THE ARTISTIC SIDE OF FILM
MAKING.

A PHOTOGRAPHER CAPTURES THE
BEAUTY OF THE AMERICAN

SOUTHWEST.
A SCULPTOR FINDS INSPIRATION

IN A LONG-AGO ERA.
AND AN ARTIST GIVES A NEW

HOME.
ALL AHEAD ON THIS EDITION OF

ART.
>> ART IS MADE POSSIBLE BY

THE KELSO FOUNDATION.
THE ELIZABETH CHARITABLE

FOUNDATION.
AND VIEWERS LIKE YOU.

ART IS PRESENTED BY THE TOE
BIN CENTER FOR THE PERFORM

ING ARTS, OPENING IF
2014.

PROVIDING THE BEST PLACE
ANYWHERE TO SEE AND HEAR A

LIVE PERFORMANCE.
SAN ANTONIO'S FUTURE OF THE

PERFORMING ARTS, THE TOBIN
CENTER.

>> HI, I'M ASIA CONVENIENT
OVERTIME EVERYONE LOVES AN

ASIA CIARAVINO.
EVERYONE LOVES A GOOD MOVIE.

BETTER THAN THAT IS MEETING
THE ACTORS, WRITERS AND

DIRECTORS.
YOU CAN DO BOTH AT THE UP

COMING FILM FESTIVAL IN
SAN ANTONIO.

ONE OF THE ALL-TIME GREAT,
JOHNNY CASH.

I BELIEVE THIS IS A TEXAS
PREMIER OF THIS IT FILM.

CALLED MY FATHER, THE MAN IN
BLAFNLGT IT'S TOLD -- THE

DOCUMENTARY TOLD THROUGH THE
EYES OF THE SON OF THE

MANAGER OF JOHNNY CASH.
AND SO THE SON DID NOT KNOW

HIS FATHER BECAUSE HE WAS
ALWAYS ON THE ROAD WITH

JOHNNY CASH.
FOR YEARS AND YEARS.

AND SO WHEN HIS FATHER
PASSED, HE CAME ACROSS HIS

STORAGE FACILITY OF
AUDIOTAPES TAPES, THE REAL

REEL TO REEL TAPES HIS
FATHER MADE ON THE ROAD,

EVERY DAY, OR EVERY NIGHT
WHILE ON THE ROAD WITH

JOHNNY CASH.
THE GOLD RECORD OF A BOY

NAMED SUE COMMEMORATEDED THE
SALE OF 1 MILLION COPIES.

>> HE IN DETAIL EXPLAINED
DAY-TO-DAY OPERATIONS WITH

THE MAN IN BLACK.
AND SO IT WAS REALLY, REALLY

WELL DONE.
I MEAN, IT'S JUST A

BEAUTIFUL FILM, AND WE'RE
PROUD THAT -- IT'S A

CANADIAN FILM AND WE'RE
PROUD THEY CHOSE OUR

FESTIVAL TO SCREEN IT.
>> EVERYONE AROUND JOHNNY,

INCLUDING SAUL, HAD TRIED TO
TALK HIM INTO REHAB, BUT IT

WAS THE THREAT OF LOSING
JUNE THAT MADE HIM CHANGE.

FINALLY, JOHNNY CASH
SEQUESTERED HIMSELF AT HOME

TO DETOX.
THREE YEARS HAD PASSED SINCE

JOHNNY SCORED A NUMBER ONE
HIT.

SO SAUL PRESSED JOHN TOI
SWITCH PRODUCERS.

JOHNNY, LAST WEEK WE DISCUSS
ED BOB JOHNSTON AND

DON, I'VE GIVEN THE
SITUATION A LOT OF THOUGHT.

I URGE YOU TO IMMEDIATELY GO
WITH JOHNSTON.

NO ONE IS PERFECT, AND
SOMETIMES YOU HAVE SHOWN

POOR JUDGMENT.
BOB JOHNSTON IS CREATIVE

ENOUGH TO PRESENT EXCITING
IDEAS.

