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THE ARTISTIC SIDE OF FILM 
MAKING.

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A PHOTOGRAPHER CAPTURES THE 
BEAUTY OF THE AMERICAN

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SOUTHWEST. 
A SCULPTOR FINDS INSPIRATION

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

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HOME. 
ALL AHEAD ON THIS EDITION OF

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ART. 
>> ART IS MADE POSSIBLE BY

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THE KELSO FOUNDATION. 
THE ELIZABETH CHARITABLE

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FOUNDATION. 
AND VIEWERS LIKE YOU.

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ART IS PRESENTED BY THE TOE 
BIN CENTER FOR THE PERFORM

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ING ARTS, OPENING IF 
2014.

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PROVIDING THE BEST PLACE 
ANYWHERE TO SEE AND HEAR A

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LIVE PERFORMANCE. 
SAN ANTONIO'S FUTURE OF THE

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PERFORMING ARTS, THE TOBIN 
CENTER.

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

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ASIA CIARAVINO. 
EVERYONE LOVES A GOOD MOVIE.

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BETTER THAN THAT IS MEETING 
THE ACTORS, WRITERS AND

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DIRECTORS. 
YOU CAN DO BOTH AT THE UP

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COMING FILM FESTIVAL IN 
SAN ANTONIO.

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ONE OF THE ALL-TIME GREAT, 
JOHNNY CASH.

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

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

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DOCUMENTARY TOLD THROUGH THE 
EYES OF THE SON OF THE

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

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HIS FATHER BECAUSE HE WAS 
ALWAYS ON THE ROAD WITH

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JOHNNY CASH. 
FOR YEARS AND YEARS.

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AND SO WHEN HIS FATHER 
PASSED, HE CAME ACROSS HIS

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STORAGE FACILITY OF 
AUDIOTAPES TAPES, THE REAL

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REEL TO REEL TAPES HIS 
FATHER MADE ON THE ROAD,

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EVERY DAY, OR EVERY NIGHT 
WHILE ON THE ROAD WITH

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JOHNNY CASH. 
THE GOLD RECORD OF A BOY

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NAMED SUE COMMEMORATEDED THE 
SALE OF 1 MILLION COPIES.

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

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

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WELL DONE. 
I MEAN, IT'S JUST A

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

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CANADIAN FILM AND WE'RE 
PROUD THEY CHOSE OUR

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FESTIVAL TO SCREEN IT. 
>> EVERYONE AROUND JOHNNY,

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

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WAS THE THREAT OF LOSING 
JUNE THAT MADE HIM CHANGE.

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FINALLY, JOHNNY CASH 
SEQUESTERED HIMSELF AT HOME

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TO DETOX. 
THREE YEARS HAD PASSED SINCE

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JOHNNY SCORED A NUMBER ONE 
HIT.

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SO SAUL PRESSED JOHN TOI 
SWITCH PRODUCERS.

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JOHNNY, LAST WEEK WE DISCUSS 
ED BOB JOHNSTON AND

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

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I URGE YOU TO IMMEDIATELY GO 
WITH JOHNSTON.

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NO ONE IS PERFECT, AND 
SOMETIMES YOU HAVE SHOWN

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POOR JUDGMENT. 
BOB JOHNSTON IS CREATIVE

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ENOUGH TO PRESENT EXCITING 
IDEAS.

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

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I THINK JOHNSTON CAN BRING 
YOU TO THE NEXT PLATEAU.

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

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AFTER THE MISFIRE AT 
CARNEGIE HALL, COLUMBIA

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WASN'T LISTENING. 
IT WAS BOB JOHNSTON WHO

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

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UP WITH A NEW WAY TO OAPT 
SHOW.

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

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JOHNNY CASH. 
AND THEN KICK OFF FOLSOM

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

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JOHNNY CASH. 
THE ROOM WAS -- THE ROOF WAS

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

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ROLLING AROUND THE BEND. 
¶.

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

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LIKE THAT. 
YOU WILL NOT DISRESPECT YOUR

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BROTHER WITH ALL THE NAME 
CALLING.

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NOT UNDER OUR ROOF. 
SO CONSIDER YOUR WEEKEND

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CANCELED. 
>>S BUT MOM, I WAS JUST

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PLAYING WITH HIM. 
>> SUCH A CRY BABY.

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

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

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GIVE YOUR FATHER HIS MONEY 
BACK AND EXCUSE YOURSELF

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FROM THIS TABLE. 
NOW.

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AND LET ME TELL YOU 
SOMETHING ELSE, SHAWN, KEEP

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CALLING YOUR BROTHER NAMES, 
YOU WILL BE PULLED FROM

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FOOTBALL. 
DO WE UNDERSTAND EACH OTHER?

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DO WE UNDERSTAND EACH OTHER, 
SHAWN?

