WEBVTT

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A TECHNO TRICKSTER CREATES

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A TECHNO WIZARD CREATES

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"TECH-SPRESSIONISM

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AND LOW TECH

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NEXT - ON ARTWORKS !

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CLOSED CAPTIONING HAS BEEN MADE

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EMPOWERING THOSE WHO ARE DEAF,

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OR SPEECH DISABLED TO STAY

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*

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Announcer: ARTWORKS IS MADE

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BY THE CITIZENS

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Host: WELCOME TO SEASON SIX OF

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TONIGHT WE CONTINUE OUR FALL

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NOW, I DON'T KNOW WHY, BUT

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SEEMS TO FREE CREATIVE MINDS.

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TONIGHT OUR ARTISTS HAVE

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INTERACTIVE...

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RETRO...

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QUIRKY - AND ALL THREE AT ONCE!

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THESE STORIES ARE SHEER

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TOP OF THE LIST: ARIZONA'S

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THE ARTIST AS "TRICKSTER."

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HE BUILDS 19TH CENTURY

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"WHAT?!?" -- YOU SAY?

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"THERE WERE TELEVISIONS

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STAY TUNED....

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Steve Gompf: THE PURPOSE OF THE

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INTERNATIONAL IS THE

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CONSERVATION OF VINTAGE DEVICES,

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AND MATERIALS, TOGETHER WITH

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ARCHAIC IMAGE TRANSMISSION

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FROM THE TELEVISOR ERA

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SO WHICH IS ALL BS.

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I'M STEVE GOMPF AND I GO TO

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CRAP AND I GLUE IT TOGETHER

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ANTIQUE TELEVISION

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AND PEOPLE BELIEVE IT.

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BASICALLY GROWING UP

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SO I WAS BORN IN PUERTO RICO

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THEN ARIZONA THEN TO ENGLAND

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THEN TO OMAHA THEN TO

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AND I'VE BEEN HERE EVER SINCE.

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HERE BEING MESA, ARIZONA, WHILE

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THESE DIFFERENT COUNTRIES, WE

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OR FLEA MARKETS.

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AND MY PARENTS WERE ANTIQUE

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AND STUFF.

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SO I KIND OF KNEW ABOUT THE

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AND STYLES OF DECORATIVE ARTS

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WHEN I GO TO THESE THRIFT STORES

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I COULD USE PARTS OF TO CREATE,

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I'LL SNAG IT.

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I'VE EVEN USED JUST, JUST

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I REMEMBER I WAS BUILDING A

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NOT LAST MINUTE, UP TO THE LAST

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I ACTUALLY USED THE PLATE OF

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THE NIGHT BEFORE.

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I USED THAT AS A

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SO I'LL JUST LOOK FOR SOMETHING

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ART NOUVEAU AND KIND OF USE THAT

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TO CREATE UH, THE PIECES.

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I HAVE AN UNDERGRAD DEGREE IN

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DEGREE IN INTER MEDIA FROM

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AND SO I'M A VIDEO ARTIST AND

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VIDEO AND A GALLERY SITUATION.

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BEEN DOING ART FOR

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TELEVISORS IS ACTUALLY THE

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TELEVISION.

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AND IN THE VERY BEGINNING THE

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ESPECIALLY IN ENGLAND WITH

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THE SCOTTISH ENGINEER.

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HE BUILT A DEVICE THAT WAS

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CALLED HIS DEVICE A TELEVISOR.

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SO I JUST USE THAT NAME AS A

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FOR IT.

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AND I'VE ACTUALLY IN SOME OF

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ACTUAL HISTORICAL INFORMATION

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A LITTLE BIT TO FIT THE PIECE.

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AND SOMETIMES I JUST

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I RECENTLY HAD A SHOW CALLED

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"DISTANT VISION'S: APPARATUS AND

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1884 THROUGH 1928".

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WHICH IS 1884 IS THE FIRST

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PAUL NAPCO, A GERMAN ENGINEER

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FARNSWORTH'S FULLY

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AND THESE DEVICES THAT I HAVE

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ARE BASICALLY AN ASSEMBLY OF

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STORES AND PUT THEM TOGETHER AND

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INSIDE OF THEM AND IT LOOKS

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AND WHAT I'VE DONE TO MAKE IT

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BUNCH OF MY BRIDGE STOP ACTION

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1890'S AND RECOMBINE THEM INTO

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ACCOMPANYING THE WORK THEY'LL

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THAT SAY, THAT TALK ABOUT THEIR

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OF TELEVISION, WHO THE INVENTOR

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LITTLE SNIPPET ABOUT THAT DEVICE

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BELIEVE IT.

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THEY ACTUALLY BELIEVE THAT THEY

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THING ACTUALLY EXISTED.

