THANK YOU.
ON THIS EDITION OF ARTS
PEZ
BUILDING SELF-ESTEEM.
ON THE BIG STAGE
THEY TAKE THE SELF-ESTEEM AND
THEIR SELF-ASSURANCE IS GOING TO
CARRY ON.
A LOOK BACK AT THE EVOLUTION OF
SOME GROUNDBREAKING CUBAN
ARTISTS
THE EXHIBIT WAS FIRST MOUNTED
WAS ORIGINALLY NINE PEOPLE BACK
IN 1983.
THE POWER OF IMAGE IN ACTIVISM
AND LOOK AT SIRHAN OVER HIS
HAND.
THERE IS A VOLUME OF HISTORY.
THE MANY WAYS OF WORKING IN
GLASS
I LOVE WORKING WITH GLASS
BECAUSE IT'S BOTH ARTISTIC AND
TECHNICAL.
IT'S ALL AHEAD ON THIS EDITION
OF ARTS.
HI, I'M APRIL ANCIRA AND THANK
YOU FOR TUNING IN FOR THIS
EDITION OF ARTS.
CONTINUING A RICH TRADITION OF
DANCE AND ART CLASSES AT THE
CARVER, LOCAL CHILDREN ARE
GETTING THE CHANCE TO NOT ONLY
POLISH THEIR OWN DANCING SKILLS,
BUT TO BUILD THEIR
SELF-CONFIDENCE, AS THEY PERFORM
ON-STAGE.
REPORTER DONNA PARKER TAKES US
TO VISIT 35 STELLAR PERFORMERS,
SOME AS YOUNG AS SEVEN YEARS
OLD, WHO ARE MASTERING THE ART
OF DANCE UNDER THE WATCHFUL EYE
OF PROFESSIONAL DANCE
INSTRUCTORS.
THE EMOTIONS RUN HIGH AS THE
GIRLS FEEL THE MUSIC STANDING
SLIGHTLY OFF STAGE IN
PREPARATION FOR THEIR OWN MOMENT
IN THE SUN.
[MUSIC]
>> THEY'RE DANCE IING THEIR HEA
OUT.
35 YOUNG GIRLS.
THEY'RE WORKING HARD DAY AND
NIGHT.
I'M WITH THE DALLAS DANCE
THEATRE.
I'M ONE OF THREE STRORS HERE AT
THE CARVER CENTER.
I THINK FOR MOST DANCERS WHAT I
NATURAL BORN DANCING.
THE MU MUSIC IS INSIDE YOU.
I THINK THEY CONNECT QUITE
NATURALLY TO IT.
THESE SUMMER TRAINING CLASSES
NOT ONLY POLISH THE DANCING
SKILLS OF YOUNG MEN AND WOMEN
AND SHOWCASE THEIR MOVES IN THE
FINAL PERFORMANCE.
EVERY TIME THEY COME IN HERE
MANY OF THEM ARE VERY SHY.
THEY'RE -- THEY BLOSSOM OUT BY
THE SECOND WEEK.
THEY HAVE ATTITUDE AND THEY HAVE
SELF-ASSURANCE.
WE GET TO MEET AND UNDERSTAND
THEIR PERSONALITIES WHERE THEY
ARE.
TRUSTING WHO THEY ARE, AND BEING
OKAY WITH SHOWING THAT ON STAGE.
THAT IS THE PURPOSE OF HAVING
THESE DANCE CAMPS.
WE WANT TO SHOW THE CHILDREN HOW
ART IS AND NUMBER TWO, WE DO
THESE DANCE CLASSES SO THEY CAN
BLOSSOM AND BECOME BETTER
STUDENTS AT SCHOOL.
A IMAGINE WHAT IT MUST BE LIKE
AS THEY WAIT FOR THEIR CUE.
THEY'RE EXCITED TO SHOW OFF
THEIR DANCE SKILLS IN FRONT OF
EVERYBODY.
[MUSIC]
>> I THINK THAT UNDERSTANDING
THAT IT TAKES A LOT MORE THAN
JUST PRESENTING YOUR PHYSICAL
BODIES ON STAGE BUT CONNECTING
TO YOUR CHARACTER, CONNECTING TO
THE STORY, AND LEARNING HOW TO
SO
SUBTLY SELL YOUR STORY.