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>> ANSWER YOUR MOTHER, 
SHAWN.

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

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PHONE. 
>> SUCH AN EPIDEMIC, I THINK

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YOU SEE ENOUGH LIKE THE 
TREVOR PROJECT, YOU SEE

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ENOUGH ADVERTISEMENTS AT 
THIS POINT TO GET THAT, AND

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POSITIVE MESSAGES ABOUT 
BULLYING.

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

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PLAYING WITH THE AUDIENCES 
THAT SEE IT, THEY REALIZE,

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

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

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

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OF MY STUFF. 
SO I ENJOY IT BECAUSE I HAVE

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ALL THESE CHARACTERS. 
AS FAR AS THE FILM MAKING

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

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THIS TEAM. 
AND IT'S MORE STRESSFUL

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BECAUSE YOU HAVE ALL OF 
THESE PEOPLE YOU HAVE TO

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TAKE CARE OF. 
SO IT'S A BIG COLLABORATIVE

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

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

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CONTROL. 
JUST MAKING SURE EVERYTHING

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IS RIGHT. 
>> COME ON, GUYS.

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>> HE JUST CAME AS 
INTERESTED IN THE CINEMA

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ARTS. 
AND LIKE ANYTHING, YOU KNOW,

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HIS CAREER CHANGED. 
IN LEARNING MORE AND DEVELOP

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

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

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

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

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

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

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FOSTERED THAT, TO HAVE 
NURTUREED HIS TALENT IN THAT

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SENSE. 
>> I JUST HOPE I GET HIS

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FINANCIAL STATUS. 
BUT YEAH, I HAVE BEEN TOLD

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THAT I AM HUMBLEED BY THE 
COMPLIMENT.

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

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

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IT'S A BUSINESS, A NONPROFIT 
ORGANIZATION.

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

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FOSTER FILM MAKERS AND 
SPREAD THE WET WEALTH AS FAR

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AS EDUCATING THE GENERAL 
PUBLIC.

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THE FOOTPRINT OF SAN ANTONIO 
, PEOPLE THAT ARE

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INTERESTED IN LEARNING, IN 
BECOMING TRAINED IN THE ARTS

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.  AND WE OFFER THE 
WORKSHOPS, LIKE I MENTIONED.

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

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

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FOR INFORMATION WE GIVE AWAY 
FREELY.

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

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

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

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ING, ESPECIALLY WHEN 
THE FILM MAKERS ARE IN

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

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STORIES ABOUT HOW THE FILM 
WAS MADE.

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

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

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CITY. 
AND SO I THINK THE CHANGE --

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TO CHANGE THAT, WE'RE 
BRINGING POUR HOLLYWOOD

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ACTORS -- MORE HOLLYWOOD 
ACTORS TO THE RED CARPET TO

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

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BECAUSE IT DOES -- PEOPLE 
GET EXCITED ABOUT THAT.

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>> SAN ANTONIO FILM FESTIVAL 
OPENS JUNE 17 AT HEMISPHERE

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PARK. 
FREE FAMILY SCREENING OF THE

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HISTORICAL DOCUMENTARY, 
TEXAS BEFORE THE ALAMO.

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AUDIENCE MEMBERS SPOKE TO 
HELP PICK THE WINNERS OF THE

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

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IN THE FAMILY, HERE'S THEIR 
CHANCE.

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

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AND NOW HERE ARE A FEW ART 
EVENTS HAPPENING NEXT WEEK

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

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THE CALENDAR, VISIT KLRN.ORG 
/ARTS.

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IN THE MIDST OF THE AMERICAN 
SOUTHWEST LANDSCAPE,

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PHOTOGRAPHER MICHAEL BERMAN 
STRIVES TO CAPTURE THE

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

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HIS FASCINATION WITH THE 
RELATIONSHIP BETWEEN PEOPLE

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AND MOTHER NATURE. 
TAKE A LOOK.

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>> THE LAND AND ESPECIALLY 
THE AMERICAN WESTERN

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LANDSCAPE HAS SOMETHING 
THAT'S REALLY HARD TO FIND.

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THAT'S SPACE TO GO OFF ALONE 
.

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AND I THINK THAT ALLOWS YOU 
TO HAVE BOTH AN INNER

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DIALOGUE AS WELL AS A 
DIALOGUE THAT'S RELEVANT TO

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THE LARGER COMMUNITY. 
AND IT REALLY IS AN AMAZING

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

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

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TRUCK AND WALK. 
PEOPLE HAVE WAYS OF

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UNDERSTANDING THE BIGGER 
THINGS, AND WE DO THAT WITH

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SYMBOLIC SSSMENTS WE'RE 
REALLY ALWAYS THINKING ABOUT

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

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00:11:15,019 --> 00:11:19,989
WE CONNECT IN THAT. 
IN TERMS OF THE LAND, THERE

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ARE TWO DIFFERENT WAYS OF 
DEFINING HOW WE'RE SEEING

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THE LANDSCAPE. 
AND REALLY IN THE

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CONTEMPORARY WORLD IS HUMANS 
HAVE IT N CREDIBLE CAPACITY

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TO USE THINGS AND WE 
INTERPRET THE WORLD'S VALUES

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THROUGH WHAT WE CAN USE. 
RIGHT NOW SCIENCE IS THE

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00:11:40,244 --> 00:11:42,278
ULTIMATE AFFIRMATION OF THAT 
.