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Tiffany Fairall: IT'S

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HERE AND THEY WILL THINK ITS

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FORM OF THE TELEVISION AND

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CREATE.

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HE WANTS TO CREATE THIS

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OF THE EARLY TELEVISION.

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AND SO WHEN YOU, YOU'VE GOT THIS

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WHICH ACTUALLY IS A REAL TERM.

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AND HE'S MADE THESE CREATIONS

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IMAGINATION AND WHAT THEY WOULD

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SO YOU'RE KIND OF ALMOST

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Steve: I JUST THINK THAT

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THEY'VE BEEN FOOLED BY THEM.

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AND THEY WANT TO TAKE IT HOME

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ANTIQUE DEVICE AND KIND

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I WAS ACTUALLY INSTALLING A

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AND HE CALLED ME HIS

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Tiffany:

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A LITTLE BIT OF A TRICKSTER.

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I THINK HE DOES LIKE THE TONGUE

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AND HE WANTS PEOPLE TO TAKE A

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SEE WHAT'S GOING ON THERE.

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HE'S EVEN MENTIONED TO ME HOW

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THE ANTIQUES ROADSHOW AND SEE

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CREATION AND (CHUCKLES) SEE WHAT

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SO I THINK HE KIND OF LIKES THE

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TO ALSO HEAR, HE'LL SOMETIMES

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AND HEAR WHAT THE VISITORS

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SO I THINK KIND HE WANTS TO HEAR

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WORK.

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I THINK THAT'S AN IMPORTANT PART

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INTERACT WITH HIS WORK

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Steve: I THINK IT'S EVOLVED IN

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THEM I SAID I COLLECTED

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TO COME UP WITH THIS MUSEUM THAT

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AND ADDED BELIEVABILITY TO IT.

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MORE FAKE STUFF TO

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AS A LAYER TO THE PROJECT,

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TELESEUM.ORG T-E-L-E- S-E-U-M

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WAS A MUSEUM'S WEBSITE.

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AND IT'S THE TELEVISOR MUSEUM

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ABBREVIATION TMI,

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THAT'S WHAT IT IS

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IT PRESENTS MY WORK AS IF THIS

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REAL MUSEUM THAT COLLECTS THESE

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DIDN'T EXIST.

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THERE'S A LITTLE SECTION THAT

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FREE FOR SENIOR CITIZENS AND FOR

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MORE THAN 10 BECAUSE DOCENT

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BUT THERE'S NO CONTACT

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THERE'S NO ADDRESSES,

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THERE'S NOTHING BUT THAT

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AS ANOTHER LAYER TO THE PROJECT

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I DECIDED ON THE LAST SHOW THAT

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THAT IS ACTUALLY PRESENTED

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THE TELEVISOR MUSEUM

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PART OF THE PREMISES IS IF

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ON TV, WHY WOULDN'T THEY BELIEVE

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Rhea: FOR MORE INFORMATION,

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Rhea: DUTCH ARTIST BERNDNAUT

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OPTICS SCIENTIST TO BUILD

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SMILDE'S GOAL IS TO REFRACT

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TO CREATE AN ENORMOUS

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IT WORKED!

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NOW IF ONLY WE COULD DO THE

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MY NAME IS BERNDNAUT SMILDE.

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I'M A VISUAL ARTIST.

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I MAKE INSTALLATIONS AND

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SURROUNDING AND ARCHITECTURE

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PEOPLE HAVE BEEN PROJECTING

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FOR CENTURIES BECAUSE WE DON'T

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AND I THINK IT'S MAYBE THE ONE

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AND THERE'S SOMETHING

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THINK IS REALLY INTERESTING,

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WE PROJECT ONTO IT.

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AND I LIKE TO PLAY

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WELL, I WANTED TO SEE IF WE

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LARGE SCALE TO PROJECT A

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AND SO THAT'S WHAT WE DID.

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WE MADE A VERY LARGE PRISM AND

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AS WELL, TOO,

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WHICH IS WHAT'S THE BARN.

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HELLO.

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YOU NEED TO GET A JACKET.

10:46.512 --> 10:47.179 position:10% line:80% size:80%
YEAH.

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YEAH, I NEED TO GET A JACKET.

10:47.780 --> 10:48.614 position:10% line:80% size:80%
HOW ARE YOU?

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IT'S GOOD TO SEE YOU.

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David Dadone: WE HAVE SEVERAL

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AND FOR US, THIS IDEA OF PAIRING

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VERY TEMPTING AND EXCITING.

11:05.798 --> 11:08.734 position:10% line:80% size:80%
Steve Tomczyk: IT WAS REALLY

11:08.834 --> 11:11.504 position:10% line:80% size:80%
IF IT HEATED UP, IT WOULD

11:11.604 --> 11:13.139 position:10% line:80% size:80%
THE ACRYLIC.

