1
00:00:03,601 --> 00:00:04,701
Host: COMING UP NEXT...

2
00:00:04,801 --> 00:00:07,167
THE QUIRKY AND THE CURIOUS...

3
00:00:07,267 --> 00:00:09,868
19TH CENTURY TELEVISIONS....

4
00:00:11,801 --> 00:00:16,100
CORITA KENT, 
PICTURE ANDY WARHOL AS A NUN...

5
00:00:18,300 --> 00:00:22,467
"NA�VE NATURE" AND 
BALTIMORE'S SARAH DITTRICH...

6
00:00:24,901 --> 00:00:28,534
AND THE THERAPUETIC 
JOURNEYS OF PEDRO REYES...

7
00:00:28,634 --> 00:00:30,467
NEXT, ON ARTWORKS !

8
00:00:31,901 --> 00:00:34,133
CLOSED CAPTIONING HAS BEEN MADE 
POSSIBLE BY MARYLAND RELAY,

9
00:00:34,234 --> 00:00:36,100
EMPOWERING THOSE WHO ARE DEAF, 
HARD OF HEARING,

10
00:00:36,200 --> 00:00:38,300
OR SPEECH DISABLED TO STAY 
CONNECTED BY PHONE.

11
00:00:38,400 --> 00:00:40,400
*

12
00:00:59,767 --> 00:01:02,334
Announcer: ARTWORKS IS MADE 
POSSIBLE IN PART BY

13
00:01:02,434 --> 00:01:04,200
THE CITIZENS 
OF BALTIMORE COUNTY.

14
00:01:07,167 --> 00:01:08,167
AND BY...

15
00:01:08,267 --> 00:01:11,901
THE RUTH R. MARDER 
ARTS ENDOWMENT FUND,

16
00:01:12,000 --> 00:01:14,234
THE ROBERT E. MEYERHOFF 
AND RHEDA BECKER ENDOWMENT

17
00:01:14,334 --> 00:01:16,567
FOR THE ARTS,

18
00:01:16,667 --> 00:01:20,100
THE E.T. & 
ROBERT B. ROCKLIN FUND,

19
00:01:20,200 --> 00:01:22,734
AND THE HENRY AND RUTH 
BLAUSTEIN ROSENBERG FOUNDATION

20
00:01:22,834 --> 00:01:25,434
ARTS ENDOWMENT 
IN MEMORY OF RUTH MARDER.

21
00:01:28,234 --> 00:01:29,734
WELCOME TO ARTWORKS!

22
00:01:29,834 --> 00:01:30,934
I'M RHEA FEIKIN.

23
00:01:31,033 --> 00:01:34,667
THIS IS THE SECOND SHOW 
OF NEW SEASON SEVEN.

24
00:01:34,767 --> 00:01:35,968
AND THE THEME?

25
00:01:36,067 --> 00:01:37,367
ECCENTRICS!

26
00:01:37,467 --> 00:01:40,968
TOP OF THE LIST: 
ARIZONA'S STEVE GOMPF,

27
00:01:41,067 --> 00:01:44,400
OR, THE ARTIST AS "TRICKSTER."

28
00:01:44,501 --> 00:01:49,601
GOMPF WAS A TRUE ECCENTRIC 
WHO BUILT 19TH CENTURY

29
00:01:49,701 --> 00:01:52,200
"ANTIQUE" TELEVISIONS.

30
00:01:52,300 --> 00:01:56,300
OF COURSE, THERE WERE NO 
TELEVISIONS IN THE 19TH CENTURY

31
00:01:56,400 --> 00:02:01,267
AND GOMPF REVELED IN THE IRONY 
THAT PEOPLE ACTUALLY BELIEVED

32
00:02:01,367 --> 00:02:03,868
HIS ARTFUL FABRICATIONS.

33
00:02:03,968 --> 00:02:07,567
I'M SAD TO SAY, SINCE THIS 
SEGMENT WAS PRODUCED,

34
00:02:07,667 --> 00:02:12,100
GOMPF HAS PASSED AWAY, AND SO 
THIS PROFILE IS LIKELY

35
00:02:12,200 --> 00:02:18,100
THE LAST OPPORTUNITY TO DISCOVER 
A CREATIVE TALENT GONE TOO SOON.

36
00:02:20,067 --> 00:02:22,400
Steve Gompf: THE PURPOSE OF THE 
TELEVISOR MUSEUM INTERNATIONAL

37
00:02:22,501 --> 00:02:25,334
IS THE PRESERVATION 
RESTORATION AND CONSERVATION

38
00:02:25,434 --> 00:02:28,000
OF VINTAGE DEVICES, 
HISTORICAL DOCUMENTS

39
00:02:28,100 --> 00:02:31,200
AND MATERIALS, TOGETHER WITH 
BEING A CENTER FOR THE STUDY OF

40
00:02:31,300 --> 00:02:34,634
ARCHAIC IMAGE TRANSMISSION 
TECHNOLOGIES

41
00:02:34,734 --> 00:02:38,234
FROM THE TELEVISOR ERA 
1884 TO 1928.

42
00:02:38,334 --> 00:02:40,667
SO WHICH IS ALL BS.

43
00:02:42,367 --> 00:02:45,834
I'M STEVE GOMPF AND I GO TO 
THRIFT STORES BUY A BUNCH OF

44
00:02:45,934 --> 00:02:49,667
CRAP AND I GLUE IT TOGETHER 
AND MAKE IT LOOK LIKE IT IS AN

45
00:02:49,767 --> 00:02:52,767
ANTIQUE TELEVISION 
FROM THE 1800'S.

46
00:02:52,868 --> 00:02:54,267
AND PEOPLE BELIEVE IT.

47
00:03:00,634 --> 00:03:02,501
BASICALLY GROWING UP 
I WAS A MILITARY BRAT.

48
00:03:02,601 --> 00:03:06,534
SO I WAS BORN IN PUERTO RICO 
MOVED TO MADRID THEN ROME

49
00:03:06,634 --> 00:03:11,501
THEN ARIZONA THEN TO ENGLAND 
THEN TO MISSOURI THEN TO GERMANY

50
00:03:11,601 --> 00:03:15,133
THEN TO OMAHA THEN TO 
KANSAS CITY THEN TO HERE.

51
00:03:15,234 --> 00:03:16,634
AND I'VE BEEN HERE EVER SINCE.

52
00:03:16,734 --> 00:03:21,767
HERE BEING MESA, ARIZONA, WHILE 
MY FOLKS AND MY FAMILY WAS IN

53
00:03:21,868 --> 00:03:24,400
THESE DIFFERENT COUNTRIES, 
WE'D GO TO A LOT OF JUNK STORES

54
00:03:24,501 --> 00:03:25,767
OR FLEA MARKETS.

55
00:03:25,868 --> 00:03:28,434
AND MY PARENTS WERE ANTIQUE 
COLLECTORS, ESPECIALLY CLOCKS

56
00:03:28,534 --> 00:03:29,734
AND STUFF.

