Host: COMING UP NEXT...

THE QUIRKY AND THE CURIOUS...

19TH CENTURY TELEVISIONS....

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

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

AND THE THERAPUETIC
JOURNEYS OF PEDRO REYES...

NEXT, ON ARTWORKS !

CLOSED CAPTIONING HAS BEEN MADE
POSSIBLE BY MARYLAND RELAY,

EMPOWERING THOSE WHO ARE DEAF,
HARD OF HEARING,

OR SPEECH DISABLED TO STAY
CONNECTED BY PHONE.

*

Announcer: ARTWORKS IS MADE
POSSIBLE IN PART BY

THE CITIZENS
OF BALTIMORE COUNTY.

AND BY...

THE RUTH R. MARDER
ARTS ENDOWMENT FUND,

THE ROBERT E. MEYERHOFF
AND RHEDA BECKER ENDOWMENT

FOR THE ARTS,

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

AND THE HENRY AND RUTH
BLAUSTEIN ROSENBERG FOUNDATION

ARTS ENDOWMENT
IN MEMORY OF RUTH MARDER.

WELCOME TO ARTWORKS!

I'M RHEA FEIKIN.

THIS IS THE SECOND SHOW
OF NEW SEASON SEVEN.

AND THE THEME?

ECCENTRICS!

TOP OF THE LIST:
ARIZONA'S STEVE GOMPF,

OR, THE ARTIST AS "TRICKSTER."

GOMPF WAS A TRUE ECCENTRIC
WHO BUILT 19TH CENTURY

"ANTIQUE" TELEVISIONS.

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

AND GOMPF REVELED IN THE IRONY
THAT PEOPLE ACTUALLY BELIEVED

HIS ARTFUL FABRICATIONS.

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

GOMPF HAS PASSED AWAY, AND SO
THIS PROFILE IS LIKELY

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

Steve Gompf: THE PURPOSE OF THE
TELEVISOR MUSEUM INTERNATIONAL

IS THE PRESERVATION
RESTORATION AND CONSERVATION

OF VINTAGE DEVICES,
HISTORICAL DOCUMENTS

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

ARCHAIC IMAGE TRANSMISSION
TECHNOLOGIES

FROM THE TELEVISOR ERA
1884 TO 1928.

SO WHICH IS ALL BS.

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

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

ANTIQUE TELEVISION
FROM THE 1800'S.

AND PEOPLE BELIEVE IT.

BASICALLY GROWING UP
I WAS A MILITARY BRAT.

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

THEN ARIZONA THEN TO ENGLAND
THEN TO MISSOURI THEN TO GERMANY

THEN TO OMAHA THEN TO
KANSAS CITY THEN TO HERE.

AND I'VE BEEN HERE EVER SINCE.

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

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

OR FLEA MARKETS.

AND MY PARENTS WERE ANTIQUE
COLLECTORS, ESPECIALLY CLOCKS

AND STUFF.

SO I KIND OF KNEW ABOUT THE
DIFFERENT PERIODS OF FURNITURE

AND STYLES OF DECORATIVE ARTS
FROM THAT EXPERIENCE SO THAT

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

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

I'LL SNAG IT.

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

I REMEMBER I WAS BUILDING A
PIECE AND OF COURSE

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

I ACTUALLY USED THE PLATE OF
WHAT I HAD DINNER ON

THE NIGHT BEFORE.

I USED THAT AS A
LENS FOR THE PIECE.

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

ART NOUVEAU AND KIND OF USE THAT
AND PUT IT TOGETHER

TO CREATE UH, THE PIECES.

I HAVE AN UNDERGRAD DEGREE IN
PHOTOGRAPHY AND A GRADUATE

DEGREE IN INTER MEDIA FROM
ARIZONA STATE UNIVERSITY.

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

VIDEO IN A GALLERY SITUATION.

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

TELEVISORS IS ACTUALLY THE
SPANISH AND FRENCH NAME

FOR TELEVISION.

AND IN THE VERY BEGINNING THE
DEVELOPMENT OF TELEVISION

ESPECIALLY IN ENGLAND WITH
JOHN LOGIE BEAR,

THE SCOTTISH ENGINEER.

HE BUILT A DEVICE THAT WAS
PARTIALLY MECHANICAL

AND HE CALLED HIS DEVICE
A TELEVISOR.

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

FOR IT.

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

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

A LITTLE BIT TO FIT THE PIECE.