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David: OH.

11:14.607 --> 11:16.709 position:10% line:80% size:80%
Steve: SO HE TOOK MINERAL OIL

11:16.809 --> 11:19.211 position:10% line:80% size:80%
SO THE AIR CAN BE COMPRESSED.

11:19.311 --> 11:22.815 position:10% line:80% size:80%
BUT THE MINERAL OIL, NOT SO.

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Steven: MY NAME IS

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AT THE NATIONAL CENTER FOR

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WELL, I GOT AN E-MAIL

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AND SHE WAS LOOKING FOR SOMEONE

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WAS TRYING TO MAKE A LARGE SCALE

11:42.868 --> 11:46.639 position:10% line:80% size:80%
VERY LARGE SCALE-- AND LOOKING

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WHO KNEW ABOUT OPTICS,

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A PRISM WORKS BY BENDING

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AND LIGHT REFRACTS DIFFERENTLY

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DIFFERENT COLORS-- AS

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AND THAT PROPERTY OF THE GLASS

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A PRISM DISPERSES LIGHT.

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Berndaut: SO COULD WE

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[GENERATOR MOTOR RUNNING]

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YEAH, AND JUST ON THE--

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Steven: SO WHAT WE'RE

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CREATE A PROTOTYPE DISPLAY AT

12:31.717 --> 12:34.820 position:10% line:80% size:80%
WHAT WE ULTIMATELY WANT TO

12:34.920 --> 12:38.424 position:10% line:80% size:80%
SO WE'RE TRYING TO MAKE A

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RAINBOW ON A BARN AND MEASURE

12:43.896 --> 12:47.800 position:10% line:80% size:80%
AND THEN USE THAT MEASUREMENT TO

12:47.900 --> 12:49.735 position:10% line:80% size:80%
TO WORK AT MUCH

12:49.835 --> 12:52.004 position:10% line:80% size:80%
Berndaut: FOR US, IT WAS THE

12:52.104 --> 12:53.305 position:10% line:80% size:80%
WOULD WORK.

12:53.405 --> 12:56.709 position:10% line:80% size:80%
INITIALLY, THE WHOLE THING WE

12:56.809 --> 12:59.912 position:10% line:80% size:80%
AND SO I WAS QUITE SURPRISED TO

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AND WE COULD

13:01.847 --> 13:04.784 position:10% line:80% size:80%
SO WE HAD A DISTANCE, WE HAD THE

13:04.884 --> 13:06.018 position:10% line:80% size:80%
WE COULD TAKE IT FURTHER.

13:06.118 --> 13:07.386 position:10% line:80% size:80%
Steven: I'M GOING TO GO MEASURE

13:07.486 --> 13:09.188 position:10% line:80% size:80%
Woman:

13:09.288 --> 13:12.658 position:10% line:80% size:80%
PUSHED OUT TO THE

13:17.329 --> 13:19.565 position:10% line:80% size:80%
Steven: OH, HO. 23.9.

13:19.665 --> 13:20.466 position:10% line:80% size:80%
Woman: YEAH.

13:20.566 --> 13:22.668 position:10% line:80% size:80%
Steven: THAT'S WAY UP.

13:22.768 --> 13:24.436 position:10% line:80% size:80%
THAT'S WAY UP.

13:24.537 --> 13:26.772 position:10% line:80% size:80%
Steven: A RAINBOW IS

13:26.872 --> 13:28.040 position:10% line:80% size:80%
THE RAINBOW IN NATURE.

13:28.140 --> 13:31.944 position:10% line:80% size:80%
IT HAS TO DO WITH DROPS OF

13:32.044 --> 13:34.346 position:10% line:80% size:80%
AND REFLECTS THROUGH

13:34.446 --> 13:38.884 position:10% line:80% size:80%
SO WE'RE NOT OFFICIALLY

13:38.984 --> 13:43.722 position:10% line:80% size:80%
WE'RE USING A PRISM TO DISPERSE

13:43.823 --> 13:47.026 position:10% line:80% size:80%
RAINDROP IS DISPERSING LIGHT

13:47.126 --> 13:51.163 position:10% line:80% size:80%
Berndaut: WELL, AS AN ARTIST,

13:51.263 --> 13:53.566 position:10% line:80% size:80%
REALLY MUCH VISUAL-BASED.

13:53.666 --> 13:59.305 position:10% line:80% size:80%
AND OFTEN I RUN INTO THESE

13:59.405 --> 14:03.309 position:10% line:80% size:80%
AND SOLUTIONS, OFTEN YOU RUN

14:03.409 --> 14:04.376 position:10% line:80% size:80%
YOU COULD SAY.