57
00:03:29,834 --> 00:03:33,734
SO I KIND OF KNEW ABOUT THE 
DIFFERENT PERIODS OF FURNITURE

58
00:03:33,834 --> 00:03:38,767
AND STYLES OF DECORATIVE ARTS 
FROM THAT EXPERIENCE SO THAT

59
00:03:38,868 --> 00:03:42,100
WHEN I GO TO THESE THRIFT STORES 
AND I SEE A LITTLE ITEM THAT UM,

60
00:03:42,200 --> 00:03:46,767
I COULD USE PARTS OF TO CREATE, 
YOU KNOW, A PERIOD PIECE

61
00:03:46,868 --> 00:03:48,400
I'LL SNAG IT.

62
00:03:48,501 --> 00:03:51,434
I'VE EVEN USED JUST, 
JUST ITEMS AROUND THE HOUSE.

63
00:03:51,534 --> 00:03:54,734
I REMEMBER I WAS BUILDING A 
PIECE AND OF COURSE

64
00:03:54,834 --> 00:03:59,000
NOT LAST MINUTE, UP TO THE LAST 
MINUTE I WAS WORKING ON IT,

65
00:03:59,100 --> 00:04:03,868
I ACTUALLY USED THE PLATE OF 
WHAT I HAD DINNER ON

66
00:04:03,968 --> 00:04:04,767
THE NIGHT BEFORE.

67
00:04:04,868 --> 00:04:07,000
I USED THAT AS A 
LENS FOR THE PIECE.

68
00:04:07,100 --> 00:04:12,567
SO I'LL JUST LOOK FOR SOMETHING 
THAT EITHER LOOKS DECO OR LOOKS

69
00:04:12,667 --> 00:04:16,467
ART NOUVEAU AND KIND OF USE THAT 
AND PUT IT TOGETHER

70
00:04:16,567 --> 00:04:19,901
TO CREATE UH, THE PIECES.

71
00:04:20,000 --> 00:04:22,901
I HAVE AN UNDERGRAD DEGREE IN 
PHOTOGRAPHY AND A GRADUATE

72
00:04:23,000 --> 00:04:26,801
DEGREE IN INTER MEDIA FROM 
ARIZONA STATE UNIVERSITY.

73
00:04:26,901 --> 00:04:30,901
AND SO I'M A VIDEO ARTIST AND 
THIS IS A WAY THAT I CAN SHOW

74
00:04:31,000 --> 00:04:33,234
VIDEO IN A GALLERY SITUATION.

75
00:04:33,334 --> 00:04:40,267
BEEN DOING ART FOR 
30 ODD YEARS AND I CANNOT STOP.

76
00:04:40,367 --> 00:04:43,400
TELEVISORS IS ACTUALLY THE 
SPANISH AND FRENCH NAME

77
00:04:43,501 --> 00:04:45,000
FOR TELEVISION.

78
00:04:45,100 --> 00:04:48,000
AND IN THE VERY BEGINNING THE 
DEVELOPMENT OF TELEVISION

79
00:04:48,100 --> 00:04:50,601
ESPECIALLY IN ENGLAND WITH 
JOHN LOGIE BEAR,

80
00:04:50,701 --> 00:04:53,000
THE SCOTTISH ENGINEER.

81
00:04:53,100 --> 00:04:55,067
HE BUILT A DEVICE THAT WAS 
PARTIALLY MECHANICAL

82
00:04:55,167 --> 00:04:57,601
AND HE CALLED HIS DEVICE 
A TELEVISOR.

83
00:04:57,701 --> 00:05:01,734
SO I JUST USE THAT NAME AS A 
KIND OF HISTORICAL REFERENCE

84
00:05:01,834 --> 00:05:02,901
FOR IT.

85
00:05:03,000 --> 00:05:05,033
AND I'VE ACTUALLY IN SOME OF 
MY LABEL INFORMATION,

86
00:05:05,133 --> 00:05:09,767
I'LL USE ACTUAL HISTORICAL 
INFORMATION AND KIND OF SLANT IT

87
00:05:09,868 --> 00:05:12,167
A LITTLE BIT TO FIT THE PIECE.

88
00:05:12,267 --> 00:05:14,767
AND SOMETIMES I JUST 
TOTALLY MAKE IT UP.

89
00:05:14,868 --> 00:05:16,133
I RECENTLY HAD A SHOW CALLED

90
00:05:16,234 --> 00:05:20,000
"DISTANT VISION'S: APPARATUS AND 
EPHEMERA FROM THE TELEVISOR ERA

91
00:05:20,100 --> 00:05:23,133
1884 THROUGH 1928".

92
00:05:23,234 --> 00:05:27,901
WHICH IS 1884 IS THE FIRST 
PATENTED TELEVISION SYSTEM.

93
00:05:28,000 --> 00:05:32,834
PAUL NAPCO, A GERMAN ENGINEER 
TO 1928 WHICH IS FOLLOWED TO

94
00:05:32,934 --> 00:05:36,033
FARNSWORTH'S FULLY 
ELECTRONIC VERSION OF IT.

95
00:05:36,133 --> 00:05:39,300
AND THESE DEVICES THAT I HAVE 
THERE, THAT LOOK LIKE DEVICES,

96
00:05:39,400 --> 00:05:43,334
ARE BASICALLY AN ASSEMBLY OF 
OBJECTS THAT ARE FOUND IN

97
00:05:43,434 --> 00:05:47,534
THRIFT STORES AND PUT THEM 
TOGETHER AND I PUT TABLETS,

98
00:05:47,634 --> 00:05:49,968
COMPUTER TABLETS INSIDE OF THEM 
AND IT LOOKS LIKE

99
00:05:50,067 --> 00:05:51,334
THEY'RE PLAYING VIDEO.

100
00:05:51,434 --> 00:05:54,567
AND WHAT I'VE DONE TO MAKE IT 
LOOK LIKE PERIOD WORK IS TAKE A

101
00:05:54,667 --> 00:05:59,234
BUNCH OF MY BRIDGE STOP ACTION 
MOTION SHOTS THAT HE TOOK IN THE

102
00:05:59,334 --> 00:06:06,234
1890'S AND RECOMBINE THEM 
INTO... DIFFERENT,

103
00:06:06,334 --> 00:06:08,167
DIFFERENT SCENES.

104
00:06:08,267 --> 00:06:12,033
ACCOMPANYING THE WORK THEY'LL 
HAVE LABELS NEXT TO THEM

105
00:06:12,133 --> 00:06:15,734
THAT SAY, THAT TALK ABOUT THEIR 
SIGNIFICANCE IN THE DEVELOPMENT

106
00:06:15,834 --> 00:06:20,367
OF TELEVISION, WHO THE INVENTOR 
WAS, THE COUNTRY OF ORIGIN

107
00:06:20,467 --> 00:06:25,267
AND A LITTLE SNIPPET ABOUT THAT 
DEVICE ITSELF AND PEOPLE JUST

108
00:06:25,367 --> 00:06:26,501
BELIEVE IT.

109
00:06:26,601 --> 00:06:30,634
THEY ACTUALLY BELIEVE THAT THEY 
ARE ANTIQUES AND...

110
00:06:30,734 --> 00:06:33,734
THIS WHOLE THING 
ACTUALLY EXISTED.