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

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

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CAN FIGURE THIS OUT THROUGH 
SCIENCE AND MANAGEMENT.

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AND I ACTUALLY LOOK AT IT 
ANOTHER WAY.

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

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, INTRODUCED SPECIES, 
ARE ACTUALLY SOMEBODY WHO

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

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00:12:09,107 --> 00:12:11,240
AND THEN APPLIED SIMPLE 
SOLUTIONS.

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00:12:11,242 --> 00:12:14,477
BUT YET THERE'S THESE BIGGER 
COMPLEX SYSTEMS, AND I THINK

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

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00:12:18,349 --> 00:12:22,318
GETTING BEYOND THE IDEA THAT 
I CAN REDUCE IT TO SMALL

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

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UNDERSTAND IT BUT ACTUALLY 
BEGIN TO SEE BOTH ITS

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00:12:28,860 --> 00:12:49,011
MANIFEST STRUCTURE AS WELL 
AS INHERENT VALUE.

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

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00:12:54,952 --> 00:12:59,421
IN THAT MANY CONCEPTS THAT 
PEOPLE ASSUME EVERYBODY

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KNOWS AND UNDERSTAND, OR 
EVERYONE IS COMFORTABLE WITH

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00:13:02,260 --> 00:13:11,400
, ACTUALLY EMERGE HERE. 
A PLACE THAT STILL TEACHES.

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

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00:13:16,474 --> 00:13:19,341
. 
THE GI LA, IS ONE OF THE

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

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00:13:23,781 --> 00:13:26,749
AND ESPECIALLY THE PONDEROSA 
, THE LARGE YELLOW

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00:13:26,751 --> 00:13:30,586
FINE FORESTS. 
IT'S STILL A COMPLEX

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00:13:30,588 --> 00:13:34,757
ECOSYSTEM. 
THAT IS WORKING.

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00:13:34,759 --> 00:13:40,229
AND BY WORKING, WHAT I MEAN 
IS THAT IF YOU LEAVE IT

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

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DIMENSIONAL COMPLEXITY. 
FOR ME, FOAT GREAFER IS A

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00:14:16,634 --> 00:14:22,271
WAY OF -- PHOTOGRAPHY IS A 
NOT THE BEGINNING POINT.

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00:14:22,273 --> 00:14:24,640
AND I OFTEN FIND THERE'S A 
LONG PERIOD OF TIME WHERE I

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00:14:24,642 --> 00:14:28,477
LIKE TO LOOK AT THINGS. 
I REALLY SEE MY TRUE WORK IS

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LOOKING CLOSELY AT 
SOMETHING.

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

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00:14:32,884 --> 00:14:36,418
PHOTOGRAPHS. 
BECAUSE I FEEL IT'S

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00:14:36,420 --> 00:14:38,854
IMPORTANT TO MAKE THOSE 
PHOTOGRAPHS.

204
00:14:38,856 --> 00:14:44,660
AS AN ARTIST, ONE HAS TO 
FIND SOMETHING OUTSIDE ONE'S

205
00:14:44,662 --> 00:14:51,634
SELF THAT'S MORE IMPORTANT. 
IF YOU LOOK AT THE TRADITION

206
00:14:51,636 --> 00:14:54,603
OF LANDSCAPE PHOTOGRAPHY, 
AND ESPECIALLY IN THE

207
00:14:54,605 --> 00:14:57,039
AMERICAN WEST, WHICH IS 
REALLY ONE OF THE ICONIC

208
00:14:57,041 --> 00:15:01,310
PLACES WHERE PEOPLE GO TO 
MAKE FOAT DPRAFS, -- GOAT

209
00:15:01,312 --> 00:15:05,014
GRAPHS IS -- PHOTOGRAPHS IS 
PEOPLE IMPOSING A VISION ON

210
00:15:05,016 --> 00:15:08,183
IT THAT THEY ALREADY KNOW, 
UNDERSTAND OR BELIEVE IN.

211
00:15:08,185 --> 00:15:12,955
AND I ACTUALLY THINK THAT 
OUR UNDERSTANDING OF THE

212
00:15:12,957 --> 00:15:15,124
LAND HAS TO EVOLVE BEYOND 
THAT.