THE TIME IS RIGHT FOR A
CHANGE AND IT SHOULD BE NOW.

I THINK JOHNSTON CAN BRING
YOU TO THE NEXT PLATEAU.

JOHNNY HAD WANTED TO RECORD
A PRISON SHOW FOR YEARS, BUT

AFTER THE MISFIRE AT
CARNEGIE HALL, COLUMBIA

WASN'T LISTENING.
IT WAS BOB JOHNSTON WHO

OPENED THE GATES TO FOLSOM.
AND IT WAS JOHNSTON WHO CAME

UP WITH A NEW WAY TO OAPT
SHOW.

S AND HE ASKED ME IF I WOULD
COME ON AND SAY HELLO, I'M

JOHNNY CASH.
AND THEN KICK OFF FOLSOM

PRISON BLUES.
SO WHEN I SAID HELLO, I'M

JOHNNY CASH.
THE ROOM WAS -- THE ROOF WAS

RAISED.
>> I HEAR THE TRAINING, IT'S

ROLLING AROUND THE BEND.
¶.

>> I WAS JUST PLAYING.
>> NO, SIR, YOU DON'T PLAY

LIKE THAT.
YOU WILL NOT DISRESPECT YOUR

BROTHER WITH ALL THE NAME
CALLING.

NOT UNDER OUR ROOF.
SO CONSIDER YOUR WEEKEND

CANCELED.
>>S BUT MOM, I WAS JUST

PLAYING WITH HIM.
>> SUCH A CRY BABY.

>> QUIT CALLING ME NAMES.
>> HEY, STOP IT.

>> BUT DAD.
>> THAT'S ENOUGH.

GIVE YOUR FATHER HIS MONEY
BACK AND EXCUSE YOURSELF

FROM THIS TABLE.
NOW.

AND LET ME TELL YOU
SOMETHING ELSE, SHAWN, KEEP

CALLING YOUR BROTHER NAMES,
YOU WILL BE PULLED FROM

FOOTBALL.
DO WE UNDERSTAND EACH OTHER?

DO WE UNDERSTAND EACH OTHER,
SHAWN?

>> ANSWER YOUR MOTHER,
SHAWN.

>>S YES.
>> IN FACT, GIVE ME YOUR

PHONE.
>> SUCH AN EPIDEMIC, I THINK

YOU SEE ENOUGH LIKE THE
TREVOR PROJECT, YOU SEE

ENOUGH ADVERTISEMENTS AT
THIS POINT TO GET THAT, AND

POSITIVE MESSAGES ABOUT
BULLYING.

OUR FILM IS WHAT IF IT
DOESN'T GET BETTER.

PLAYING WITH THE AUDIENCES
THAT SEE IT, THEY REALIZE,

HEY, IT MAY NOT GET BETTER.
AND YOU KNOW, DON'T TAKE

THAT -- AND THEY'LL TAKE
THAT EXTRA STEP TO JUMP IN

ON A BULLYING ISSUE.
WRITING FOR ME, I WRITE ALL

OF MY STUFF.
SO I ENJOY IT BECAUSE I HAVE

ALL THESE CHARACTERS.
AS FAR AS THE FILM MAKING

PART, YOU HAVE YOUR --
YOU'RE BASICALLY CAPTAIN OF

THIS TEAM.
AND IT'S MORE STRESSFUL

BECAUSE YOU HAVE ALL OF
THESE PEOPLE YOU HAVE TO

TAKE CARE OF.
SO IT'S A BIG COLLABORATIVE

EFFORT, AND AS A PRODUCEER
AND DIRECTOR AS WELL, IT'S,

YOU KNOW, YOU SPEND MORE
TIME DOING, I CALL IT DAMAGE

CONTROL.
JUST MAKING SURE EVERYTHING

IS RIGHT.
>> COME ON, GUYS.

