 --> 16:39.934 position:10% line:50% size:80%
BECAUSE I'M SWITCHING BETWEEN
A LOT OF MEDIA,

16:40.033 --> 16:43.734 position:10% line:50% size:80%
I END UP COLLABORATING WITH
A LOT OF DIFFERENT PEOPLE

16:43.834 --> 16:47.234 position:10% line:50% size:80%
AND YOU'RE REALLY ABLE TO CREATE
SOMETHING GREATER THAN

16:47.334 --> 16:48.701 position:10% line:50% size:80%
YOU WOULD ON YOUR OWN.

16:48.801 --> 16:52.167 position:10% line:50% size:80%
*

16:52.267 --> 16:55.100 position:10% line:50% size:80%
I SEE MUSICAL THINKING AS A WAY
OF INTERPRETING THE WORLD

16:55.200 --> 16:59.234 position:10% line:50% size:80%
AROUND YOU BASED ON
THE QUALITIES THAT YOU FIND

16:59.334 --> 17:04.200 position:10% line:50% size:80%
IN MUSIC, LIKE HARMONY,
DISSONANCE,

17:04.300 --> 17:07.868 position:10% line:50% size:80%
KIND OF OUTSIDE OF TRADITIONAL
WORLD OF MUSIC.

17:07.968 --> 17:12.200 position:10% line:50% size:80%
*

17:12.300 --> 17:14.734 position:10% line:50% size:80%
WE ONLY BECOME CONSCIOUS
OF OUR OWN RHYTHMS

17:14.834 --> 17:17.234 position:10% line:50% size:80%
WHEN THEY BECOME DISRUPTED.

17:17.334 --> 17:21.300 position:10% line:50% size:80%
ARRHYTHMIA OF THE BODY
IS A SERIES OF 20 PHOTOS OF ME

17:21.400 --> 17:24.501 position:10% line:50% size:80%
WEARING GIANT HAND,
AND FEET PROSTHETICS GENERATING

17:24.601 --> 17:27.400 position:10% line:50% size:80%
A GREATER AWARENESS OF
MY OWN BODY,

17:27.501 --> 17:29.100 position:10% line:50% size:80%
AND THE WORLD SURROUNDING ME.

17:29.200 --> 17:36.167 position:10% line:50% size:80%
*

17:36.267 --> 17:39.901 position:10% line:50% size:80%
SOME OTHER PIECES I'M IN
PROGRESS ON ARE FURTHER

17:40.000 --> 17:43.000 position:10% line:50% size:80%
EXPERIMENTING WITH MAKING US
MORE AWARE OF OUR BODIES

17:43.100 --> 17:45.534 position:10% line:50% size:80%
AND KIND OF THESE UNCONSCIOUS
RHYTHMS OF THE BODY.

17:47.734 --> 17:52.100 position:10% line:50% size:80%
TINY EARS, AND FEET, AND HANDS.

17:52.200 --> 17:55.534 position:10% line:50% size:80%
THE RHYTHM AND REPETITION
OF CREATING THEM BECOMES

17:55.634 --> 17:57.467 position:10% line:50% size:80%
A MEDITATIVE PROCESS IN ITSELF.

17:57.567 --> 17:59.634 position:10% line:50% size:80%
*

18:02.834 --> 18:04.801 position:10% line:50% size:80%
Rhea: OUR LAST STORY
TONIGHT FEATURES

18:04.901 --> 18:09.501 position:10% line:50% size:80%
MEXICAN ARTIST PEDRO REYES
WHO'S CREATED AN INTERACTIVE

18:09.601 --> 18:11.634 position:10% line:50% size:80%
INSTALLATION IN MIAMI.

18:11.734 --> 18:15.767 position:10% line:50% size:80%
HIS PROJECT IS LOW TECH
BUT HIGH CONCEPT.

18:15.868 --> 18:19.734 position:10% line:50% size:80%
VISITORS ARE GUIDED THROUGH A
JOURNEY OF SELF-DISCOVERY.

18:33.167 --> 18:35.133 position:10% line:50% size:80%
Pedro Reyes: "SANATORIUM"
IS A LANDMARK PRESENTATION

18:35.234 --> 18:38.300 position:10% line:50% size:80%
BECAUSE IT INVOLVES AN ENTIRELY
NEW TYPE OF PERFORMANCE.

