1 00:00:00,100 --> 00:00:01,700 >> SO THERE IS ALWAYS, ALWAYS 2 00:00:01,700 --> 00:00:02,600 CHALK AND YOU CAN EXPRESS 3 00:00:02,600 --> 00:00:03,633 YOURSELF AT ANY POINT IN TIME. 4 00:00:03,633 --> 00:00:06,033 THAT'S WHAT IT'S THERE FOR. 5 00:00:06,033 --> 00:00:08,333 >> I SAID THAT I DIDN'T PAINT 6 00:00:08,333 --> 00:00:10,333 ANYTHING, I JUST UNCOVER MURALS. 7 00:00:10,333 --> 00:00:12,500 SO WHEN YOU SEE THE MURAL, 8 00:00:12,500 --> 00:00:13,633 YOU'RE JUST SEEING YOURSELF AND 9 00:00:13,633 --> 00:00:15,200 THE COMMUNITY AROUND. 10 00:00:15,200 --> 00:00:21,066 >> TERRI: AS YOU DRIVE THROUGH 11 00:00:21,066 --> 00:00:22,100 THE CHARLOTTESVILLE AREA, 12 00:00:22,100 --> 00:00:22,733 DO YOU EVER WONDER WHO IS 13 00:00:22,733 --> 00:00:24,066 RESPONSIBLE FOR THE COLORFUL AND 14 00:00:24,066 --> 00:00:25,300 DIVERSE ARTWORK YOU SEE PAINTED 15 00:00:25,300 --> 00:00:26,333 ON THE WALLS AND BUILDINGS AND 16 00:00:26,333 --> 00:00:27,666 SCHOOLS AND BUSINESSES IN OUR 17 00:00:27,666 --> 00:00:29,566 COMMUNITY? 18 00:00:29,566 --> 00:00:30,866 JOIN US TODAY AS WE CHECK OUT 19 00:00:30,866 --> 00:00:31,500 THE CHARLOTTESVILLE MURAL 20 00:00:31,500 --> 00:00:31,833 PROJECT. 21 00:00:31,833 --> 00:00:38,333 COME ON! 22 00:00:38,333 --> 00:00:39,300 >> ALAN, HOW DID THE 23 00:00:39,300 --> 00:00:40,200 CHARLOTTESVILLE MURAL PROJECT 24 00:00:40,200 --> 00:00:42,600 GET STARTED? 25 00:00:42,600 --> 00:00:43,766 >> WELL, THE CHARLOTTESVILLE 26 00:00:43,766 --> 00:00:45,566 MURAL PROJECT IT'S EXISTED FOR 27 00:00:45,566 --> 00:00:49,166 THE BETTER PART OF A DECADE NOW 28 00:00:49,166 --> 00:00:50,033 AND IT WAS STARTED BY ROSS 29 00:00:50,033 --> 00:00:50,900 MCDERMOTT HERE AT THE BRIDGE 30 00:00:50,900 --> 00:00:51,566 UNDER THE LEADERSHIP OF GREG 31 00:00:51,566 --> 00:00:57,033 KELLY AS JUST A JUST A REALLY 32 00:00:57,033 --> 00:01:00,100 PURE EFFORT TO BEAUTIFY 33 00:01:00,100 --> 00:01:01,966 CHARLOTTESVILLE AND GET SOME 34 00:01:01,966 --> 00:01:02,933 AMAZING COLORS ON WALLS AND TO 35 00:01:02,933 --> 00:01:06,900 MAKE OUR COMMUNITY MORE VIBRANT. 36 00:01:06,900 --> 00:01:11,500 AND TO HIGHLIGHT THE WORK OF 37 00:01:11,500 --> 00:01:12,900 SOME LOCAL AND REGIONAL ARTISTS 38 00:01:12,900 --> 00:01:13,833 THAT ARE EXTREMELY TALENTED AND 39 00:01:13,833 --> 00:01:15,733 WERE DOING GREAT THINGS. 40 00:01:15,733 --> 00:01:16,766 >> TERRI: AND WHY DO YOU GET 41 00:01:16,766 --> 00:01:17,433 EXCITED ABOUT THE MURALS IN 42 00:01:17,433 --> 00:01:19,233 TOWN? 43 00:01:19,233 --> 00:01:24,933 >> I GET EXCITED ABOUT THE 44 00:01:24,933 --> 00:01:25,900 MURALS IN TOWN BECAUSE EVERY 45 00:01:25,900 --> 00:01:27,066 MURAL TELLS A DIFFERENT STORY. 46 00:01:27,066 --> 00:01:28,066 THERE'S SO MUCH OPPORTUNITY WHEN 47 00:01:28,066 --> 00:01:29,300 YOU ENGAGE IN PUBLIC ART, WHEN 48 00:01:29,300 --> 00:01:34,433 YOU WHEN YOU CREATE PUBLIC ART 49 00:01:34,433 --> 00:01:35,766 AND WHEN YOU ENGAGE AS A -- AS A 50 00:01:35,766 --> 00:01:36,933 SPECTATOR OR A PATRON OR, YOU 51 00:01:36,933 --> 00:01:39,000 KNOW, WHATEVER, JUST AN AVERAGE 52 00:01:39,000 --> 00:01:43,500 JOE, THERE'S SO MUCH OPPORTUNITY 53 00:01:43,500 --> 00:01:44,333 TO LEARN AND APPRECIATE THE 54 00:01:44,333 --> 00:01:45,200 DIFFERENT PERSPECTIVES THAT 55 00:01:45,200 --> 00:01:47,366 EXISTS WITHIN YOUR COMMUNITY. 