>> HE JUST CAME AS
INTERESTED IN THE CINEMA

ARTS.
AND LIKE ANYTHING, YOU KNOW,

HIS CAREER CHANGED.
IN LEARNING MORE AND DEVELOP

ING HIS SKILL.
AND SO THIS YEAR WE'RE PROUD

TO SHOW HIS -- I BELIEVE
IT'S HIS FIRST FEATURE FILM.

>> YOU GUYS ARE LIARS.
YOU DON'T EVEN TRY.

>> TRY NOT TO BE A JERK THE
REST OF YOUR LIFE.

>> HEY, YOU LOVE THIS JERK.
>> NOT ANYMORE.

>> IT'S REALLY WELL DONE.
SO I'M VERY PROUD TO HAVE

FOSTERED THAT, TO HAVE
NURTUREED HIS TALENT IN THAT

SENSE.
>> I JUST HOPE I GET HIS

FINANCIAL STATUS.
BUT YEAH, I HAVE BEEN TOLD

THAT I AM HUMBLEED BY THE
COMPLIMENT.

SO WE'LL SEE.
¶ IT STARTED WHEN I WAS 22,

NO IDEA WHAT I WAS DOING.
NOW IT'S FULL THROTTLE.

IT'S A BUSINESS, A NONPROFIT
ORGANIZATION.

AND SO I MEAN, WE'RE HERE TO
ESSENTIALLY NURTURE AND

FOSTER FILM MAKERS AND
SPREAD THE WET WEALTH AS FAR

AS EDUCATING THE GENERAL
PUBLIC.

THE FOOTPRINT OF SAN ANTONIO
, PEOPLE THAT ARE

INTERESTED IN LEARNING, IN
BECOMING TRAINED IN THE ARTS

. AND WE OFFER THE
WORKSHOPS, LIKE I MENTIONED.

AND I KNOW IF YOU WENT
EXHIBIT MILES NORTH OF HERE,

HERE -- 60 MILES NORTH OF
HERE, YOU PAY A PRETTY PENNY

FOR INFORMATION WE GIVE AWAY
FREELY.

THESE ARE FIRST RUN FILMS,
AND IT'S MADE WITH PASSION.

AND THEY'RE ALL NO, AND LOW
BUDGET FILMS.

IT'S JUST A GREAT THING TO
BE A PART OF A FILM SCREEN

ING, ESPECIALLY WHEN
THE FILM MAKERS ARE IN

ATTENDANCE, JUST TO KNOW, I
MEAN, THEY'RE HEARTFELT

STORIES ABOUT HOW THE FILM
WAS MADE.

WE'VE BEEN DOING THIS FOR 19
YEARS, AND SO I THINK WE'RE

UNDER THE RADAR STILL IN
TERMS OF AN ART EVENT IN OUR

CITY.
AND SO I THINK THE CHANGE --

TO CHANGE THAT, WE'RE
BRINGING POUR HOLLYWOOD

ACTORS -- MORE HOLLYWOOD
ACTORS TO THE RED CARPET TO

BE PART OF THE FESTIVAL.
AND THAT'S A GOOD THING

BECAUSE IT DOES -- PEOPLE
GET EXCITED ABOUT THAT.

>> SAN ANTONIO FILM FESTIVAL
OPENS JUNE 17 AT HEMISPHERE

PARK.
FREE FAMILY SCREENING OF THE

HISTORICAL DOCUMENTARY,
TEXAS BEFORE THE ALAMO.

AUDIENCE MEMBERS SPOKE TO
HELP PICK THE WINNERS OF THE

2 OF 10 AWARDS.
IF YOU'VE GOT A FILM CRITIC

IN THE FAMILY, HERE'S THEIR
CHANCE.

FOR A COMPLETE SCHEDULE OF
FILMS GO TO ESSAY FILMS.COM.

AND NOW HERE ARE A FEW ART
EVENTS HAPPENING NEXT WEEK

IN SAN ANTONIO.
>> TO ADD YOUR ART EVENT TO

THE CALENDAR, VISIT KLRN.ORG
/ARTS.