213
00:15:15,126 --> 00:15:17,660
BECAUSE WHAT ENDED UP 
HAPPENING IS THAT WHEN WE

214
00:15:17,662 --> 00:15:20,062
THINK ABOUT SAVING A 
LANDSCAPE, WE HAVE TO HAVE

215
00:15:20,064 --> 00:15:25,034
THE CATHEDRAL FORMS, THIS 
GREAT CANYON, OR WE HAVE TO

216
00:15:25,036 --> 00:15:30,039
HAVE IT PRISTINE LANDSCAPE. 
AND WHAT IT TURNS OUT IS

217
00:15:30,041 --> 00:15:34,443
THAT MANY OF THESE ECO 
SYSTEMS, I LIKE TO USE

218
00:15:34,445 --> 00:15:39,148
THE -- IS THEY'RE NOT THIS 
BIG OBVIOUS REALLY, REALLY

219
00:15:39,150 --> 00:15:42,284
WOW, I JUST HAVE TO STAND ON 
THE EDGE OF THIS AND GET THE

220
00:15:42,286 --> 00:15:45,254
IM AX GOING. 
THEY'RE ACTUALLY VERY SUBTLE

221
00:15:45,256 --> 00:15:50,392
OR NOT EVEN IN CLOSE THAT 
PRETTY BUT THEY CAN BE QUITE

222
00:15:50,394 --> 00:15:53,495
WONDERFUL AS WELL, WITHIN. 
AND IF YOU SPEND TIME, YOU

223
00:15:53,497 --> 00:15:57,499
KNOW, YOU BEGIN TO SEE THE 
INNATE BEAUTY.

224
00:15:57,501 --> 00:16:01,203
AND I THINK A GIFT LIKE THAT 
IS THE SAME GIFT, YOU KNOW,

225
00:16:01,205 --> 00:16:05,574
THE GREATEST LITERATURE, OR 
PHILOSOPHY, OR ART, THE

226
00:16:05,576 --> 00:16:11,580
ABILITY TO COME TO THE WORLD 
ANEW AND SEE IN ALL ITS

227
00:16:11,582 --> 00:16:27,963
MANIFEST BEAUTY. 
WHAT PHOTOGRAPHY ALLOWS ME

228
00:16:27,965 --> 00:16:31,333
TO DO IS THIS AMAZING 
LOOKING AT THE LAND, AT

229
00:16:31,335 --> 00:16:34,436
PLACES. 
I DON'T HAVE THE PATIENCE OR

230
00:16:34,438 --> 00:16:37,873
INTEREST TO MAKE A CERTAIN 
KIND OF LANDSCAPE PHOTOGRAPH

231
00:16:37,875 --> 00:16:39,575
. 
BUT I LOVE LOOKING AT THINGS

232
00:16:39,577 --> 00:16:41,844
. 
AND SO RATHER THAN TRYING TO

233
00:16:41,846 --> 00:16:47,816
MAKE SOMETHING THAT REALLY, 
YOU KNOW, IS THIS KIND OF

234
00:16:47,818 --> 00:16:51,553
GRAND LANDSCAPE, WHICH I 
DON'T REALLY ENJOY, OR HAVE

235
00:16:51,555 --> 00:16:54,656
PATIENCE FOR QUITE THAT MUCH 
ANYMORE, IS THAT THE MORE

236
00:16:54,658 --> 00:17:00,095
SUBTLE THINGS THAT I JUST 
FIND AMAZING.

237
00:17:00,097 --> 00:17:10,339
IS WHAT MY WORK BECOMES 
ABOUT.

238
00:17:10,341 --> 00:17:12,574
WHEN ASK YOU AN ARTIST ABOUT 
WHAT THEY HOPE TO ACHIEVE

239
00:17:12,576 --> 00:17:16,545
WITH THEIR WORK, IS 
SOMETIMES YOU CAN SAY

240
00:17:16,547 --> 00:17:20,449
ACHIEVING MEANS, YOU KNOW, 
MAKING THE HISTORY BOOKS.

241
00:17:20,451 --> 00:17:23,619
BEING CONSIDERED AN 
IMPORTANT ARTIST.

242
00:17:23,621 --> 00:17:27,956
RATHER THAN MY WORK BEING 
SAVED, I'D MUCH RATHER SEE

243
00:17:27,958 --> 00:17:30,759
SOME OF THESE MACES BE SAVED 
I DON'T THINK MY WORK IS

244
00:17:30,761 --> 00:17:35,230
SIGNIFICANT AT ALL. 
I THINK THESE PLACES ARE.