18:38.400 --> 18:42.434 position:10% line:50% size:80%
FOR THIS INSTALLATION,
PEDRO HAS TRAINED 25 VOLUNTEERS

18:42.534 --> 18:45.234 position:10% line:50% size:80%
FROM THE LOCAL COMMUNITY
AND ASKED THEM TO PARTICIPATE

18:45.334 --> 18:47.868 position:10% line:50% size:80%
BY LEARNING ONE OF HIS
8 TO 10 TREATMENTS.

18:47.968 --> 18:50.367 position:10% line:50% size:80%
EVERY PERSON WHO COMES INTO
THE INSTALLATION

18:50.467 --> 18:53.801 position:10% line:50% size:80%
GETS AN ENTIRELY FRESH
EXPERIENCE WHICH IS DICTATED BY

18:53.901 --> 18:56.167 position:10% line:50% size:80%
THEIR INTERACTION WITH
THE VOLUNTEERS.

18:56.267 --> 18:58.734 position:10% line:50% size:80%
PEDRO REYES IS AN ARTIST FROM
MEXICO STILL BASED IN

18:58.834 --> 19:01.634 position:10% line:50% size:80%
MEXICO CITY TO THIS DAY,
A LEADING ARTIST OF

19:01.734 --> 19:02.801 position:10% line:50% size:80%
HIS GENERATION.

19:02.901 --> 19:04.300 position:10% line:50% size:80%
WE CALL HIM A SCULPTOR.

19:04.400 --> 19:06.701 position:10% line:50% size:80%
AS YOU'LL SEE FROM
THE EXHIBITION HE TAKES

19:06.801 --> 19:08.901 position:10% line:50% size:80%
A PRETTY INNOVATIVE APPROACH
TO SCULPTURE.

19:09.000 --> 19:12.000 position:10% line:50% size:80%
HIS WORK ACROSS DISCIPLINES
AND ACROSS MEDIA HAS TO DO WITH

19:12.100 --> 19:14.667 position:10% line:50% size:80%
THE RELATIONSHIP BETWEEN PEOPLE
AND THE RELATIONSHIP BETWEEN

19:14.767 --> 19:16.801 position:10% line:50% size:80%
OBJECTS AND THE WAY THAT
SCULPTURE CAN ALTER THOSE

19:16.901 --> 19:18.200 position:10% line:50% size:80%
RELATIONSHIPS.

19:18.300 --> 19:22.367 position:10% line:50% size:80%
EACH OF PEDRO REYES'S TREATMENTS
COMBINES STRATEGIES FOR HEALING

19:22.467 --> 19:24.901 position:10% line:50% size:80%
OR FOR ALTERNATIVE FORMS
OF KNOWING FROM

19:25.000 --> 19:26.100 position:10% line:50% size:80%
DIFFERENT TRADITIONS.

19:26.200 --> 19:28.200 position:10% line:50% size:80%
SO YOU'LL SEE THROUGHOUT
EACH OF THE TREATMENTS EACH OF

19:28.300 --> 19:31.634 position:10% line:50% size:80%
WHICH IS ENTIRELY DISTINCT
UMM ELEMENTS OF

19:31.734 --> 19:34.567 position:10% line:50% size:80%
THE CATHOLIC TRADITION,
THINGS LIKE CATHARSIS AND

19:34.667 --> 19:36.501 position:10% line:50% size:80%
CONFESSION;
AS WELL AS ELEMENTS FROM

19:36.601 --> 19:41.000 position:10% line:50% size:80%
GREEK TRAGEDY, UH,
ROMAN PHILOSOPHY AND ORATORY

19:41.100 --> 19:43.968 position:10% line:50% size:80%
ETCETERA DOWN THROUGH THE GAMUT;
AS WELL AS MORE TRADITIONAL

19:44.067 --> 19:47.400 position:10% line:50% size:80%
FORMS OF PSYCHOANALYSIS LIKE
THAT OF FREUD AND LACAN.

19:50.467 --> 19:54.033 position:10% line:50% size:80%
MY FAVORITE IS UM "GOODOO,"
FOR A NUMBER OF REASONS.

19:54.133 --> 19:56.467 position:10% line:50% size:80%
GOODOO FOR THOSE OF YOU WHO HAVE
NOT DONE THE TREATMENT

19:56.567 --> 19:58.501 position:10% line:50% size:80%
IS A GOOD VERSION OF VOODOO.