56 00:01:47,366 --> 00:01:49,933 >> TERRI: SO YOU HAVE THE MURAL 57 00:01:49,933 --> 00:01:54,100 THAT'S HERE AT THE BRIDGE, 58 00:01:54,100 --> 00:01:59,600 THAT'S THE FACE OF THE BRIDGE 59 00:01:59,600 --> 00:02:00,633 THEN YOU HAVE THE MURAL THAT'S 60 00:02:00,633 --> 00:02:01,033 ON THE SIDE. 61 00:02:01,033 --> 00:02:01,833 TELL US A LITTLE ABOUT THIS ONE. 62 00:02:01,833 --> 00:02:02,866 >> WE KIND OF THINK OF IT AS OUR 63 00:02:02,866 --> 00:02:03,733 SORT OF COMMUNITY FACING MURAL. 64 00:02:03,733 --> 00:02:04,366 IT'S OUR INVITATION TO THE 65 00:02:04,366 --> 00:02:09,100 COMMUNITY TO BE A PART OF WHAT 66 00:02:09,100 --> 00:02:10,200 WE'RE DOING HERE AND TO -- TO 67 00:02:10,200 --> 00:02:10,766 COLLABORATIVE PROCESS. 68 00:02:10,766 --> 00:02:11,500 >> SHE HAS A PIECE OF CHALK, AND 69 00:02:11,500 --> 00:02:12,333 SHE HAS SOMETHING TO SAY. 70 00:02:12,333 --> 00:02:13,400 SO SHE'S GOING TO CLIMB UP TO 71 00:02:13,400 --> 00:02:15,466 THE TOP TO PUT HER MARK. 72 00:02:15,466 --> 00:02:16,566 THE ONLY PART OF THE MURAL 73 00:02:16,566 --> 00:02:19,100 THAT'S PERMANENT IS THE GIRL ON 74 00:02:19,100 --> 00:02:20,233 THE LADDER WITH THE HANDS OF THE 75 00:02:20,233 --> 00:02:20,666 BOTTOM. 76 00:02:20,666 --> 00:02:23,800 SO THAT'S DRAWN IN PAINT. 77 00:02:23,800 --> 00:02:24,766 EVERYTHING ELSE IS CHALK, AND 78 00:02:24,766 --> 00:02:25,833 EVERYTHING ELSE MUTATES. 79 00:02:25,833 --> 00:02:33,366 IN TERMS OF INVITING PEOPLE TO 80 00:02:33,366 --> 00:02:34,233 ADD THEMSELVES TO MY WORK 81 00:02:34,233 --> 00:02:34,933 THAT'S BEEN A LITTLE BIT OF A 82 00:02:34,933 --> 00:02:35,666 STRUGGLE AS SOON AS I HOOKED UP 83 00:02:35,666 --> 00:02:36,400 THE BRIDGE THAT JUST GOT FIGURED 84 00:02:36,400 --> 00:02:37,100 OUT IMMEDIATELY BECAUSE THAT'S 85 00:02:37,100 --> 00:02:37,533 WHAT THEY DO. 86 00:02:37,533 --> 00:02:38,400 THEY CONNECT PEOPLE. 87 00:02:38,400 --> 00:02:40,100 >> TERRI: APPROXIMATELY, HOW 88 00:02:40,100 --> 00:02:41,100 MANY MURALS HAVE YOU ALL CREATED 89 00:02:41,100 --> 00:02:42,133 SINCE IT STARTED? 90 00:02:42,133 --> 00:02:44,300 >> IT'S HARD TO KEEP TRACK. 91 00:02:44,300 --> 00:02:46,533 I WANT TO SAY SOMEWHERE IN THE 92 00:02:46,533 --> 00:02:49,400 REALM OF 20-25 AT THIS POINT. 93 00:02:49,400 --> 00:02:50,766 >> TERRI: AND MENTION SOME, 94 00:02:50,766 --> 00:02:51,766 THEY'RE ALL OVER THE COMMUNITY. 95 00:02:51,766 --> 00:02:53,366 >> MAYBE THE BIGGEST ONE THAT'S 96 00:02:53,366 --> 00:02:54,500 MAYBE THE MOST PROMINENT MIGHT 97 00:02:54,500 --> 00:02:56,166 BE THE DAVID GUINN AND RITA DOVE 98 00:02:56,166 --> 00:02:57,066 COLLABORATION THAT'S ON THE 99 00:02:57,066 --> 00:02:57,766 GRADUATE HOTEL. 100 00:02:57,766 --> 00:03:01,533 NEAR THE UNIVERSITY. 101 00:03:01,533 --> 00:03:04,300 THAT'S A REALLY BIG ONE. 102 00:03:04,300 --> 00:03:08,133 >> TERRI: RIGHT. 