111
00:06:33,834 --> 00:06:35,267
Tiffany Fairall: IT'S 
INTERESTING PEOPLE WILL COME IN

112
00:06:35,367 --> 00:06:39,100
HERE AND THEY WILL THINK ITS 
REAL TELEVISIONS, THAT EARLY

113
00:06:39,200 --> 00:06:41,667
FORM OF THE TELEVISION AND 
THAT'S WHAT STEVE IS

114
00:06:41,767 --> 00:06:43,100
TRYING TO CREATE.

115
00:06:43,200 --> 00:06:46,334
HE WANTS TO CREATE THIS 
FICTITIOUS HISTORY

116
00:06:46,434 --> 00:06:47,701
OF THE EARLY TELEVISION.

117
00:06:47,801 --> 00:06:50,968
AND SO WHEN YOU, YOU'VE GOT THIS 
FUN NAME TELEVISOR,

118
00:06:51,067 --> 00:06:52,734
WHICH ACTUALLY IS A REAL TERM.

119
00:06:52,834 --> 00:06:56,367
AND HE'S MADE THESE CREATIONS 
BASED OFF OF WHAT HIS OWN

120
00:06:56,467 --> 00:06:58,501
IMAGINATION AND WHAT THEY WOULD 
HAVE LOOKED LIKE.

121
00:06:58,601 --> 00:07:01,834
SO YOU'RE KIND OF ALMOST 
PEEKING INTO STEVE'S HEAD.

122
00:07:01,934 --> 00:07:04,000
Steve: I JUST THINK THAT 
PEOPLE BUY THE PIECES BECAUSE

123
00:07:04,100 --> 00:07:05,400
THEY'VE BEEN FOOLED BY THEM.

124
00:07:05,501 --> 00:07:09,167
AND THEY WANT TO TAKE IT HOME 
AND KIND OF SAY THAT THIS IS AN

125
00:07:09,267 --> 00:07:11,968
ANTIQUE DEVICE AND KIND 
OF FOOL THEIR FRIENDS.

126
00:07:12,067 --> 00:07:14,834
I WAS ACTUALLY INSTALLING A 
PIECE AT SOMEBODY'S HOUSE

127
00:07:14,934 --> 00:07:17,968
AND HE CALLED ME HIS 
TELEVISOR REPAIRMAN.

128
00:07:19,634 --> 00:07:21,467
Tiffany: 
I THINK THAT STEVE IS KIND OF

129
00:07:21,567 --> 00:07:23,033
A LITTLE BIT OF A TRICKSTER.

130
00:07:23,133 --> 00:07:25,834
I THINK HE DOES LIKE THE TONGUE 
AND CHEEK-OF-NESS OF IT

131
00:07:25,934 --> 00:07:28,801
AND HE WANTS PEOPLE TO TAKE A 
CLOSER LOOK AT HIS WORK,

132
00:07:28,901 --> 00:07:30,467
SEE WHAT'S GOING ON THERE.

133
00:07:30,567 --> 00:07:32,667
HE'S EVEN MENTIONED TO ME HOW 
HE'D LOVED TO TAKE IT ON

134
00:07:32,767 --> 00:07:36,734
THE ANTIQUES ROADSHOW AND SEE 
WHAT THEY WOULD SAY AT THIS

135
00:07:36,834 --> 00:07:40,501
CREATION AND (CHUCKLES) SEE WHAT 
THEIR EXPRESSION WOULD BE.

136
00:07:40,601 --> 00:07:43,634
SO I THINK HE KIND OF LIKES THE 
FOOLING VALUE OF IT AND HE LIKES

137
00:07:43,734 --> 00:07:47,601
TO ALSO HEAR, HE'LL SOMETIMES 
COME IN THE GALLERY AND BE HERE

138
00:07:47,701 --> 00:07:49,467
AND HEAR WHAT THE VISITORS 
ARE SAYING.

139
00:07:49,567 --> 00:07:51,200
SO I THINK KIND HE WANTS TO HEAR 
WHAT THEY'RE SAYING

140
00:07:51,300 --> 00:07:52,534
ABOUT HIS WORK.

141
00:07:52,634 --> 00:07:55,033
I THINK THAT'S AN IMPORTANT PART 
OF IT AND ELEMENT AND HOW PEOPLE

142
00:07:55,133 --> 00:07:58,734
INTERACT WITH HIS WORK 
IS IMPORTANT TO HIM.

143
00:07:58,834 --> 00:08:02,033
Steve: I THINK IT'S EVOLVED IN 
THAT THE FIRST TIME I PRESENTED

144
00:08:02,133 --> 00:08:05,501
THEM I SAID I COLLECTED 
THESE DEVICES AND THEN I DECIDED

145
00:08:05,601 --> 00:08:09,200
TO COME UP WITH THIS MUSEUM THAT 
ADDED AN EXTRA LAYER TO IT

146
00:08:09,300 --> 00:08:12,901
AND ADDED BELIEVABILITY TO IT.

147
00:08:13,000 --> 00:08:15,801
MORE FAKE STUFF TO 
MAKE IT MORE REAL.

148
00:08:15,901 --> 00:08:19,667
AS A LAYER TO THE PROJECT, 
I'VE CREATED A WEB SITE CALLED

149
00:08:19,767 --> 00:08:27,634
TELESEUM.ORG T-E-L-E-S-E-U-M 
ORG AND IT'S SET UP AS IF IT

150
00:08:27,734 --> 00:08:30,033
WAS A MUSEUM'S WEBSITE.

151
00:08:30,133 --> 00:08:34,067
AND IT'S THE TELEVISOR MUSEUM 
INTERNATIONAL WHICH THE

152
00:08:34,167 --> 00:08:37,801
ABBREVIATION TMI, 
TOO MUCH INFORMATION.

153
00:08:37,901 --> 00:08:40,100
THAT'S WHAT IT IS 
TOO MUCH INFORMATION.

154
00:08:40,200 --> 00:08:46,534
IT PRESENTS MY WORK AS IF THIS 
WAS A LEGITIMATE ACTUAL

155
00:08:46,634 --> 00:08:51,434
REAL MUSEUM THAT COLLECTS THESE 
DEVICES THAT REALLY KIND OF

156
00:08:51,534 --> 00:08:52,968
DIDN'T EXIST.

157
00:08:53,067 --> 00:08:56,968
THERE'S A LITTLE SECTION THAT 
SAYS YOU KNOW ON THURSDAY IT'S

158
00:08:57,067 --> 00:09:02,567
FREE FOR SENIOR CITIZENS AND FOR 
STUDENTS AND CALL US FOR GROUPS

159
00:09:02,667 --> 00:09:04,834
MORE THAN 10 BECAUSE DOCENT 
TOURS CAN BE ARRANGED,

160
00:09:04,934 --> 00:09:06,434
BUT THERE'S NO CONTACT 
INFORMATION,

161
00:09:06,534 --> 00:09:08,601
THERE'S NO ADDRESS, 
THERE'S NO PHONE NUMBER.

162
00:09:08,701 --> 00:09:12,534
THERE'S NOTHING BUT THAT 
PAGE ON THE INTERNET.

163
00:09:12,634 --> 00:09:16,400
AS ANOTHER LAYER TO THE PROJECT 
OR TO THE ARTWORK OF IT.