19:58.601 --> 20:01.834 position:10% line:50% size:80%
IN THAT TREATMENT YOU CHOOSE
FIVE CHARMS WHICH ARE

20:01.934 --> 20:05.167 position:10% line:50% size:80%
ESSENTIALLY, INDUSTRIALLY
PRODUCED THEY COULD REALLY MEAN

20:05.267 --> 20:06.767 position:10% line:50% size:80%
ANYTHING THEY ARE ENDLESSLY
INTERPRETABLE,

20:06.868 --> 20:11.100 position:10% line:50% size:80%
AND YOU FIX THEM TO A DOLL OF
YOUR CHOOSING.

20:11.200 --> 20:15.067 position:10% line:50% size:80%
UM, YOU DECORATE THEM AND YOU
ASSIGN THEM BASED ON THE AREA OF

20:15.167 --> 20:17.934 position:10% line:50% size:80%
THE BODY WHERE YOU'RE APPLYING
IT DIFFERENT FORMS OF MEANING.

20:18.033 --> 20:22.033 position:10% line:50% size:80%
THEN YOU PRESS DOWN UPON IT IN
ORDER TO MAKE SURE THAT PERSON

20:22.133 --> 20:24.067 position:10% line:50% size:80%
IS REALLY EXPERIENCING THE
GOODWILL THAT YOU'RE GIVING

20:24.167 --> 20:25.267 position:10% line:50% size:80%
TO THEM.

20:25.367 --> 20:28.133 position:10% line:50% size:80%
IT IS A REALLY UH, MEANINGFUL
EXPERIENCE FOR EVERYBODY

20:28.234 --> 20:30.934 position:10% line:50% size:80%
WHO- WHO ENTERS THAT ROOM.

20:31.033 --> 20:33.701 position:10% line:50% size:80%
ADDITIONALLY, EVERYBODY IS
INVITED TO TAKE THE DOLL HOME.

20:33.801 --> 20:39.367 position:10% line:50% size:80%
THIS IDEA OF GIFTING AN OBJECT
OR A SCULPTURE IS ANOTHER THEME

20:39.467 --> 20:41.634 position:10% line:50% size:80%
THAT RUNS THROUGHOUT THIS
INSTALLATION AND IS FELT

20:41.734 --> 20:44.601 position:10% line:50% size:80%
MOST PRESENTLY
IN THAT PARTICULAR PIECE.

20:44.701 --> 20:47.734 position:10% line:50% size:80%
"THE MUSEUM OF HYPOTHETICAL
LIFETIMES" IS A PLACE

20:47.834 --> 20:51.133 position:10% line:50% size:80%
WHERE YOU CAN CHART YOUR OWN
PAST PRESENT AND FUTURE.

20:51.234 --> 20:53.934 position:10% line:50% size:80%
SO USING THE PROPS WHICH YOU SEE
ON THE SHELF BEHIND ME,

20:54.033 --> 20:56.901 position:10% line:50% size:80%
UM, YOU PLACE THEM WITHIN
DIFFERENT TERRAINS

20:57.000 --> 21:00.667 position:10% line:50% size:80%
OR ZONES WHICH ARE IDENTIFIED
IN WHAT YOU'D CALL A MAZE,

21:00.767 --> 21:03.901 position:10% line:50% size:80%
UM, AND THERE USING
IDENTIFICATIONS BOTH ON

21:04.000 --> 21:07.234 position:10% line:50% size:80%
THE PROP AND THE GEOGRAPHY OF
THE MAZE,

21:07.334 --> 21:09.467 position:10% line:50% size:80%
YOU CREATE A STORY OF YOUR OWN
LIFETIME.

21:09.567 --> 21:14.734 position:10% line:50% size:80%
"CITYLEAKS" IS A VERY FUN
TREATMENT AT THE SANATORIUM

21:14.834 --> 21:16.367 position:10% line:50% size:80%
AND ONE OF THE QUICKEST
ACTUALLY,

21:16.467 --> 21:18.734 position:10% line:50% size:80%
BUT ONE OF THE MOST CATHARTIC
AND IT IS IN FACT THE ONE

21:18.834 --> 21:21.067 position:10% line:50% size:80%
THAT IS QUOTING
TRADITIONAL FORMS OF CONFESSION

21:21.167 --> 21:22.667 position:10% line:50% size:80%
THE MOST LITERALLY.

