WEBVTT 00:09.679 --> 00:13.315 THANK YOU. 00:13.317 --> 00:19.588 ON THIS EDITION OF ARTS PEZ 00:19.590 --> 00:22.491 BUILDING SELF-ESTEEM. ON THE BIG STAGE 00:22.493 --> 00:28.397 THEY TAKE THE SELF-ESTEEM AND THEIR SELF-ASSURANCE IS GOING TO 00:28.399 --> 00:30.232 CARRY ON. A LOOK BACK AT THE EVOLUTION OF 00:30.234 --> 00:32.334 SOME GROUNDBREAKING CUBAN ARTISTS 00:32.336 --> 00:37.539 THE EXHIBIT WAS FIRST MOUNTED WAS ORIGINALLY NINE PEOPLE BACK 00:37.541 --> 00:42.477 IN 1983. THE POWER OF IMAGE IN ACTIVISM 00:42.479 --> 00:49.418 AND LOOK AT SIRHAN OVER HIS HAND. 00:49.420 --> 00:55.323 THERE IS A VOLUME OF HISTORY. THE MANY WAYS OF WORKING IN 00:55.325 --> 00:58.927 GLASS I LOVE WORKING WITH GLASS 00:58.929 --> 01:02.931 BECAUSE IT'S BOTH ARTISTIC AND TECHNICAL. 01:02.933 --> 01:14.042 IT'S ALL AHEAD ON THIS EDITION OF ARTS. 01:14.044 --> 01:22.617 HI, I'M APRIL ANCIRA AND THANK YOU FOR TUNING IN FOR THIS 01:22.619 --> 01:26.721 EDITION OF ARTS. CONTINUING A RICH TRADITION OF 01:26.723 --> 01:30.459 DANCE AND ART CLASSES AT THE CARVER, LOCAL CHILDREN ARE 01:30.461 --> 01:32.928 GETTING THE CHANCE TO NOT ONLY POLISH THEIR OWN DANCING SKILLS, 01:32.930 --> 01:34.963 BUT TO BUILD THEIR SELF-CONFIDENCE, AS THEY PERFORM 01:34.965 --> 01:39.501 ON-STAGE. REPORTER DONNA PARKER TAKES US 01:39.503 --> 01:42.671 TO VISIT 35 STELLAR PERFORMERS, SOME AS YOUNG AS SEVEN YEARS 01:42.673 --> 01:44.973 OLD, WHO ARE MASTERING THE ART OF DANCE UNDER THE WATCHFUL EYE 01:44.975 --> 01:49.211 OF PROFESSIONAL DANCE INSTRUCTORS. 01:49.213 --> 01:54.416 THE EMOTIONS RUN HIGH AS THE GIRLS FEEL THE MUSIC STANDING 01:54.418 --> 01:58.420 SLIGHTLY OFF STAGE IN PREPARATION FOR THEIR OWN MOMENT 01:58.422 --> 02:04.459 IN THE SUN. [MUSIC] 02:04.461 --> 02:08.897 >> THEY'RE DANCE IING THEIR HEA OUT. 02:08.899 --> 02:14.936 35 YOUNG GIRLS. THEY'RE WORKING HARD DAY AND 02:14.938 --> 02:21.376 NIGHT. I'M WITH THE DALLAS DANCE 02:21.378 --> 02:25.046 THEATRE. I'M ONE OF THREE STRORS HERE AT 02:25.048 --> 02:31.186 THE CARVER CENTER. I THINK FOR MOST DANCERS WHAT I 02:31.188 --> 02:38.960 NATURAL BORN DANCING. THE MU MUSIC IS INSIDE YOU. 02:38.962 --> 02:42.397 I THINK THEY CONNECT QUITE NATURALLY TO IT. 02:42.399 --> 02:47.302 THESE SUMMER TRAINING CLASSES NOT ONLY POLISH THE DANCING 02:47.304 --> 02:52.641 SKILLS OF YOUNG MEN AND WOMEN AND SHOWCASE THEIR MOVES IN THE 02:52.643 --> 02:56.878 FINAL PERFORMANCE. EVERY TIME THEY COME IN HERE 02:56.880 --> 03:03.852 MANY OF THEM ARE VERY SHY. THEY'RE -- THEY BLOSSOM OUT BY 03:03.854 --> 03:10.058 THE SECOND WEEK. THEY HAVE ATTITUDE AND THEY HAVE 03:10.060 --> 03:12.460 SELF-ASSURANCE. WE GET TO MEET AND UNDERSTAND 03:12.462 --> 03:14.563 THEIR PERSONALITIES WHERE THEY ARE. 03:14.565 --> 03:19.935 TRUSTING WHO THEY ARE, AND BEING OKAY WITH SHOWING THAT ON STAGE. 03:19.937 --> 03:22.470 THAT IS THE PURPOSE OF HAVING THESE DANCE CAMPS. 