103 00:03:08,133 --> 00:03:10,033 >> WE'VE DONE SOME EXCELLENT 104 00:03:10,033 --> 00:03:10,733 PIECES ON SOME RETAINING WALLS 105 00:03:10,733 --> 00:03:11,766 IN TOWN INCLUDING THE BARRACKS 106 00:03:11,766 --> 00:03:12,933 ROAD WALL. 107 00:03:12,933 --> 00:03:14,033 >> TERRI: THERE'S ANOTHER MURAL 108 00:03:14,033 --> 00:03:14,700 THAT'S OVER RIGHT AROUND THE 109 00:03:14,700 --> 00:03:15,400 CORNER FROM THAT ON GEORGETOWN 110 00:03:15,400 --> 00:03:16,100 AND HYDRAULIC THAT WAS PART OF 111 00:03:16,100 --> 00:03:16,866 ALBEMARLE HIGH SCHOOL'S PROJECT. 112 00:03:16,866 --> 00:03:18,100 >> YEAH. 113 00:03:18,100 --> 00:03:19,100 >> TERRI: TELL US A LITTLE ABOUT 114 00:03:19,100 --> 00:03:20,400 THAT. 115 00:03:20,400 --> 00:03:21,633 >> IT'S SORT OF ONE CONCEPT, ONE 116 00:03:21,633 --> 00:03:23,233 MURAL THAT SPANS TWO WALLS. 117 00:03:23,233 --> 00:03:26,400 WE HAD A LOT OF FUN GETTING THE 118 00:03:26,400 --> 00:03:31,666 ALBEMARLE HIGH SCHOOL STUDENTS 119 00:03:31,666 --> 00:03:32,833 INVOLVED IN THAT PROCESS -- BOTH 120 00:03:32,833 --> 00:03:33,966 ARTISTS, DETERMINING WHAT SHOULD 121 00:03:33,966 --> 00:03:35,133 GO ON THE WALL AND WHAT IT 122 00:03:35,133 --> 00:03:35,833 SHOULD MEAN TO THE SURROUNDING 123 00:03:35,833 --> 00:03:37,300 COMMUNITY. 124 00:03:37,300 --> 00:03:40,033 THE STUDENTS WORKED CLOSELY WITH 125 00:03:40,033 --> 00:03:45,133 EMILY HERR AND ELEANOR DOUGHTY 126 00:03:45,133 --> 00:03:46,266 TO PHOTOGRAPH FELLOW CLASSMATES 127 00:03:46,266 --> 00:03:47,833 AND CREATE AN ACCURATE AND 128 00:03:47,833 --> 00:03:49,800 DIVERSE REPRESENTATION OF THEIR 129 00:03:49,800 --> 00:03:50,866 STUDENT COMMUNITY AND THE 130 00:03:50,866 --> 00:03:51,566 BROADER COMMUNITY SURROUNDING 131 00:03:51,566 --> 00:03:53,766 THEIR SCHOOL. 132 00:03:53,766 --> 00:03:54,700 AND THEN THE STUDENTS CAME OUT 133 00:03:54,700 --> 00:04:00,933 AND EVEN HELPED PAINT HELP TO 134 00:04:00,933 --> 00:04:02,133 PUT THE ACTUAL COLORS ONTO THE 135 00:04:02,133 --> 00:04:02,433 WALL. 136 00:04:02,433 --> 00:04:03,166 WHICH WAS WHICH WAS THRILLING TO 137 00:04:03,166 --> 00:04:03,933 WATCH. 138 00:04:03,933 --> 00:04:05,100 >> TERRI: OH, THEN, YOU KNOW, 139 00:04:05,100 --> 00:04:05,700 AND THAT'S SO IMPORTANT. 140 00:04:05,700 --> 00:04:06,433 A BIG PART OF THE MURAL PROJECT 141 00:04:06,433 --> 00:04:07,233 IS THAT YOU ALL PARTNER IN THE 142 00:04:07,233 --> 00:04:08,100 COMMUNITY WITH A LOT OF 143 00:04:08,100 --> 00:04:09,100 DIFFERENT GROUPS AND A LOT OF 144 00:04:09,100 --> 00:04:11,400 SCHOOLS. 145 00:04:11,400 --> 00:04:15,333 >> THERE'S SO MUCH OPPORTUNITY 146 00:04:15,333 --> 00:04:17,766 FOR CIVIC ENGAGEMENT BUILT INTO 147 00:04:17,766 --> 00:04:19,233 THE MURAL PROCESS, KNOWING THAT 148 00:04:19,233 --> 00:04:20,233 A MURAL IS GOING TO BE SUCH, YOU 149 00:04:20,233 --> 00:04:20,966 KNOW, A BIG PUBLIC THING IN THE 150 00:04:20,966 --> 00:04:21,633 COMMUNITY, THERE'S A LOT TO 151 00:04:21,633 --> 00:04:23,733 THINK ABOUT. 