1 00:00:09,679 --> 00:00:13,315 THANK YOU. 2 00:00:13,317 --> 00:00:19,588 ON THIS EDITION OF ARTS PEZ 3 00:00:19,590 --> 00:00:22,491 BUILDING SELF-ESTEEM. ON THE BIG STAGE 4 00:00:22,493 --> 00:00:28,397 THEY TAKE THE SELF-ESTEEM AND THEIR SELF-ASSURANCE IS GOING TO 5 00:00:28,399 --> 00:00:30,232 CARRY ON. A LOOK BACK AT THE EVOLUTION OF 6 00:00:30,234 --> 00:00:32,334 SOME GROUNDBREAKING CUBAN ARTISTS 7 00:00:32,336 --> 00:00:37,539 THE EXHIBIT WAS FIRST MOUNTED WAS ORIGINALLY NINE PEOPLE BACK 8 00:00:37,541 --> 00:00:42,477 IN 1983. THE POWER OF IMAGE IN ACTIVISM 9 00:00:42,479 --> 00:00:49,418 AND LOOK AT SIRHAN OVER HIS HAND. 10 00:00:49,420 --> 00:00:55,323 THERE IS A VOLUME OF HISTORY. THE MANY WAYS OF WORKING IN 11 00:00:55,325 --> 00:00:58,927 GLASS I LOVE WORKING WITH GLASS 12 00:00:58,929 --> 00:01:02,931 BECAUSE IT'S BOTH ARTISTIC AND TECHNICAL. 13 00:01:02,933 --> 00:01:14,042 IT'S ALL AHEAD ON THIS EDITION OF ARTS. 14 00:01:14,044 --> 00:01:22,617 HI, I'M APRIL ANCIRA AND THANK YOU FOR TUNING IN FOR THIS 15 00:01:22,619 --> 00:01:26,721 EDITION OF ARTS. CONTINUING A RICH TRADITION OF 16 00:01:26,723 --> 00:01:30,459 DANCE AND ART CLASSES AT THE CARVER, LOCAL CHILDREN ARE 17 00:01:30,461 --> 00:01:32,928 GETTING THE CHANCE TO NOT ONLY POLISH THEIR OWN DANCING SKILLS, 18 00:01:32,930 --> 00:01:34,963 BUT TO BUILD THEIR SELF-CONFIDENCE, AS THEY PERFORM 19 00:01:34,965 --> 00:01:39,501 ON-STAGE. REPORTER DONNA PARKER TAKES US 20 00:01:39,503 --> 00:01:42,671 TO VISIT 35 STELLAR PERFORMERS, SOME AS YOUNG AS SEVEN YEARS 21 00:01:42,673 --> 00:01:44,973 OLD, WHO ARE MASTERING THE ART OF DANCE UNDER THE WATCHFUL EYE 22 00:01:44,975 --> 00:01:49,211 OF PROFESSIONAL DANCE INSTRUCTORS. 23 00:01:49,213 --> 00:01:54,416 THE EMOTIONS RUN HIGH AS THE GIRLS FEEL THE MUSIC STANDING 24 00:01:54,418 --> 00:01:58,420 SLIGHTLY OFF STAGE IN PREPARATION FOR THEIR OWN MOMENT 25 00:01:58,422 --> 00:02:04,459 IN THE SUN. [MUSIC] 26 00:02:04,461 --> 00:02:08,897 >> THEY'RE DANCE IING THEIR HEA OUT. 27 00:02:08,899 --> 00:02:14,936 35 YOUNG GIRLS. THEY'RE WORKING HARD DAY AND 28 00:02:14,938 --> 00:02:21,376 NIGHT. I'M WITH THE DALLAS DANCE 29 00:02:21,378 --> 00:02:25,046 THEATRE. I'M ONE OF THREE STRORS HERE AT 30 00:02:25,048 --> 00:02:31,186 THE CARVER CENTER. I THINK FOR MOST DANCERS WHAT I 31 00:02:31,188 --> 00:02:38,960 NATURAL BORN DANCING. THE MU MUSIC IS INSIDE YOU. 32 00:02:38,962 --> 00:02:42,397 I THINK THEY CONNECT QUITE NATURALLY TO IT. 33 00:02:42,399 --> 00:02:47,302 THESE SUMMER TRAINING CLASSES NOT ONLY POLISH THE DANCING 34 00:02:47,304 --> 00:02:52,641 SKILLS OF YOUNG MEN AND WOMEN AND SHOWCASE THEIR MOVES IN THE 35 00:02:52,643 --> 00:02:56,878 FINAL PERFORMANCE. EVERY TIME THEY COME IN HERE 36 00:02:56,880 --> 00:03:03,852 MANY OF THEM ARE VERY SHY. THEY'RE -- THEY BLOSSOM OUT BY 37 00:03:03,854 --> 00:03:10,058 THE SECOND WEEK. THEY HAVE ATTITUDE AND THEY HAVE 38 00:03:10,060 --> 00:03:12,460 SELF-ASSURANCE. WE GET TO MEET AND UNDERSTAND 39 00:03:12,462 --> 00:03:14,563 THEIR PERSONALITIES WHERE THEY ARE. 40 00:03:14,565 --> 00:03:19,935 TRUSTING WHO THEY ARE, AND BEING OKAY WITH SHOWING THAT ON STAGE. 41 00:03:19,937 --> 00:03:22,470 THAT IS THE PURPOSE OF HAVING THESE DANCE CAMPS. 