03:22.472 --> 03:28.210 WE WANT TO SHOW THE CHILDREN HOW ART IS AND NUMBER TWO, WE DO 03:28.212 --> 03:32.581 THESE DANCE CLASSES SO THEY CAN BLOSSOM AND BECOME BETTER 03:32.583 --> 03:42.190 STUDENTS AT SCHOOL. A IMAGINE WHAT IT MUST BE LIKE 03:42.192 --> 03:47.128 AS THEY WAIT FOR THEIR CUE. THEY'RE EXCITED TO SHOW OFF 03:47.130 --> 03:53.668 THEIR DANCE SKILLS IN FRONT OF EVERYBODY. 03:53.670 --> 03:55.704 [MUSIC] >> I THINK THAT UNDERSTANDING 03:55.706 --> 03:58.907 THAT IT TAKES A LOT MORE THAN JUST PRESENTING YOUR PHYSICAL 03:58.909 --> 04:02.310 BODIES ON STAGE BUT CONNECTING TO YOUR CHARACTER, CONNECTING TO 04:02.312 --> 04:07.048 THE STORY, AND LEARNING HOW TO SO 04:07.050 --> 04:16.057 SUBTLY SELL YOUR STORY. AND YOU KNOW BECAUSE WE ALL KNOW 04:16.059 --> 04:19.861 HOW TO DO IT. PEOPLE THAT COME TO SEE DANCE 04:19.863 --> 04:22.697 THEY'RE NOT ALWAYS WANT TO BE ENTERTAINED. 04:22.699 --> 04:26.301 THEY WANT TO BE MOVED. THEY WANT TO REMEMBER WHAT THEY 04:26.303 --> 04:32.407 SAW ON STAGE. THEY MAY NOT REMEMBER THE DANCE 04:32.409 --> 04:37.112 BUT THEY WILL REMEMBER HOW YOU MADE THEM FEEL. 04:37.114 --> 04:39.914 AND THEY ARE TELLING THEM I DID IT. 04:39.916 --> 04:46.187 IT'S YOUR TURN TO DO IT. WHEN THEY COME AND WATCH THEIR 04:46.189 --> 04:49.824 CHILD OR GRANDCHILD. AND I USED TO DO THIS. 04:49.826 --> 04:54.996 MAYBE THESE CHILDREN WHEN THEY GET OLDER THEY WILL BRING THEIR 04:54.998 --> 04:59.234 CHILDREN. WE HAVE BEEN HERE NOW FOR OVER A 04:59.236 --> 05:02.604 100-YEAR. WHAT MAKES US SO UNIQUE WE'RE 05:02.606 --> 05:06.274 RIGHT IN THE COMMUNITY WHERE WE'RE AMONG THE NEIGHBORHOODS 05:06.276 --> 05:09.444 WITH ALL OF THE SMALL BUSINESSES. 05:09.446 --> 05:14.482 IT HAS CONSISTENTLY BROUGHT IN PROGRAMS FOR THE COMMUNITY. 05:14.484 --> 05:18.286 AND IT MAKES ME PROUD OF THE STUDENTS OVER THE YEARS COME TO 05:18.288 --> 05:22.490 OUR PROGRAM, GO TO COLLEGE, PURSUING DANCE AS A CAREER. 05:22.492 --> 05:30.965 THAT'S ONE OF THE MOST REWARDING THINGS FOR ME TO SEE. 05:30.967 --> 05:34.302 TAKING THEM DOWN A PATH OF SUCCESS AND DANCE SPECIFICALLY. 05:34.304 --> 05:42.977 THAT'S PROBABLY THE BEST THING. THIRTY YEARS AFTER THE "MIAMI 05:42.979 --> 05:46.314 GENERATION" EXHIBITION DEBUTED IN SOUTH FLORIDA. 05:46.316 --> 05:48.516 A FORT LAUDERDALE ART MUSEUM IS LOOKING BACK AT THE WORKS OF 05:48.518 --> 06:04.232 THESE CUBAN-BORN ARTISTS. IT SEEMS LIKE WHEN PEOPLE THINK 06:04.234 --> 06:09.738 OF CUBA AND CUBAN ART, THEY ALWAYS THINK THAT THEY'RE GOING 06:09.740 --> 06:15.610 TO BE LOOKING AT STILL LIVES OF MANGOES AND PAINTINGS OF CARMEN 06:15.612 --> 06:23.818 MIRANDA, WHO WAS NOT EVEN CUBAN. SO WHEN THEY COME HERE THEY WILL 06:23.820 --> 06:26.588 SEE THAT THE CUBANS ARE NOT AFRAID TO FACE AND PORTRAY 06:26.590 --> 06:30.525 THEMES THAT ARE MATURE, THAT ARE SOPHISTICATED, AND THAT REQUIRE 06:30.527 --> 06:37.966 A LITTLE THINKING. THE TITLE OF THE EXHIBITION IS 06:37.968 --> 06:40.435 "THE MIAMI GENERATION REVISITED." 