14:04.476 --> 14:05.544 position:10% line:80% size:80%
IS SOMETHING STILL POSSIBLE?

14:05.644 --> 14:07.279 position:10% line:80% size:80%
HOW WILL THIS WORK?

14:07.379 --> 14:10.649 position:10% line:80% size:80%
AND DO I MAKE UH, DO I HAVE TO

14:10.749 --> 14:15.020 position:10% line:80% size:80%
AND I THINK SCIENTISTS, IN A

14:15.120 --> 14:16.755 position:10% line:80% size:80%
OR GO AROUND THAT.

14:16.856 --> 14:19.525 position:10% line:80% size:80%
AND THIS WORK WHATEVER YOU LIKE.

14:19.625 --> 14:22.494 position:10% line:80% size:80%
THERE'S ALSO AN EXPRESSION IN

14:22.595 --> 14:25.998 position:10% line:80% size:80%
"METEN IS WETEN," WHICH MEANS

14:26.098 --> 14:28.467 position:10% line:80% size:80%
AND THAT'S EXACTLY WHAT WE DID,

14:28.567 --> 14:30.169 position:10% line:80% size:80%
MY IDEA KIND OF WORKED.

14:30.269 --> 14:33.639 position:10% line:80% size:80%
WE PROJECTED THAT

14:33.739 --> 14:35.708 position:10% line:80% size:80%
BUT THEN STEVE,

14:35.808 --> 14:38.344 position:10% line:80% size:80%
AND HE STARTED MEASURING THE

14:38.444 --> 14:40.546 position:10% line:80% size:80%
LIKE, WHEN WE HAVE DATA, WE CAN

14:40.646 --> 14:45.584 position:10% line:80% size:80%
SO I KIND OF LIKE THE IDEA THAT

14:45.684 --> 14:49.121 position:10% line:80% size:80%
TO-- WELL, TO WORK TOGETHER

15:17.883 --> 15:20.886 position:10% line:80% size:80%
Rhea: COLIN GOLDBERG IS A

15:20.986 --> 15:24.290 position:10% line:80% size:80%
LUCKY STREET GALLERY IN

15:24.390 --> 15:28.661 position:10% line:80% size:80%
IN HIS NEWEST EXHIBITION CALLED,

15:28.761 --> 15:32.932 position:10% line:80% size:80%
DIGITAL ART MEETS

15:33.032 --> 15:34.300 position:10% line:80% size:80%
THAT'S A LOT OF "ISMS"!

15:34.400 --> 15:38.537 position:10% line:80% size:80%
BUT FOR COLIN, THE BEAUTY OF

15:38.637 --> 15:41.073 position:10% line:80% size:80%
TEND TO ASK: "HOW

15:41.173 --> 15:43.976 position:10% line:80% size:80%
RATHER THAN "WHAT IS IT ABOUT?"

15:44.076 --> 15:45.411 position:10% line:80% size:80%
YOU'LL FIND OUT BOTH.

15:46.345 --> 15:48.047 position:10% line:80% size:80%
*

15:53.452 --> 15:54.820 position:10% line:80% size:80%
Colin Goldberg: I FOUND OUT

15:54.920 --> 15:58.324 position:10% line:80% size:80%
ABOUT TWO YEARS AGO, WHEN MY

15:58.424 --> 16:02.828 position:10% line:80% size:80%
WE ACTUALLY GOT MARRIED IN KEY

16:02.928 --> 16:05.164 position:10% line:80% size:80%
WE WERE LIVING IN WITH OUR

16:05.264 --> 16:08.133 position:10% line:80% size:80%
FULL TIME, SO WE SPENT ABOUT

16:08.233 --> 16:11.603 position:10% line:80% size:80%
STARTED TO CHECK OUT THE ART

16:11.704 --> 16:15.307 position:10% line:80% size:80%
JURIED SHOW AT A LOCAL GALLERY

16:15.407 --> 16:19.411 position:10% line:80% size:80%
UP UM, WINNING A BEST IN SHOW

16:19.511 --> 16:21.447 position:10% line:80% size:80%
WHICH I'M DOING NOW FOR

16:21.547 --> 16:23.882 position:10% line:80% size:80%
WELL, I WAS BORN IN THE BRONX

16:23.983 --> 16:27.286 position:10% line:80% size:80%
LONG ISLAND, UM, BUT I'VE LIVED

16:27.386 --> 16:30.289 position:10% line:80% size:80%
AND SPENT SOME TIME OUT IN

16:30.389 --> 16:35.127 position:10% line:80% size:80%
SO KEY WEST IS BY FAR THE MOST

16:35.227 --> 16:37.930 position:10% line:80% size:80%
THOSE PLACES AND UH, THAT'S ONE

16:38.030 --> 16:39.198 position:10% line:80% size:80%
ENJOY BEING DOWN HERE.