152 00:04:23,733 --> 00:04:29,600 WHEN WE HAVE THE OPPORTUNITY TO 153 00:04:29,600 --> 00:04:30,533 ENGAGE STUDENTS AND ADULTS ALIKE 154 00:04:30,533 --> 00:04:31,533 IN THE PROCESS OF DISCUSSING 155 00:04:31,533 --> 00:04:32,600 WHAT SHOULD GO ON A WALL AND WHO 156 00:04:32,600 --> 00:04:33,300 OR WHAT SHOULD BE REPRESENTED 157 00:04:33,300 --> 00:04:33,600 AND -- 158 00:04:33,600 --> 00:04:34,766 >> TERRI: RIGHT. 159 00:04:34,766 --> 00:04:36,700 >> -- TELLING THE STORY OF THE 160 00:04:36,700 --> 00:04:38,700 COMMUNITY. 161 00:04:38,700 --> 00:04:39,633 THAT'S A BEAUTIFUL THING. 162 00:04:39,633 --> 00:04:45,833 THAT'S AN OPPORTUNITY THAT WE 163 00:04:45,833 --> 00:04:47,566 WANT TO CAPITALIZE ON THAT AND 164 00:04:47,566 --> 00:04:48,266 ENCOURAGE PEOPLE TO ENGAGE AND 165 00:04:48,266 --> 00:04:49,000 BE A PART OF THEIR COMMUNITY AND 166 00:04:49,000 --> 00:04:49,733 GROW SOMETHING VIBRANT TOGETHER. 167 00:04:49,733 --> 00:04:50,433 >> YOU SEE IT AND IT GIVES YOU 168 00:04:50,433 --> 00:04:51,166 MORE VIEW OF HOW CHARLOTTESVILLE 169 00:04:51,166 --> 00:04:51,866 HOW OVERALL VIRGINIA IS WE ALL 170 00:04:51,866 --> 00:04:52,533 HAVE DIFFERENT BACKGROUNDS. 171 00:04:52,533 --> 00:04:55,566 WE COME FROM DIFFERENT PLACES, 172 00:04:55,566 --> 00:04:57,200 BUT STILL WE'RE EQUAL AS PEOPLE 173 00:04:57,200 --> 00:04:59,033 AND IT'S REALLY AMAZING THAT WE 174 00:04:59,033 --> 00:05:02,333 GET OUR OWN MURAL AND WE GET TO 175 00:05:02,333 --> 00:05:03,333 SHOW THAT WE'RE DIFFERENT BUT 176 00:05:03,333 --> 00:05:05,066 STILL THE SAME. 177 00:05:05,066 --> 00:05:06,333 >> WE USE ACTUALLY RED AND 178 00:05:06,333 --> 00:05:07,033 GREEN. 179 00:05:07,033 --> 00:05:09,333 WE JUST MIX THEM UP. 180 00:05:09,333 --> 00:05:10,366 I DON'T KNOW WHAT THEY MAKE, BUT 181 00:05:10,366 --> 00:05:13,966 I JUST MIX IT UP. 182 00:05:13,966 --> 00:05:15,233 THE THINGS WE DONE IT I THINK IS 183 00:05:15,233 --> 00:05:16,766 AMAZING. 184 00:05:16,766 --> 00:05:18,500 IF I BE LIKE PART OF SOMETHING 185 00:05:18,500 --> 00:05:19,533 AND THIS THING IS GOING TO MAKE 186 00:05:19,533 --> 00:05:23,433 PEOPLE HAPPY WHEN THEY LOOK AT 187 00:05:23,433 --> 00:05:25,633 IT, THEN WHEN I TELL MY FRIEND, 188 00:05:25,633 --> 00:05:26,366 I JUST PART OF THIS PROJECT, SO 189 00:05:26,366 --> 00:05:26,933 LIKE PROUD ABOUT THEM. 190 00:05:26,933 --> 00:05:27,633 >> THESE ARE STUDENTS WHO ARE 191 00:05:27,633 --> 00:05:29,133 16-17 YEARS OLD. 192 00:05:29,133 --> 00:05:30,933 THEY'RE ON THE CUSP OF GOING OUT 193 00:05:30,933 --> 00:05:31,933 INTO THE COMMUNITY AS YOUNG 194 00:05:31,933 --> 00:05:36,600 CITIZENS AND RESIDENTS. 195 00:05:36,600 --> 00:05:37,633 THEY WANTED TO RESPOND TO THE 196 00:05:37,633 --> 00:05:39,833 CURRENT NARRATIVE OF THE 197 00:05:39,833 --> 00:05:44,466 MONUMENTS IN OUR COMMUNITY AND 198 00:05:44,466 --> 00:05:45,966 WE LOOKED AT MURALS AS ONE WAY 199 00:05:45,966 --> 00:05:47,000 TO SORT OF TELL A STORY IN THE 200 00:05:47,000 --> 00:05:47,733 COMMUNITY, TO MEMORIALIZE EVENTS 201 00:05:47,733 --> 00:05:48,366 THAT HAVE HAPPENED IN THE 202 00:05:48,366 --> 00:05:49,666 COMMUNITY AND CREATE A MONUMENT 203 00:05:49,666 --> 00:05:51,200 TO SOMETHING IN THE COMMUNITY. 