06:40.437 --> 06:44.105 THE EXHIBITION WAS FIRST MOUNTED WITH THE ORIGINAL NINE PEOPLE 06:44.107 --> 06:49.744 BACK IN 1983. AND THEN, OF COURSE, SINCE THEN, 06:49.746 --> 06:54.349 THE ORIGINAL CURATOR PASSED AWAY, AND THREE OF THE ARTISTS 06:54.351 --> 07:02.757 ALSO DIED OF AIDS. IT'S VERY SOBERING TO WALK ABOUT 07:02.759 --> 07:06.361 THIS EXHIBITION AND SEE SO MANY MISSING. 07:06.363 --> 07:08.730 AND AT THE SAME TIME I SMILE WHEN I SEE SOME OF THE WORK 07:08.732 --> 07:12.400 BECAUSE THESE ARE WORKS THAT I HAD SEEN BEFORE. 07:12.402 --> 07:23.478 SO IT'S VERY SPECIAL THAT AT LEAST WE'RE SHOWING TOGETHER IN 07:23.480 --> 07:25.413 THIS PARTICULAR OCCASION THIRTY-ONE YEARS AFTER THE 07:25.415 --> 07:29.150 ORIGINAL EXHIBITION. THE GOAL WAS TO BRING TOGETHER A 07:29.152 --> 07:36.157 GROUP OF NINE ARTISTS, WHO WERE OF CUBAN ORIGINS, THEY WERE ALL 07:36.159 --> 07:38.193 BORN IN CUBA. AND MOST OF THEM CAME TO THE 07:38.195 --> 07:40.628 UNITED STATES WHEN THEY WERE TEENAGERS. 07:40.630 --> 07:44.032 WHAT THEY SHARED IN COMMON WAS THAT THEY DEVELOPED AS ARTISTS 07:44.034 --> 07:50.872 IN THE UNITED STATES, BEING BROUGHT UP IN EXILE. 07:50.874 --> 07:55.143 SUPPOSEDLY WE WERE, YOU KNOW, HANDPICKED REALLY AS THE BEST IN 07:55.145 --> 07:58.246 THE CITY AT THE TIME, FOR CUBAN PAINTERS. 07:58.248 --> 08:02.917 SO WE TRAVELED TO WASHINGTON, TO PHILADELPHIA, TO PUERTO RICO, SO 08:02.919 --> 08:06.921 IT WAS A VERY NICE EXPERIENCE. THEN IT BROKE NEW GROUND BECAUSE 08:06.923 --> 08:15.830 WE HAVE NEVER HAD AN EXHIBITION OF A GROUP OF CUBAN-AMERICANS, 08:15.832 --> 08:19.501 SO LIKE I SAID IT WAS SOMETHING THAT IT WAS COMING AND IN A WAY 08:19.503 --> 08:28.142 OVERDUE, LIKE THIS EXHIBITION. SO I ALWAYS FIND MY PERSONAL 08:28.144 --> 08:34.015 HISTORY PERMEATING THE WORK I DO. 08:34.017 --> 08:37.252 THE GENESIS OF THIS PIECE AND THE SERIES TITLED "WIND 08:37.254 --> 08:43.424 PAINTINGS," WAS THE NUCLEAR EXPLOSION IN CHERNOBYL. 08:43.426 --> 08:50.431 THAT WAS IN APRIL 1986, AND I WAS IN PARIS AT THE TIME 08:50.433 --> 08:53.167 WORKING. ALL OF A SUDDEN THERE IS THIS RADIOACTIVE CLOUD COMING 08:53.169 --> 08:57.805 IN, CARRYING THESE RADIOACTIVE PARTICLES. 08:57.807 --> 09:00.808 THE IDEA OF THE WIND AND THE CHERNOBYL ACCIDENT TOTALLY 09:00.810 --> 09:09.150 CHANGED MY WORK, FROM MOSTLY ABSTRACT AERIAL VIEWS OF 09:09.152 --> 09:15.623 LANDSCAPES TO A MORE REFERENTIAL ALMOST ECOLOGICAL TYPE OF 09:15.625 --> 09:17.759 CONSCIOUSNESS. THE WIND ALL OF A SUDDEN AND 09:17.761 --> 09:20.628 LANDSCAPING IN GENERAL HAS BEEN ROMANTICIZED BY MANY ARTISTS 09:20.630 --> 09:26.234 SINCE THE BEGINNING, AND HOW CAN WE GO FROM HERE WHEN MAN DOES 09:26.236 --> 09:32.040 SOMETHING TO NATURE AND THEN NATURE TURNS AGAINST ITSELF IN 09:32.042 --> 09:36.444 RELATIONSHIP IN NATURE, AS WE KNOW TODAY, AND WHAT AS AN 09:36.446 --> 09:39.647 ARTIST WHAT DO I DO ABOUT THIS, HOW CAN I, I CANNOT ROMANTICIZE 09:39.649 --> 09:42.917 IT ANYMORE. 