AND YOU KNOW BECAUSE WE ALL KNOW
HOW TO DO IT.
PEOPLE THAT COME TO SEE DANCE
THEY'RE NOT ALWAYS WANT TO BE
ENTERTAINED.
THEY WANT TO BE MOVED.
THEY WANT TO REMEMBER WHAT THEY
SAW ON STAGE.
THEY MAY NOT REMEMBER THE DANCE
BUT THEY WILL REMEMBER HOW YOU
MADE THEM FEEL.
AND THEY ARE TELLING THEM I DID
IT.
IT'S YOUR TURN TO DO IT.
WHEN THEY COME AND WATCH THEIR
CHILD OR GRANDCHILD.
AND I USED TO DO THIS.
MAYBE THESE CHILDREN WHEN THEY
GET OLDER THEY WILL BRING THEIR
CHILDREN.
WE HAVE BEEN HERE NOW FOR OVER A
100-YEAR.
WHAT MAKES US SO UNIQUE WE'RE
RIGHT IN THE COMMUNITY WHERE
WE'RE AMONG THE NEIGHBORHOODS
WITH ALL OF THE SMALL
BUSINESSES.
IT HAS CONSISTENTLY BROUGHT IN
PROGRAMS FOR THE COMMUNITY.
AND IT MAKES ME PROUD OF THE
STUDENTS OVER THE YEARS COME TO
OUR PROGRAM, GO TO COLLEGE,
PURSUING DANCE AS A CAREER.
THAT'S ONE OF THE MOST REWARDING
THINGS FOR ME TO SEE.
TAKING THEM DOWN A PATH OF
SUCCESS AND DANCE SPECIFICALLY.
THAT'S PROBABLY THE BEST THING.
THIRTY YEARS AFTER THE "MIAMI
GENERATION" EXHIBITION DEBUTED
IN SOUTH FLORIDA.
A FORT LAUDERDALE ART MUSEUM IS
LOOKING BACK AT THE WORKS OF
THESE CUBAN-BORN ARTISTS.
IT SEEMS LIKE WHEN PEOPLE THINK
OF CUBA AND CUBAN ART, THEY
ALWAYS THINK THAT THEY'RE GOING
TO BE LOOKING AT STILL LIVES OF
MANGOES AND PAINTINGS OF CARMEN
MIRANDA, WHO WAS NOT EVEN CUBAN.
SO WHEN THEY COME HERE THEY WILL
SEE THAT THE CUBANS ARE NOT
AFRAID TO FACE AND PORTRAY
THEMES THAT ARE MATURE, THAT ARE
SOPHISTICATED, AND THAT REQUIRE
A LITTLE THINKING.
THE TITLE OF THE EXHIBITION IS
"THE MIAMI GENERATION
REVISITED."
THE EXHIBITION WAS FIRST MOUNTED
WITH THE ORIGINAL NINE PEOPLE
BACK IN 1983.
AND THEN, OF COURSE, SINCE THEN,
THE ORIGINAL CURATOR PASSED
AWAY, AND THREE OF THE ARTISTS
ALSO DIED OF AIDS.
IT'S VERY SOBERING TO WALK ABOUT
THIS EXHIBITION AND SEE SO MANY
MISSING.
AND AT THE SAME TIME I SMILE
WHEN I SEE SOME OF THE WORK
BECAUSE THESE ARE WORKS THAT I
HAD SEEN BEFORE.
SO IT'S VERY SPECIAL THAT AT
LEAST WE'RE SHOWING TOGETHER IN
THIS PARTICULAR OCCASION
THIRTY-ONE YEARS AFTER THE
ORIGINAL EXHIBITION.
THE GOAL WAS TO BRING TOGETHER A
GROUP OF NINE ARTISTS, WHO WERE
OF CUBAN ORIGINS, THEY WERE ALL
BORN IN CUBA.
AND MOST OF THEM CAME TO THE
UNITED STATES WHEN THEY WERE
TEENAGERS.