204 00:05:51,200 --> 00:05:53,700 >> TERRI: SO TALK ABOUT THE 205 00:05:53,700 --> 00:05:54,900 DIFFERENT TECHNIQUES THAT THE 206 00:05:54,900 --> 00:05:55,566 ARTISTS USE TO CREATE THESE 207 00:05:55,566 --> 00:05:56,200 MURALS. 208 00:05:56,200 --> 00:05:57,033 IS IT ALL JUST PAINT WITH A 209 00:05:57,033 --> 00:05:59,266 BRUSH OR -- 210 00:05:59,266 --> 00:06:00,400 >> WE'VE GOT ARTISTS THAT WILL 211 00:06:00,400 --> 00:06:02,466 USE SPRAY CANS. 212 00:06:02,466 --> 00:06:03,466 WE'VE GOT ARTISTS THAT WILL USE 213 00:06:03,466 --> 00:06:05,133 PAINT BRUSHES. 214 00:06:05,133 --> 00:06:05,966 WE'VE GOT, YOU KNOW, PAINT 215 00:06:05,966 --> 00:06:07,000 ROLLERS, AND SOMETIMES ALL 216 00:06:07,000 --> 00:06:08,433 THREE. 217 00:06:08,433 --> 00:06:10,733 SOMETIMES ARTISTS USE STENCILS 218 00:06:10,733 --> 00:06:11,633 TO GET A SHAPE ON THE WALL AND 219 00:06:11,633 --> 00:06:12,666 THEN GO BACK AND ADD DETAIL 220 00:06:12,666 --> 00:06:14,233 LATER. 221 00:06:14,233 --> 00:06:15,933 A LOT OF TIMES THEY'LL USE A 222 00:06:15,933 --> 00:06:17,733 VIDEO PROJECTOR. 223 00:06:17,733 --> 00:06:18,766 THEY'LL GO OUT AT NIGHT, THEY'LL 224 00:06:18,766 --> 00:06:22,666 VIDEO PROJECT AN IMAGE ON A WALL 225 00:06:22,666 --> 00:06:24,533 AND THEY'LL TRACE IT OR IN THE 226 00:06:24,533 --> 00:06:25,233 CASE OF CHICHO WHERE HE OUT ON 227 00:06:25,233 --> 00:06:26,066 BARRACKS ROAD, CHICHO JUST GOES 228 00:06:26,066 --> 00:06:29,666 OUT THERE FREEHAND AND STARTS 229 00:06:29,666 --> 00:06:30,600 SKETCHING IT ON -- HE GRABS A 230 00:06:30,600 --> 00:06:31,833 CAN OF BROWN PAINT AND STARTS 231 00:06:31,833 --> 00:06:32,500 JUST PUTTING A SKETCH ON THE 232 00:06:32,500 --> 00:06:38,133 WALL. 233 00:06:38,133 --> 00:06:40,500 WATCHING THIS PROCESS UNFOLD OUR 234 00:06:40,500 --> 00:06:41,200 JAW JUST DROPS, YOU KNOW LIKE 235 00:06:41,200 --> 00:06:41,866 HOW DOES HE DO IT, LIKE HOW? 236 00:06:41,866 --> 00:06:42,300 IT'S AMAZING. 237 00:06:42,300 --> 00:06:43,000 >> TERRI: AND EVERYONE GETS TO 238 00:06:43,000 --> 00:06:43,300 WATCH. 239 00:06:43,300 --> 00:06:43,933 >> YEAH, YEAH, AND SO LIKE 240 00:06:43,933 --> 00:06:44,666 THERE'S NO WRONG WAY TO PAINT A 241 00:06:44,666 --> 00:06:44,966 MURAL. 242 00:06:44,966 --> 00:06:45,666 AS LONG AS IT LOOKS AWESOME AT 243 00:06:45,666 --> 00:06:48,800 THE END. 244 00:06:48,800 --> 00:06:50,500 >> TERRI: WHAT IS THIS RESPONSE 245 00:06:50,500 --> 00:06:51,166 FROM THE COMMUNITY ABOUT ALL 246 00:06:51,166 --> 00:06:51,766 THESE BEAUTIFUL MURALS? 247 00:06:51,766 --> 00:06:53,066 >> NOT EVERYONE LOVES EVERY ART 248 00:06:53,066 --> 00:06:55,133 PIECE, BUT WE STRIVE TO BE AS 249 00:06:55,133 --> 00:06:56,633 INCLUSIVE AND AS RELEVANT AS 250 00:06:56,633 --> 00:07:02,566 POSSIBLE WITH ARTWORK. 