164
00:09:16,501 --> 00:09:20,200
I DECIDED ON THE LAST SHOW THAT 
I MADE TO COME UP WITH A CATALOG

165
00:09:20,300 --> 00:09:23,234
THAT IS ACTUALLY PRESENTED 
AS IF IT WAS MADE BY

166
00:09:23,334 --> 00:09:26,067
THE TELEVISOR MUSEUM 
INTERNATIONAL.

167
00:09:26,167 --> 00:09:29,467
PART OF THE PREMISE IS IF 
PEOPLE WOULD BELIEVE ANYTHING

168
00:09:29,567 --> 00:09:34,434
ON TV, WHY WOULDN'T THEY BELIEVE 
ANYTHING IS A TV AND THEY DO.

169
00:09:39,734 --> 00:09:43,167
*

170
00:10:44,267 --> 00:10:47,334
Rhea: THE POP ART MOVEMENT 
OF THE 1960'S WAS

171
00:10:47,434 --> 00:10:50,934
REVOLUTIONARY IN MANY WAYS, 
BUT IT WAS SOMETHING OF AN

172
00:10:51,033 --> 00:10:53,567
"OLD BOYS CLUB," TOO.

173
00:10:53,667 --> 00:10:58,667
THE HARVARD ART MUSEUM RECENTLY 
SHOWCASED THE POP ART WORK OF

174
00:10:58,767 --> 00:11:02,334
SISTER CORITA KENT WITH THE 
GOAL OF ESTABLISHING HER

175
00:11:02,434 --> 00:11:06,567
IN THE PANTHEON OF MAJOR 
20TH CENTURY ARTISTS.

176
00:11:06,667 --> 00:11:09,300
FRANKLY, I'D NEVER 
HEARD OF HER BEFORE.

177
00:11:09,400 --> 00:11:12,567
BUT-- THAT'S THE WHOLE 
POINT OF MEETING HER NOW...

178
00:11:13,634 --> 00:11:15,434
Narrator: SEARCHING FOR 
RELIGIOUS INSPIRATION

179
00:11:15,534 --> 00:11:18,167
IN THE 1960'S, 
AN ACTIVIST NUN TURNED

180
00:11:18,267 --> 00:11:22,200
ACTIVE ARTIST NAMED SISTER 
CORITA KENT FOUND IT...

181
00:11:22,300 --> 00:11:23,634
IN THE SUPERMARKET.

182
00:11:23,734 --> 00:11:25,601
Jennifer Quick: ONE MIGHT NOT 
NORMALLY THINK OF WONDER BREAD

183
00:11:25,701 --> 00:11:27,901
AS RELATED TO COMMUNION BUT SHE 
WANTED TO MAKE THAT CONNECTION

184
00:11:28,000 --> 00:11:29,200
IN HER WORK.

185
00:11:29,300 --> 00:11:32,000
Narrator: IN AN ERA OF UPHEAVAL, 
KENT WANTED TO GROUND PEOPLE

186
00:11:32,100 --> 00:11:33,367
THROUGH ART.

187
00:11:33,467 --> 00:11:36,701
A ROMAN CATHOLIC NUN, SHE LIVED 
IN LOS ANGELES AND HEADED THE

188
00:11:36,801 --> 00:11:39,234
ART DEPARTMENT AT A 
RELIGIOUS SCHOOL THERE.

189
00:11:39,334 --> 00:11:41,534
Jennifer: SHE WOULD DRIVE 
AROUND THE CITY AND SHE SENT HER

190
00:11:41,634 --> 00:11:43,968
STUDENTS OUT TO DO WHAT 
SHE CALLED "LOOKING ASSIGNMENTS"

191
00:11:44,067 --> 00:11:46,767
IN THESE CAR DEALERSHIPS 
AND, UH, SUPERMARKETS.

192
00:11:46,868 --> 00:11:50,067
BUT IT'S ALSO IMPORTANT 
HISTORICALLY BECAUSE AS POP ART

193
00:11:50,167 --> 00:11:53,734
IS IMMERGING AROUND 1962, THE 
TWO MAIN CENTERS ARE NEW YORK,

194
00:11:53,834 --> 00:11:55,734
OF COURSE, AND LOS ANGELES.

195
00:11:55,834 --> 00:11:58,968
Narrator: AND KENT WAS PAYING 
ATTENTION-REVELING IN

196
00:11:59,067 --> 00:12:01,534
JOSEF ALBER'S EXPERIMENTS 
IN COLOR.

197
00:12:01,634 --> 00:12:05,033
SHE MARVELED AT THE POP ART 
STYLINGS OF JASPER JOHNS

198
00:12:05,133 --> 00:12:08,934
AND ROY LICHTENSTEIN WHO WERE 
RECEIVING EARLY LA SHOWS.

199
00:12:09,033 --> 00:12:11,701
AND SHE SOUGHT OUT 
ANDY WARHOL'S WORK.

200
00:12:11,801 --> 00:12:14,634
Jennifer:SHE NEVER HAD NEAR 
THE NATIONAL RECOGNITION

201
00:12:14,734 --> 00:12:15,901
THAT WARHOL DID.

202
00:12:16,000 --> 00:12:18,067
PEOPLE WERE- DIDN'T REALLY KNOW 
WHAT TO DO WITH THE NUN

203
00:12:18,167 --> 00:12:19,534
WHO WAS MAKING POP ART.

204
00:12:19,634 --> 00:12:21,200
Narrator: AND THEY STILL DON'T.

205
00:12:21,300 --> 00:12:25,601
ENTER THE HARVARD ART MUSEUMS 
WHICH ARGUES IN ITS LATEST SHOW

206
00:12:25,701 --> 00:12:28,667
THAT CORITA KENT BELONGS IN THE 
PANTHEON OF POP ARTISTS

207
00:12:28,767 --> 00:12:31,200
WHO DEFINED A GENERATION.

208
00:12:31,300 --> 00:12:33,767
JENNIFER QUICK HELPED 
CURATE THE SHOW.

209
00:12:33,868 --> 00:12:36,167
Interviewer: WHAT HAPPENED TO 
HER THAT SHE DIDN'T HAVE THE

210
00:12:36,267 --> 00:12:37,801
SAME TRAJECTORY THAT THEY HAD?

211
00:12:37,901 --> 00:12:40,267
Jennifer: FRANKLY BEING A WOMAN 
ARTIST WITHIN THE POP ART WORLD

212
00:12:40,367 --> 00:12:45,033
WAS... YOU DON'T HEAR AS MUCH 
ABOUT WOMEN POP ARTISTS.

213
00:12:45,133 --> 00:12:46,634
IT WAS PRETTY MALE DOMINATED.

214
00:12:46,734 --> 00:12:50,167
Narrator: BUT KENT WAS UNDAUNTED 
AND SAW OPPORTUNITY WHERE OTHERS

215
00:12:50,267 --> 00:12:52,434
SAW POTATO CHIP PACKAGING.

216
00:12:52,534 --> 00:12:56,133
TO HER, WELL-KNOWN IMAGES WERE 
THE PERFECT WAY TO TEACH

217
00:12:56,234 --> 00:12:57,467
VATICAN II.