WHAT THEY SHARED IN COMMON WAS
THAT THEY DEVELOPED AS ARTISTS
IN THE UNITED STATES, BEING
BROUGHT UP IN EXILE.
SUPPOSEDLY WE WERE, YOU KNOW,
HANDPICKED REALLY AS THE BEST IN
THE CITY AT THE TIME, FOR CUBAN
PAINTERS.
SO WE TRAVELED TO WASHINGTON, TO
PHILADELPHIA, TO PUERTO RICO, SO
IT WAS A VERY NICE EXPERIENCE.
THEN IT BROKE NEW GROUND BECAUSE
WE HAVE NEVER HAD AN EXHIBITION
OF A GROUP OF CUBAN-AMERICANS,
SO LIKE I SAID IT WAS SOMETHING
THAT IT WAS COMING AND IN A WAY
OVERDUE, LIKE THIS EXHIBITION.
SO I ALWAYS FIND MY PERSONAL
HISTORY PERMEATING THE WORK I
DO.
THE GENESIS OF THIS PIECE AND
THE SERIES TITLED "WIND
PAINTINGS," WAS THE NUCLEAR
EXPLOSION IN CHERNOBYL.
THAT WAS IN APRIL 1986, AND I
WAS IN PARIS AT THE TIME
WORKING. ALL OF A SUDDEN THERE
IS THIS RADIOACTIVE CLOUD COMING
IN, CARRYING THESE RADIOACTIVE
PARTICLES.
THE IDEA OF THE WIND AND THE
CHERNOBYL ACCIDENT TOTALLY
CHANGED MY WORK, FROM MOSTLY
ABSTRACT AERIAL VIEWS OF
LANDSCAPES TO A MORE REFERENTIAL
ALMOST ECOLOGICAL TYPE OF
CONSCIOUSNESS.
THE WIND ALL OF A SUDDEN AND
LANDSCAPING IN GENERAL HAS BEEN
ROMANTICIZED BY MANY ARTISTS
SINCE THE BEGINNING, AND HOW CAN
WE GO FROM HERE WHEN MAN DOES
SOMETHING TO NATURE AND THEN
NATURE TURNS AGAINST ITSELF IN
RELATIONSHIP IN NATURE, AS WE
KNOW TODAY, AND WHAT AS AN
ARTIST WHAT DO I DO ABOUT THIS,
HOW CAN I, I CANNOT ROMANTICIZE
IT ANYMORE.
I WAS BORN AND RAISED IN HOUSE
THAT HAD VIEWS TO THE OCEAN, TWO
BLOCKS AWAY FROM THE THREE
DIFFERENT STREETS.
SO THAT LINE WITH THE SEA OF THE
CARIBBEAN IT WAS A CONSTANT IN
MY YEARS GROWING UP.
I'VE HAD SEVERAL, YOU KNOW LIKE,
PERIODS, IN MY CAREER AND THESE
WERE ARCHITECTURAL SCENARIOS UH
THAT EVOKED YOU KNOW THE
ARCHITECTURE OF CUBA AND THE
CARIBBEAN.
CONNECTED TO CUBA THROUGH COLORS
AND THROUGH SOME OF THE
ARCHITECTURAL ELEMENTS BUT NOT
EXACTLY CUBA.
I DID THE FLOODING BY USING THE
SYMBOLISM OF, YOU KNOW WHEN
YOU'RE COVERED WITH WATER IT
REPRESENTS A BIG TRAGEDY, BUT IT
ALSO REPRESENTS REBIRTH AND
PURIFICATION, WHAT WE HAVE GONE
THROUGH.
WE HAVE THE WORK OF EMILIO
FALERO.
WHAT HE LIKED TO DO WAS TO BRING
TOGETHER WORKS OF ART BY
DIFFERENT ARTISTS FROM DIFFERENT
GENERATIONS AND ESTABLISH A
DIALOGUE BETWEEN THE PAST AND
THE PRESENT.
BECAUSE THERE IS A BIG
ENTHUSIASM FOR ANYTHING DONE IN
CUBA.
BUT THEY IGNORE, ONCE THE ARTIST
LEAVES CUBA, HE IS NO LONGER
IMPORTANT SO I KEEP TELLING THEM
LOOK AND SEE WHAT'S DONE OUTSIDE
OF CUBA.