245
00:17:35,232 --> 00:17:40,035
>> TO FIND OUT MORE ABOUT 
MICHAEL BETTER BERMAN, VISIT

246
00:17:40,037 --> 00:17:44,006
FRAGMENTED IMAGES.COM. 
SCULPTOR GARY WEISMAN MOLDS

247
00:17:44,008 --> 00:17:46,875
BRONZE AND CLAY INTO LARGE 
SCALE FIGURES, THAT CHANNEL

248
00:17:46,877 --> 00:17:50,179
THE ART OF ANCIENT GREECE 
AND ITALY.

249
00:17:50,181 --> 00:17:53,415
HE TAKES US INTO HIS 
WORKSHOP TO SHOW HOW HE

250
00:17:53,417 --> 00:18:24,379
MAKES HIS GRAND SCULPTURES. 
>> MY NAME IS GARY WEISMAN,

251
00:18:24,381 --> 00:18:28,250
AND I MAKE CLASSICAL BRONZE 
SCULPTURES.

252
00:18:28,252 --> 00:18:32,354
THEY'RE VERY TRADITIONAL. 
THE GREEKS ARE A VERY BIG

253
00:18:32,356 --> 00:18:35,757
INFLUENCE, AND ALSO THE 
ITALIAN RENAISSANCE ARE A

254
00:18:35,759 --> 00:18:46,435
BIG INFLUENCE. 
I DON'T TEND TO LOOK AT

255
00:18:46,437 --> 00:18:48,737
WHAT'S GOING AROUND ME. 
I TEND TO LOOK BACK IF TERMS

256
00:18:48,739 --> 00:18:59,648
OF INFLUENCES HISTORICALLY. 
WE TRAVEL TO ITALY, MAYBE

257
00:18:59,650 --> 00:19:03,919
ONCE A YEAR FOR ABOUT 3 
WEEKS AND DRAW OSTENSIBLY

258
00:19:03,921 --> 00:19:13,028
NONSTOP, 9 HOURS A DAY. 
THE INFLUENCES ARE USED IN

259
00:19:13,030 --> 00:19:24,006
THE POSES I DO HERE. 
MY MAIN ENERGY IS ON

260
00:19:24,008 --> 00:19:28,977
CLASSICAL NEWS. 
-- CLASSICAL NUDES AND I

261
00:19:28,979 --> 00:19:31,780
THINK AS FAR AS PUBLIC 
COLLECTIONS GO, MUSEUMS, OUT

262
00:19:31,782 --> 00:19:36,752
DOOR SITUATIONS, THE NUDE 
IS WAY BLOCKED IN THIS

263
00:19:36,754 --> 00:19:39,188
COUNTRY. 
YOU SEE A LOT OF THEM IN

264
00:19:39,190 --> 00:20:00,142
EUROPE, ALTHOUGH I DON'T 
KNOW HOW CONTEMPORARY.

265
00:20:00,144 --> 00:20:05,180
BEEN DOING SOME CANTILEVERED 
LIFE SIZE PIECES.

266
00:20:05,182 --> 00:20:08,650
A MIX, THE POSSIBILITIES OF 
ARCHITECT TRY KIND OF WHAT

267
00:20:08,652 --> 00:20:19,461
BRONZE STRUCTURALLY CAN DO. 
SO COMPLETELY HOVER

268
00:20:19,463 --> 00:20:24,166
HORIZONTALLY WITH NO SUPPORT 
.

269
00:20:24,168 --> 00:20:28,837
BUT I'M WORKING ON FEMALE 
CRUISE FIXES AND I DON'T

270
00:20:28,839 --> 00:20:34,943
REALLY KNOW WHY. 
PIECES HAVE BACK LOT MORE

271
00:20:34,945 --> 00:20:39,114
NARRATIVE NOW. 
SO THAT'S KIND OF EXCITING.

272
00:20:39,116 --> 00:20:42,985
I'M SORRY THEY'RE SO TORTURE 
ED RIGHT NOW.

273
00:20:42,987 --> 00:20:44,686
YOU HAVE TO LISTEN TO THESE 
THINGS.

274
00:20:44,688 --> 00:20:48,724
YOU KNOW, YOU'RE LISTENING 
TO A DRAWING.  IT'S

275
00:20:48,726 --> 00:20:55,998
HAPPENING TO A SCULPTURE. 
AND WORKING ON EMPOWERED

276
00:20:56,000 --> 00:21:01,803
KIND OF PIECES WHICH ARE 
BASED ON GREEK HEROS WITH

277
00:21:01,805 --> 00:21:18,920
WEAPONS. 
>> KIND OF TRICKY BUSINESS,

278
00:21:18,922 --> 00:21:22,591
VERY STRESSFUL. 
I STARTEDED DOING THIS IN

279
00:21:22,593 --> 00:21:29,464
THE MID '70S. 
WHEN I DO THE POURS, I POUR

280
00:21:29,466 --> 00:21:35,704
1500 TO -- 1500 TO 
2000 POUNDS IN A DAY OR SO.