21:22.767 --> 21:25.968 position:10% line:50% size:80%
EVERY PERSON WHO ENTERS THAT
PARTICULAR TREATMENT IS MEANT

21:26.067 --> 21:28.501 position:10% line:50% size:80%
TO WRITE DOWN THEIR DEEPEST
DARKEST SECRET,

21:28.601 --> 21:31.133 position:10% line:50% size:80%
TIE IT UP WITH A BOW,
AND LEAVE IT IN A BOTTLE.

21:31.234 --> 21:33.334 position:10% line:50% size:80%
THEN, THEY ARE ABLE TO TAKE
ANOTHER SECRET FROM SOMEONE WHO

21:33.434 --> 21:36.167 position:10% line:50% size:80%
THEY DON'T KNOW OR THEY DON'T
KNOW THAT THEY KNOW

21:36.267 --> 21:37.601 position:10% line:50% size:80%
WHO HASN'T IDENTIFIED
THEMSELVES,

21:37.701 --> 21:39.100 position:10% line:50% size:80%
PULL IT OUT OF THE BOTTLE
AND READ IT.

21:39.200 --> 21:42.167 position:10% line:50% size:80%
THAT PERSON AGAIN IS ABLE
TO TAKE THAT SECRET WITH THEM

21:42.267 --> 21:44.701 position:10% line:50% size:80%
IF THEY LIKE, LIKE A FORTUNE
FROM A FORTUNE COOKIE.

21:52.334 --> 21:54.968 position:10% line:50% size:80%
WHEN COMMISSIONING
OR INSTALLING A WORK

21:55.067 --> 21:57.801 position:10% line:50% size:80%
WHICH IS SO DEMANDING OF
VISITORS AND WHICH

21:57.901 --> 22:02.501 position:10% line:50% size:80%
DOESN'T PRESENT TRADITIONAL
PRETTY PICTURES ON THE WALL UM,

22:02.601 --> 22:06.400 position:10% line:50% size:80%
YOU EXPECT THE FIRST QUESTION
FROM EVERYBODY TO...

22:06.501 --> 22:09.067 position:10% line:50% size:80%
THE FIRST RESPONSE FOR EVERY
VISITOR TO COME IN

22:09.167 --> 22:10.934 position:10% line:50% size:80%
TO PUT THEIR HANDS ON
THEIR HIPS AND SAY,

22:11.033 --> 22:12.133 position:10% line:50% size:80%
"WHY IS THIS ART?"

22:12.234 --> 22:15.334 position:10% line:50% size:80%
WHICH IS A QUESTION THAT
WE'RE FULLY EQUIPPED TO ANSWER

22:15.434 --> 22:17.033 position:10% line:50% size:80%
AND HAPPY TO ADDRESS,
AND IN FACT,

22:17.133 --> 22:19.934 position:10% line:50% size:80%
THE SIMPLEST QUESTIONS CAN BE
SOME OF THE MOST PRODUCTIVE.

22:20.033 --> 22:25.000 position:10% line:50% size:80%
HOWEVER, WE'VE HAD A REALLY
SOPHISTICATED RANGE OF RESPONSES

22:25.100 --> 22:29.200 position:10% line:50% size:80%
TO THE WORK, PEOPLE HAVE REALLY
ENJOYED BEING GREETED BY

22:29.300 --> 22:31.634 position:10% line:50% size:80%
THE VOLUNTEERS
AND EVEN SEEING SOME OF

22:31.734 --> 22:34.067 position:10% line:50% size:80%
THE MEMBERS OF THE COMMUNITY
WHO THEY MIGHT KNOW

22:34.167 --> 22:36.801 position:10% line:50% size:80%
IN ANOTHER CONTEXT
THROUGH THIS INSTALLATION.

22:36.901 --> 22:41.000 position:10% line:50% size:80%
ICA MIAMI SPECIALIZES IN
PRESENTING THE MOST EXPERIMENTAL

22:41.100 --> 22:42.133 position:10% line:50% size:80%
ART OF OUR TIME.