42 00:03:22,472 --> 00:03:28,210 WE WANT TO SHOW THE CHILDREN HOW ART IS AND NUMBER TWO, WE DO 43 00:03:28,212 --> 00:03:32,581 THESE DANCE CLASSES SO THEY CAN BLOSSOM AND BECOME BETTER 44 00:03:32,583 --> 00:03:42,190 STUDENTS AT SCHOOL. A IMAGINE WHAT IT MUST BE LIKE 45 00:03:42,192 --> 00:03:47,128 AS THEY WAIT FOR THEIR CUE. THEY'RE EXCITED TO SHOW OFF 46 00:03:47,130 --> 00:03:53,668 THEIR DANCE SKILLS IN FRONT OF EVERYBODY. 47 00:03:53,670 --> 00:03:55,704 [MUSIC] >> I THINK THAT UNDERSTANDING 48 00:03:55,706 --> 00:03:58,907 THAT IT TAKES A LOT MORE THAN JUST PRESENTING YOUR PHYSICAL 49 00:03:58,909 --> 00:04:02,310 BODIES ON STAGE BUT CONNECTING TO YOUR CHARACTER, CONNECTING TO 50 00:04:02,312 --> 00:04:07,048 THE STORY, AND LEARNING HOW TO SO 51 00:04:07,050 --> 00:04:16,057 SUBTLY SELL YOUR STORY. AND YOU KNOW BECAUSE WE ALL KNOW 52 00:04:16,059 --> 00:04:19,861 HOW TO DO IT. PEOPLE THAT COME TO SEE DANCE 53 00:04:19,863 --> 00:04:22,697 THEY'RE NOT ALWAYS WANT TO BE ENTERTAINED. 54 00:04:22,699 --> 00:04:26,301 THEY WANT TO BE MOVED. THEY WANT TO REMEMBER WHAT THEY 55 00:04:26,303 --> 00:04:32,407 SAW ON STAGE. THEY MAY NOT REMEMBER THE DANCE 56 00:04:32,409 --> 00:04:37,112 BUT THEY WILL REMEMBER HOW YOU MADE THEM FEEL. 57 00:04:37,114 --> 00:04:39,914 AND THEY ARE TELLING THEM I DID IT. 58 00:04:39,916 --> 00:04:46,187 IT'S YOUR TURN TO DO IT. WHEN THEY COME AND WATCH THEIR 59 00:04:46,189 --> 00:04:49,824 CHILD OR GRANDCHILD. AND I USED TO DO THIS. 60 00:04:49,826 --> 00:04:54,996 MAYBE THESE CHILDREN WHEN THEY GET OLDER THEY WILL BRING THEIR 61 00:04:54,998 --> 00:04:59,234 CHILDREN. WE HAVE BEEN HERE NOW FOR OVER A 62 00:04:59,236 --> 00:05:02,604 100-YEAR. WHAT MAKES US SO UNIQUE WE'RE 63 00:05:02,606 --> 00:05:06,274 RIGHT IN THE COMMUNITY WHERE WE'RE AMONG THE NEIGHBORHOODS 64 00:05:06,276 --> 00:05:09,444 WITH ALL OF THE SMALL BUSINESSES. 65 00:05:09,446 --> 00:05:14,482 IT HAS CONSISTENTLY BROUGHT IN PROGRAMS FOR THE COMMUNITY. 66 00:05:14,484 --> 00:05:18,286 AND IT MAKES ME PROUD OF THE STUDENTS OVER THE YEARS COME TO 67 00:05:18,288 --> 00:05:22,490 OUR PROGRAM, GO TO COLLEGE, PURSUING DANCE AS A CAREER. 68 00:05:22,492 --> 00:05:30,965 THAT'S ONE OF THE MOST REWARDING THINGS FOR ME TO SEE. 69 00:05:30,967 --> 00:05:34,302 TAKING THEM DOWN A PATH OF SUCCESS AND DANCE SPECIFICALLY. 70 00:05:34,304 --> 00:05:42,977 THAT'S PROBABLY THE BEST THING. THIRTY YEARS AFTER THE "MIAMI 71 00:05:42,979 --> 00:05:46,314 GENERATION" EXHIBITION DEBUTED IN SOUTH FLORIDA. 72 00:05:46,316 --> 00:05:48,516 A FORT LAUDERDALE ART MUSEUM IS LOOKING BACK AT THE WORKS OF 73 00:05:48,518 --> 00:06:04,232 THESE CUBAN-BORN ARTISTS. IT SEEMS LIKE WHEN PEOPLE THINK 74 00:06:04,234 --> 00:06:09,738 OF CUBA AND CUBAN ART, THEY ALWAYS THINK THAT THEY'RE GOING 75 00:06:09,740 --> 00:06:15,610 TO BE LOOKING AT STILL LIVES OF MANGOES AND PAINTINGS OF CARMEN 76 00:06:15,612 --> 00:06:23,818 MIRANDA, WHO WAS NOT EVEN CUBAN. SO WHEN THEY COME HERE THEY WILL 77 00:06:23,820 --> 00:06:26,588 SEE THAT THE CUBANS ARE NOT AFRAID TO FACE AND PORTRAY 78 00:06:26,590 --> 00:06:30,525 THEMES THAT ARE MATURE, THAT ARE SOPHISTICATED, AND THAT REQUIRE 79 00:06:30,527 --> 00:06:37,966 A LITTLE THINKING. THE TITLE OF THE EXHIBITION IS 80 00:06:37,968 --> 00:06:40,435 "THE MIAMI GENERATION REVISITED." 