281
00:21:35,706 --> 00:21:38,940
DURING A POUR, I HAVE MY EX- 
STUDENTS COME UP FROM THE

282
00:21:38,942 --> 00:21:46,114
PENNSYLVANIA ACADEMY IN 
PHILADELPHIA.

283
00:21:46,116 --> 00:21:48,784
THERE'S A RAPPORT I HAVE 
WITH THE METAL.

284
00:21:48,786 --> 00:21:52,621
WHAT I -- TO WOULD I DO 
THESE THINGS IF THEY DIDN'T

285
00:21:52,623 --> 00:21:54,823
SELL? 
YEAH, I WOULD.

286
00:21:54,825 --> 00:21:57,592
I THINK IT'S CRITICAL TO 
ALWAYS STAY FOR ME IN THE

287
00:21:57,594 --> 00:22:01,596
PLACE OF NOT KNOWING. 
I DON'T KNOW.

288
00:22:01,598 --> 00:22:05,400
AND FINDING AN EXPERIENTIAL 
CONNECTION THROUGH SOME FORM

289
00:22:05,402 --> 00:22:11,940
OF NONINTELLECTUAL SENSATION 
THAT WILL HOLD MY INTENSITY

290
00:22:11,942 --> 00:22:18,513
OF FOCUS. 
WE'RE WRITING A STORY, I

291
00:22:18,515 --> 00:22:22,084
DON'T HAVE FINITE FIXED END 
ING.

292
00:22:22,086 --> 00:22:28,423
IT'S AN EVOLUTION. 
>> TO FIND OUT MORE, VISIT

293
00:22:28,425 --> 00:22:32,828
GARY WEISMAN.NET. 
WITH A DO YOU GET WHEN A

294
00:22:32,830 --> 00:22:36,131
SACRAMENTO ARTIST COMBS THE 
CARIBBEAN FOR UNIQUE ART AND

295
00:22:36,133 --> 00:22:46,608
ADDS HER OWN TOUCH? 
ROB STEWART GIVES US A LOOK.

296
00:22:46,610 --> 00:22:49,644
>> WE'RE CELEBRATING THE 
WORLD OF ART TODAY AT THE

297
00:22:49,646 --> 00:22:52,314
KUUMBA COLLECTIVE ART 
GALLERY IN SACRAMENTO WITH

298
00:22:52,316 --> 00:22:54,216
SACRAMENTO ARTIST ADELLE 
JAMES.

299
00:22:54,218 --> 00:22:56,752
GOOD TO SEE YOU. 
>> THANK YOU FOR COMING TO

300
00:22:56,754 --> 00:22:58,787
KUUMBA. 
>> A BEAUTIFUL PLACE HERE.

301
00:22:58,789 --> 00:23:02,023
I LOVE YOUR WORK, YOU'VE 
TEAMED UP WITH AN ARTIST IN

302
00:23:02,025 --> 00:23:04,826
TRINIDAD AND CAPTURE HIS ART 
AND YOU BRING IT TO AMERICA

303
00:23:04,828 --> 00:23:06,361
AND GIVE IT A WHOLE NEW LIFE 
.

304
00:23:06,363 --> 00:23:11,066
TELL ME ABOUT AT THAT. 
>>.

305
00:23:11,068 --> 00:23:14,102
>> I WAS INSPIRED BY FOLK 
ARTISTS IN TRINIDAD AND

306
00:23:14,104 --> 00:23:17,105
TOBAGO AND I HAD SAW HIS 
WORK.

307
00:23:17,107 --> 00:23:20,075
BUT WHAT THAT EVOLVED INTO 
WAS THIS IDEA OF CARIBBEAN

308
00:23:20,077 --> 00:23:22,878
ART PROMOTION AS A WAY TO 
REALLY PROMOTE AND BRING

309
00:23:22,880 --> 00:23:27,449
AWARENESS TO FOLK ART OF THE 
CARIBBEAN AND IT'S A

310
00:23:27,451 --> 00:23:30,285
COLLABORATIVE EFFORT. 
SO WHAT I DO IS I PHOTOGRAPH

311
00:23:30,287 --> 00:23:35,857
THE WORK BUT ALSO PHOTOGRAPH 
DIFFERENT IMAGES TO CREATE

312
00:23:35,859 --> 00:23:43,665
THESE PIECES, AND THEN WHEN 
THE ITEM -- SHARE THE --

313
00:23:43,667 --> 00:23:48,937
CREATE NEW FORM. 
I PUT THE WORK ON DIFFERENT

314
00:23:48,939 --> 00:23:54,376
ITEMS FROM FUNCTIONAL ART 
BASKET.

315
00:23:54,378 --> 00:23:56,511
THINKING ABOUT WORK THAT'S 
AFFORDABLE, FUNCTIONAL.