AND SOMETIMES I JUST
TOTALLY MAKE IT UP.

I RECENTLY HAD A SHOW CALLED

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

1884 THROUGH 1928".

WHICH IS 1884 IS THE FIRST
PATENTED TELEVISION SYSTEM.

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

FARNSWORTH'S FULLY
ELECTRONIC VERSION OF IT.

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

ARE BASICALLY AN ASSEMBLY OF
OBJECTS THAT ARE FOUND IN

THRIFT STORES AND PUT THEM
TOGETHER AND I PUT TABLETS,

COMPUTER TABLETS INSIDE OF THEM
AND IT LOOKS LIKE

THEY'RE PLAYING VIDEO.

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

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

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

DIFFERENT SCENES.

ACCOMPANYING THE WORK THEY'LL
HAVE LABELS NEXT TO THEM

THAT SAY, THAT TALK ABOUT THEIR
SIGNIFICANCE IN THE DEVELOPMENT

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

AND A LITTLE SNIPPET ABOUT THAT
DEVICE ITSELF AND PEOPLE JUST

BELIEVE IT.

THEY ACTUALLY BELIEVE THAT THEY
ARE ANTIQUES AND...

THIS WHOLE THING
ACTUALLY EXISTED.

Tiffany Fairall: IT'S
INTERESTING PEOPLE WILL COME IN

HERE AND THEY WILL THINK ITS
REAL TELEVISIONS, THAT EARLY

FORM OF THE TELEVISION AND
THAT'S WHAT STEVE IS

TRYING TO CREATE.

HE WANTS TO CREATE THIS
FICTITIOUS HISTORY

OF THE EARLY TELEVISION.

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

WHICH ACTUALLY IS A REAL TERM.

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

IMAGINATION AND WHAT THEY WOULD
HAVE LOOKED LIKE.

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

Steve: I JUST THINK THAT
PEOPLE BUY THE PIECES BECAUSE

THEY'VE BEEN FOOLED BY THEM.

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

ANTIQUE DEVICE AND KIND
OF FOOL THEIR FRIENDS.

I WAS ACTUALLY INSTALLING A
PIECE AT SOMEBODY'S HOUSE

AND HE CALLED ME HIS
TELEVISOR REPAIRMAN.

Tiffany:
I THINK THAT STEVE IS KIND OF

A LITTLE BIT OF A TRICKSTER.

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

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

SEE WHAT'S GOING ON THERE.

HE'S EVEN MENTIONED TO ME HOW
HE'D LOVED TO TAKE IT ON

THE ANTIQUES ROADSHOW AND SEE
WHAT THEY WOULD SAY AT THIS

CREATION AND (CHUCKLES) SEE WHAT
THEIR EXPRESSION WOULD BE.

SO I THINK HE KIND OF LIKES THE
FOOLING VALUE OF IT AND HE LIKES

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

AND HEAR WHAT THE VISITORS
ARE SAYING.

SO I THINK KIND HE WANTS TO HEAR
WHAT THEY'RE SAYING

ABOUT HIS WORK.

I THINK THAT'S AN IMPORTANT PART
OF IT AND ELEMENT AND HOW PEOPLE

INTERACT WITH HIS WORK
IS IMPORTANT TO HIM.

Steve: I THINK IT'S EVOLVED IN
THAT THE FIRST TIME I PRESENTED

THEM I SAID I COLLECTED
THESE DEVICES AND THEN I DECIDED

TO COME UP WITH THIS MUSEUM THAT
ADDED AN EXTRA LAYER TO IT

AND ADDED BELIEVABILITY TO IT.

MORE FAKE STUFF TO
MAKE IT MORE REAL.

AS A LAYER TO THE PROJECT,
I'VE CREATED A WEB SITE CALLED

TELESEUM.ORG T-E-L-E-S-E-U-M
ORG AND IT'S SET UP AS IF IT

WAS A MUSEUM'S WEBSITE.

AND IT'S THE TELEVISOR MUSEUM
INTERNATIONAL WHICH THE

ABBREVIATION TMI,
TOO MUCH INFORMATION.

THAT'S WHAT IT IS
TOO MUCH INFORMATION.

IT PRESENTS MY WORK AS IF THIS
WAS A LEGITIMATE ACTUAL

REAL MUSEUM THAT COLLECTS THESE
DEVICES THAT REALLY KIND OF

DIDN'T EXIST.