IN THE MIDST OF THE AMERICAN
SOUTHWEST LANDSCAPE,

PHOTOGRAPHER MICHAEL BERMAN
STRIVES TO CAPTURE THE

BEAUTY OF THE NATURAL WORLD.
BERMAN'S FOCUS STEMS FROM

HIS FASCINATION WITH THE
RELATIONSHIP BETWEEN PEOPLE

AND MOTHER NATURE.
TAKE A LOOK.

>> THE LAND AND ESPECIALLY
THE AMERICAN WESTERN

LANDSCAPE HAS SOMETHING
THAT'S REALLY HARD TO FIND.

THAT'S SPACE TO GO OFF ALONE
.

AND I THINK THAT ALLOWS YOU
TO HAVE BOTH AN INNER

DIALOGUE AS WELL AS A
DIALOGUE THAT'S RELEVANT TO

THE LARGER COMMUNITY.
AND IT REALLY IS AN AMAZING

THING TO BE ABLE TO DRIVE
DOWN A ROAD, COME THROUGH A

GATE, OPEN IT UP, DRIVE KNEW
THE GATE AND GET OUT OF YOUR

TRUCK AND WALK.
PEOPLE HAVE WAYS OF

UNDERSTANDING THE BIGGER
THINGS, AND WE DO THAT WITH

SYMBOLIC SSSMENTS WE'RE
REALLY ALWAYS THINKING ABOUT

THESE LARGER MIST TRIS OF
WHAT'S IMPORTANT AND HOW DO

WE CONNECT IN THAT.
IN TERMS OF THE LAND, THERE

ARE TWO DIFFERENT WAYS OF
DEFINING HOW WE'RE SEEING

THE LANDSCAPE.
AND REALLY IN THE

CONTEMPORARY WORLD IS HUMANS
HAVE IT N CREDIBLE CAPACITY

TO USE THINGS AND WE
INTERPRET THE WORLD'S VALUES

THROUGH WHAT WE CAN USE.
RIGHT NOW SCIENCE IS THE

ULTIMATE AFFIRMATION OF THAT
.

YOU'LL FIND ANY ISSUE WITH
LAND USE, WHERE IT'S FIRE,

WATER, THE ECOSYSTEM, IT'S
ALWAYS THIS IDEA, WELL, WE

CAN FIGURE THIS OUT THROUGH
SCIENCE AND MANAGEMENT.

AND I ACTUALLY LOOK AT IT
ANOTHER WAY.

MANY OF THE GREAT PROBLEMS
WE'RE FACING, FIRE, YOU KNOW

, INTRODUCED SPECIES,
ARE ACTUALLY SOMEBODY WHO

THOUGHT THEY COULD FIGURE IT
ALL OUT IN A REAL SIMPLE WAY

AND THEN APPLIED SIMPLE
SOLUTIONS.

BUT YET THERE'S THESE BIGGER
COMPLEX SYSTEMS, AND I THINK

ART IS REALLY A WAY, AND
AESTHETICS IS A WAY OF

GETTING BEYOND THE IDEA THAT
I CAN REDUCE IT TO SMALL

THINGS BUT CAN LOOK AT THE
WHOLE AND ADMIT I DON'T

UNDERSTAND IT BUT ACTUALLY
BEGIN TO SEE BOTH ITS

MANIFEST STRUCTURE AS WELL
AS INHERENT VALUE.

>> IT'S KIND OF AN AMAZING
PLACE, GI LA.

IN THAT MANY CONCEPTS THAT
PEOPLE ASSUME EVERYBODY

KNOWS AND UNDERSTAND, OR
EVERYONE IS COMFORTABLE WITH

, ACTUALLY EMERGE HERE.
A PLACE THAT STILL TEACHES.

OVER TIME, I'VE LEARNED, YOU
KNOW, HOW TO SEE A LANDSCAPE

.
THE GI LA, IS ONE OF THE

LAST TRULY WILD FORESTS
THAT'S LEFT ON THE PLANET.

