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.