THERE'S A LITTLE SECTION THAT
SAYS YOU KNOW ON THURSDAY IT'S

FREE FOR SENIOR CITIZENS AND FOR
STUDENTS AND CALL US FOR GROUPS

MORE THAN 10 BECAUSE DOCENT
TOURS CAN BE ARRANGED,

BUT THERE'S NO CONTACT
INFORMATION,

THERE'S NO ADDRESS,
THERE'S NO PHONE NUMBER.

THERE'S NOTHING BUT THAT
PAGE ON THE INTERNET.

AS ANOTHER LAYER TO THE PROJECT
OR TO THE ARTWORK OF IT.

I DECIDED ON THE LAST SHOW THAT
I MADE TO COME UP WITH A CATALOG

THAT IS ACTUALLY PRESENTED
AS IF IT WAS MADE BY

THE TELEVISOR MUSEUM
INTERNATIONAL.

PART OF THE PREMISE IS IF
PEOPLE WOULD BELIEVE ANYTHING

ON TV, WHY WOULDN'T THEY BELIEVE
ANYTHING IS A TV AND THEY DO.

*

Rhea: THE POP ART MOVEMENT
OF THE 1960'S WAS

REVOLUTIONARY IN MANY WAYS,
BUT IT WAS SOMETHING OF AN

"OLD BOYS CLUB," TOO.

THE HARVARD ART MUSEUM RECENTLY
SHOWCASED THE POP ART WORK OF

SISTER CORITA KENT WITH THE
GOAL OF ESTABLISHING HER

IN THE PANTHEON OF MAJOR
20TH CENTURY ARTISTS.

FRANKLY, I'D NEVER
HEARD OF HER BEFORE.

BUT-- THAT'S THE WHOLE
POINT OF MEETING HER NOW...

Narrator: SEARCHING FOR
RELIGIOUS INSPIRATION

IN THE 1960'S,
AN ACTIVIST NUN TURNED

ACTIVE ARTIST NAMED SISTER
CORITA KENT FOUND IT...

IN THE SUPERMARKET.

Jennifer Quick: ONE MIGHT NOT
NORMALLY THINK OF WONDER BREAD

AS RELATED TO COMMUNION BUT SHE
WANTED TO MAKE THAT CONNECTION

IN HER WORK.

Narrator: IN AN ERA OF UPHEAVAL,
KENT WANTED TO GROUND PEOPLE

THROUGH ART.

A ROMAN CATHOLIC NUN, SHE LIVED
IN LOS ANGELES AND HEADED THE

ART DEPARTMENT AT A
RELIGIOUS SCHOOL THERE.

Jennifer: SHE WOULD DRIVE
AROUND THE CITY AND SHE SENT HER

STUDENTS OUT TO DO WHAT
SHE CALLED "LOOKING ASSIGNMENTS"

IN THESE CAR DEALERSHIPS
AND, UH, SUPERMARKETS.

BUT IT'S ALSO IMPORTANT
HISTORICALLY BECAUSE AS POP ART

IS IMMERGING AROUND 1962, THE
TWO MAIN CENTERS ARE NEW YORK,

OF COURSE, AND LOS ANGELES.

Narrator: AND KENT WAS PAYING
ATTENTION-REVELING IN

JOSEF ALBER'S EXPERIMENTS
IN COLOR.

SHE MARVELED AT THE POP ART
STYLINGS OF JASPER JOHNS

AND ROY LICHTENSTEIN WHO WERE
RECEIVING EARLY LA SHOWS.

AND SHE SOUGHT OUT
ANDY WARHOL'S WORK.

Jennifer:SHE NEVER HAD NEAR
THE NATIONAL RECOGNITION

THAT WARHOL DID.

PEOPLE WERE- DIDN'T REALLY KNOW
WHAT TO DO WITH THE NUN

WHO WAS MAKING POP ART.

Narrator: AND THEY STILL DON'T.

ENTER THE HARVARD ART MUSEUMS
WHICH ARGUES IN ITS LATEST SHOW

THAT CORITA KENT BELONGS IN THE
PANTHEON OF POP ARTISTS

WHO DEFINED A GENERATION.

JENNIFER QUICK HELPED
CURATE THE SHOW.

Interviewer: WHAT HAPPENED TO
HER THAT SHE DIDN'T HAVE THE

SAME TRAJECTORY THAT THEY HAD?