81 00:06:40,437 --> 00:06:44,105 THE EXHIBITION WAS FIRST MOUNTED WITH THE ORIGINAL NINE PEOPLE 82 00:06:44,107 --> 00:06:49,744 BACK IN 1983. AND THEN, OF COURSE, SINCE THEN, 83 00:06:49,746 --> 00:06:54,349 THE ORIGINAL CURATOR PASSED AWAY, AND THREE OF THE ARTISTS 84 00:06:54,351 --> 00:07:02,757 ALSO DIED OF AIDS. IT'S VERY SOBERING TO WALK ABOUT 85 00:07:02,759 --> 00:07:06,361 THIS EXHIBITION AND SEE SO MANY MISSING. 86 00:07:06,363 --> 00:07:08,730 AND AT THE SAME TIME I SMILE WHEN I SEE SOME OF THE WORK 87 00:07:08,732 --> 00:07:12,400 BECAUSE THESE ARE WORKS THAT I HAD SEEN BEFORE. 88 00:07:12,402 --> 00:07:23,478 SO IT'S VERY SPECIAL THAT AT LEAST WE'RE SHOWING TOGETHER IN 89 00:07:23,480 --> 00:07:25,413 THIS PARTICULAR OCCASION THIRTY-ONE YEARS AFTER THE 90 00:07:25,415 --> 00:07:29,150 ORIGINAL EXHIBITION. THE GOAL WAS TO BRING TOGETHER A 91 00:07:29,152 --> 00:07:36,157 GROUP OF NINE ARTISTS, WHO WERE OF CUBAN ORIGINS, THEY WERE ALL 92 00:07:36,159 --> 00:07:38,193 BORN IN CUBA. AND MOST OF THEM CAME TO THE 93 00:07:38,195 --> 00:07:40,628 UNITED STATES WHEN THEY WERE TEENAGERS. 94 00:07:40,630 --> 00:07:44,032 WHAT THEY SHARED IN COMMON WAS THAT THEY DEVELOPED AS ARTISTS 95 00:07:44,034 --> 00:07:50,872 IN THE UNITED STATES, BEING BROUGHT UP IN EXILE. 96 00:07:50,874 --> 00:07:55,143 SUPPOSEDLY WE WERE, YOU KNOW, HANDPICKED REALLY AS THE BEST IN 97 00:07:55,145 --> 00:07:58,246 THE CITY AT THE TIME, FOR CUBAN PAINTERS. 98 00:07:58,248 --> 00:08:02,917 SO WE TRAVELED TO WASHINGTON, TO PHILADELPHIA, TO PUERTO RICO, SO 99 00:08:02,919 --> 00:08:06,921 IT WAS A VERY NICE EXPERIENCE. THEN IT BROKE NEW GROUND BECAUSE 100 00:08:06,923 --> 00:08:15,830 WE HAVE NEVER HAD AN EXHIBITION OF A GROUP OF CUBAN-AMERICANS, 101 00:08:15,832 --> 00:08:19,501 SO LIKE I SAID IT WAS SOMETHING THAT IT WAS COMING AND IN A WAY 102 00:08:19,503 --> 00:08:28,142 OVERDUE, LIKE THIS EXHIBITION. SO I ALWAYS FIND MY PERSONAL 103 00:08:28,144 --> 00:08:34,015 HISTORY PERMEATING THE WORK I DO. 104 00:08:34,017 --> 00:08:37,252 THE GENESIS OF THIS PIECE AND THE SERIES TITLED "WIND 105 00:08:37,254 --> 00:08:43,424 PAINTINGS," WAS THE NUCLEAR EXPLOSION IN CHERNOBYL. 106 00:08:43,426 --> 00:08:50,431 THAT WAS IN APRIL 1986, AND I WAS IN PARIS AT THE TIME 107 00:08:50,433 --> 00:08:53,167 WORKING. ALL OF A SUDDEN THERE IS THIS RADIOACTIVE CLOUD COMING 108 00:08:53,169 --> 00:08:57,805 IN, CARRYING THESE RADIOACTIVE PARTICLES. 109 00:08:57,807 --> 00:09:00,808 THE IDEA OF THE WIND AND THE CHERNOBYL ACCIDENT TOTALLY 110 00:09:00,810 --> 00:09:09,150 CHANGED MY WORK, FROM MOSTLY ABSTRACT AERIAL VIEWS OF 111 00:09:09,152 --> 00:09:15,623 LANDSCAPES TO A MORE REFERENTIAL ALMOST ECOLOGICAL TYPE OF 112 00:09:15,625 --> 00:09:17,759 CONSCIOUSNESS. THE WIND ALL OF A SUDDEN AND 113 00:09:17,761 --> 00:09:20,628 LANDSCAPING IN GENERAL HAS BEEN ROMANTICIZED BY MANY ARTISTS 114 00:09:20,630 --> 00:09:26,234 SINCE THE BEGINNING, AND HOW CAN WE GO FROM HERE WHEN MAN DOES 115 00:09:26,236 --> 00:09:32,040 SOMETHING TO NATURE AND THEN NATURE TURNS AGAINST ITSELF IN 116 00:09:32,042 --> 00:09:36,444 RELATIONSHIP IN NATURE, AS WE KNOW TODAY, AND WHAT AS AN 117 00:09:36,446 --> 00:09:39,647 ARTIST WHAT DO I DO ABOUT THIS, HOW CAN I, I CANNOT ROMANTICIZE 118 00:09:39,649 --> 00:09:42,917 IT ANYMORE. 119 00:09:42,919 --> 00:09:52,760 I WAS BORN AND RAISED IN HOUSE THAT HAD VIEWS TO THE OCEAN, TWO 120 00:09:52,762 --> 00:09:57,865 BLOCKS AWAY FROM THE THREE DIFFERENT STREETS. 