YOU KNOW BECAUSE, I MEAN, CUBAN
ART CAN BE DONE OUTSIDE OF CUBA,
TOO.
UH, YOU CAN LOOK AT IT AS A
FAMILY REUNION.
IT WAS AN OPPORTUNITY TO MEET
THEM ALL AGAIN AND TO SEE THE
DEVELOPMENT.
IT'S BEEN THIRTY YEARS, SO THEIR
WORK, UH YOU KNOW HAS EVOLVED
AND CHANGED.
SO IT WAS VERY NICE TO, A VERY
NICE EXPERIENCE.
I WOULD SAY EVEN BETTER THAN THE
FIRST ONE.
EACH OF THEM SOMEHOW WHISTLES A
DIFFERENT TUNE.
THERE IS VERY LITTLE REPETITION
HERE.
THEY ARE ALL ORIGINALS. AND WHAT
THEY IS THAT THEY BRING TOGETHER
UH ASPECTS FROM NORTH AMERICAN
CULTURE AND CUBAN CULTURE.
SOMETHING WAS BREWING AT THE
TIME.
AND I'M HAPPY TO HAVE BEEN PART
OF IT AND STILL ARE.
THIS IS HOME.
I'M A MIAMI BOY.
"THE GLASS STUDIO" IS A CREATIVE
ARTS AND TEACHING FACILITY IN
SPARKS, NEVADA.
IT'S HOME TO FOUR LOCAL ARTISTS
- EACH WITH A DIFFERENT
BACKGROUND.
AS YOU'RE ABOUT TO SEE GLASS
CAN TAKE ON A VARIETY OF COLORS,
FORMS AND TEXTURES THANKS IN
PART TO THE EXPERTISE EACH
ARTIST BRINGS.
HERE'S THE STORY.
THE GLASS STUDIO IS LOCATED IN
SPARKS NEVADA.
WE'RE THE ONLY GLASS ART STUDIO
THAT'S OPEN TO THE PUBLIC THAT
I'M AWARE OF IN THE NORTHERN
NEVADA AREA.
WE HAVE FOUR ARTISTS AND WE'RE
ALL GLASS ARTISTS BUT WE ALL
HAVE A DIFFERENT DISCIPLINE.
WILLIAM DOES THICK CAST PIECES,
ARCHITECTURAL PIECES AND VERY
LINEAR PRECISION PIECES.
IT WAS ABOUT 20... PROBABLY
ABOUT TWENTY SEVEN YEARS AGO I
GOT INVOLVED WITH GLASS.
WHAT I LIKE ABOUT WORKING WITH
GLASS IS THAT IT IS A RIGID
STATE BUT IT ALSO CAN, IN SOME
OF THE PROCESSES I USE, IT'S IN
A MOLTEN STATE OR LIQUID STATE.
IT'S CHALLENGING.
YOU DON'T KNOW SOMETIMES WHAT
YOU'RE GOING TO GET WHEN IT
COMES OUT OF THE KILN.
IT COULD BE A LITTLE WARMER.
YOU HAVE OPALESCENT AND
TRANSPARENT GLASS.
AND WE HAVE ALL DIFFERENT SHADES
AND CHARACTERISTICS IN BETWEEN.
CINDY DOES COPPER FOIL AND LEAD
CAME TRADITIONAL STAINED GLASS.
GLASS IS SO VERSATILE. I THINK
THAT'S ONE OF THE REALLY
INTERESTING THINGS ABOUT
ESPECIALLY STAINED GLASS BECAUSE
THE LIGHT IS USUALLY TRANSMITTED
THROUGH THE GLASS.
IT'S GOT A REAL LIFE OF ITS OWN.
THE SOLDERING IRON IS 700
DEGREES FAHRENHEIT TO MELT THE
SOLDER.
THE HOTTEST PART OF THE BLADE IS
RIGHT HERE ON THE SIDE, SO
THAT'S WHERE I'M TOUCHING THE
SOLDER TO THE BLADE.