Jennifer: FRANKLY BEING A WOMAN
ARTIST WITHIN THE POP ART WORLD

WAS... YOU DON'T HEAR AS MUCH
ABOUT WOMEN POP ARTISTS.

IT WAS PRETTY MALE DOMINATED.

Narrator: BUT KENT WAS UNDAUNTED
AND SAW OPPORTUNITY WHERE OTHERS

SAW POTATO CHIP PACKAGING.

TO HER, WELL-KNOWN IMAGES WERE
THE PERFECT WAY TO TEACH

VATICAN II.

THE MOVEMENT TO
MODERNIZE THE CHURCH,

PARTLY WITH MORE
ACCESSIBLE LANGUAGE.

Jennifer: WE SEE CORITA KENT
BORROWING WORDS,

LIKELY SHE FOUND IN THE
GROCERY STORE-BREAD,

PEACHES-VERY COMMON PRODUCTS.

BUT IT'S ALSO ENCOURAGING HER
VIEWERS TO THINK ABOUT,

WHY DO WE NEED THIS
WAR ON POVERTY?

HOW CAN WE HELP FIGHT
AGAINST POVERTY?

AND AS CATHOLICS,
WE'RE COMPELLED TO DO SO.

Narrator: KENT DREW A MOUNTAIN
OF CONTROVERSY THOUGH AS SHE

TRIED TO MAKE THE VIRGIN MARY
MORE RELATABLE VIA TOMATOES.

Jennifer: SHE USES, UH,
DEL MONTE TOMATOES,

THE BRAND NAME AND THE LOGO, TO
REINVENT THE WAY WE THINK ABOUT

MARY AND SO TO SAY THAT IF WE
SAY DEL MONTE TOMATOES ARE THE

JUICIEST OF ALL, THEN CERTAINTY
IF WE THINK THIS FOOD PRODUCT

IS SO WONDERFUL, WE CAN SAY THAT
THE VIRGIN MARY IS THE

JUICIEST TOMATO OF THEM ALL.

Narrator:
WORKING OUT OF HER LA STUDIO,

KENT USED A PRINTING PROCESS
WHERE SHE EXPERIMENTED WITH

ANGLES, DAY-GLO COLORS
AND FAMILIAR BRANDING.

SHE THEN INFUSED HER WORK WITH
TEXT FROM EVERYONE

FROM THE POPE TO THE BEATLES.

FEELING GROOVY
IS A PRINT FROM 1967.

Jennifer: SHE'S INCLUDED LYRICS
FROM A SIMON AND GARFUNKEL SONG.

THE LYRICS ARE
"SLOW DOWN, YOU MOVE TOO FAST."

SO WE SEE JUXTAPOSED
ON ONE HAND,

THESE SIGNIFIERS OF TRAFFIC,
SPEED, LOS ANGELES,

MOVING THROUGH THE CITY,
WITH... FROM A POPULAR SONG,

NONETHELESS, AN ADMONITION THAT
PERHAPS WE SHOULD SLOW DOWN

SOMETIMES AND CONSIDER
WHAT'S AROUND US.

Narrator: IN 1968 KENT LEFT HER
RELIGIOUS ORDER

AND MOVED TO BOSTON.

SHE BECAME EVEN MORE RADICAL
AND MORE POINTED AS PROTESTS

AND WAR CONSUMED THE NATION.

JUST LIKE WARHOL, HER WORK
BECAME STRIKINGLY VISCERAL.

Jennifer: SHE USES PHOTOGRAPHS
INSTEAD OF HAND-CUT STENCILS.

AND THESE PHOTOGRAPHS ARE VERY
DIRECT ABOUT WHAT'S HAPPENING

POLITICALLY AND SOCIALLY
IN THE COUNTRY.

SO LIFE MAGAZINE COVERS
PROFILING THE VIETNAM WAR, UM,

PHOTOGRAPHS SHOWING THE
ASSASSINATIONS OF

MARTIN LUTHER KING, OR
ROBERT F. KENNEDY, RACE RIOTS.

SO THE WORK BECOMES A LOT MORE
DIRECT IN ITS COMMENTARY

ON POLITICS.

Narrator: KENT REMAINED IN
BOSTON FOR THE REST OF HER LIFE,

PRODUCING PRINTS AND A
LANDMARK LEGACY: A GAS TANK

ADORNED WITH HER RAINBOW SWASH
OVERLOOKING DORCHESTER BAY.