121 00:09:57,867 --> 00:10:02,971 SO THAT LINE WITH THE SEA OF THE CARIBBEAN IT WAS A CONSTANT IN 122 00:10:02,973 --> 00:10:06,874 MY YEARS GROWING UP. I'VE HAD SEVERAL, YOU KNOW LIKE, 123 00:10:06,876 --> 00:10:11,012 PERIODS, IN MY CAREER AND THESE WERE ARCHITECTURAL SCENARIOS UH 124 00:10:11,014 --> 00:10:15,283 THAT EVOKED YOU KNOW THE ARCHITECTURE OF CUBA AND THE 125 00:10:15,285 --> 00:10:18,152 CARIBBEAN. CONNECTED TO CUBA THROUGH COLORS 126 00:10:18,154 --> 00:10:22,090 AND THROUGH SOME OF THE ARCHITECTURAL ELEMENTS BUT NOT 127 00:10:22,092 --> 00:10:25,360 EXACTLY CUBA. I DID THE FLOODING BY USING THE 128 00:10:25,362 --> 00:10:30,064 SYMBOLISM OF, YOU KNOW WHEN YOU'RE COVERED WITH WATER IT 129 00:10:30,066 --> 00:10:36,671 REPRESENTS A BIG TRAGEDY, BUT IT ALSO REPRESENTS REBIRTH AND 130 00:10:36,673 --> 00:10:43,978 PURIFICATION, WHAT WE HAVE GONE THROUGH. 131 00:10:43,980 --> 00:10:47,882 WE HAVE THE WORK OF EMILIO FALERO. 132 00:10:47,884 --> 00:10:52,053 WHAT HE LIKED TO DO WAS TO BRING TOGETHER WORKS OF ART BY 133 00:10:52,055 --> 00:10:56,891 DIFFERENT ARTISTS FROM DIFFERENT GENERATIONS AND ESTABLISH A 134 00:10:56,893 --> 00:11:00,128 DIALOGUE BETWEEN THE PAST AND THE PRESENT. 135 00:11:00,130 --> 00:11:05,500 BECAUSE THERE IS A BIG ENTHUSIASM FOR ANYTHING DONE IN 136 00:11:05,502 --> 00:11:07,869 CUBA. BUT THEY IGNORE, ONCE THE ARTIST 137 00:11:07,871 --> 00:11:10,004 LEAVES CUBA, HE IS NO LONGER IMPORTANT SO I KEEP TELLING THEM 138 00:11:10,006 --> 00:11:14,042 LOOK AND SEE WHAT'S DONE OUTSIDE OF CUBA. 139 00:11:14,044 --> 00:11:16,177 YOU KNOW BECAUSE, I MEAN, CUBAN ART CAN BE DONE OUTSIDE OF CUBA, 140 00:11:16,179 --> 00:11:18,646 TOO. UH, YOU CAN LOOK AT IT AS A 141 00:11:18,648 --> 00:11:21,549 FAMILY REUNION. IT WAS AN OPPORTUNITY TO MEET 142 00:11:21,551 --> 00:11:26,654 THEM ALL AGAIN AND TO SEE THE DEVELOPMENT. 143 00:11:26,656 --> 00:11:31,626 IT'S BEEN THIRTY YEARS, SO THEIR WORK, UH YOU KNOW HAS EVOLVED 144 00:11:31,628 --> 00:11:35,596 AND CHANGED. SO IT WAS VERY NICE TO, A VERY 145 00:11:35,598 --> 00:11:37,598 NICE EXPERIENCE. I WOULD SAY EVEN BETTER THAN THE 146 00:11:37,600 --> 00:11:42,403 FIRST ONE. EACH OF THEM SOMEHOW WHISTLES A 147 00:11:42,405 --> 00:11:47,008 DIFFERENT TUNE. THERE IS VERY LITTLE REPETITION 148 00:11:47,010 --> 00:11:49,377 HERE. THEY ARE ALL ORIGINALS. AND WHAT 149 00:11:49,379 --> 00:11:51,579 THEY IS THAT THEY BRING TOGETHER UH ASPECTS FROM NORTH AMERICAN 150 00:11:51,581 --> 00:12:02,423 CULTURE AND CUBAN CULTURE. SOMETHING WAS BREWING AT THE 151 00:12:02,425 --> 00:12:09,097 TIME. AND I'M HAPPY TO HAVE BEEN PART 152 00:12:09,099 --> 00:12:10,298 OF IT AND STILL ARE. THIS IS HOME. 153 00:12:10,300 --> 00:12:13,334 I'M A MIAMI BOY. 154 00:12:13,336 --> 00:12:49,003 "THE GLASS STUDIO" IS A CREATIVE ARTS AND TEACHING FACILITY IN 155 00:12:49,005 --> 00:12:51,038 SPARKS, NEVADA. IT'S HOME TO FOUR LOCAL ARTISTS 156 00:12:51,040 --> 00:12:53,908 - EACH WITH A DIFFERENT BACKGROUND. 157 00:12:53,910 --> 00:12:56,811 AS YOU'RE ABOUT TO SEE GLASS CAN TAKE ON A VARIETY OF COLORS, 158 00:12:56,813 --> 00:12:59,480 FORMS AND TEXTURES THANKS IN PART TO THE EXPERTISE EACH 159 00:12:59,482 --> 00:13:03,017 ARTIST BRINGS. HERE'S THE STORY. 160 00:13:03,019 --> 00:13:16,631 THE GLASS STUDIO IS LOCATED IN SPARKS NEVADA. 