AND ESPECIALLY THE PONDEROSA
, THE LARGE YELLOW

FINE FORESTS.
IT'S STILL A COMPLEX

ECOSYSTEM.
THAT IS WORKING.

AND BY WORKING, WHAT I MEAN
IS THAT IF YOU LEAVE IT

ALONE, IF HUMANS DON'T
INTERACT WITH IT, IT HAS A

DIMENSIONAL COMPLEXITY.
FOR ME, FOAT GREAFER IS A

WAY OF -- PHOTOGRAPHY IS A
NOT THE BEGINNING POINT.

AND I OFTEN FIND THERE'S A
LONG PERIOD OF TIME WHERE I

LIKE TO LOOK AT THINGS.
I REALLY SEE MY TRUE WORK IS

LOOKING CLOSELY AT
SOMETHING.

I LIKE TO THINK AT SOME
POINT IN TIME, I MAKE

PHOTOGRAPHS.
BECAUSE I FEEL IT'S

IMPORTANT TO MAKE THOSE
PHOTOGRAPHS.

AS AN ARTIST, ONE HAS TO
FIND SOMETHING OUTSIDE ONE'S

SELF THAT'S MORE IMPORTANT.
IF YOU LOOK AT THE TRADITION

OF LANDSCAPE PHOTOGRAPHY,
AND ESPECIALLY IN THE

AMERICAN WEST, WHICH IS
REALLY ONE OF THE ICONIC

PLACES WHERE PEOPLE GO TO
MAKE FOAT DPRAFS, -- GOAT

GRAPHS IS -- PHOTOGRAPHS IS
PEOPLE IMPOSING A VISION ON

IT THAT THEY ALREADY KNOW,
UNDERSTAND OR BELIEVE IN.

AND I ACTUALLY THINK THAT
OUR UNDERSTANDING OF THE

LAND HAS TO EVOLVE BEYOND
THAT.

BECAUSE WHAT ENDED UP
HAPPENING IS THAT WHEN WE

THINK ABOUT SAVING A
LANDSCAPE, WE HAVE TO HAVE

THE CATHEDRAL FORMS, THIS
GREAT CANYON, OR WE HAVE TO

HAVE IT PRISTINE LANDSCAPE.
AND WHAT IT TURNS OUT IS

THAT MANY OF THESE ECO
SYSTEMS, I LIKE TO USE

THE -- IS THEY'RE NOT THIS
BIG OBVIOUS REALLY, REALLY

WOW, I JUST HAVE TO STAND ON
THE EDGE OF THIS AND GET THE

IM AX GOING.
THEY'RE ACTUALLY VERY SUBTLE

OR NOT EVEN IN CLOSE THAT
PRETTY BUT THEY CAN BE QUITE

WONDERFUL AS WELL, WITHIN.
AND IF YOU SPEND TIME, YOU

KNOW, YOU BEGIN TO SEE THE
INNATE BEAUTY.

AND I THINK A GIFT LIKE THAT
IS THE SAME GIFT, YOU KNOW,

THE GREATEST LITERATURE, OR
PHILOSOPHY, OR ART, THE

ABILITY TO COME TO THE WORLD
ANEW AND SEE IN ALL ITS

MANIFEST BEAUTY.
WHAT PHOTOGRAPHY ALLOWS ME

TO DO IS THIS AMAZING
LOOKING AT THE LAND, AT

PLACES.
I DON'T HAVE THE PATIENCE OR

INTEREST TO MAKE A CERTAIN
KIND OF LANDSCAPE PHOTOGRAPH

.
BUT I LOVE LOOKING AT THINGS

.
AND SO RATHER THAN TRYING TO

MAKE SOMETHING THAT REALLY,
YOU KNOW, IS THIS KIND OF

GRAND LANDSCAPE, WHICH I
DON'T REALLY ENJOY, OR HAVE

PATIENCE FOR QUITE THAT MUCH
ANYMORE, IS THAT THE MORE

SUBTLE THINGS THAT I JUST
FIND AMAZING.

IS WHAT MY WORK BECOMES
ABOUT.