251 00:07:02,566 --> 00:07:03,800 WE DO EVERYTHING WE CAN TO 252 00:07:03,800 --> 00:07:06,200 INCORPORATE A WIDE RANGE OF 253 00:07:06,200 --> 00:07:09,966 PERSPECTIVES AND CROSS OUR 254 00:07:09,966 --> 00:07:11,966 FINGERS AND HOPE -- HOPE THE 255 00:07:11,966 --> 00:07:12,666 COMMUNITY ACCEPTS IT AS THEIR 256 00:07:12,666 --> 00:07:12,933 OWN. 257 00:07:12,933 --> 00:07:13,600 IN MOST CASES, THEY HAVE NO 258 00:07:13,600 --> 00:07:14,033 REASON NOT TO. 259 00:07:14,033 --> 00:07:14,666 BECAUSE A LOT OF TIMES THE 260 00:07:14,666 --> 00:07:15,966 COMMUNITY IS HELPING OR THE 261 00:07:15,966 --> 00:07:21,400 COMMUNITY IS INVOLVED IN THE 262 00:07:21,400 --> 00:07:24,433 ARTIST VETTING PROCESS, OR THEY 263 00:07:24,433 --> 00:07:26,733 HAVE GONE TO MEETINGS TO DISCUSS 264 00:07:26,733 --> 00:07:27,866 WHAT THEY WANT TO INCLUDE IN 265 00:07:27,866 --> 00:07:29,100 THAT CALL FOR ARTISTS. 266 00:07:29,100 --> 00:07:31,533 SO WE LOVE TO TELL A STORY THAT 267 00:07:31,533 --> 00:07:32,433 GOES BEYOND THE IMAGERY ON THE 268 00:07:32,433 --> 00:07:35,800 WALL. 269 00:07:35,800 --> 00:07:38,000 WE LOVE TO TELL A STORY THAT 270 00:07:38,000 --> 00:07:38,733 INCLUDES THE PROCESS OF THAT ART 271 00:07:38,733 --> 00:07:40,233 GOING UP AS WELL. 272 00:07:40,233 --> 00:07:43,233 >> IT IS COOL TO WORK IN VIEW OF 273 00:07:43,233 --> 00:07:45,200 ALL THE PEOPLE BECAUSE IT IS 274 00:07:45,200 --> 00:07:48,833 TOTALLY ALIVE. 275 00:07:48,833 --> 00:07:50,633 THAT MUTUAL INSPIRATION, IT IS 276 00:07:50,633 --> 00:07:53,700 PURE, IS HAPPENING ALL THE TIME. 277 00:07:53,700 --> 00:07:57,833 UM, I'M PAINTING THIS AND 278 00:07:57,833 --> 00:08:01,833 SOMEBODY IS TELLING ME, OH, YOU 279 00:08:01,833 --> 00:08:03,500 SHOULD PAINT THAT, AND I'M LUCKY 280 00:08:03,500 --> 00:08:05,233 ENOUGH TO KEEP MYSELF OPEN TO 281 00:08:05,233 --> 00:08:08,866 CHANGE THINGS AND NOT BE VERY 282 00:08:08,866 --> 00:08:10,133 STRICT TO THE -- TO THE SKETCH. 283 00:08:10,133 --> 00:08:12,066 SOMEBODY CAME AND MADE SOME 284 00:08:12,066 --> 00:08:13,133 SIGNATURES, GRAFFITI ON THE 285 00:08:13,133 --> 00:08:15,933 PANTS OF SOME CHARACTER. 286 00:08:15,933 --> 00:08:16,933 SO WHEN I SAW THAT, I THOUGHT, 287 00:08:16,933 --> 00:08:18,200 OKAY, WELL, THIS PERSON IS 288 00:08:18,200 --> 00:08:21,166 PROBABLY A NEIGHBOR. 289 00:08:21,166 --> 00:08:25,966 AND ALSO, IF THE CONCEPT OF A 290 00:08:25,966 --> 00:08:27,033 MURAL IS MUTUAL INSPIRATION, 291 00:08:27,033 --> 00:08:27,866 THEN THIS SHOULD BE INCLUDED 292 00:08:27,866 --> 00:08:34,266 SOMEHOW. 293 00:08:34,266 --> 00:08:35,733 SO WHAT I DID JUST WAS TO 294 00:08:35,733 --> 00:08:36,966 INCLUDE THAT SIGNATURE IN THE 295 00:08:36,966 --> 00:08:52,066 PATTERNS OF THE PANTS. 296 00:08:52,066 --> 00:08:53,633 ♪♪♪ 297 00:08:53,633 --> 00:08:54,533 >> TERRI: THERE'S A MURAL IN 298 00:08:54,533 --> 00:08:57,000 BELMONT, ON MONTICELLO ROAD, 299 00:08:57,000 --> 00:08:58,000 IT'S THE WORKING HISTORY MURAL? 300 00:08:58,000 --> 00:08:58,533 TALK ABOUT THAT ONE. 301 00:08:58,533 --> 00:08:59,233 >> YEAH. 302 00:08:59,233 --> 00:09:00,566 WE HAD A BUILDING OWNER WHO WAS 303 00:09:00,566 --> 00:09:01,466 EXCITED. 304 00:09:01,466 --> 00:09:02,533 A BUILDING OWNER WHO WAS VERY 305 00:09:02,533 --> 00:09:03,266 FLEXIBLE, VERY, VERY 306 00:09:03,266 --> 00:09:03,800 ACCOMMODATING. 307 00:09:03,800 --> 00:09:05,366 AND VERY -- 308 00:09:05,366 --> 00:09:06,400 >> TERRI: WE'LL JUST CALL HIM 309 00:09:06,400 --> 00:09:09,233 JOE. 310 00:09:09,233 --> 00:09:09,666 >> RIGHT? 