09:42.919 --> 09:52.760 I WAS BORN AND RAISED IN HOUSE THAT HAD VIEWS TO THE OCEAN, TWO 09:52.762 --> 09:57.865 BLOCKS AWAY FROM THE THREE DIFFERENT STREETS. 09:57.867 --> 10:02.971 SO THAT LINE WITH THE SEA OF THE CARIBBEAN IT WAS A CONSTANT IN 10:02.973 --> 10:06.874 MY YEARS GROWING UP. I'VE HAD SEVERAL, YOU KNOW LIKE, 10:06.876 --> 10:11.012 PERIODS, IN MY CAREER AND THESE WERE ARCHITECTURAL SCENARIOS UH 10:11.014 --> 10:15.283 THAT EVOKED YOU KNOW THE ARCHITECTURE OF CUBA AND THE 10:15.285 --> 10:18.152 CARIBBEAN. CONNECTED TO CUBA THROUGH COLORS 10:18.154 --> 10:22.090 AND THROUGH SOME OF THE ARCHITECTURAL ELEMENTS BUT NOT 10:22.092 --> 10:25.360 EXACTLY CUBA. I DID THE FLOODING BY USING THE 10:25.362 --> 10:30.064 SYMBOLISM OF, YOU KNOW WHEN YOU'RE COVERED WITH WATER IT 10:30.066 --> 10:36.671 REPRESENTS A BIG TRAGEDY, BUT IT ALSO REPRESENTS REBIRTH AND 10:36.673 --> 10:43.978 PURIFICATION, WHAT WE HAVE GONE THROUGH. 10:43.980 --> 10:47.882 WE HAVE THE WORK OF EMILIO FALERO. 10:47.884 --> 10:52.053 WHAT HE LIKED TO DO WAS TO BRING TOGETHER WORKS OF ART BY 10:52.055 --> 10:56.891 DIFFERENT ARTISTS FROM DIFFERENT GENERATIONS AND ESTABLISH A 10:56.893 --> 11:00.128 DIALOGUE BETWEEN THE PAST AND THE PRESENT. 11:00.130 --> 11:05.500 BECAUSE THERE IS A BIG ENTHUSIASM FOR ANYTHING DONE IN 11:05.502 --> 11:07.869 CUBA. BUT THEY IGNORE, ONCE THE ARTIST 11:07.871 --> 11:10.004 LEAVES CUBA, HE IS NO LONGER IMPORTANT SO I KEEP TELLING THEM 11:10.006 --> 11:14.042 LOOK AND SEE WHAT'S DONE OUTSIDE OF CUBA. 11:14.044 --> 11:16.177 YOU KNOW BECAUSE, I MEAN, CUBAN ART CAN BE DONE OUTSIDE OF CUBA, 11:16.179 --> 11:18.646 TOO. UH, YOU CAN LOOK AT IT AS A 11:18.648 --> 11:21.549 FAMILY REUNION. IT WAS AN OPPORTUNITY TO MEET 11:21.551 --> 11:26.654 THEM ALL AGAIN AND TO SEE THE DEVELOPMENT. 11:26.656 --> 11:31.626 IT'S BEEN THIRTY YEARS, SO THEIR WORK, UH YOU KNOW HAS EVOLVED 11:31.628 --> 11:35.596 AND CHANGED. SO IT WAS VERY NICE TO, A VERY 11:35.598 --> 11:37.598 NICE EXPERIENCE. I WOULD SAY EVEN BETTER THAN THE 11:37.600 --> 11:42.403 FIRST ONE. EACH OF THEM SOMEHOW WHISTLES A 11:42.405 --> 11:47.008 DIFFERENT TUNE. THERE IS VERY LITTLE REPETITION 11:47.010 --> 11:49.377 HERE. THEY ARE ALL ORIGINALS. AND WHAT 11:49.379 --> 11:51.579 THEY IS THAT THEY BRING TOGETHER UH ASPECTS FROM NORTH AMERICAN 11:51.581 --> 12:02.423 CULTURE AND CUBAN CULTURE. SOMETHING WAS BREWING AT THE 12:02.425 --> 12:09.097 TIME. AND I'M HAPPY TO HAVE BEEN PART 12:09.099 --> 12:10.298 OF IT AND STILL ARE. THIS IS HOME. 12:10.300 --> 12:13.334 I'M A MIAMI BOY. 12:13.336 --> 12:49.003 "THE GLASS STUDIO" IS A CREATIVE ARTS AND TEACHING FACILITY IN 12:49.005 --> 12:51.038 SPARKS, NEVADA. IT'S HOME TO FOUR LOCAL ARTISTS 12:51.040 --> 12:53.908 - EACH WITH A DIFFERENT BACKGROUND. 12:53.910 --> 12:56.811 AS YOU'RE ABOUT TO SEE GLASS CAN TAKE ON A VARIETY OF COLORS, 12:56.813 --> 12:59.480 FORMS AND TEXTURES THANKS IN PART TO THE EXPERTISE EACH 12:59.482 --> 13:03.017 ARTIST BRINGS. HERE'S THE STORY. 