218
00:12:57,567 --> 00:12:59,667
THE MOVEMENT TO 
MODERNIZE THE CHURCH,

219
00:12:59,767 --> 00:13:02,567
PARTLY WITH MORE 
ACCESSIBLE LANGUAGE.

220
00:13:02,667 --> 00:13:05,000
Jennifer: WE SEE CORITA KENT 
BORROWING WORDS,

221
00:13:05,100 --> 00:13:07,234
LIKELY SHE FOUND IN THE 
GROCERY STORE-BREAD,

222
00:13:07,334 --> 00:13:08,834
PEACHES-VERY COMMON PRODUCTS.

223
00:13:08,934 --> 00:13:11,567
BUT IT'S ALSO ENCOURAGING HER 
VIEWERS TO THINK ABOUT,

224
00:13:11,667 --> 00:13:13,501
WHY DO WE NEED THIS 
WAR ON POVERTY?

225
00:13:13,601 --> 00:13:15,701
HOW CAN WE HELP FIGHT 
AGAINST POVERTY?

226
00:13:15,801 --> 00:13:19,033
AND AS CATHOLICS, 
WE'RE COMPELLED TO DO SO.

227
00:13:19,133 --> 00:13:22,167
Narrator: KENT DREW A MOUNTAIN 
OF CONTROVERSY THOUGH AS SHE

228
00:13:22,267 --> 00:13:26,968
TRIED TO MAKE THE VIRGIN MARY 
MORE RELATABLE VIA TOMATOES.

229
00:13:27,067 --> 00:13:29,734
Jennifer: SHE USES, UH, 
DEL MONTE TOMATOES,

230
00:13:29,834 --> 00:13:33,701
THE BRAND NAME AND THE LOGO, TO 
REINVENT THE WAY WE THINK ABOUT

231
00:13:33,801 --> 00:13:37,667
MARY AND SO TO SAY THAT IF WE 
SAY DEL MONTE TOMATOES ARE THE

232
00:13:37,767 --> 00:13:40,501
JUICIEST OF ALL, THEN CERTAINTY 
IF WE THINK THIS FOOD PRODUCT

233
00:13:40,601 --> 00:13:43,567
IS SO WONDERFUL, WE CAN SAY THAT 
THE VIRGIN MARY IS THE

234
00:13:43,667 --> 00:13:45,501
JUICIEST TOMATO OF THEM ALL.

235
00:13:45,601 --> 00:13:47,000
Narrator: 
WORKING OUT OF HER LA STUDIO,

236
00:13:47,100 --> 00:13:49,868
KENT USED A PRINTING PROCESS 
WHERE SHE EXPERIMENTED WITH

237
00:13:49,968 --> 00:13:53,901
ANGLES, DAY-GLO COLORS 
AND FAMILIAR BRANDING.

238
00:13:54,000 --> 00:13:57,467
SHE THEN INFUSED HER WORK WITH 
TEXT FROM EVERYONE

239
00:13:57,567 --> 00:13:59,467
FROM THE POPE TO THE BEATLES.

240
00:13:59,567 --> 00:14:03,434
FEELING GROOVY 
IS A PRINT FROM 1967.

241
00:14:03,534 --> 00:14:06,434
Jennifer: SHE'S INCLUDED LYRICS 
FROM A SIMON AND GARFUNKEL SONG.

242
00:14:06,534 --> 00:14:09,100
THE LYRICS ARE 
"SLOW DOWN, YOU MOVE TOO FAST."

243
00:14:09,200 --> 00:14:11,033
SO WE SEE JUXTAPOSED 
ON ONE HAND,

244
00:14:11,133 --> 00:14:14,767
THESE SIGNIFIERS OF TRAFFIC, 
SPEED, LOS ANGELES,

245
00:14:14,868 --> 00:14:18,801
MOVING THROUGH THE CITY, 
WITH... FROM A POPULAR SONG,

246
00:14:18,901 --> 00:14:21,968
NONETHELESS, AN ADMONITION THAT 
PERHAPS WE SHOULD SLOW DOWN

247
00:14:22,067 --> 00:14:23,834
SOMETIMES AND CONSIDER 
WHAT'S AROUND US.

248
00:14:23,934 --> 00:14:26,367
Narrator: IN 1968 KENT LEFT HER 
RELIGIOUS ORDER

249
00:14:26,467 --> 00:14:27,868
AND MOVED TO BOSTON.

250
00:14:27,968 --> 00:14:31,667
SHE BECAME EVEN MORE RADICAL 
AND MORE POINTED AS PROTESTS

251
00:14:31,767 --> 00:14:34,167
AND WAR CONSUMED THE NATION.

252
00:14:34,267 --> 00:14:38,434
JUST LIKE WARHOL, HER WORK 
BECAME STRIKINGLY VISCERAL.

253
00:14:38,534 --> 00:14:41,067
Jennifer: SHE USES PHOTOGRAPHS 
INSTEAD OF HAND-CUT STENCILS.

254
00:14:41,167 --> 00:14:44,834
AND THESE PHOTOGRAPHS ARE VERY 
DIRECT ABOUT WHAT'S HAPPENING

255
00:14:44,934 --> 00:14:47,300
POLITICALLY AND SOCIALLY 
IN THE COUNTRY.

256
00:14:47,400 --> 00:14:51,634
SO LIFE MAGAZINE COVERS 
PROFILING THE VIETNAM WAR, UM,

257
00:14:51,734 --> 00:14:53,634
PHOTOGRAPHS SHOWING THE 
ASSASSINATIONS OF

258
00:14:53,734 --> 00:14:58,868
MARTIN LUTHER KING, OR 
ROBERT F. KENNEDY, RACE RIOTS.

259
00:14:58,968 --> 00:15:03,133
SO THE WORK BECOMES A LOT MORE 
DIRECT IN ITS COMMENTARY

260
00:15:03,234 --> 00:15:04,601
ON POLITICS.

261
00:15:04,701 --> 00:15:07,067
Narrator: KENT REMAINED IN 
BOSTON FOR THE REST OF HER LIFE,

262
00:15:07,167 --> 00:15:11,901
PRODUCING PRINTS AND A 
LANDMARK LEGACY: A GAS TANK

263
00:15:12,000 --> 00:15:16,400
ADORNED WITH HER RAINBOW SWASH 
OVERLOOKING DORCHESTER BAY.

264
00:15:16,501 --> 00:15:19,033
Jennifer: SHE THOUGHT OF IT IN 
TERMS OF IDEA OF A RAINBOW

265
00:15:19,133 --> 00:15:21,734
BEING A JOYFUL EXPRESSION, 
AS BEING RELATED TO GENESIS,

266
00:15:21,834 --> 00:15:24,300
AND GOD'S PROMISE NEVER 
TO FLOOD THE EARTH AGAIN,

267
00:15:24,400 --> 00:15:26,000
AS IT'S RECORDING 
THE SCRIPTURES.

268
00:15:26,100 --> 00:15:29,400
BUT ON THE LEVEL OF POP ART, 
IT'S ALSO VERY SIGNIFICANT.