WHEN ASK YOU AN ARTIST ABOUT
WHAT THEY HOPE TO ACHIEVE

WITH THEIR WORK, IS
SOMETIMES YOU CAN SAY

ACHIEVING MEANS, YOU KNOW,
MAKING THE HISTORY BOOKS.

BEING CONSIDERED AN
IMPORTANT ARTIST.

RATHER THAN MY WORK BEING
SAVED, I'D MUCH RATHER SEE

SOME OF THESE MACES BE SAVED
I DON'T THINK MY WORK IS

SIGNIFICANT AT ALL.
I THINK THESE PLACES ARE.

>> TO FIND OUT MORE ABOUT
MICHAEL BETTER BERMAN, VISIT

FRAGMENTED IMAGES.COM.
SCULPTOR GARY WEISMAN MOLDS

BRONZE AND CLAY INTO LARGE
SCALE FIGURES, THAT CHANNEL

THE ART OF ANCIENT GREECE
AND ITALY.

HE TAKES US INTO HIS
WORKSHOP TO SHOW HOW HE

MAKES HIS GRAND SCULPTURES.
>> MY NAME IS GARY WEISMAN,

AND I MAKE CLASSICAL BRONZE
SCULPTURES.

THEY'RE VERY TRADITIONAL.
THE GREEKS ARE A VERY BIG

INFLUENCE, AND ALSO THE
ITALIAN RENAISSANCE ARE A

BIG INFLUENCE.
I DON'T TEND TO LOOK AT

WHAT'S GOING AROUND ME.
I TEND TO LOOK BACK IF TERMS

OF INFLUENCES HISTORICALLY.
WE TRAVEL TO ITALY, MAYBE

ONCE A YEAR FOR ABOUT 3
WEEKS AND DRAW OSTENSIBLY

NONSTOP, 9 HOURS A DAY.
THE INFLUENCES ARE USED IN

THE POSES I DO HERE.
MY MAIN ENERGY IS ON

CLASSICAL NEWS.
-- CLASSICAL NUDES AND I

THINK AS FAR AS PUBLIC
COLLECTIONS GO, MUSEUMS, OUT

DOOR SITUATIONS, THE NUDE
IS WAY BLOCKED IN THIS

COUNTRY.
YOU SEE A LOT OF THEM IN

EUROPE, ALTHOUGH I DON'T
KNOW HOW CONTEMPORARY.

BEEN DOING SOME CANTILEVERED
LIFE SIZE PIECES.

A MIX, THE POSSIBILITIES OF
ARCHITECT TRY KIND OF WHAT

BRONZE STRUCTURALLY CAN DO.
SO COMPLETELY HOVER

HORIZONTALLY WITH NO SUPPORT
.

BUT I'M WORKING ON FEMALE
CRUISE FIXES AND I DON'T

REALLY KNOW WHY.
PIECES HAVE BACK LOT MORE

NARRATIVE NOW.
SO THAT'S KIND OF EXCITING.

I'M SORRY THEY'RE SO TORTURE
ED RIGHT NOW.

YOU HAVE TO LISTEN TO THESE
THINGS.

YOU KNOW, YOU'RE LISTENING
TO A DRAWING. IT'S

HAPPENING TO A SCULPTURE.
AND WORKING ON EMPOWERED

KIND OF PIECES WHICH ARE
BASED ON GREEK HEROS WITH

WEAPONS.
>> KIND OF TRICKY BUSINESS,

VERY STRESSFUL.
I STARTEDED DOING THIS IN

THE MID '70S.
WHEN I DO THE POURS, I POUR

1500 TO -- 1500 TO
2000 POUNDS IN A DAY OR SO.

DURING A POUR, I HAVE MY EX-
STUDENTS COME UP FROM THE

PENNSYLVANIA ACADEMY IN
PHILADELPHIA.

THERE'S A RAPPORT I HAVE
WITH THE METAL.

WHAT I -- TO WOULD I DO
THESE THINGS IF THEY DIDN'T

SELL?
YEAH, I WOULD.