13:03.019 --> 13:16.631 THE GLASS STUDIO IS LOCATED IN SPARKS NEVADA. 13:16.633 --> 13:19.767 WE'RE THE ONLY GLASS ART STUDIO THAT'S OPEN TO THE PUBLIC THAT 13:19.769 --> 13:23.604 I'M AWARE OF IN THE NORTHERN NEVADA AREA. 13:23.606 --> 13:26.641 WE HAVE FOUR ARTISTS AND WE'RE ALL GLASS ARTISTS BUT WE ALL 13:26.643 --> 13:32.013 HAVE A DIFFERENT DISCIPLINE. WILLIAM DOES THICK CAST PIECES, 13:32.015 --> 13:42.256 ARCHITECTURAL PIECES AND VERY LINEAR PRECISION PIECES. 13:42.258 --> 13:44.559 IT WAS ABOUT 20... PROBABLY ABOUT TWENTY SEVEN YEARS AGO I 13:44.561 --> 13:49.831 GOT INVOLVED WITH GLASS. WHAT I LIKE ABOUT WORKING WITH 13:49.833 --> 13:52.333 GLASS IS THAT IT IS A RIGID STATE BUT IT ALSO CAN, IN SOME 13:52.335 --> 13:54.836 OF THE PROCESSES I USE, IT'S IN A MOLTEN STATE OR LIQUID STATE. 13:54.838 --> 13:58.439 IT'S CHALLENGING. YOU DON'T KNOW SOMETIMES WHAT 13:58.441 --> 14:06.280 YOU'RE GOING TO GET WHEN IT COMES OUT OF THE KILN. 14:06.282 --> 14:10.351 IT COULD BE A LITTLE WARMER. YOU HAVE OPALESCENT AND 14:10.353 --> 14:13.654 TRANSPARENT GLASS. AND WE HAVE ALL DIFFERENT SHADES 14:13.656 --> 14:24.799 AND CHARACTERISTICS IN BETWEEN. CINDY DOES COPPER FOIL AND LEAD 14:24.801 --> 14:28.035 CAME TRADITIONAL STAINED GLASS. GLASS IS SO VERSATILE. I THINK 14:28.037 --> 14:30.204 THAT'S ONE OF THE REALLY INTERESTING THINGS ABOUT 14:30.206 --> 14:34.275 ESPECIALLY STAINED GLASS BECAUSE THE LIGHT IS USUALLY TRANSMITTED 14:34.277 --> 14:46.387 THROUGH THE GLASS. IT'S GOT A REAL LIFE OF ITS OWN. 14:46.389 --> 14:50.424 THE SOLDERING IRON IS 700 DEGREES FAHRENHEIT TO MELT THE 14:50.426 --> 14:57.331 SOLDER. THE HOTTEST PART OF THE BLADE IS 14:57.333 --> 14:59.533 RIGHT HERE ON THE SIDE, SO THAT'S WHERE I'M TOUCHING THE 14:59.535 --> 15:03.704 SOLDER TO THE BLADE. I STAND IT UPRIGHT ON THE CORNER 15:03.706 --> 15:15.316 SO IT FLOWS WELL OFF THE SIDE OF THE BLADE ONTO THE SEAM. 15:15.318 --> 15:17.985 JULIA MAKES BEAUTIFUL FLAME WORKED BEADS OF ALL DIFFERENT 15:17.987 --> 15:26.627 KINDS. IT'S MAGIC. 15:26.629 --> 15:28.696 THERE'S SO MANY THINGS YOU CAN DO. 15:28.698 --> 15:30.598 THE COLORS CHANGE IN THE PLAYING ANY DIFFERENT COMBINATIONS 15:30.600 --> 15:32.500 DEPENDING ON WHAT YOU'RE MAKING LOOK DIFFERENT. 15:32.502 --> 15:40.474 YOU CAN COLD WORK IT. YOU CAN HOT WORK IT. 15:40.476 --> 15:42.176 SO AS IT HEATS TOWARDS THE CORE, IT'S GOING TO GET MORE MOLTEN. 15:42.178 --> 15:46.681 AND I HAVE TO KEEP IT SPINNING TO KEEP GRAVITY FROM AFFECTING 15:46.683 --> 15:53.321 THE SHAPE OF THE BEAD. SO NOW I HAVE A WHITE GLASS WITH 15:53.323 --> 15:55.022 GREEN DOTS. AND I USE A FLAME TO MELT THOSE 15:55.024 --> 16:00.261 FLAT. USUALLY, IT'S MY LITTLE CRITTERS 16:00.263 --> 16:06.534 GET MOST OF THE ATTENTION. THE OWLS AND THE FROGS ARE 16:06.536 --> 16:10.037 PROBABLY MY MOST FAVORITE. I WORK WITH FUSIBLE GLASS WHICH 16:10.039 --> 16:12.773 IS COLORED ART GLASS THAT'S SPECIFICALLY DESIGNED FOR HEAT 16:12.775 --> 16:17.611 WORK. I LIKE TO KIND OF PAINT A 16:17.613 --> 16:20.314 PICTURE USING THE CRUSHED GLASS. I RECENTLY WENT TO SOUTH AFRICA. 