161 00:13:16,633 --> 00:13:19,767 WE'RE THE ONLY GLASS ART STUDIO THAT'S OPEN TO THE PUBLIC THAT 162 00:13:19,769 --> 00:13:23,604 I'M AWARE OF IN THE NORTHERN NEVADA AREA. 163 00:13:23,606 --> 00:13:26,641 WE HAVE FOUR ARTISTS AND WE'RE ALL GLASS ARTISTS BUT WE ALL 164 00:13:26,643 --> 00:13:32,013 HAVE A DIFFERENT DISCIPLINE. WILLIAM DOES THICK CAST PIECES, 165 00:13:32,015 --> 00:13:42,256 ARCHITECTURAL PIECES AND VERY LINEAR PRECISION PIECES. 166 00:13:42,258 --> 00:13:44,559 IT WAS ABOUT 20... PROBABLY ABOUT TWENTY SEVEN YEARS AGO I 167 00:13:44,561 --> 00:13:49,831 GOT INVOLVED WITH GLASS. WHAT I LIKE ABOUT WORKING WITH 168 00:13:49,833 --> 00:13:52,333 GLASS IS THAT IT IS A RIGID STATE BUT IT ALSO CAN, IN SOME 169 00:13:52,335 --> 00:13:54,836 OF THE PROCESSES I USE, IT'S IN A MOLTEN STATE OR LIQUID STATE. 170 00:13:54,838 --> 00:13:58,439 IT'S CHALLENGING. YOU DON'T KNOW SOMETIMES WHAT 171 00:13:58,441 --> 00:14:06,280 YOU'RE GOING TO GET WHEN IT COMES OUT OF THE KILN. 172 00:14:06,282 --> 00:14:10,351 IT COULD BE A LITTLE WARMER. YOU HAVE OPALESCENT AND 173 00:14:10,353 --> 00:14:13,654 TRANSPARENT GLASS. AND WE HAVE ALL DIFFERENT SHADES 174 00:14:13,656 --> 00:14:24,799 AND CHARACTERISTICS IN BETWEEN. CINDY DOES COPPER FOIL AND LEAD 175 00:14:24,801 --> 00:14:28,035 CAME TRADITIONAL STAINED GLASS. GLASS IS SO VERSATILE. I THINK 176 00:14:28,037 --> 00:14:30,204 THAT'S ONE OF THE REALLY INTERESTING THINGS ABOUT 177 00:14:30,206 --> 00:14:34,275 ESPECIALLY STAINED GLASS BECAUSE THE LIGHT IS USUALLY TRANSMITTED 178 00:14:34,277 --> 00:14:46,387 THROUGH THE GLASS. IT'S GOT A REAL LIFE OF ITS OWN. 179 00:14:46,389 --> 00:14:50,424 THE SOLDERING IRON IS 700 DEGREES FAHRENHEIT TO MELT THE 180 00:14:50,426 --> 00:14:57,331 SOLDER. THE HOTTEST PART OF THE BLADE IS 181 00:14:57,333 --> 00:14:59,533 RIGHT HERE ON THE SIDE, SO THAT'S WHERE I'M TOUCHING THE 182 00:14:59,535 --> 00:15:03,704 SOLDER TO THE BLADE. I STAND IT UPRIGHT ON THE CORNER 183 00:15:03,706 --> 00:15:15,316 SO IT FLOWS WELL OFF THE SIDE OF THE BLADE ONTO THE SEAM. 184 00:15:15,318 --> 00:15:17,985 JULIA MAKES BEAUTIFUL FLAME WORKED BEADS OF ALL DIFFERENT 185 00:15:17,987 --> 00:15:26,627 KINDS. IT'S MAGIC. 186 00:15:26,629 --> 00:15:28,696 THERE'S SO MANY THINGS YOU CAN DO. 187 00:15:28,698 --> 00:15:30,598 THE COLORS CHANGE IN THE PLAYING ANY DIFFERENT COMBINATIONS 188 00:15:30,600 --> 00:15:32,500 DEPENDING ON WHAT YOU'RE MAKING LOOK DIFFERENT. 189 00:15:32,502 --> 00:15:40,474 YOU CAN COLD WORK IT. YOU CAN HOT WORK IT. 190 00:15:40,476 --> 00:15:42,176 SO AS IT HEATS TOWARDS THE CORE, IT'S GOING TO GET MORE MOLTEN. 191 00:15:42,178 --> 00:15:46,681 AND I HAVE TO KEEP IT SPINNING TO KEEP GRAVITY FROM AFFECTING 192 00:15:46,683 --> 00:15:53,321 THE SHAPE OF THE BEAD. SO NOW I HAVE A WHITE GLASS WITH 193 00:15:53,323 --> 00:15:55,022 GREEN DOTS. AND I USE A FLAME TO MELT THOSE 194 00:15:55,024 --> 00:16:00,261 FLAT. USUALLY, IT'S MY LITTLE CRITTERS 195 00:16:00,263 --> 00:16:06,534 GET MOST OF THE ATTENTION. THE OWLS AND THE FROGS ARE 196 00:16:06,536 --> 00:16:10,037 PROBABLY MY MOST FAVORITE. I WORK WITH FUSIBLE GLASS WHICH 197 00:16:10,039 --> 00:16:12,773 IS COLORED ART GLASS THAT'S SPECIFICALLY DESIGNED FOR HEAT 198 00:16:12,775 --> 00:16:17,611 WORK. I LIKE TO KIND OF PAINT A 199 00:16:17,613 --> 00:16:20,314 PICTURE USING THE CRUSHED GLASS. I RECENTLY WENT TO SOUTH AFRICA. 