16:43.669 --> 16:46.739 position:10% line:80% size:80%
WELL, I CAME UP WITH THE IDEA OF

16:46.839 --> 16:49.274 position:10% line:80% size:80%
YOU KNOW TRYING TO COME UP WITH

16:49.375 --> 16:51.844 position:10% line:80% size:80%
HAD A WHILE BACK AND I'VE USED

16:51.944 --> 16:54.446 position:10% line:80% size:80%
UM, SHOWS, ALL OF THE WORK HAS

16:54.546 --> 16:56.482 position:10% line:80% size:80%
IN EACH, IN EACH ITERATION.

16:56.582 --> 16:59.485 position:10% line:80% size:80%
A LOT OF MY WORK IS HEAVILY

16:59.585 --> 17:02.187 position:10% line:80% size:80%
ABSTRACT EXPRESSIONIST

17:02.287 --> 17:05.657 position:10% line:80% size:80%
AND ONE OF MY PROFESSORS IN

17:05.758 --> 17:08.427 position:10% line:80% size:80%
A SECOND GENERATION ABSTRACT

17:08.527 --> 17:11.964 position:10% line:80% size:80%
TURNED ME ON TO ABSTRACTION

17:12.064 --> 17:14.800 position:10% line:80% size:80%
AT THE TIME I WAS DOING

17:14.900 --> 17:17.803 position:10% line:80% size:80%
AND REPRESENTATIONAL PAINTING,

17:17.903 --> 17:20.639 position:10% line:80% size:80%
STARTED WORKING WITH COMPUTERS

17:20.739 --> 17:21.907 position:10% line:80% size:80%
IN ABSTRACTION.

17:22.007 --> 17:25.010 position:10% line:80% size:80%
TECHSPRESSIONISM TO ME IS THE

17:25.110 --> 17:29.515 position:10% line:80% size:80%
CAN BE USED UM, NOT ONLY TO

17:29.615 --> 17:32.851 position:10% line:80% size:80%
YOU KNOW, IN REAL LIFE BUT TO

17:32.951 --> 17:36.255 position:10% line:80% size:80%
YOU KNOW, ARE IN MY OWN HEAD AND

17:36.355 --> 17:39.591 position:10% line:80% size:80%
THE IDEAS OF THE ABSTRACT

17:39.691 --> 17:43.662 position:10% line:80% size:80%
I CREATED THE MANIFESTO BECAUSE

17:43.762 --> 17:46.732 position:10% line:80% size:80%
RESISTANCE WITHIN THE FINE ART

17:46.832 --> 17:50.936 position:10% line:80% size:80%
WHEN IT COMES TO COMPUTERS AND

17:51.036 --> 17:52.237 position:10% line:80% size:80%
A FINE ART CONTEXT.

17:52.337 --> 17:54.973 position:10% line:80% size:80%
I THINK IT'S A LITTLE BIT LIKE

17:55.074 --> 17:56.175 position:10% line:80% size:80%
EARLY ON.

17:56.275 --> 17:59.311 position:10% line:80% size:80%
WHERE THERE WAS SEGREGATED

17:59.411 --> 18:00.979 position:10% line:80% size:80%
YOU KNOW, FINE ART GALLERIES.

18:01.080 --> 18:03.749 position:10% line:80% size:80%
AND NOW THERE'S CERTAIN

18:03.849 --> 18:07.252 position:10% line:80% size:80%
TECHNOLOGY-ORIENTED WORK AND A

18:07.352 --> 18:08.821 position:10% line:80% size:80%
SHY AWAY FROM THAT.

18:08.921 --> 18:14.193 position:10% line:80% size:80%
SO, TO ME IT'S A WAY OF KIND OF

18:14.293 --> 18:20.599 position:10% line:80% size:80%
ABOUT TECHNOLOGY AND HOW IT UH,

18:20.699 --> 18:22.734 position:10% line:80% size:80%
TOOLS THAT PEOPLE HAVE USED,

18:22.835 --> 18:24.803 position:10% line:80% size:80%
THROUGHOUT MANKIND'S EXISTENCE,

18:24.903 --> 18:27.206 position:10% line:80% size:80%
UP THROUGH THE

18:27.306 --> 18:30.943 position:10% line:80% size:80%
CAMERA AND DRAWING TOOLS

18:31.043 --> 18:33.812 position:10% line:80% size:80%
SO I DON'T SEE THE COMPUTER AS

18:33.912 --> 18:35.781 position:10% line:80% size:80%
THAT HAVE BEEN USED IN THE PAST.