I THINK IT'S CRITICAL TO
ALWAYS STAY FOR ME IN THE

PLACE OF NOT KNOWING.
I DON'T KNOW.

AND FINDING AN EXPERIENTIAL
CONNECTION THROUGH SOME FORM

OF NONINTELLECTUAL SENSATION
THAT WILL HOLD MY INTENSITY

OF FOCUS.
WE'RE WRITING A STORY, I

DON'T HAVE FINITE FIXED END
ING.

IT'S AN EVOLUTION.
>> TO FIND OUT MORE, VISIT

GARY WEISMAN.NET.
WITH A DO YOU GET WHEN A

SACRAMENTO ARTIST COMBS THE
CARIBBEAN FOR UNIQUE ART AND

ADDS HER OWN TOUCH?
ROB STEWART GIVES US A LOOK.

>> WE'RE CELEBRATING THE
WORLD OF ART TODAY AT THE

KUUMBA COLLECTIVE ART
GALLERY IN SACRAMENTO WITH

SACRAMENTO ARTIST ADELLE
JAMES.

GOOD TO SEE YOU.
>> THANK YOU FOR COMING TO

KUUMBA.
>> A BEAUTIFUL PLACE HERE.

I LOVE YOUR WORK, YOU'VE
TEAMED UP WITH AN ARTIST IN

TRINIDAD AND CAPTURE HIS ART
AND YOU BRING IT TO AMERICA

AND GIVE IT A WHOLE NEW LIFE
.

TELL ME ABOUT AT THAT.
>>.

>> I WAS INSPIRED BY FOLK
ARTISTS IN TRINIDAD AND

TOBAGO AND I HAD SAW HIS
WORK.

BUT WHAT THAT EVOLVED INTO
WAS THIS IDEA OF CARIBBEAN

ART PROMOTION AS A WAY TO
REALLY PROMOTE AND BRING

AWARENESS TO FOLK ART OF THE
CARIBBEAN AND IT'S A

COLLABORATIVE EFFORT.
SO WHAT I DO IS I PHOTOGRAPH

THE WORK BUT ALSO PHOTOGRAPH
DIFFERENT IMAGES TO CREATE

THESE PIECES, AND THEN WHEN
THE ITEM -- SHARE THE --

CREATE NEW FORM.
I PUT THE WORK ON DIFFERENT

ITEMS FROM FUNCTIONAL ART
BASKET.

THINKING ABOUT WORK THAT'S
AFFORDABLE, FUNCTIONAL.

ALSO BEAUTIFUL.
AND AT THE SAME TIME, IT

SHARES THE CULTURE AND
HISTORY OF THE CARIBBEAN.

>> INTERESTING.
>> AND TO THINK ABOUT HOW

CAN THESE ARTISTS BE
SUPPORTED IN CONTINUING TO

DO WHAT THEY DO AND CREATING
OTHER FORMS THAT CAN BE

EXTEND THE VALUE OF THE WORK
>> WHERE DO YOU GET YOUR

INSPIRATION FROM?
>> I THINK FOR ME WHEN I

LOOK AT THE PIECES, THEY
TELL A STORY.

THE STORY OF A LOT OF PIECES
SHARES THE HISTORY OF THE

REGION.
>> IT'S GETTING THE --

GIVING THE ARTISTS IN
TRINIDAD NEW LIFE IN AMERICA

>> A COLLABORATIVE EFFORT,
AND THAT'S HOW I LIKE TO

WORK.
>> YOU'RE A NEW ARTIST.

YOU HAVE BEEN DOING IT ABOUT
A YEAR.

>> YES.
>> WHAT DOES IT MEAN TO HAVE

A PIECE HERE IN ONE YEAR IN
' N?

>> IT'S OVERWHELMING.
THIS WHOLE JOURNEY HAS BEEN

OVERWHELMING.
SO FROM COMING TO KUUMBA AND

HAVING THEM SAY WE WANT YOU
TO SHOW YOUR WORK HERE, TO

DOING THE SECOND SATURDAYS,
AND THEN THE CROCKER.