200 00:16:20,316 --> 00:16:26,120 AND SO I AM WORKING ON A GIRAFFE PIECE BECAUSE I LOVE GIRAFFES. 201 00:16:26,122 --> 00:16:28,222 I SKETCH ALL THE ANIMAL, I DRAW HIM ON CLEAR GLASS AND THEN I 202 00:16:28,224 --> 00:16:32,326 COLOR IT IN USING THE COLORED CRUSHED GLASS. 203 00:16:32,328 --> 00:16:34,428 AND THEN I HAVE MY MAIN PIECE MY FOCAL PIECE, WHICH IS THE ANIMAL 204 00:16:34,430 --> 00:16:36,864 AND, THEN, I PUT IT ON SOME SORT OF BACKGROUND PIECE. 205 00:16:36,866 --> 00:16:42,937 IT'S NOT ONLY AN ARTISTIC PROCESS IT'S ALSO A SCIENTIFIC 206 00:16:42,939 --> 00:16:45,239 PROCESS. GLASS IS MADE WITH THE 207 00:16:45,241 --> 00:16:48,843 MANUFACTURERS. THEY DO USE SILICA SAND AND 208 00:16:48,845 --> 00:16:52,847 CHEMICALS ADDED INTO THE SILICA SAND TO GET THE COLORS THAT THEY 209 00:16:52,849 --> 00:16:55,416 WANT. SULFUR RESULTS AND YELLOWS AND 210 00:16:55,418 --> 00:16:59,253 ORANGES AND REDS AND COPPERS WILL RESULT IN BLUES AND 211 00:16:59,255 --> 00:17:04,158 CHROMIUM, I BELIEVE, IS WHAT THEY USE FOR GREENS. 212 00:17:04,160 --> 00:17:08,262 I MAJORED IN SCIENCE; I HAVE A BACHELOR OF SCIENCE DEGREE IN 213 00:17:08,264 --> 00:17:10,231 GEOLOGY OF ALL THINGS. THE GLASS BEHAVES DIFFERENTLY AT 214 00:17:10,233 --> 00:17:12,166 DIFFERENT TEMPERATURES PLUS THE DIFFERENT COLORS BEHAVE 215 00:17:12,168 --> 00:17:16,370 DIFFERENTLY AT DIFFERENT TEMPERATURES. 216 00:17:16,372 --> 00:17:20,574 IT MAY NOT HAVE THE COLOR THAT YOU SEE WHEN IT'S COLD THAN WHEN 217 00:17:20,576 --> 00:17:22,476 IT'S HOT. ONCE IT'S PUT INTO A KILN IT 218 00:17:22,478 --> 00:17:24,278 WILL CHANGE COLD WATER TO ITS FINAL COLOR. 219 00:17:24,280 --> 00:17:28,616 WHAT'S NEXT FOR THE GLASS STUDIO? 220 00:17:28,618 --> 00:17:30,351 I WOULD LIKE TO GO BIG. I WANT TO MAKE SOME BIG PROJECTS, 221 00:17:30,353 --> 00:17:34,655 TECHNICALLY CHALLENGING PROJECTS, DO A LITTLE BIT OF 222 00:17:34,657 --> 00:17:36,624 COLLABORATION. I LIKE TO MAKE THIS SPACE MORE 223 00:17:36,626 --> 00:17:52,039 INVITING TO THE PUBLIC WHICH IS WHY I LIKE HAVING ALL THE OTHER 224 00:17:52,041 --> 00:17:53,841 ARTISTS IN HERE AS WELL. WE OFTEN THINK OF HISTORY AS 225 00:17:53,843 --> 00:17:55,476 WORDS RECORDED IN A TEXTBOOK. BUT SOME OF THE MOST POWERFUL 226 00:17:55,478 --> 00:17:59,580 STORIES OF OUR PAST ARE TOLD THROUGH IMAGES. 227 00:17:59,582 --> 00:18:15,830 # [SINGING THIS LITTLE LIGHT OF MINE] 228 00:18:15,832 --> 00:18:20,668 MARTIN LUTHER KING JR. LED ABOUT 25,000 PEOPLE INTO MONTGOMERY, 229 00:18:20,670 --> 00:18:23,938 ALABAMA, IN MARCH OF 1965 AS PART OF A DEMONSTRATION TO 230 00:18:23,940 --> 00:18:29,343 PROMOTE VOTING RIGHTS. GOVERNMENT OFFICIALS IN SEVERAL 231 00:18:29,345 --> 00:18:31,378 SOUTHERN STATES WERE TRYING TO SUPPRESS THE AFRICAN-AMERICAN 232 00:18:31,380 --> 00:18:35,382 VOTE BY MAKING IT DIFFICULT TO REGISTER. 233 00:18:35,384 --> 00:18:37,618 HISTORIAN LESLIE KELLEN SAYS A RIGGED LITERACY TEST OFTEN MADE 234 00:18:37,620 --> 00:18:40,488 IT IMPOSSIBLE. THE WHITE PEOPLE WHO ALSO TOOK 235 00:18:40,490 --> 00:18:46,460 THE LITERACY TEST WERE ALMOST ALWAYS PASSED. 