16:20.316 --> 16:26.120 AND SO I AM WORKING ON A GIRAFFE PIECE BECAUSE I LOVE GIRAFFES. 16:26.122 --> 16:28.222 I SKETCH ALL THE ANIMAL, I DRAW HIM ON CLEAR GLASS AND THEN I 16:28.224 --> 16:32.326 COLOR IT IN USING THE COLORED CRUSHED GLASS. 16:32.328 --> 16:34.428 AND THEN I HAVE MY MAIN PIECE MY FOCAL PIECE, WHICH IS THE ANIMAL 16:34.430 --> 16:36.864 AND, THEN, I PUT IT ON SOME SORT OF BACKGROUND PIECE. 16:36.866 --> 16:42.937 IT'S NOT ONLY AN ARTISTIC PROCESS IT'S ALSO A SCIENTIFIC 16:42.939 --> 16:45.239 PROCESS. GLASS IS MADE WITH THE 16:45.241 --> 16:48.843 MANUFACTURERS. THEY DO USE SILICA SAND AND 16:48.845 --> 16:52.847 CHEMICALS ADDED INTO THE SILICA SAND TO GET THE COLORS THAT THEY 16:52.849 --> 16:55.416 WANT. SULFUR RESULTS AND YELLOWS AND 16:55.418 --> 16:59.253 ORANGES AND REDS AND COPPERS WILL RESULT IN BLUES AND 16:59.255 --> 17:04.158 CHROMIUM, I BELIEVE, IS WHAT THEY USE FOR GREENS. 17:04.160 --> 17:08.262 I MAJORED IN SCIENCE; I HAVE A BACHELOR OF SCIENCE DEGREE IN 17:08.264 --> 17:10.231 GEOLOGY OF ALL THINGS. THE GLASS BEHAVES DIFFERENTLY AT 17:10.233 --> 17:12.166 DIFFERENT TEMPERATURES PLUS THE DIFFERENT COLORS BEHAVE 17:12.168 --> 17:16.370 DIFFERENTLY AT DIFFERENT TEMPERATURES. 17:16.372 --> 17:20.574 IT MAY NOT HAVE THE COLOR THAT YOU SEE WHEN IT'S COLD THAN WHEN 17:20.576 --> 17:22.476 IT'S HOT. ONCE IT'S PUT INTO A KILN IT 17:22.478 --> 17:24.278 WILL CHANGE COLD WATER TO ITS FINAL COLOR. 17:24.280 --> 17:28.616 WHAT'S NEXT FOR THE GLASS STUDIO? 17:28.618 --> 17:30.351 I WOULD LIKE TO GO BIG. I WANT TO MAKE SOME BIG PROJECTS, 17:30.353 --> 17:34.655 TECHNICALLY CHALLENGING PROJECTS, DO A LITTLE BIT OF 17:34.657 --> 17:36.624 COLLABORATION. I LIKE TO MAKE THIS SPACE MORE 17:36.626 --> 17:52.039 INVITING TO THE PUBLIC WHICH IS WHY I LIKE HAVING ALL THE OTHER 17:52.041 --> 17:53.841 ARTISTS IN HERE AS WELL. WE OFTEN THINK OF HISTORY AS 17:53.843 --> 17:55.476 WORDS RECORDED IN A TEXTBOOK. BUT SOME OF THE MOST POWERFUL 17:55.478 --> 17:59.580 STORIES OF OUR PAST ARE TOLD THROUGH IMAGES. 17:59.582 --> 18:15.830 # [SINGING THIS LITTLE LIGHT OF MINE] 18:15.832 --> 18:20.668 MARTIN LUTHER KING JR. LED ABOUT 25,000 PEOPLE INTO MONTGOMERY, 18:20.670 --> 18:23.938 ALABAMA, IN MARCH OF 1965 AS PART OF A DEMONSTRATION TO 18:23.940 --> 18:29.343 PROMOTE VOTING RIGHTS. GOVERNMENT OFFICIALS IN SEVERAL 18:29.345 --> 18:31.378 SOUTHERN STATES WERE TRYING TO SUPPRESS THE AFRICAN-AMERICAN 18:31.380 --> 18:35.382 VOTE BY MAKING IT DIFFICULT TO REGISTER. 18:35.384 --> 18:37.618 HISTORIAN LESLIE KELLEN SAYS A RIGGED LITERACY TEST OFTEN MADE 18:37.620 --> 18:40.488 IT IMPOSSIBLE. THE WHITE PEOPLE WHO ALSO TOOK 18:40.490 --> 18:46.460 THE LITERACY TEST WERE ALMOST ALWAYS PASSED. 