I STAND IT UPRIGHT ON THE CORNER
SO IT FLOWS WELL OFF THE SIDE OF
THE BLADE ONTO THE SEAM.
JULIA MAKES BEAUTIFUL FLAME
WORKED BEADS OF ALL DIFFERENT
KINDS.
IT'S MAGIC.
THERE'S SO MANY THINGS YOU CAN
DO.
THE COLORS CHANGE IN THE PLAYING
ANY DIFFERENT COMBINATIONS
DEPENDING ON WHAT YOU'RE MAKING
LOOK DIFFERENT.
YOU CAN COLD WORK IT. YOU CAN
HOT WORK IT.
SO AS IT HEATS TOWARDS THE CORE,
IT'S GOING TO GET MORE MOLTEN.
AND I HAVE TO KEEP IT SPINNING
TO KEEP GRAVITY FROM AFFECTING
THE SHAPE OF THE BEAD.
SO NOW I HAVE A WHITE GLASS WITH
GREEN DOTS.
AND I USE A FLAME TO MELT THOSE
FLAT.
USUALLY, IT'S MY LITTLE CRITTERS
GET MOST OF THE ATTENTION.
THE OWLS AND THE FROGS ARE
PROBABLY MY MOST FAVORITE.
I WORK WITH FUSIBLE GLASS WHICH
IS COLORED ART GLASS THAT'S
SPECIFICALLY DESIGNED FOR HEAT
WORK.
I LIKE TO KIND OF PAINT A
PICTURE USING THE CRUSHED GLASS.
I RECENTLY WENT TO SOUTH AFRICA.
AND SO I AM WORKING ON A GIRAFFE
PIECE BECAUSE I LOVE GIRAFFES.
I SKETCH ALL THE ANIMAL, I DRAW
HIM ON CLEAR GLASS AND THEN I
COLOR IT IN USING THE COLORED
CRUSHED GLASS.
AND THEN I HAVE MY MAIN PIECE MY
FOCAL PIECE, WHICH IS THE ANIMAL
AND, THEN, I PUT IT ON SOME SORT
OF BACKGROUND PIECE.
IT'S NOT ONLY AN ARTISTIC
PROCESS IT'S ALSO A SCIENTIFIC
PROCESS.
GLASS IS MADE WITH THE
MANUFACTURERS.
THEY DO USE SILICA SAND AND
CHEMICALS ADDED INTO THE SILICA
SAND TO GET THE COLORS THAT THEY
WANT.
SULFUR RESULTS AND YELLOWS AND
ORANGES AND REDS AND COPPERS
WILL RESULT IN BLUES AND
CHROMIUM, I BELIEVE, IS WHAT
THEY USE FOR GREENS.
I MAJORED IN SCIENCE; I HAVE A
BACHELOR OF SCIENCE DEGREE IN
GEOLOGY OF ALL THINGS.
THE GLASS BEHAVES DIFFERENTLY AT
DIFFERENT TEMPERATURES PLUS THE
DIFFERENT COLORS BEHAVE
DIFFERENTLY AT DIFFERENT
TEMPERATURES.
IT MAY NOT HAVE THE COLOR THAT
YOU SEE WHEN IT'S COLD THAN WHEN
IT'S HOT.
ONCE IT'S PUT INTO A KILN IT
WILL CHANGE COLD WATER TO ITS
FINAL COLOR.
WHAT'S NEXT FOR THE GLASS
STUDIO?
I WOULD LIKE TO GO BIG. I WANT
TO MAKE SOME BIG PROJECTS,
TECHNICALLY CHALLENGING
PROJECTS, DO A LITTLE BIT OF
COLLABORATION.
I LIKE TO MAKE THIS SPACE MORE
INVITING TO THE PUBLIC WHICH IS
WHY I LIKE HAVING ALL THE OTHER
ARTISTS IN HERE AS WELL.
WE OFTEN THINK OF HISTORY AS
WORDS RECORDED IN A TEXTBOOK.
BUT SOME OF THE MOST POWERFUL
STORIES OF OUR PAST ARE TOLD
THROUGH IMAGES.