18:35.881 --> 18:39.218 position:10% line:80% size:80%
UM, MOST OF MY COMPOSITION IS

18:39.318 --> 18:40.552 position:10% line:80% size:80%
A UH, DRAWING TABLET.

18:40.652 --> 18:43.722 position:10% line:80% size:80%
AND I WORK PRIMARILY IN ADOBE

18:43.822 --> 18:47.259 position:10% line:80% size:80%
VECTOR-BASED GRAPHICS, THEY

18:47.359 --> 18:51.263 position:10% line:80% size:80%
COMPOSITIONS UP UH, TO ANY SIZE

18:51.363 --> 18:53.899 position:10% line:80% size:80%
AND PULL OUT SPECIFIC DETAILS,

18:53.999 --> 18:56.101 position:10% line:80% size:80%
YOU KNOW TO CREATE COMPOSITIONS.

18:56.201 --> 19:00.105 position:10% line:80% size:80%
UM, BUT A LOT OF THE WORK,

19:00.205 --> 19:02.307 position:10% line:80% size:80%
INVOLVES HAND WORK

19:02.407 --> 19:06.078 position:10% line:80% size:80%
AND ALMOST EVERYTHING IN THIS

19:06.178 --> 19:07.746 position:10% line:80% size:80%
PAINTING OR DRAWING IN IT.

19:07.846 --> 19:10.849 position:10% line:80% size:80%
MY UNDERGRADUATE BACKGROUND IS

19:10.949 --> 19:14.019 position:10% line:80% size:80%
WENT ON TO GET AN MFA IN

19:14.119 --> 19:18.056 position:10% line:80% size:80%
WORK COMBINES THOSE TWO UM,

19:18.157 --> 19:20.526 position:10% line:80% size:80%
UH, IT WAS GREAT, I MEAN, YOU

19:20.626 --> 19:24.196 position:10% line:80% size:80%
OF THIS NEW UM, FACILITY HERE ON

19:24.296 --> 19:27.533 position:10% line:80% size:80%
FLOOR AND THE STUDIO SO THERE

19:27.633 --> 19:29.434 position:10% line:80% size:80%
AND UH, YOU KNOW,

19:29.535 --> 19:33.105 position:10% line:80% size:80%
A GREAT RECEPTION IT WAS

19:33.205 --> 19:35.007 position:10% line:80% size:80%
YOU KNOW, WHAT PEOPLE

19:35.107 --> 19:38.177 position:10% line:80% size:80%
A LOT OF THEM HADN'T SEEN,

19:38.277 --> 19:40.345 position:10% line:80% size:80%
INVOLVED IN SOME WAY OF THE

19:40.445 --> 19:42.281 position:10% line:80% size:80%
DIDN'T KNOW EXACTLY HOW.

19:42.381 --> 19:45.817 position:10% line:80% size:80%
SO I FOUND THAT MOST OF THE

19:45.918 --> 19:47.486 position:10% line:80% size:80%
AND YOU KNOW,

19:47.586 --> 19:49.955 position:10% line:80% size:80%
VERSUS "WHAT IS THE WORK ABOUT?"

19:50.055 --> 19:53.025 position:10% line:80% size:80%
WHICH I ACTUALLY PREFER THE

19:53.125 --> 19:54.426 position:10% line:80% size:80%
ARE EASIER TO ANSWER.

19:54.526 --> 19:57.062 position:10% line:80% size:80%
IT WAS A GREAT OPENING AND, YOU

19:57.162 --> 20:00.032 position:10% line:80% size:80%
AND UM, WAS VERY PLEASED WITH

20:00.132 --> 20:02.701 position:10% line:80% size:80%
THE SHOW WAS INSTALLED.

20:02.801 --> 20:05.637 position:10% line:80% size:80%
IT WAS A COLLABORATIVE EFFORT

20:05.737 --> 20:07.773 position:10% line:80% size:80%
WHO WORKS HERE AT THE STUDIOS OF

20:07.873 --> 20:10.409 position:10% line:80% size:80%
REALLY HELPFUL IN TERMS OF

20:14.613 --> 20:17.616 position:10% line:80% size:80%
Rhea: FIND OUT MORE

20:19.885 --> 20:24.456 position:10% line:80% size:80%
Rhea: NOW OUR LAST STORY MAY

20:24.556 --> 20:28.994 position:10% line:80% size:80%
MINNEAPOLIS PRINTMAKER AND BOOK

20:29.094 --> 20:32.464 position:10% line:80% size:80%
VINTAGE VENDING MACHINES

20:32.564 --> 20:34.633 position:10% line:80% size:80%
"UNVENDING MACHINES."

20:34.733 --> 20:40.105 position:10% line:80% size:80%
WARNER'S MACHINES DISPENSE THE

20:40.205 --> 20:44.643 position:10% line:80% size:80%
EACH COMPOSED

20:44.743 --> 20:46.912 position:10% line:80% size:80%
AND ZEN-LIKE WISDOM.