18:46.462 --> 18:48.262 (RIGHT, THEY GOT RIGHT THROUGH.) AND ABOUT 90 PERCENT OF THEM 18:48.264 --> 18:50.664 BLACK PEOPLE FAILED. KELLEN IS EXECUTIVE DIRECTOR OF 18:50.666 --> 18:54.668 THE UTAH BASED CENTER FOR DOCUMENTARY EXPRESSION AND ART, 18:54.670 --> 18:57.805 WHICH HAS ORGANIZED A TRAVELING PHOTO EXHIBITION, WHICH TELLS 18:57.807 --> 19:01.375 THE STORY OF THAT VOTING RIGHTS MARCH AND OTHER CIVIL RIGHTS 19:01.377 --> 19:03.978 EVENTS OF THE MID 1960S. CURRENTLY ON DISPLAY AT 19:03.980 --> 19:08.349 CLEVELAND'S MALTZ MUSEUM OF JEWISH HERITAGE, THE EXHIBITION 19:08.351 --> 19:14.155 GIVES A BEHIND THE SCENES LOOK AT EVERYTHING FROM QUIET MOMENTS 19:14.157 --> 19:16.323 TO VIOLENT CONFRONTATIONS. THE MONTGOMERY DEMONSTRATION 19:16.325 --> 19:20.628 BRINGS MANY MEMORIES BACK TO 81-YEAR-OLD OTIS MOSS JR. WHO 19:20.630 --> 19:23.297 MARCHED WITH KING AND FOR 33 YEARS WAS PASTOR OF CLEVELAND'S 19:23.299 --> 19:27.301 OLIVET INSTITUTIONAL BAPTIST CHURCH. 19:27.303 --> 19:29.303 REVEREND MOSS RECALLS THAT THE PREVIOUS PROTEST HAD RESULTED IN 19:29.305 --> 19:33.040 A VICIOUS ATTACK BY STATE TROOPERS. 19:33.042 --> 19:35.809 SO HE HAD MIXED EMOTIONS AS THE MARCH APPROACHED THE CITY. 19:35.811 --> 19:41.882 IT WAS A GREAT MOMENT OF ANTICIPATION. 19:41.884 --> 19:47.688 ACKNOWLEDGMENT OF THE DANGER BUT ALSO FULLY AWARE OF THE 19:47.690 --> 19:50.758 NECESSITY. AS IT TURNED OUT THEY WALKED 19:50.760 --> 19:54.061 INTO ALABAMA'S CAPITAL CITY WITHOUT INCIDENT THANKS IN PART 19:54.063 --> 19:58.065 TO THE POWERFUL IMAGES OF EARLIER VIOLENCE THAT WERE 19:58.067 --> 20:01.835 PRINTED AND BROADCAST AROUND THE WORLD. 20:01.837 --> 20:04.238 AND IT DIDN'T HURT THAT THE FEDERAL GOVERNMENT HAD SENT 20:04.240 --> 20:08.108 ARMED TROOPS TO ACCOMPANY THE DEMONSTRATORS. 20:08.110 --> 20:10.044 THE FILMS AND PHOTOGRAPHS FOCUSED GLOBAL ATTENTION ON THE 20:10.046 --> 20:17.151 MARCHERS AND THEIR SAFETY. I THINK WITHIN THE CIVIL RIGHTS 20:17.153 --> 20:21.589 COMMUNITY WAS A SENSE THAT NOW ALL OF AMERICA AND THE WORLD CAN 20:21.591 --> 20:29.797 SEE WHAT WE HAVE BEEN EXPERIENCING FOR DECADES. 20:29.799 --> 20:37.838 HERE IS THE UNDENIABLE RECORDING OF HUMAN BRUTALITY THAT MANY 20:37.840 --> 20:45.479 PEOPLE BELIEVED NEVER HAPPENED. THE PICTURE BECOMES A MESSAGE. 20:45.481 --> 20:49.883 A YEAR EARLIER IN JUNE OF 1964 A MISSISSIPPI VOTER REGISTRATION 20:49.885 --> 20:53.988 DRIVE KNOWN AS FREEDOM SUMMER ATTRACTED OVER A THOUSAND 20:53.990 --> 20:56.123 VOLUNTEERS FROM OUTSIDE THE STATE INCLUDING A PROMINENT 20:56.125 --> 21:04.031 JEWISH CLERGYMAN FROM CLEVELAND. RABBI ARTHUR LELYVELD WENT DOWN 21:04.033 --> 21:09.603 TO PARTICIPATE IN FREEDOM SUMMER. 21:09.605 --> 21:11.905 HE WAS... HE WAS A RABBI AT FAIRMOUNT TEMPLE. 21:11.907 --> 21:17.978 AND HE WANTED TO DO WHAT HE COULD TO TO HELP AND HE WAS 21:17.980 --> 21:20.481 BEATEN. HE HAPPENED TO ACTUALLY BE WITH A PHOTOGRAPHER THAT DAY 21:20.483 --> 21:22.783 AND AFTER HE WAS BEATEN UP AND A PHOTOGRAPHER WAS THERE HE TOLD 21:22.785 --> 21:34.194 THEM TO TAKE A PICTURE AND TO CAPTURE THAT MOMENT. 