269
00:15:29,501 --> 00:15:33,234
BECAUSE CORITA KENT IS MAKING 
HER OWN POP ART MONUMENT.

270
00:15:33,334 --> 00:15:35,567
GIVING BOSTON ITS 
OWN POP ART MONUMENT.

271
00:15:35,667 --> 00:15:38,934
Narrator: NOW ELEVATING THIS 
SISTER TO THE QUEEN OF POP ART.

272
00:15:42,801 --> 00:15:44,167
Rhea: 
FIND OUT MORE AT:

273
00:15:47,667 --> 00:15:51,601
Rhea: OUR NEXT STORY IS A 
SHORT PROFILE OF A YOUNG LOCAL

274
00:15:51,701 --> 00:15:56,267
MULTI-MEDIA ARTIST WHO'S ALREADY 
WON A BAKER ARTIST AWARD

275
00:15:56,367 --> 00:16:00,667
AND WAS A SONDHEIM PRIZE 
FINALIST, JUST LAST YEAR!

276
00:16:00,767 --> 00:16:04,868
SARA DITTRICH THINKS 
WAY OUTSIDE OF THE BOX.

277
00:16:04,968 --> 00:16:08,501
AND I CAN'T HELP WONDERING 
WHERE SHE'S HEADED NEXT.

278
00:16:10,133 --> 00:16:13,067
*

279
00:16:13,167 --> 00:16:15,067
Sara Dittrich: I ENJOY USING 
A LOT OF DIFFERENT MEDIA

280
00:16:15,167 --> 00:16:19,267
BECAUSE THERE'S A LOT OF FREEDOM 
THAT COMES WITH WORKING

281
00:16:19,367 --> 00:16:24,601
IN WHAT I CALL A NAIVE NATURE, 
SO YOU DON'T GET CAUGHT UP

282
00:16:24,701 --> 00:16:28,901
IN WHAT OTHER PEOPLE HAVE DONE 
OR WHAT YOU THINK IS POSSIBLE,

283
00:16:29,000 --> 00:16:30,567
AND THERE'S KIND OF LIKE 
A LOT OF FREEDOM,

284
00:16:30,667 --> 00:16:32,267
AND DISCOVERY THAT COMES 
WITH THAT.

285
00:16:32,367 --> 00:16:37,367
*

286
00:16:37,467 --> 00:16:39,934
BECAUSE I'M SWITCHING BETWEEN 
A LOT OF MEDIA,

287
00:16:40,033 --> 00:16:43,734
I END UP COLLABORATING WITH 
A LOT OF DIFFERENT PEOPLE

288
00:16:43,834 --> 00:16:47,234
AND YOU'RE REALLY ABLE TO CREATE 
SOMETHING GREATER THAN

289
00:16:47,334 --> 00:16:48,701
YOU WOULD ON YOUR OWN.

290
00:16:48,801 --> 00:16:52,167
*

291
00:16:52,267 --> 00:16:55,100
I SEE MUSICAL THINKING AS A WAY 
OF INTERPRETING THE WORLD

292
00:16:55,200 --> 00:16:59,234
AROUND YOU BASED ON 
THE QUALITIES THAT YOU FIND

293
00:16:59,334 --> 00:17:04,200
IN MUSIC, LIKE HARMONY, 
DISSONANCE,

294
00:17:04,300 --> 00:17:07,868
KIND OF OUTSIDE OF TRADITIONAL 
WORLD OF MUSIC.

295
00:17:07,968 --> 00:17:12,200
*

296
00:17:12,300 --> 00:17:14,734
WE ONLY BECOME CONSCIOUS 
OF OUR OWN RHYTHMS

297
00:17:14,834 --> 00:17:17,234
WHEN THEY BECOME DISRUPTED.

298
00:17:17,334 --> 00:17:21,300
ARRHYTHMIA OF THE BODY 
IS A SERIES OF 20 PHOTOS OF ME

299
00:17:21,400 --> 00:17:24,501
WEARING GIANT HAND, 
AND FEET PROSTHETICS GENERATING

300
00:17:24,601 --> 00:17:27,400
A GREATER AWARENESS OF 
MY OWN BODY,

301
00:17:27,501 --> 00:17:29,100
AND THE WORLD SURROUNDING ME.

302
00:17:29,200 --> 00:17:36,167
*

303
00:17:36,267 --> 00:17:39,901
SOME OTHER PIECES I'M IN 
PROGRESS ON ARE FURTHER

304
00:17:40,000 --> 00:17:43,000
EXPERIMENTING WITH MAKING US 
MORE AWARE OF OUR BODIES

305
00:17:43,100 --> 00:17:45,534
AND KIND OF THESE UNCONSCIOUS 
RHYTHMS OF THE BODY.

306
00:17:47,734 --> 00:17:52,100
TINY EARS, AND FEET, AND HANDS.

307
00:17:52,200 --> 00:17:55,534
THE RHYTHM AND REPETITION 
OF CREATING THEM BECOMES

308
00:17:55,634 --> 00:17:57,467
A MEDITATIVE PROCESS IN ITSELF.

309
00:17:57,567 --> 00:17:59,634
*

310
00:18:02,834 --> 00:18:04,801
Rhea: OUR LAST STORY 
TONIGHT FEATURES

311
00:18:04,901 --> 00:18:09,501
MEXICAN ARTIST PEDRO REYES 
WHO'S CREATED AN INTERACTIVE

312
00:18:09,601 --> 00:18:11,634
INSTALLATION IN MIAMI.

313
00:18:11,734 --> 00:18:15,767
HIS PROJECT IS LOW TECH 
BUT HIGH CONCEPT.

314
00:18:15,868 --> 00:18:19,734
VISITORS ARE GUIDED THROUGH A 
JOURNEY OF SELF-DISCOVERY.

315
00:18:33,167 --> 00:18:35,133
Pedro Reyes: "SANATORIUM" 
IS A LANDMARK PRESENTATION

316
00:18:35,234 --> 00:18:38,300
BECAUSE IT INVOLVES AN ENTIRELY 
NEW TYPE OF PERFORMANCE.

317
00:18:38,400 --> 00:18:42,434
FOR THIS INSTALLATION, 
PEDRO HAS TRAINED 25 VOLUNTEERS

318
00:18:42,534 --> 00:18:45,234
FROM THE LOCAL COMMUNITY 
AND ASKED THEM TO PARTICIPATE

319
00:18:45,334 --> 00:18:47,868
BY LEARNING ONE OF HIS 
8 TO 10 TREATMENTS.

320
00:18:47,968 --> 00:18:50,367
EVERY PERSON WHO COMES INTO 
THE INSTALLATION

321
00:18:50,467 --> 00:18:53,801
GETS AN ENTIRELY FRESH 
EXPERIENCE WHICH IS DICTATED BY

322
00:18:53,901 --> 00:18:56,167
THEIR INTERACTION WITH 
THE VOLUNTEERS.

323
00:18:56,267 --> 00:18:58,734
PEDRO REYES IS AN ARTIST FROM 
MEXICO STILL BASED IN

324
00:18:58,834 --> 00:19:01,634
MEXICO CITY TO THIS DAY, 
A LEADING ARTIST OF

325
00:19:01,734 --> 00:19:02,801
HIS GENERATION.