# [SINGING THIS LITTLE LIGHT OF
MINE]
MARTIN LUTHER KING JR. LED ABOUT
25,000 PEOPLE INTO MONTGOMERY,
ALABAMA, IN MARCH OF 1965 AS
PART OF A DEMONSTRATION TO
PROMOTE VOTING RIGHTS.
GOVERNMENT OFFICIALS IN SEVERAL
SOUTHERN STATES WERE TRYING TO
SUPPRESS THE AFRICAN-AMERICAN
VOTE BY MAKING IT DIFFICULT TO
REGISTER.
HISTORIAN LESLIE KELLEN SAYS A
RIGGED LITERACY TEST OFTEN MADE
IT IMPOSSIBLE.
THE WHITE PEOPLE WHO ALSO TOOK
THE LITERACY TEST WERE ALMOST
ALWAYS PASSED.
(RIGHT, THEY GOT RIGHT THROUGH.)
AND ABOUT 90 PERCENT OF THEM
BLACK PEOPLE FAILED.
KELLEN IS EXECUTIVE DIRECTOR OF
THE UTAH BASED CENTER FOR
DOCUMENTARY EXPRESSION AND ART,
WHICH HAS ORGANIZED A TRAVELING
PHOTO EXHIBITION, WHICH TELLS
THE STORY OF THAT VOTING RIGHTS
MARCH AND OTHER CIVIL RIGHTS
EVENTS OF THE MID 1960S.
CURRENTLY ON DISPLAY AT
CLEVELAND'S MALTZ MUSEUM OF
JEWISH HERITAGE, THE EXHIBITION
GIVES A BEHIND THE SCENES LOOK
AT EVERYTHING FROM QUIET MOMENTS
TO VIOLENT CONFRONTATIONS.
THE MONTGOMERY DEMONSTRATION
BRINGS MANY MEMORIES BACK TO
81-YEAR-OLD OTIS MOSS JR. WHO
MARCHED WITH KING AND FOR 33
YEARS WAS PASTOR OF CLEVELAND'S
OLIVET INSTITUTIONAL BAPTIST
CHURCH.
REVEREND MOSS RECALLS THAT THE
PREVIOUS PROTEST HAD RESULTED IN
A VICIOUS ATTACK BY STATE
TROOPERS.
SO HE HAD MIXED EMOTIONS AS THE
MARCH APPROACHED THE CITY.
IT WAS A GREAT MOMENT OF
ANTICIPATION.
ACKNOWLEDGMENT OF THE DANGER BUT
ALSO FULLY AWARE OF THE
NECESSITY.
AS IT TURNED OUT THEY WALKED
INTO ALABAMA'S CAPITAL CITY
WITHOUT INCIDENT THANKS IN PART
TO THE POWERFUL IMAGES OF
EARLIER VIOLENCE THAT WERE
PRINTED AND BROADCAST AROUND THE
WORLD.
AND IT DIDN'T HURT THAT THE
FEDERAL GOVERNMENT HAD SENT
ARMED TROOPS TO ACCOMPANY THE
DEMONSTRATORS.
THE FILMS AND PHOTOGRAPHS
FOCUSED GLOBAL ATTENTION ON THE
MARCHERS AND THEIR SAFETY.
I THINK WITHIN THE CIVIL RIGHTS
COMMUNITY WAS A SENSE THAT NOW
ALL OF AMERICA AND THE WORLD CAN
SEE WHAT WE HAVE BEEN
EXPERIENCING FOR DECADES.
HERE IS THE UNDENIABLE RECORDING
OF HUMAN BRUTALITY THAT MANY
PEOPLE BELIEVED NEVER HAPPENED.
THE PICTURE BECOMES A MESSAGE.
A YEAR EARLIER IN JUNE OF 1964 A
MISSISSIPPI VOTER REGISTRATION
DRIVE KNOWN AS FREEDOM SUMMER
ATTRACTED OVER A THOUSAND
VOLUNTEERS FROM OUTSIDE THE
STATE INCLUDING A PROMINENT
JEWISH CLERGYMAN FROM CLEVELAND.
RABBI ARTHUR LELYVELD WENT DOWN
TO PARTICIPATE IN FREEDOM
SUMMER.