20:48.113 --> 20:50.515 position:10% line:80% size:80%
*

21:09.001 --> 21:09.901 position:10% line:80% size:80%
Warner: MY TRAINING IS IN BOOKS.

21:10.002 --> 21:11.336 position:10% line:80% size:80%
I LOVE MAKING BOOKS.

21:11.436 --> 21:15.841 position:10% line:80% size:80%
IT IS REALLY IMPORTANT

21:15.941 --> 21:17.142 position:10% line:80% size:80%
REALLY START TO FINISH.

21:17.242 --> 21:20.545 position:10% line:80% size:80%
I THINK, YOU KNOW, METICULOUSLY

21:20.646 --> 21:24.616 position:10% line:80% size:80%
CREATING THE EXPERIENCE IN WHAT

21:24.716 --> 21:26.285 position:10% line:80% size:80%
IMPORTANT TO ME AS AN ARTIST.

21:26.385 --> 21:29.554 position:10% line:80% size:80%
I FEEL LIKE I WANT TO BE

21:29.655 --> 21:32.157 position:10% line:80% size:80%
OR AS MUCH AS I CAN BE BECAUSE

21:32.257 --> 21:34.693 position:10% line:80% size:80%
SOMETHING YOU'RE PUTTING

21:34.793 --> 21:38.930 position:10% line:80% size:80%
PUTTING, YOU KNOW FEELING INTO

21:39.031 --> 21:42.100 position:10% line:80% size:80%
AND IT'S NICE, IT'S A WAY FOR ME

21:42.200 --> 21:45.737 position:10% line:80% size:80%
AND, AND BUNDLES OF HOPEFULLY,

21:45.837 --> 21:47.906 position:10% line:80% size:80%
PLEASANT LITTLE

21:53.545 --> 21:57.516 position:10% line:80% size:80%
WITH MY WORK I OFTEN FIND MYSELF

21:57.616 --> 22:00.085 position:10% line:80% size:80%
A ONE PERSON ASSEMBLY LINE.

22:00.185 --> 22:02.120 position:10% line:80% size:80%
I REALLY DON'T EARN

22:02.220 --> 22:04.423 position:10% line:80% size:80%
IT TAKES A LOT OF TIME AND WORK.

22:04.523 --> 22:09.061 position:10% line:80% size:80%
IT'S TIME INTENSIVE, IT'S

22:09.161 --> 22:13.031 position:10% line:80% size:80%
THE IDEA OF SPREADING ART

22:13.131 --> 22:14.499 position:10% line:80% size:80%
JUST ALL OVER THE PLACE.

22:14.599 --> 22:16.368 position:10% line:80% size:80%
THAT'S THE MOTIVATION

22:16.468 --> 22:20.605 position:10% line:80% size:80%
I JUST LIKE PUTTING IT

22:20.706 --> 22:23.175 position:10% line:80% size:80%
SO THAT WHEN PEOPLE COME

22:29.147 --> 22:32.417 position:10% line:80% size:80%
I BEGAN THE "UNVENDING PROJECT"

22:32.517 --> 22:35.821 position:10% line:80% size:80%
IT COINCIDED WITH A RESIDENCY I

22:35.921 --> 22:37.322 position:10% line:80% size:80%
FOR PRINTMAKING.

22:37.422 --> 22:40.859 position:10% line:80% size:80%
I BUY OLD, SECOND HAND VENDING

22:40.959 --> 22:42.894 position:10% line:80% size:80%
CLEAN THEM UP,

22:42.994 --> 22:47.199 position:10% line:80% size:80%
I PUT NEW BRANDING ON IT SO THEY

22:47.299 --> 22:48.867 position:10% line:80% size:80%
INSTEAD OF

22:48.967 --> 22:51.570 position:10% line:80% size:80%
SNACK VENDING MACHINES OR TAMPON

22:51.670 --> 22:54.172 position:10% line:80% size:80%
THEY WERE IN THEIR FORMER LIFE

22:54.272 --> 22:55.574 position:10% line:80% size:80%
TO DISPENSE OUT OF THEM.

22:55.674 --> 22:58.377 position:10% line:80% size:80%
AND THE ART IS OFTEN

22:58.477 --> 23:00.812 position:10% line:80% size:80%
TO THE MACHINE ITSELF.