326
00:19:02,901 --> 00:19:04,300
WE CALL HIM A SCULPTOR.

327
00:19:04,400 --> 00:19:06,701
AS YOU'LL SEE FROM 
THE EXHIBITION HE TAKES

328
00:19:06,801 --> 00:19:08,901
A PRETTY INNOVATIVE APPROACH 
TO SCULPTURE.

329
00:19:09,000 --> 00:19:12,000
HIS WORK ACROSS DISCIPLINES 
AND ACROSS MEDIA HAS TO DO WITH

330
00:19:12,100 --> 00:19:14,667
THE RELATIONSHIP BETWEEN PEOPLE 
AND THE RELATIONSHIP BETWEEN

331
00:19:14,767 --> 00:19:16,801
OBJECTS AND THE WAY THAT 
SCULPTURE CAN ALTER THOSE

332
00:19:16,901 --> 00:19:18,200
RELATIONSHIPS.

333
00:19:18,300 --> 00:19:22,367
EACH OF PEDRO REYES'S TREATMENTS 
COMBINES STRATEGIES FOR HEALING

334
00:19:22,467 --> 00:19:24,901
OR FOR ALTERNATIVE FORMS 
OF KNOWING FROM

335
00:19:25,000 --> 00:19:26,100
DIFFERENT TRADITIONS.

336
00:19:26,200 --> 00:19:28,200
SO YOU'LL SEE THROUGHOUT 
EACH OF THE TREATMENTS EACH OF

337
00:19:28,300 --> 00:19:31,634
WHICH IS ENTIRELY DISTINCT 
UMM ELEMENTS OF

338
00:19:31,734 --> 00:19:34,567
THE CATHOLIC TRADITION, 
THINGS LIKE CATHARSIS AND

339
00:19:34,667 --> 00:19:36,501
CONFESSION; 
AS WELL AS ELEMENTS FROM

340
00:19:36,601 --> 00:19:41,000
GREEK TRAGEDY, UH, 
ROMAN PHILOSOPHY AND ORATORY

341
00:19:41,100 --> 00:19:43,968
ETCETERA DOWN THROUGH THE GAMUT; 
AS WELL AS MORE TRADITIONAL

342
00:19:44,067 --> 00:19:47,400
FORMS OF PSYCHOANALYSIS LIKE 
THAT OF FREUD AND LACAN.

343
00:19:50,467 --> 00:19:54,033
MY FAVORITE IS UM "GOODOO," 
FOR A NUMBER OF REASONS.

344
00:19:54,133 --> 00:19:56,467
GOODOO FOR THOSE OF YOU WHO HAVE 
NOT DONE THE TREATMENT

345
00:19:56,567 --> 00:19:58,501
IS A GOOD VERSION OF VOODOO.

346
00:19:58,601 --> 00:20:01,834
IN THAT TREATMENT YOU CHOOSE 
FIVE CHARMS WHICH ARE

347
00:20:01,934 --> 00:20:05,167
ESSENTIALLY, INDUSTRIALLY 
PRODUCED THEY COULD REALLY MEAN

348
00:20:05,267 --> 00:20:06,767
ANYTHING THEY ARE ENDLESSLY 
INTERPRETABLE,

349
00:20:06,868 --> 00:20:11,100
AND YOU FIX THEM TO A DOLL OF 
YOUR CHOOSING.

350
00:20:11,200 --> 00:20:15,067
UM, YOU DECORATE THEM AND YOU 
ASSIGN THEM BASED ON THE AREA OF

351
00:20:15,167 --> 00:20:17,934
THE BODY WHERE YOU'RE APPLYING 
IT DIFFERENT FORMS OF MEANING.

352
00:20:18,033 --> 00:20:22,033
THEN YOU PRESS DOWN UPON IT IN 
ORDER TO MAKE SURE THAT PERSON

353
00:20:22,133 --> 00:20:24,067
IS REALLY EXPERIENCING THE 
GOODWILL THAT YOU'RE GIVING

354
00:20:24,167 --> 00:20:25,267
TO THEM.

355
00:20:25,367 --> 00:20:28,133
IT IS A REALLY UH, MEANINGFUL 
EXPERIENCE FOR EVERYBODY

356
00:20:28,234 --> 00:20:30,934
WHO- WHO ENTERS THAT ROOM.

357
00:20:31,033 --> 00:20:33,701
ADDITIONALLY, EVERYBODY IS 
INVITED TO TAKE THE DOLL HOME.

358
00:20:33,801 --> 00:20:39,367
THIS IDEA OF GIFTING AN OBJECT 
OR A SCULPTURE IS ANOTHER THEME

359
00:20:39,467 --> 00:20:41,634
THAT RUNS THROUGHOUT THIS 
INSTALLATION AND IS FELT

360
00:20:41,734 --> 00:20:44,601
MOST PRESENTLY 
IN THAT PARTICULAR PIECE.

361
00:20:44,701 --> 00:20:47,734
"THE MUSEUM OF HYPOTHETICAL 
LIFETIMES" IS A PLACE

362
00:20:47,834 --> 00:20:51,133
WHERE YOU CAN CHART YOUR OWN 
PAST PRESENT AND FUTURE.

363
00:20:51,234 --> 00:20:53,934
SO USING THE PROPS WHICH YOU SEE 
ON THE SHELF BEHIND ME,

364
00:20:54,033 --> 00:20:56,901
UM, YOU PLACE THEM WITHIN 
DIFFERENT TERRAINS

365
00:20:57,000 --> 00:21:00,667
OR ZONES WHICH ARE IDENTIFIED 
IN WHAT YOU'D CALL A MAZE,

366
00:21:00,767 --> 00:21:03,901
UM, AND THERE USING 
IDENTIFICATIONS BOTH ON

367
00:21:04,000 --> 00:21:07,234
THE PROP AND THE GEOGRAPHY OF 
THE MAZE,

368
00:21:07,334 --> 00:21:09,467
YOU CREATE A STORY OF YOUR OWN 
LIFETIME.

369
00:21:09,567 --> 00:21:14,734
"CITYLEAKS" IS A VERY FUN 
TREATMENT AT THE SANATORIUM

370
00:21:14,834 --> 00:21:16,367
AND ONE OF THE QUICKEST 
ACTUALLY,

371
00:21:16,467 --> 00:21:18,734
BUT ONE OF THE MOST CATHARTIC 
AND IT IS IN FACT THE ONE

372
00:21:18,834 --> 00:21:21,067
THAT IS QUOTING 
TRADITIONAL FORMS OF CONFESSION

373
00:21:21,167 --> 00:21:22,667
THE MOST LITERALLY.

374
00:21:22,767 --> 00:21:25,968
EVERY PERSON WHO ENTERS THAT 
PARTICULAR TREATMENT IS MEANT

375
00:21:26,067 --> 00:21:28,501
TO WRITE DOWN THEIR DEEPEST 
DARKEST SECRET,

376
00:21:28,601 --> 00:21:31,133
TIE IT UP WITH A BOW, 
AND LEAVE IT IN A BOTTLE.