22:42.234 --> 22:44.133 position:10% line:50% size:80%
WHAT WE REALLY DO THROUGH
OUR EXHIBITIONS,

22:44.234 --> 22:45.901 position:10% line:50% size:80%
THROUGH OUR CATALOGUES,
AND OUR PUBLIC PROGRAMS

22:46.000 --> 22:49.067 position:10% line:50% size:80%
AS WELL AS EDUCATION IS
HIGHLIGHT SCHOLARSHIP

22:49.167 --> 22:53.434 position:10% line:50% size:80%
ON THE MOST IMPORTANT BOTH
EMERGING THAT'S YOUNG

22:53.534 --> 22:56.834 position:10% line:50% size:80%
AND UNDER-REPRESENTED
ESTABLISHED ARTISTS OF OUR TIME.

22:56.934 --> 23:01.367 position:10% line:50% size:80%
SO NOT ONLY THOSE ARTISTS
WHO ARE PRODUCING NEW WORK

23:01.467 --> 23:03.167 position:10% line:50% size:80%
BUT ALSO THOSE ARTISTS
WHO HAVE BEEN WORKING

23:03.267 --> 23:05.567 position:10% line:50% size:80%
FOR DECADES AND HAVE YET
TO RECEIVE IN AN AMERICAN

23:05.667 --> 23:08.300 position:10% line:50% size:80%
OR INTERNATIONAL CONTEXT
THE TYPE OF RECOGNITION

23:08.400 --> 23:09.300 position:10% line:50% size:80%
THAT THEY DESERVE.

23:11.033 --> 23:14.200 position:10% line:50% size:80%
Rhea: FOR MORE INFORMATION
ABOUT THIS ARTIST'S WORK, VISIT

23:17.267 --> 23:19.801 position:10% line:50% size:80%
Rhea: THAT'S ALL FOR TONIGHT,
BUT IF YOU WANT TO WATCH MORE

23:19.901 --> 23:23.734 position:10% line:50% size:80%
SHOWS DROP-IN AT
MPT.ORG/ARTWORKS.

23:23.834 --> 23:27.934 position:10% line:50% size:80%
BY THE WAY, HAVE YOU DOWNLOADED
THE MPT MOBILE APP YET?

23:28.033 --> 23:32.100 position:10% line:50% size:80%
NOW YOU CAN WATCH ARTWORKS AND
OTHER SHOWS ON YOUR PHONE.

23:32.200 --> 23:35.701 position:10% line:50% size:80%
AND FOLLOW US ON TWITTER
FOR THE LATEST NEWS.

23:35.801 --> 23:38.868 position:10% line:50% size:80%
I'M RHEA FEIKIN AND I WANT
TO THANK YOU FOR JOINING US.

23:38.968 --> 23:40.467 position:10% line:50% size:80%
WE'LL BE BACK NEXT WEEK.

23:44.601 --> 23:46.968 position:10% line:50% size:80%
Announcer: ARTWORKS IS MADE
POSSIBLE IN PART BY

23:47.067 --> 23:49.033 position:10% line:50% size:80%
THE CITIZENS
OF BALTIMORE COUNTY.

23:51.534 --> 23:52.534 position:10% line:50% size:80%
AND BY...

23:52.634 --> 23:56.467 position:10% line:50% size:80%
THE RUTH R. MARDER
ARTS ENDOWMENT FUND,

23:56.567 --> 23:59.234 position:10% line:50% size:80%
THE ROBERT E. MEYERHOFF AND
RHEDA BECKER ENDOWMENT

23:59.334 --> 24:01.334 position:10% line:50% size:80%
FOR THE ARTS,

24:01.434 --> 24:04.501 position:10% line:50% size:80%
THE E.T. &
ROBERT B. ROCKLIN FUND,

24:04.601 --> 24:06.801 position:10% line:50% size:80%
AND THE HENRY AND RUTH
BLAUSTEIN ROSENBERG

24:06.901 --> 24:10.167 position:10% line:50% size:80%
FOUNDATION ARTS ENDOWMENT
IN MEMORY OF RUTH MARDER.

24:12.934 --> 24:15.100 position:10% line:50% size:80%
CLOSED CAPTIONING HAS BEEN MADE
POSSIBLE BY MARYLAND RELAY,

24:15.200 --> 24:17.300 position:10% line:50% size:80%
EMPOWERING THOSE WITH
HEARING AND SPEECH LOSS

24:17.400 --> 24:19.267 position:10% line:50% size:80%
TO STAY CONNECTED.

24:19.367 --> 24:21.501 position:10% line:50% size:80%
*