311 00:09:09,666 --> 00:09:10,466 YEAH, WE'LL CALL HIM JOE. 312 00:09:10,466 --> 00:09:11,366 JOE, JOE HAD, YOU KNOW, REALLY, 313 00:09:11,366 --> 00:09:12,900 REALLY WANTED TO JUST LIKE 314 00:09:12,900 --> 00:09:13,900 EMPOWER AN ARTIST BY GIVING AN 315 00:09:13,900 --> 00:09:16,066 ARTIST SPACE TO DO WORK. 316 00:09:16,066 --> 00:09:20,166 WE KIND OF COAXED SOME IDEAS OUT 317 00:09:20,166 --> 00:09:21,100 OF JOE. 318 00:09:21,100 --> 00:09:22,566 JOE THOUGHT TO HIMSELF, YOU 319 00:09:22,566 --> 00:09:26,000 KNOW, YOU KNOW, WE'VE GOT WE'VE 320 00:09:26,000 --> 00:09:26,966 GOT A LOT OF HISTORY HERE IN 321 00:09:26,966 --> 00:09:27,800 BELMONT IN THE TRADES AND IN 322 00:09:27,800 --> 00:09:30,966 MANUFACTURING AND SKILLED LABOR. 323 00:09:30,966 --> 00:09:31,900 AND WHO KNOWS, MAYBE THAT'S A 324 00:09:31,900 --> 00:09:36,566 GOOD MOTIVATION. 325 00:09:36,566 --> 00:09:39,300 AND THE ARTISTS LOVED IT. 326 00:09:39,300 --> 00:09:42,200 THE ARTISTS RAN WITH IT, WAS 327 00:09:42,200 --> 00:09:43,900 SUPER EXCITED ABOUT THAT CONCEPT 328 00:09:43,900 --> 00:09:44,633 AND ENDED UP CREATING SOMETHING 329 00:09:44,633 --> 00:09:45,233 REALLY STUNNING, REALLY 330 00:09:45,233 --> 00:09:45,600 BEAUTIFUL. 331 00:09:45,600 --> 00:09:48,066 WE CAN'T DO THE MURAL PROJECT 332 00:09:48,066 --> 00:09:49,400 WITHOUT ALL OF OUR VOLUNTEERS. 333 00:09:49,400 --> 00:09:50,500 WE ALSO CAN'T DO IT WITHOUT THE 334 00:09:50,500 --> 00:09:51,233 FOLKS WHO OPEN UP THEIR WALLETS 335 00:09:51,233 --> 00:09:52,600 AND SAY, I LOVE ART. 336 00:09:52,600 --> 00:09:54,500 I LOVE WHAT THE MURAL PROJECT IS 337 00:09:54,500 --> 00:09:56,966 DOING AND I WANT TO HELP GET 338 00:09:56,966 --> 00:09:57,833 THAT AMAZING ARTIST ON THAT 339 00:09:57,833 --> 00:09:58,833 WALL. 340 00:09:58,833 --> 00:10:00,433 >> TERRI: THE LOGISTICS, TOO. 341 00:10:00,433 --> 00:10:01,766 I MEAN, YOU HAVE -- YOU HAVE TO 342 00:10:01,766 --> 00:10:02,533 GET PERMISSION. 343 00:10:02,533 --> 00:10:04,800 >> THERE'S NO PLAYBOOK FOR THIS, 344 00:10:04,800 --> 00:10:06,466 WE TRY TO SORT IT OUT AS WE GO 345 00:10:06,466 --> 00:10:07,566 AND TRY TO MAKE THE RIGHT MOVES 346 00:10:07,566 --> 00:10:08,200 AND CONNECT WITH THE RIGHT 347 00:10:08,200 --> 00:10:09,200 PEOPLE AND GET THE RIGHT 348 00:10:09,200 --> 00:10:10,266 PARTNERS INVOLVED AND HOPE FOR 349 00:10:10,266 --> 00:10:11,233 THE BEST. 350 00:10:11,233 --> 00:10:12,233 WITH EACH MURAL WE'RE LOOKING AT 351 00:10:12,233 --> 00:10:15,866 A DIFFERENT SET OF PARTNERS, 352 00:10:15,866 --> 00:10:17,933 WE'RE LOOKING AT SCHOOLS, WE'RE 353 00:10:17,933 --> 00:10:21,266 LOOKING AT COMMUNITY CENTERS 354 00:10:21,266 --> 00:10:22,833 WE'RE LOOKING AT SOCIAL SERVICES 355 00:10:22,833 --> 00:10:23,700 ORGANIZATIONS LIKE THE HAVEN, 356 00:10:23,700 --> 00:10:24,966 NEW CITY ARTS IS A CRUCIAL PART 357 00:10:24,966 --> 00:10:25,700 OF THE PAINT AND POETRY MURALS. 