Jennifer: SHE THOUGHT OF IT IN
TERMS OF IDEA OF A RAINBOW

BEING A JOYFUL EXPRESSION,
AS BEING RELATED TO GENESIS,

AND GOD'S PROMISE NEVER
TO FLOOD THE EARTH AGAIN,

AS IT'S RECORDING
THE SCRIPTURES.

BUT ON THE LEVEL OF POP ART,
IT'S ALSO VERY SIGNIFICANT.

BECAUSE CORITA KENT IS MAKING
HER OWN POP ART MONUMENT.

GIVING BOSTON ITS
OWN POP ART MONUMENT.

Narrator: NOW ELEVATING THIS
SISTER TO THE QUEEN OF POP ART.

Rhea:
FIND OUT MORE AT:

Rhea: OUR NEXT STORY IS A
SHORT PROFILE OF A YOUNG LOCAL

MULTI-MEDIA ARTIST WHO'S ALREADY
WON A BAKER ARTIST AWARD

AND WAS A SONDHEIM PRIZE
FINALIST, JUST LAST YEAR!

SARA DITTRICH THINKS
WAY OUTSIDE OF THE BOX.

AND I CAN'T HELP WONDERING
WHERE SHE'S HEADED NEXT.

*

Sara Dittrich: I ENJOY USING
A LOT OF DIFFERENT MEDIA

BECAUSE THERE'S A LOT OF FREEDOM
THAT COMES WITH WORKING

IN WHAT I CALL A NAIVE NATURE,
SO YOU DON'T GET CAUGHT UP

IN WHAT OTHER PEOPLE HAVE DONE
OR WHAT YOU THINK IS POSSIBLE,

AND THERE'S KIND OF LIKE
A LOT OF FREEDOM,

AND DISCOVERY THAT COMES
WITH THAT.

*

BECAUSE I'M SWITCHING BETWEEN
A LOT OF MEDIA,

I END UP COLLABORATING WITH
A LOT OF DIFFERENT PEOPLE

AND YOU'RE REALLY ABLE TO CREATE
SOMETHING GREATER THAN

YOU WOULD ON YOUR OWN.

*

I SEE MUSICAL THINKING AS A WAY
OF INTERPRETING THE WORLD

AROUND YOU BASED ON
THE QUALITIES THAT YOU FIND

IN MUSIC, LIKE HARMONY,
DISSONANCE,

KIND OF OUTSIDE OF TRADITIONAL
WORLD OF MUSIC.

*

WE ONLY BECOME CONSCIOUS
OF OUR OWN RHYTHMS

WHEN THEY BECOME DISRUPTED.

ARRHYTHMIA OF THE BODY
IS A SERIES OF 20 PHOTOS OF ME

WEARING GIANT HAND,
AND FEET PROSTHETICS GENERATING

A GREATER AWARENESS OF
MY OWN BODY,

AND THE WORLD SURROUNDING ME.

*

SOME OTHER PIECES I'M IN
PROGRESS ON ARE FURTHER

EXPERIMENTING WITH MAKING US
MORE AWARE OF OUR BODIES

AND KIND OF THESE UNCONSCIOUS
RHYTHMS OF THE BODY.

TINY EARS, AND FEET, AND HANDS.

THE RHYTHM AND REPETITION
OF CREATING THEM BECOMES

A MEDITATIVE PROCESS IN ITSELF.

*

Rhea: OUR LAST STORY
TONIGHT FEATURES

MEXICAN ARTIST PEDRO REYES
WHO'S CREATED AN INTERACTIVE

INSTALLATION IN MIAMI.

HIS PROJECT IS LOW TECH
BUT HIGH CONCEPT.

VISITORS ARE GUIDED THROUGH A
JOURNEY OF SELF-DISCOVERY.

Pedro Reyes: "SANATORIUM"
IS A LANDMARK PRESENTATION

BECAUSE IT INVOLVES AN ENTIRELY
NEW TYPE OF PERFORMANCE.

FOR THIS INSTALLATION,
PEDRO HAS TRAINED 25 VOLUNTEERS

FROM THE LOCAL COMMUNITY
AND ASKED THEM TO PARTICIPATE

BY LEARNING ONE OF HIS
8 TO 10 TREATMENTS.

EVERY PERSON WHO COMES INTO
THE INSTALLATION

GETS AN ENTIRELY FRESH
EXPERIENCE WHICH IS DICTATED BY

THEIR INTERACTION WITH
THE VOLUNTEERS.