236 00:18:46,462 --> 00:18:48,262 (RIGHT, THEY GOT RIGHT THROUGH.) AND ABOUT 90 PERCENT OF THEM 237 00:18:48,264 --> 00:18:50,664 BLACK PEOPLE FAILED. KELLEN IS EXECUTIVE DIRECTOR OF 238 00:18:50,666 --> 00:18:54,668 THE UTAH BASED CENTER FOR DOCUMENTARY EXPRESSION AND ART, 239 00:18:54,670 --> 00:18:57,805 WHICH HAS ORGANIZED A TRAVELING PHOTO EXHIBITION, WHICH TELLS 240 00:18:57,807 --> 00:19:01,375 THE STORY OF THAT VOTING RIGHTS MARCH AND OTHER CIVIL RIGHTS 241 00:19:01,377 --> 00:19:03,978 EVENTS OF THE MID 1960S. CURRENTLY ON DISPLAY AT 242 00:19:03,980 --> 00:19:08,349 CLEVELAND'S MALTZ MUSEUM OF JEWISH HERITAGE, THE EXHIBITION 243 00:19:08,351 --> 00:19:14,155 GIVES A BEHIND THE SCENES LOOK AT EVERYTHING FROM QUIET MOMENTS 244 00:19:14,157 --> 00:19:16,323 TO VIOLENT CONFRONTATIONS. THE MONTGOMERY DEMONSTRATION 245 00:19:16,325 --> 00:19:20,628 BRINGS MANY MEMORIES BACK TO 81-YEAR-OLD OTIS MOSS JR. WHO 246 00:19:20,630 --> 00:19:23,297 MARCHED WITH KING AND FOR 33 YEARS WAS PASTOR OF CLEVELAND'S 247 00:19:23,299 --> 00:19:27,301 OLIVET INSTITUTIONAL BAPTIST CHURCH. 248 00:19:27,303 --> 00:19:29,303 REVEREND MOSS RECALLS THAT THE PREVIOUS PROTEST HAD RESULTED IN 249 00:19:29,305 --> 00:19:33,040 A VICIOUS ATTACK BY STATE TROOPERS. 250 00:19:33,042 --> 00:19:35,809 SO HE HAD MIXED EMOTIONS AS THE MARCH APPROACHED THE CITY. 251 00:19:35,811 --> 00:19:41,882 IT WAS A GREAT MOMENT OF ANTICIPATION. 252 00:19:41,884 --> 00:19:47,688 ACKNOWLEDGMENT OF THE DANGER BUT ALSO FULLY AWARE OF THE 253 00:19:47,690 --> 00:19:50,758 NECESSITY. AS IT TURNED OUT THEY WALKED 254 00:19:50,760 --> 00:19:54,061 INTO ALABAMA'S CAPITAL CITY WITHOUT INCIDENT THANKS IN PART 255 00:19:54,063 --> 00:19:58,065 TO THE POWERFUL IMAGES OF EARLIER VIOLENCE THAT WERE 256 00:19:58,067 --> 00:20:01,835 PRINTED AND BROADCAST AROUND THE WORLD. 257 00:20:01,837 --> 00:20:04,238 AND IT DIDN'T HURT THAT THE FEDERAL GOVERNMENT HAD SENT 258 00:20:04,240 --> 00:20:08,108 ARMED TROOPS TO ACCOMPANY THE DEMONSTRATORS. 259 00:20:08,110 --> 00:20:10,044 THE FILMS AND PHOTOGRAPHS FOCUSED GLOBAL ATTENTION ON THE 260 00:20:10,046 --> 00:20:17,151 MARCHERS AND THEIR SAFETY. I THINK WITHIN THE CIVIL RIGHTS 261 00:20:17,153 --> 00:20:21,589 COMMUNITY WAS A SENSE THAT NOW ALL OF AMERICA AND THE WORLD CAN 262 00:20:21,591 --> 00:20:29,797 SEE WHAT WE HAVE BEEN EXPERIENCING FOR DECADES. 263 00:20:29,799 --> 00:20:37,838 HERE IS THE UNDENIABLE RECORDING OF HUMAN BRUTALITY THAT MANY 264 00:20:37,840 --> 00:20:45,479 PEOPLE BELIEVED NEVER HAPPENED. THE PICTURE BECOMES A MESSAGE. 265 00:20:45,481 --> 00:20:49,883 A YEAR EARLIER IN JUNE OF 1964 A MISSISSIPPI VOTER REGISTRATION 266 00:20:49,885 --> 00:20:53,988 DRIVE KNOWN AS FREEDOM SUMMER ATTRACTED OVER A THOUSAND 267 00:20:53,990 --> 00:20:56,123 VOLUNTEERS FROM OUTSIDE THE STATE INCLUDING A PROMINENT 268 00:20:56,125 --> 00:21:04,031 JEWISH CLERGYMAN FROM CLEVELAND. RABBI ARTHUR LELYVELD WENT DOWN 269 00:21:04,033 --> 00:21:09,603 TO PARTICIPATE IN FREEDOM SUMMER. 270 00:21:09,605 --> 00:21:11,905 HE WAS... HE WAS A RABBI AT FAIRMOUNT TEMPLE. 271 00:21:11,907 --> 00:21:17,978 AND HE WANTED TO DO WHAT HE COULD TO TO HELP AND HE WAS 272 00:21:17,980 --> 00:21:20,481 BEATEN. HE HAPPENED TO ACTUALLY BE WITH A PHOTOGRAPHER THAT DAY 273 00:21:20,483 --> 00:21:22,783 AND AFTER HE WAS BEATEN UP AND A PHOTOGRAPHER WAS THERE HE TOLD 274 00:21:22,785 --> 00:21:34,194 THEM TO TAKE A PICTURE AND TO CAPTURE THAT MOMENT. 