316
00:23:56,513 --> 00:23:59,281
ALSO BEAUTIFUL. 
AND AT THE SAME TIME, IT

317
00:23:59,283 --> 00:24:01,416
SHARES THE CULTURE AND 
HISTORY OF THE CARIBBEAN.

318
00:24:01,418 --> 00:24:03,852
>> INTERESTING. 
>> AND TO THINK ABOUT HOW

319
00:24:03,854 --> 00:24:06,621
CAN THESE ARTISTS BE 
SUPPORTED IN CONTINUING TO

320
00:24:06,623 --> 00:24:11,426
DO WHAT THEY DO AND CREATING 
OTHER FORMS THAT CAN BE

321
00:24:11,428 --> 00:24:14,229
EXTEND THE VALUE OF THE WORK 
>> WHERE DO YOU GET YOUR

322
00:24:14,231 --> 00:24:18,500
INSPIRATION FROM? 
>> I THINK FOR ME WHEN I

323
00:24:18,502 --> 00:24:21,269
LOOK AT THE PIECES, THEY 
TELL A STORY.

324
00:24:21,271 --> 00:24:23,772
THE STORY OF A LOT OF PIECES 
SHARES THE HISTORY OF THE

325
00:24:23,774 --> 00:24:31,746
REGION. 
>> IT'S GETTING THE --

326
00:24:31,748 --> 00:24:34,249
GIVING THE ARTISTS IN 
TRINIDAD NEW LIFE IN AMERICA

327
00:24:34,251 --> 00:24:38,820
>> A COLLABORATIVE EFFORT, 
AND THAT'S HOW I LIKE TO

328
00:24:38,822 --> 00:24:41,590
WORK. 
>> YOU'RE A NEW ARTIST.

329
00:24:41,592 --> 00:24:43,225
YOU HAVE BEEN DOING IT ABOUT 
A YEAR.

330
00:24:43,227 --> 00:24:46,962
>> YES. 
>> WHAT DOES IT MEAN TO HAVE

331
00:24:46,964 --> 00:24:49,731
A PIECE HERE IN ONE YEAR IN 
' N?

332
00:24:49,733 --> 00:24:54,069
>> IT'S OVERWHELMING. 
THIS WHOLE JOURNEY HAS BEEN

333
00:24:54,071 --> 00:25:00,909
OVERWHELMING. 
SO FROM COMING TO KUUMBA AND

334
00:25:00,911 --> 00:25:05,280
HAVING THEM SAY WE WANT YOU 
TO SHOW YOUR WORK HERE, TO

335
00:25:05,282 --> 00:25:09,351
DOING THE SECOND SATURDAYS, 
AND THEN THE CROCKER.

336
00:25:09,353 --> 00:25:15,290
YOU KNOW, I HAVE TO BELIEVE 
THAT IT'S NOT ABOUT ME.

337
00:25:15,292 --> 00:25:20,996
BUT THAT YOU KNOW, THIS IS 
SOME OF THE THREEL I DISPLAY

338
00:25:20,998 --> 00:25:23,365
IN HELPING TO BRING 
ATTENTION TO THIS WORK.

339
00:25:23,367 --> 00:25:26,801
AND I GET EXCITED ABOUT 
DOING IT AS WELL.

340
00:25:26,803 --> 00:25:29,104
>> I CAN TELL. 
AND IT'S BEAUTIFUL WORK.

341
00:25:29,106 --> 00:25:32,741
IT IS BEAUTIFUL ART, ADELLE 
AND WE THANK YOU FOR SHARING

342
00:25:32,743 --> 00:25:35,477
IT WITH US. 
ADELLE HERE IN SACRAMENTO,

343
00:25:35,479 --> 00:25:36,945
KUUMBA COLLECTIVE ART 
GALLERY.

344
00:25:36,947 --> 00:25:39,014
GOOD TO SEE YOU. 
>> THANK YOU.

345
00:25:39,016 --> 00:25:42,551
>> TO FIND OUT MORE, VISIT 
THE KUUMBA COLLECTIVE ART

346
00:25:42,553 --> 00:25:45,253
GALLERY FACEBOOK PAGE. 
THAT WRAPS IT UP FOR THIS

347
00:25:45,255 --> 00:25:47,689
EDITION OF ARTS. 
WE'LL BE OFF FOR THE NEXT

348
00:25:47,691 --> 00:25:51,793
TWO WEEKS SO THAT KLRN CAN 
BRING YOU ITS 47TH ANNUAL

349
00:25:51,795 --> 00:25:55,363
GREAT TV YAWKS SHUN. 
UNTIL THEN, I'M ASIA

350
00:25:55,365 --> 00:25:59,901
CIARAVINO. 
SEE YOU NEXT TIME.