PEDRO REYES IS AN ARTIST FROM
MEXICO STILL BASED IN

MEXICO CITY TO THIS DAY,
A LEADING ARTIST OF

HIS GENERATION.

WE CALL HIM A SCULPTOR.

AS YOU'LL SEE FROM
THE EXHIBITION HE TAKES

A PRETTY INNOVATIVE APPROACH
TO SCULPTURE.

HIS WORK ACROSS DISCIPLINES
AND ACROSS MEDIA HAS TO DO WITH

THE RELATIONSHIP BETWEEN PEOPLE
AND THE RELATIONSHIP BETWEEN

OBJECTS AND THE WAY THAT
SCULPTURE CAN ALTER THOSE

RELATIONSHIPS.

EACH OF PEDRO REYES'S TREATMENTS
COMBINES STRATEGIES FOR HEALING

OR FOR ALTERNATIVE FORMS
OF KNOWING FROM

DIFFERENT TRADITIONS.

SO YOU'LL SEE THROUGHOUT
EACH OF THE TREATMENTS EACH OF

WHICH IS ENTIRELY DISTINCT
UMM ELEMENTS OF

THE CATHOLIC TRADITION,
THINGS LIKE CATHARSIS AND

CONFESSION;
AS WELL AS ELEMENTS FROM

GREEK TRAGEDY, UH,
ROMAN PHILOSOPHY AND ORATORY

ETCETERA DOWN THROUGH THE GAMUT;
AS WELL AS MORE TRADITIONAL

FORMS OF PSYCHOANALYSIS LIKE
THAT OF FREUD AND LACAN.

MY FAVORITE IS UM "GOODOO,"
FOR A NUMBER OF REASONS.

GOODOO FOR THOSE OF YOU WHO HAVE
NOT DONE THE TREATMENT

IS A GOOD VERSION OF VOODOO.

IN THAT TREATMENT YOU CHOOSE
FIVE CHARMS WHICH ARE

ESSENTIALLY, INDUSTRIALLY
PRODUCED THEY COULD REALLY MEAN

ANYTHING THEY ARE ENDLESSLY
INTERPRETABLE,

AND YOU FIX THEM TO A DOLL OF
YOUR CHOOSING.

UM, YOU DECORATE THEM AND YOU
ASSIGN THEM BASED ON THE AREA OF

THE BODY WHERE YOU'RE APPLYING
IT DIFFERENT FORMS OF MEANING.

THEN YOU PRESS DOWN UPON IT IN
ORDER TO MAKE SURE THAT PERSON

IS REALLY EXPERIENCING THE
GOODWILL THAT YOU'RE GIVING

TO THEM.

IT IS A REALLY UH, MEANINGFUL
EXPERIENCE FOR EVERYBODY

WHO- WHO ENTERS THAT ROOM.

ADDITIONALLY, EVERYBODY IS
INVITED TO TAKE THE DOLL HOME.

THIS IDEA OF GIFTING AN OBJECT
OR A SCULPTURE IS ANOTHER THEME

THAT RUNS THROUGHOUT THIS
INSTALLATION AND IS FELT

MOST PRESENTLY
IN THAT PARTICULAR PIECE.

"THE MUSEUM OF HYPOTHETICAL
LIFETIMES" IS A PLACE

WHERE YOU CAN CHART YOUR OWN
PAST PRESENT AND FUTURE.

SO USING THE PROPS WHICH YOU SEE
ON THE SHELF BEHIND ME,

UM, YOU PLACE THEM WITHIN
DIFFERENT TERRAINS

OR ZONES WHICH ARE IDENTIFIED
IN WHAT YOU'D CALL A MAZE,

UM, AND THERE USING
IDENTIFICATIONS BOTH ON

THE PROP AND THE GEOGRAPHY OF
THE MAZE,

YOU CREATE A STORY OF YOUR OWN
LIFETIME.

"CITYLEAKS" IS A VERY FUN
TREATMENT AT THE SANATORIUM

AND ONE OF THE QUICKEST
ACTUALLY,

BUT ONE OF THE MOST CATHARTIC
AND IT IS IN FACT THE ONE

THAT IS QUOTING
TRADITIONAL FORMS OF CONFESSION

THE MOST LITERALLY.