YOU KNOW, I HAVE TO BELIEVE
THAT IT'S NOT ABOUT ME.

BUT THAT YOU KNOW, THIS IS
SOME OF THE THREEL I DISPLAY

IN HELPING TO BRING
ATTENTION TO THIS WORK.

AND I GET EXCITED ABOUT
DOING IT AS WELL.

>> I CAN TELL.
AND IT'S BEAUTIFUL WORK.

IT IS BEAUTIFUL ART, ADELLE
AND WE THANK YOU FOR SHARING

IT WITH US.
ADELLE HERE IN SACRAMENTO,

KUUMBA COLLECTIVE ART
GALLERY.

GOOD TO SEE YOU.
>> THANK YOU.

>> TO FIND OUT MORE, VISIT
THE KUUMBA COLLECTIVE ART

GALLERY FACEBOOK PAGE.
THAT WRAPS IT UP FOR THIS

EDITION OF ARTS.
WE'LL BE OFF FOR THE NEXT

TWO WEEKS SO THAT KLRN CAN
BRING YOU ITS 47TH ANNUAL

GREAT TV YAWKS SHUN.
UNTIL THEN, I'M ASIA

CIARAVINO.
SEE YOU NEXT TIME.

ART IS MADE POSSIBLE BY THE
KELSO FOUNDATION.

THE ELIZABETH COATS
CHARITABLE FOUNDATION.

AND VIEWERS LIKE YOU.
ARTS IS PRESENTED BY THE

TOBIN CENTER FOR THE PERFORM
ING ARTS.

OPENING IN 2014.
PROVIDING THE BEST PLACE

ANYWHERE TO SEE AND HEAR A
LIVE PERFORMANCE.

SAN ANTONIO'S FUTURE OF THE
PERFORMING ARTS, THE TOBIN

CENTER.

BAAH!

SHEESH.

[SIGHS]

AWK! UH-OH.
AAH!

- ALL RIGHT, FAIRIES!

PLEASE SIT CRISSCROSS
APPLESAUCE BECAUSE IT'S

TIME FOR...

- AVAST, YE LANDLUBBERS!

- AAH! A PIRATE?!

- RELAX, GONNIGAN.

GONNIGAN? WHERE'S GONNIGAN?

- HE'S GONE AGAIN.

- THIS ISN'T JUST ANY PIRATE.

IT'S MY OLD FRIEND
CAPTAIN HOOK.

WHAT BRINGS YOU HERE,
YOU SILLY OLD SEA SALT?

- OH, MRS. SPARKLENOSE,
I'M SO SAD.

I'VE LOST ME GOLDEN
PIRATE TREASURE.

[SOBBING]

- I DON'T UNDERSTAND.

MY COUSIN TINKER BELL
ALWAYS TOLD ME THAT

CAPTAIN HOOK WAS MEAN.

- YEAH. ISN'T HE ALWAYS
TRYING TO CATCH PETER PAN?

- NOT ANYMORE.

I FOUND ME A NEW PAN.

MEET PETER THE PAN.

- I CAN FLY.

- NO, YOU CAN'T.

[CLATTER]

SEE? NOW COME ON.

WHO WANTS TO JOIN ME
PIRATE CREW AND HELP ME FIND

THE GOLDEN TREASURE?

- WE DO!

- NOT ME!

NO WAY I CAN BE A PIRATE!

I DON'T HAVE A FRILLY SHIRT.

- I THINK OUR DRESS-UP
CORNER CAN HELP.

- COOL!

- HA HA! NOW WE
CAN BE PIRATES!

- ARR!

- ALL RIGHT, CAPTAIN.

HERE'S YOUR CREW.

- HA HA HA! GREAT!

NOW LET'S CHECK OUT ME MAGIC
TREASURE MAP AND SEE WHERE

WE GO NEXT.

THE MAP WANTS US TO FIND THE
ISLAND OF THE GUSHING GEYSER,