23:00.912 --> 23:02.381 position:10% line:80% size:80%
[METAL POPS]

23:02.481 --> 23:05.917 position:10% line:80% size:80%
THIS IS ONE OF MY

23:06.017 --> 23:09.287 position:10% line:80% size:80%
I CALL IT THE "SMUTT MACHINE"

23:09.388 --> 23:12.657 position:10% line:80% size:80%
CONDOM VENDING MACHINE LIKE YOU

23:12.758 --> 23:17.362 position:10% line:80% size:80%
KIND OF A CHINSEY GAS

23:17.462 --> 23:20.465 position:10% line:80% size:80%
AND ALL OF THE ART THAT COMES

23:20.565 --> 23:24.703 position:10% line:80% size:80%
DO WITH LOVE OR ROMANCE OR HUMAN

23:24.803 --> 23:27.339 position:10% line:80% size:80%
IT'S AN OPPORTUNITY

23:27.439 --> 23:29.775 position:10% line:80% size:80%
SPEAK OPENLY, BE KIND

23:29.875 --> 23:33.145 position:10% line:80% size:80%
AND CURRENTLY, IT'S DISPENSING

23:33.245 --> 23:37.883 position:10% line:80% size:80%
THAT ARE A FACT-SIMILES OF A

23:37.983 --> 23:42.154 position:10% line:80% size:80%
A ONE SIDED CONVERSATION FROM A

23:42.254 --> 23:49.461 position:10% line:80% size:80%
RESPONDING TO THEIR ADVANCES

23:49.561 --> 23:53.732 position:10% line:80% size:80%
AND CRAZIER AND A LITTLE MORE

23:53.832 --> 23:57.169 position:10% line:80% size:80%
LIKE MOST OF MY WORK, SOMETHING

23:57.269 --> 23:58.970 position:10% line:80% size:80%
WHETHER OR NOT

23:59.070 --> 24:00.639 position:10% line:80% size:80%
IT'S EITHER PRETTY

24:00.739 --> 24:04.242 position:10% line:80% size:80%
A LITTLE ONE LINER OR IT'S

24:04.342 --> 24:06.711 position:10% line:80% size:80%
THE "MODEST MANUAL FOR LIVING"

24:06.812 --> 24:08.513 position:10% line:80% size:80%
PERENNIAL FAVORITE.

24:08.613 --> 24:13.218 position:10% line:80% size:80%
IT'S ONE THAT IS, ON THE ONE

24:13.318 --> 24:17.289 position:10% line:80% size:80%
ONE LINER BECAUSE ON THE INSIDE

24:17.389 --> 24:20.859 position:10% line:80% size:80%
"INHALE" AND "EXHALE" WHICH IS

24:20.959 --> 24:23.795 position:10% line:80% size:80%
TO LIVE.

24:23.895 --> 24:27.566 position:10% line:80% size:80%
THE TERM "VENDING" HAS SOME VERY

24:27.666 --> 24:29.634 position:10% line:80% size:80%
AND IT COMES WITH THIS

24:29.734 --> 24:33.038 position:10% line:80% size:80%
PROFIT AND LOSS AND MARGINS AND

24:33.138 --> 24:35.273 position:10% line:80% size:80%
THEN YOU SPEND AND HONESTLY,

24:35.373 --> 24:38.009 position:10% line:80% size:80%
I AM NOT EARNING MORE MANY

24:38.109 --> 24:42.681 position:10% line:80% size:80%
AN UN-CAPITALISTIC,

24:42.781 --> 24:44.983 position:10% line:80% size:80%
IT IS AN ART FOR ART'S

24:55.393 --> 25:00.098 position:10% line:80% size:80%
Rhea: THAT'S ALL FOR TONIGHT,

25:00.198 --> 25:03.835 position:10% line:80% size:80%
AND DON'T FORGET TO FOLLOW

25:03.935 --> 25:07.939 position:10% line:80% size:80%
AND IN KEEPING WITH OUR "TECH"

25:08.039 --> 25:11.810 position:10% line:80% size:80%
WATCH MORE SHOWS ONLINE

25:11.910 --> 25:15.180 position:10% line:80% size:80%
SIMPLY DOWNLOAD

25:15.280 --> 25:17.516 position:10% line:80% size:80%
I'M RHEA FEIKIN AND

25:17.616 --> 25:19.117 position:10% line:80% size:80%
THANKS FOR WATCHING!

25:21.686 --> 25:23.388 position:10% line:80% size:80%
Announcer: ARTWORKS IS MADE

25:23.488 --> 25:25.724 position:10% line:80% size:80%
BY THE CITIZENS

25:30.462 --> 25:33.098 position:10% line:80% size:80%
CLOSED CAPTIONING HAS BEEN MADE

25:33.198 --> 25:35.500 position:10% line:80% size:80%
EMPOWERING THOSE WITH HEARING

25:35.600 --> 25:37.269 position:10% line:80% size:80%
TO STAY CONNECTED.

25:37.369 --> 25:39.337 position:10% line:80% size:80%
*