EVERY PERSON WHO ENTERS THAT
PARTICULAR TREATMENT IS MEANT

TO WRITE DOWN THEIR DEEPEST
DARKEST SECRET,

TIE IT UP WITH A BOW,
AND LEAVE IT IN A BOTTLE.

THEN, THEY ARE ABLE TO TAKE
ANOTHER SECRET FROM SOMEONE WHO

THEY DON'T KNOW OR THEY DON'T
KNOW THAT THEY KNOW

WHO HASN'T IDENTIFIED
THEMSELVES,

PULL IT OUT OF THE BOTTLE
AND READ IT.

THAT PERSON AGAIN IS ABLE
TO TAKE THAT SECRET WITH THEM

IF THEY LIKE, LIKE A FORTUNE
FROM A FORTUNE COOKIE.

WHEN COMMISSIONING
OR INSTALLING A WORK

WHICH IS SO DEMANDING OF
VISITORS AND WHICH

DOESN'T PRESENT TRADITIONAL
PRETTY PICTURES ON THE WALL UM,

YOU EXPECT THE FIRST QUESTION
FROM EVERYBODY TO...

THE FIRST RESPONSE FOR EVERY
VISITOR TO COME IN

TO PUT THEIR HANDS ON
THEIR HIPS AND SAY,

"WHY IS THIS ART?"

WHICH IS A QUESTION THAT
WE'RE FULLY EQUIPPED TO ANSWER

AND HAPPY TO ADDRESS,
AND IN FACT,

THE SIMPLEST QUESTIONS CAN BE
SOME OF THE MOST PRODUCTIVE.

HOWEVER, WE'VE HAD A REALLY
SOPHISTICATED RANGE OF RESPONSES

TO THE WORK, PEOPLE HAVE REALLY
ENJOYED BEING GREETED BY

THE VOLUNTEERS
AND EVEN SEEING SOME OF

THE MEMBERS OF THE COMMUNITY
WHO THEY MIGHT KNOW

IN ANOTHER CONTEXT
THROUGH THIS INSTALLATION.

ICA MIAMI SPECIALIZES IN
PRESENTING THE MOST EXPERIMENTAL

ART OF OUR TIME.

WHAT WE REALLY DO THROUGH
OUR EXHIBITIONS,

THROUGH OUR CATALOGUES,
AND OUR PUBLIC PROGRAMS

AS WELL AS EDUCATION IS
HIGHLIGHT SCHOLARSHIP

ON THE MOST IMPORTANT BOTH
EMERGING THAT'S YOUNG

AND UNDER-REPRESENTED
ESTABLISHED ARTISTS OF OUR TIME.

SO NOT ONLY THOSE ARTISTS
WHO ARE PRODUCING NEW WORK

BUT ALSO THOSE ARTISTS
WHO HAVE BEEN WORKING

FOR DECADES AND HAVE YET
TO RECEIVE IN AN AMERICAN

OR INTERNATIONAL CONTEXT
THE TYPE OF RECOGNITION

THAT THEY DESERVE.

Rhea: FOR MORE INFORMATION
ABOUT THIS ARTIST'S WORK, VISIT

Rhea: THAT'S ALL FOR TONIGHT,
BUT IF YOU WANT TO WATCH MORE

SHOWS DROP-IN AT
MPT.ORG/ARTWORKS.

BY THE WAY, HAVE YOU DOWNLOADED
THE MPT MOBILE APP YET?

NOW YOU CAN WATCH ARTWORKS AND
OTHER SHOWS ON YOUR PHONE.

AND FOLLOW US ON TWITTER
FOR THE LATEST NEWS.

I'M RHEA FEIKIN AND I WANT
TO THANK YOU FOR JOINING US.

WE'LL BE BACK NEXT WEEK.

Announcer: ARTWORKS IS MADE
POSSIBLE IN PART BY

THE CITIZENS
OF BALTIMORE COUNTY.

AND BY...

THE RUTH R. MARDER
ARTS ENDOWMENT FUND,

THE ROBERT E. MEYERHOFF AND
RHEDA BECKER ENDOWMENT

FOR THE ARTS,

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

AND THE HENRY AND RUTH
BLAUSTEIN ROSENBERG

FOUNDATION ARTS ENDOWMENT
IN MEMORY OF RUTH MARDER.

CLOSED CAPTIONING HAS BEEN MADE
POSSIBLE BY MARYLAND RELAY,

EMPOWERING THOSE WITH
HEARING AND SPEECH LOSS

TO STAY CONNECTED.

*