HE WAS... HE WAS A RABBI AT
FAIRMOUNT TEMPLE.
AND HE WANTED TO DO WHAT HE
COULD TO TO HELP AND HE WAS
BEATEN. HE HAPPENED TO ACTUALLY
BE WITH A PHOTOGRAPHER THAT DAY
AND AFTER HE WAS BEATEN UP AND A
PHOTOGRAPHER WAS THERE HE TOLD
THEM TO TAKE A PICTURE AND TO
CAPTURE THAT MOMENT.
DAVID KORDALSKI HAS SPENT OVER
30 YEARS THINKING ABOUT THE
POWER OF IMAGES AND HOW BEST TO
USE THEM IN PRINT.
I THINK THAT A PHOTOGRAPHER'S
ROLE IS TO TAKE PEOPLE WHERE
THEY CAN'T GO. YOU TAKE THEM TO
ACCESS.
WE USED TO SAY THAT ON VERY
SIMPLE ASSIGNMENTS EVEN AT THE
PD.
BUT IN THIS PARTICULAR CASE
THERE IS A LARGE SWATH OF
AMERICA THAT JUST DIDN'T KNOW.
NEVER REALLY BEEN COVERED BEFORE
IN SUCH A WAY AND TO GET THERE
AND HAVE A FRONT ROW SEAT TO
HISTORY BROUGHT THERE IN THE
POWER OF A STILL FRAME IS JUST
AN ABSOLUTE REMARKABLE FEAT.
THESE PICTURES OF PROTESTS AND
SOMETIMES VIOLENT CONFRONTATIONS
BETWEEN CITIZENS AND POLICE ARE
A PART OF AMERICA'S HISTORICAL
RECORD.
BUT SOME OF THE EVENTS OF 50
YEARS AGO DOCUMENTED BY
PHOTOGRAPHY CERTAINLY HAVE A
FAMILIAR RING.
WE CAN'T LOOK AT THESE IMAGES
WITHOUT THINKING ABOUT WHAT'S
HAPPENING TODAY.
LIKE THE IMAGE CAPTURED BY A
SECURITY CAMERA SHOWING THE
SHOOTING OF 12 YEAR OLD TAMIR
RICE ON CLEVELAND'S WEST SIDE.
THIS SCENE HELPED REKINDLE A
NATIONAL DISCUSSION ABOUT RACE
AND JUSTICE IN THE SAME WAY THAT
SOME OF THESE PHOTOS ON DISPLAY
AT THE MALTZ MUSEUM DID 50 YEARS
AGO.
OTIS MOSS IS TAKEN WITH
SOMETHING ELSE HE SEES IN THESE
PHOTOGRAPHS.
IT'S A DIFFERENT SORT OF
HISTORICAL LESSON THAT WOULD BE
HARD TO EXPLAIN IN THE TEXT OF A
HISTORY BOOK.
SHE IS GIVING LITERACY
INSTRUCTION PREPARING THIS
INDIVIDUAL TO WRITE HIS NAME IN
ORDER THAT HE WILL BE ABLE TO
REGISTER AND VOTE.
IT INSPIRES ME BEYOND
DESCRIPTION TO SEE THIS THING
AND LOOK AT HER HAND OVER HIS
HAND.
THERE IS A VOLUME OF HISTORY
TIED IN TO THIS ONE PHOTOGRAPH.
IMAGES HAVE THE POWER TO TELL US
STORIES ABOUT OURSELVES AND
OTHERS IN A WAY THAT WORDS CAN'T
ALWAYS CAPTURE.
FOR IDEASTREAM I'M DAVID C.
BARNETT.
AND THAT WRAPS IT UP FOR THIS
EDITION OF ARTS.
FOR MORE ARTS AND CULTURE, VISIT
KLRN.ORG/ARTS WHERE YOU CAN FIND
FEATURE VIDEOS, BLOGS AND
INFORMATION ON UPCOMING ARTS
EVENTS.
I'M APRIL ANCIRA AND I'LL SEE
YOU WHEN WE RETURN WITH MORE
ARTS.
ARTS IS MADE POSSIBLE BY VIEWERS
LIKE YOU.
THANK YOU.