358 00:10:25,700 --> 00:10:31,033 >> TERRI: WHAT DO YOU WANT FOR 359 00:10:31,033 --> 00:10:34,466 THE FUTURE FOR THE FOR THE 360 00:10:34,466 --> 00:10:35,633 MURAL PROJECT, WHAT DO YOU SEE? 361 00:10:35,633 --> 00:10:36,200 WHAT DO YOU HOPE FOR? 362 00:10:36,200 --> 00:10:37,566 >> ULTIMATELY, MY HOPE FOR THE 363 00:10:37,566 --> 00:10:38,766 MURAL PROJECT IS THAT IT 364 00:10:38,766 --> 00:10:40,066 CONTINUES TO HAVE A BIGGER 365 00:10:40,066 --> 00:10:44,100 IMPACT, BUT ALSO AN INCREASINGLY 366 00:10:44,100 --> 00:10:46,466 RELEVANT IMPACT THAT WE CONTINUE 367 00:10:46,466 --> 00:10:47,600 TO FIND NEW AND MEANINGFUL WAYS 368 00:10:47,600 --> 00:10:51,900 TO CONNECT WITH COMMUNITIES AND 369 00:10:51,900 --> 00:10:52,566 LISTEN. 370 00:10:52,566 --> 00:10:54,866 I THINK THAT AS AN ORGANIZATION 371 00:10:54,866 --> 00:10:56,066 THAT PUTS ART IN PUBLIC WE HAVE 372 00:10:56,066 --> 00:10:58,833 A RESPONSIBILITY TO DO SO. 373 00:10:58,833 --> 00:10:59,700 WE HAVE A RESPONSIBILITY TO DO 374 00:10:59,700 --> 00:11:03,633 WORK THAT'S RELEVANT TO 375 00:11:03,633 --> 00:11:05,866 COMMUNITIES THAT -- THAT 376 00:11:05,866 --> 00:11:10,400 LISTENS, THAT KNOWS WHEN TO PUMP 377 00:11:10,400 --> 00:11:11,333 THE BRAKES AND KNOWS WHEN TO GO 378 00:11:11,333 --> 00:11:16,500 FULL STEAM AHEAD. 379 00:11:16,500 --> 00:11:20,633 SO WE'RE ALWAYS LEARNING AND WE 380 00:11:20,633 --> 00:11:22,566 ULTIMATELY -- I JUST HOPE THE 381 00:11:22,566 --> 00:11:23,266 MURAL PROJECT CONTINUES TO, TO 382 00:11:23,266 --> 00:11:24,000 GROW IN A WAY THAT IS RESPECTFUL 383 00:11:24,000 --> 00:11:24,633 OF THE COMMUNITIES THAT WE 384 00:11:24,633 --> 00:11:38,266 ENGAGE. 385 00:11:38,266 --> 00:11:39,133 >> TERRI: ALAN, THANK YOU SO 386 00:11:39,133 --> 00:11:39,433 MUCH. 387 00:11:39,433 --> 00:11:40,166 >> ABSOLUTELY. 388 00:11:40,166 --> 00:11:41,200 >> THERE WAS THIS NEIGHBOR ON 389 00:11:41,200 --> 00:11:41,666 THAT WHEELCHAIR. 390 00:11:41,666 --> 00:11:42,400 AND I TOLD HIM -- HEY, I'M GOING 391 00:11:42,400 --> 00:11:43,100 TO INCLUDE YOU BECAUSE HE PASS 392 00:11:43,100 --> 00:11:43,700 BY EVERY DAY BUT THEN AS 393 00:11:43,700 --> 00:11:44,366 EVERYBODY'S FLOATING WAS THE 394 00:11:44,366 --> 00:11:50,100 POINT OF A WHEELCHAIR. 395 00:11:50,100 --> 00:11:51,000 AND SO HERE IS HIM WHAT, EH 396 00:11:51,000 --> 00:11:52,300 FLOATING AND HE LOOKS LIKE HE'S 397 00:11:52,300 --> 00:11:53,000 HAVING NO DIFFICULTY WITH HIS 398 00:11:53,000 --> 00:11:53,666 LEGS BECAUSE HE'S FLOATING. 399 00:11:53,666 --> 00:11:58,600 >> WHEN YOU HAVE A MURAL ON THE 400 00:11:58,600 --> 00:11:59,933 WALL OUTSIDE, EVERYBODY GETS TO 401 00:11:59,933 --> 00:12:00,433 EXPERIENCE IT. 402 00:12:00,433 --> 00:12:01,166 WHETHER OR NOT YOU ARE TIED WITH 403 00:12:01,166 --> 00:12:01,833 THE ART WORLD WHETHER OR NOT 404 00:12:01,833 --> 00:12:02,533 YOU'RE THE KIND OF PERSON WHO 405 00:12:02,533 --> 00:12:03,266 WOULD GO TO FIRST FRIDAYS OR TO 406 00:12:03,266 --> 00:12:03,733 A GALLERY. 407 00:12:03,733 --> 00:12:04,833 ALL YOU HAVE TO DO IS WALK DOWN 408 00:12:04,833 --> 00:12:07,266 THE STREET TO EXPERIENCE ART. 409 00:12:07,266 --> 00:12:08,433 AS SOON AS I DID THAT, I GOT 410 00:12:08,433 --> 00:12:11,166 HOOKED, HONESTLY. 411 00:12:11,166 --> 00:12:12,200 AND NOW I WANT TO DO MURALS ALL 412 00:12:12,200 --> 00:12:15,866 OVER THE CITY.