275 00:21:34,196 --> 00:21:37,831 DAVID KORDALSKI HAS SPENT OVER 30 YEARS THINKING ABOUT THE 276 00:21:37,833 --> 00:21:39,433 POWER OF IMAGES AND HOW BEST TO USE THEM IN PRINT. 277 00:21:39,435 --> 00:21:42,102 I THINK THAT A PHOTOGRAPHER'S ROLE IS TO TAKE PEOPLE WHERE 278 00:21:42,104 --> 00:21:45,506 THEY CAN'T GO. YOU TAKE THEM TO ACCESS. 279 00:21:45,508 --> 00:21:49,743 WE USED TO SAY THAT ON VERY SIMPLE ASSIGNMENTS EVEN AT THE 280 00:21:49,745 --> 00:21:51,812 PD. BUT IN THIS PARTICULAR CASE 281 00:21:51,814 --> 00:21:53,781 THERE IS A LARGE SWATH OF AMERICA THAT JUST DIDN'T KNOW. 282 00:21:53,783 --> 00:21:56,417 NEVER REALLY BEEN COVERED BEFORE IN SUCH A WAY AND TO GET THERE 283 00:21:56,419 --> 00:21:59,019 AND HAVE A FRONT ROW SEAT TO HISTORY BROUGHT THERE IN THE 284 00:21:59,021 --> 00:22:09,129 POWER OF A STILL FRAME IS JUST AN ABSOLUTE REMARKABLE FEAT. 285 00:22:09,131 --> 00:22:10,998 THESE PICTURES OF PROTESTS AND SOMETIMES VIOLENT CONFRONTATIONS 286 00:22:11,000 --> 00:22:14,568 BETWEEN CITIZENS AND POLICE ARE A PART OF AMERICA'S HISTORICAL 287 00:22:14,570 --> 00:22:16,337 RECORD. BUT SOME OF THE EVENTS OF 50 288 00:22:16,339 --> 00:22:18,238 YEARS AGO DOCUMENTED BY PHOTOGRAPHY CERTAINLY HAVE A 289 00:22:18,240 --> 00:22:20,541 FAMILIAR RING. WE CAN'T LOOK AT THESE IMAGES 290 00:22:20,543 --> 00:22:23,110 WITHOUT THINKING ABOUT WHAT'S HAPPENING TODAY. 291 00:22:23,112 --> 00:22:26,046 LIKE THE IMAGE CAPTURED BY A SECURITY CAMERA SHOWING THE 292 00:22:26,048 --> 00:22:30,217 SHOOTING OF 12 YEAR OLD TAMIR RICE ON CLEVELAND'S WEST SIDE. 293 00:22:30,219 --> 00:22:36,090 THIS SCENE HELPED REKINDLE A NATIONAL DISCUSSION ABOUT RACE 294 00:22:36,092 --> 00:22:38,058 AND JUSTICE IN THE SAME WAY THAT SOME OF THESE PHOTOS ON DISPLAY 295 00:22:38,060 --> 00:22:42,029 AT THE MALTZ MUSEUM DID 50 YEARS AGO. 296 00:22:42,031 --> 00:22:45,699 OTIS MOSS IS TAKEN WITH SOMETHING ELSE HE SEES IN THESE 297 00:22:45,701 --> 00:22:47,868 PHOTOGRAPHS. IT'S A DIFFERENT SORT OF 298 00:22:47,870 --> 00:22:50,237 HISTORICAL LESSON THAT WOULD BE HARD TO EXPLAIN IN THE TEXT OF A 299 00:22:50,239 --> 00:22:58,312 HISTORY BOOK. SHE IS GIVING LITERACY 300 00:22:58,314 --> 00:23:08,455 INSTRUCTION PREPARING THIS INDIVIDUAL TO WRITE HIS NAME IN 301 00:23:08,457 --> 00:23:17,898 ORDER THAT HE WILL BE ABLE TO REGISTER AND VOTE. 302 00:23:17,900 --> 00:23:30,577 IT INSPIRES ME BEYOND DESCRIPTION TO SEE THIS THING 303 00:23:30,579 --> 00:23:33,180 AND LOOK AT HER HAND OVER HIS HAND. 304 00:23:33,182 --> 00:23:39,920 THERE IS A VOLUME OF HISTORY TIED IN TO THIS ONE PHOTOGRAPH. 305 00:23:39,922 --> 00:23:43,991 IMAGES HAVE THE POWER TO TELL US STORIES ABOUT OURSELVES AND 306 00:23:43,993 --> 00:23:47,761 OTHERS IN A WAY THAT WORDS CAN'T ALWAYS CAPTURE. 307 00:23:47,763 --> 00:23:51,365 FOR IDEASTREAM I'M DAVID C. BARNETT. 308 00:23:51,367 --> 00:24:15,656 AND THAT WRAPS IT UP FOR THIS EDITION OF ARTS. 309 00:24:15,658 --> 00:24:17,558 FOR MORE ARTS AND CULTURE, VISIT KLRN.ORG/ARTS WHERE YOU CAN FIND 310 00:24:17,560 --> 00:24:19,426 FEATURE VIDEOS, BLOGS AND INFORMATION ON UPCOMING ARTS 311 00:24:19,428 --> 00:24:23,497 EVENTS. I'M APRIL ANCIRA AND I'LL SEE 312 00:24:23,499 --> 00:24:27,067 YOU WHEN WE RETURN WITH MORE ARTS. 313 00:24:27,069 --> 00:24:30,604 ARTS IS MADE POSSIBLE BY VIEWERS LIKE YOU. 314 00:24:30,606 --> 00:24:35,509 THANK YOU.