21:34.196 --> 21:37.831 DAVID KORDALSKI HAS SPENT OVER 30 YEARS THINKING ABOUT THE 21:37.833 --> 21:39.433 POWER OF IMAGES AND HOW BEST TO USE THEM IN PRINT. 21:39.435 --> 21:42.102 I THINK THAT A PHOTOGRAPHER'S ROLE IS TO TAKE PEOPLE WHERE 21:42.104 --> 21:45.506 THEY CAN'T GO. YOU TAKE THEM TO ACCESS. 21:45.508 --> 21:49.743 WE USED TO SAY THAT ON VERY SIMPLE ASSIGNMENTS EVEN AT THE 21:49.745 --> 21:51.812 PD. BUT IN THIS PARTICULAR CASE 21:51.814 --> 21:53.781 THERE IS A LARGE SWATH OF AMERICA THAT JUST DIDN'T KNOW. 21:53.783 --> 21:56.417 NEVER REALLY BEEN COVERED BEFORE IN SUCH A WAY AND TO GET THERE 21:56.419 --> 21:59.019 AND HAVE A FRONT ROW SEAT TO HISTORY BROUGHT THERE IN THE 21:59.021 --> 22:09.129 POWER OF A STILL FRAME IS JUST AN ABSOLUTE REMARKABLE FEAT. 22:09.131 --> 22:10.998 THESE PICTURES OF PROTESTS AND SOMETIMES VIOLENT CONFRONTATIONS 22:11.000 --> 22:14.568 BETWEEN CITIZENS AND POLICE ARE A PART OF AMERICA'S HISTORICAL 22:14.570 --> 22:16.337 RECORD. BUT SOME OF THE EVENTS OF 50 22:16.339 --> 22:18.238 YEARS AGO DOCUMENTED BY PHOTOGRAPHY CERTAINLY HAVE A 22:18.240 --> 22:20.541 FAMILIAR RING. WE CAN'T LOOK AT THESE IMAGES 22:20.543 --> 22:23.110 WITHOUT THINKING ABOUT WHAT'S HAPPENING TODAY. 22:23.112 --> 22:26.046 LIKE THE IMAGE CAPTURED BY A SECURITY CAMERA SHOWING THE 22:26.048 --> 22:30.217 SHOOTING OF 12 YEAR OLD TAMIR RICE ON CLEVELAND'S WEST SIDE. 22:30.219 --> 22:36.090 THIS SCENE HELPED REKINDLE A NATIONAL DISCUSSION ABOUT RACE 22:36.092 --> 22:38.058 AND JUSTICE IN THE SAME WAY THAT SOME OF THESE PHOTOS ON DISPLAY 22:38.060 --> 22:42.029 AT THE MALTZ MUSEUM DID 50 YEARS AGO. 22:42.031 --> 22:45.699 OTIS MOSS IS TAKEN WITH SOMETHING ELSE HE SEES IN THESE 22:45.701 --> 22:47.868 PHOTOGRAPHS. IT'S A DIFFERENT SORT OF 22:47.870 --> 22:50.237 HISTORICAL LESSON THAT WOULD BE HARD TO EXPLAIN IN THE TEXT OF A 22:50.239 --> 22:58.312 HISTORY BOOK. SHE IS GIVING LITERACY 22:58.314 --> 23:08.455 INSTRUCTION PREPARING THIS INDIVIDUAL TO WRITE HIS NAME IN 23:08.457 --> 23:17.898 ORDER THAT HE WILL BE ABLE TO REGISTER AND VOTE. 23:17.900 --> 23:30.577 IT INSPIRES ME BEYOND DESCRIPTION TO SEE THIS THING 23:30.579 --> 23:33.180 AND LOOK AT HER HAND OVER HIS HAND. 23:33.182 --> 23:39.920 THERE IS A VOLUME OF HISTORY TIED IN TO THIS ONE PHOTOGRAPH. 23:39.922 --> 23:43.991 IMAGES HAVE THE POWER TO TELL US STORIES ABOUT OURSELVES AND 23:43.993 --> 23:47.761 OTHERS IN A WAY THAT WORDS CAN'T ALWAYS CAPTURE. 23:47.763 --> 23:51.365 FOR IDEASTREAM I'M DAVID C. BARNETT. 23:51.367 --> 24:15.656 AND THAT WRAPS IT UP FOR THIS EDITION OF ARTS. 24:15.658 --> 24:17.558 FOR MORE ARTS AND CULTURE, VISIT KLRN.ORG/ARTS WHERE YOU CAN FIND 24:17.560 --> 24:19.426 FEATURE VIDEOS, BLOGS AND INFORMATION ON UPCOMING ARTS 24:19.428 --> 24:23.497 EVENTS. I'M APRIL ANCIRA AND I'LL SEE 24:23.499 --> 24:27.067 YOU WHEN WE RETURN WITH MORE ARTS. 24:27.069 --> 24:30.604 ARTS IS MADE POSSIBLE BY VIEWERS LIKE YOU. 24:30.606 --> 24:35.509 THANK YOU.