377
00:21:31,234 --> 00:21:33,334
THEN, THEY ARE ABLE TO TAKE 
ANOTHER SECRET FROM SOMEONE WHO

378
00:21:33,434 --> 00:21:36,167
THEY DON'T KNOW OR THEY DON'T 
KNOW THAT THEY KNOW

379
00:21:36,267 --> 00:21:37,601
WHO HASN'T IDENTIFIED 
THEMSELVES,

380
00:21:37,701 --> 00:21:39,100
PULL IT OUT OF THE BOTTLE 
AND READ IT.

381
00:21:39,200 --> 00:21:42,167
THAT PERSON AGAIN IS ABLE 
TO TAKE THAT SECRET WITH THEM

382
00:21:42,267 --> 00:21:44,701
IF THEY LIKE, LIKE A FORTUNE 
FROM A FORTUNE COOKIE.

383
00:21:52,334 --> 00:21:54,968
WHEN COMMISSIONING 
OR INSTALLING A WORK

384
00:21:55,067 --> 00:21:57,801
WHICH IS SO DEMANDING OF 
VISITORS AND WHICH

385
00:21:57,901 --> 00:22:02,501
DOESN'T PRESENT TRADITIONAL 
PRETTY PICTURES ON THE WALL UM,

386
00:22:02,601 --> 00:22:06,400
YOU EXPECT THE FIRST QUESTION 
FROM EVERYBODY TO...

387
00:22:06,501 --> 00:22:09,067
THE FIRST RESPONSE FOR EVERY 
VISITOR TO COME IN

388
00:22:09,167 --> 00:22:10,934
TO PUT THEIR HANDS ON 
THEIR HIPS AND SAY,

389
00:22:11,033 --> 00:22:12,133
"WHY IS THIS ART?"

390
00:22:12,234 --> 00:22:15,334
WHICH IS A QUESTION THAT 
WE'RE FULLY EQUIPPED TO ANSWER

391
00:22:15,434 --> 00:22:17,033
AND HAPPY TO ADDRESS, 
AND IN FACT,

392
00:22:17,133 --> 00:22:19,934
THE SIMPLEST QUESTIONS CAN BE 
SOME OF THE MOST PRODUCTIVE.

393
00:22:20,033 --> 00:22:25,000
HOWEVER, WE'VE HAD A REALLY 
SOPHISTICATED RANGE OF RESPONSES

394
00:22:25,100 --> 00:22:29,200
TO THE WORK, PEOPLE HAVE REALLY 
ENJOYED BEING GREETED BY

395
00:22:29,300 --> 00:22:31,634
THE VOLUNTEERS 
AND EVEN SEEING SOME OF

396
00:22:31,734 --> 00:22:34,067
THE MEMBERS OF THE COMMUNITY 
WHO THEY MIGHT KNOW

397
00:22:34,167 --> 00:22:36,801
IN ANOTHER CONTEXT 
THROUGH THIS INSTALLATION.

398
00:22:36,901 --> 00:22:41,000
ICA MIAMI SPECIALIZES IN 
PRESENTING THE MOST EXPERIMENTAL

399
00:22:41,100 --> 00:22:42,133
ART OF OUR TIME.

400
00:22:42,234 --> 00:22:44,133
WHAT WE REALLY DO THROUGH 
OUR EXHIBITIONS,

401
00:22:44,234 --> 00:22:45,901
THROUGH OUR CATALOGUES, 
AND OUR PUBLIC PROGRAMS

402
00:22:46,000 --> 00:22:49,067
AS WELL AS EDUCATION IS 
HIGHLIGHT SCHOLARSHIP

403
00:22:49,167 --> 00:22:53,434
ON THE MOST IMPORTANT BOTH 
EMERGING THAT'S YOUNG

404
00:22:53,534 --> 00:22:56,834
AND UNDER-REPRESENTED 
ESTABLISHED ARTISTS OF OUR TIME.

405
00:22:56,934 --> 00:23:01,367
SO NOT ONLY THOSE ARTISTS 
WHO ARE PRODUCING NEW WORK

406
00:23:01,467 --> 00:23:03,167
BUT ALSO THOSE ARTISTS 
WHO HAVE BEEN WORKING

407
00:23:03,267 --> 00:23:05,567
FOR DECADES AND HAVE YET 
TO RECEIVE IN AN AMERICAN

408
00:23:05,667 --> 00:23:08,300
OR INTERNATIONAL CONTEXT 
THE TYPE OF RECOGNITION

409
00:23:08,400 --> 00:23:09,300
THAT THEY DESERVE.

410
00:23:11,033 --> 00:23:14,200
Rhea: FOR MORE INFORMATION 
ABOUT THIS ARTIST'S WORK, VISIT

411
00:23:17,267 --> 00:23:19,801
Rhea: THAT'S ALL FOR TONIGHT, 
BUT IF YOU WANT TO WATCH MORE

412
00:23:19,901 --> 00:23:23,734
SHOWS DROP-IN AT 
MPT.ORG/ARTWORKS.

413
00:23:23,834 --> 00:23:27,934
BY THE WAY, HAVE YOU DOWNLOADED 
THE MPT MOBILE APP YET?

414
00:23:28,033 --> 00:23:32,100
NOW YOU CAN WATCH ARTWORKS AND 
OTHER SHOWS ON YOUR PHONE.

415
00:23:32,200 --> 00:23:35,701
AND FOLLOW US ON TWITTER 
FOR THE LATEST NEWS.

416
00:23:35,801 --> 00:23:38,868
I'M RHEA FEIKIN AND I WANT 
TO THANK YOU FOR JOINING US.

417
00:23:38,968 --> 00:23:40,467
WE'LL BE BACK NEXT WEEK.

418
00:23:44,601 --> 00:23:46,968
Announcer: ARTWORKS IS MADE 
POSSIBLE IN PART BY

419
00:23:47,067 --> 00:23:49,033
THE CITIZENS 
OF BALTIMORE COUNTY.

420
00:23:51,534 --> 00:23:52,534
AND BY...

421
00:23:52,634 --> 00:23:56,467
THE RUTH R. MARDER 
ARTS ENDOWMENT FUND,

422
00:23:56,567 --> 00:23:59,234
THE ROBERT E. MEYERHOFF AND 
RHEDA BECKER ENDOWMENT

423
00:23:59,334 --> 00:24:01,334
FOR THE ARTS,

424
00:24:01,434 --> 00:24:04,501
THE E.T. & 
ROBERT B. ROCKLIN FUND,

425
00:24:04,601 --> 00:24:06,801
AND THE HENRY AND RUTH 
BLAUSTEIN ROSENBERG

426
00:24:06,901 --> 00:24:10,167
FOUNDATION ARTS ENDOWMENT 
IN MEMORY OF RUTH MARDER.

427
00:24:12,934 --> 00:24:15,100
CLOSED CAPTIONING HAS BEEN MADE 
POSSIBLE BY MARYLAND RELAY,

428
00:24:15,200 --> 00:24:17,300
EMPOWERING THOSE WITH 
HEARING AND SPEECH LOSS

429
00:24:17,400 --> 00:24:19,267
TO STAY CONNECTED.

430
00:24:19,367 --> 00:24:21,501
*