351
00:25:59,903 --> 00:26:03,071
ART IS MADE POSSIBLE BY THE 
KELSO FOUNDATION.

352
00:26:03,073 --> 00:26:06,241
THE ELIZABETH COATS 
CHARITABLE FOUNDATION.

353
00:26:06,243 --> 00:26:11,880
AND VIEWERS LIKE YOU. 
ARTS IS PRESENTED BY THE

354
00:26:11,882 --> 00:26:13,882
TOBIN CENTER FOR THE PERFORM 
ING ARTS.

355
00:26:13,884 --> 00:26:17,552
OPENING IN 2014. 
PROVIDING THE BEST PLACE

356
00:26:17,554 --> 00:26:20,755
ANYWHERE TO SEE AND HEAR A 
LIVE PERFORMANCE.

357
00:26:20,757 --> 00:26:24,492
SAN ANTONIO'S FUTURE OF THE 
PERFORMING ARTS, THE TOBIN

358
00:26:24,494 --> 00:26:58,393
CENTER.

359
00:27:44,874 --> 00:27:46,374
BAAH!

360
00:27:48,044 --> 00:27:49,310
SHEESH.

361
00:27:59,321 --> 00:28:00,722
[SIGHS]

362
00:28:03,192 --> 00:28:06,761
AWK! UH-OH. 
AAH!

363
00:28:06,829 --> 00:28:08,329
- ALL RIGHT, FAIRIES!

364
00:28:08,397 --> 00:28:11,933
PLEASE SIT CRISSCROSS 
APPLESAUCE BECAUSE IT'S

365
00:28:12,001 --> 00:28:14,903
TIME FOR...

366
00:28:14,970 --> 00:28:17,172
- AVAST, YE LANDLUBBERS!

367
00:28:17,239 --> 00:28:19,174
- AAH! A PIRATE?!

368
00:28:19,241 --> 00:28:21,543
- RELAX, GONNIGAN.

369
00:28:21,610 --> 00:28:23,712
GONNIGAN? WHERE'S GONNIGAN?

370
00:28:23,779 --> 00:28:25,747
- HE'S GONE AGAIN.

371
00:28:25,815 --> 00:28:27,582
- THIS ISN'T JUST ANY PIRATE.

372
00:28:27,650 --> 00:28:30,985
IT'S MY OLD FRIEND 
CAPTAIN HOOK.

373
00:28:31,053 --> 00:28:34,622
WHAT BRINGS YOU HERE, 
YOU SILLY OLD SEA SALT?

374
00:28:34,690 --> 00:28:39,561
- OH, MRS. SPARKLENOSE, 
I'M SO SAD.

375
00:28:43,733 --> 00:28:47,235
I'VE LOST ME GOLDEN 
PIRATE TREASURE.

376
00:28:47,303 --> 00:28:49,370
[SOBBING]

377
00:28:49,438 --> 00:28:51,139
- I DON'T UNDERSTAND.

378
00:28:51,207 --> 00:28:54,109
MY COUSIN TINKER BELL 
ALWAYS TOLD ME THAT

379
00:28:54,176 --> 00:28:55,677
CAPTAIN HOOK WAS MEAN.

380
00:28:55,745 --> 00:28:59,414
- YEAH. ISN'T HE ALWAYS 
TRYING TO CATCH PETER PAN?

381
00:28:59,482 --> 00:29:00,582
- NOT ANYMORE.

382
00:29:00,649 --> 00:29:02,984
I FOUND ME A NEW PAN.

383
00:29:03,052 --> 00:29:05,653
MEET PETER THE PAN.

384
00:29:05,721 --> 00:29:08,289
- I CAN FLY.

385
00:29:08,357 --> 00:29:10,992
- NO, YOU CAN'T.

386
00:29:11,060 --> 00:29:12,227
[CLATTER]

387
00:29:12,294 --> 00:29:14,729
SEE? NOW COME ON.

388
00:29:14,797 --> 00:29:17,766
WHO WANTS TO JOIN ME 
PIRATE CREW AND HELP ME FIND

389
00:29:17,833 --> 00:29:19,400
THE GOLDEN TREASURE?

390
00:29:19,468 --> 00:29:20,668
- WE DO!

391
00:29:20,736 --> 00:29:21,703
- NOT ME!

392
00:29:21,771 --> 00:29:23,438
NO WAY I CAN BE A PIRATE!

393
00:29:23,506 --> 00:29:25,774
I DON'T HAVE A FRILLY SHIRT.

394
00:29:25,841 --> 00:29:30,044
- I THINK OUR DRESS-UP 
CORNER CAN HELP.

395
00:29:30,112 --> 00:29:31,346
- COOL!

396
00:29:31,413 --> 00:29:33,982
- HA HA! NOW WE 
CAN BE PIRATES!

397
00:29:34,049 --> 00:29:35,817
- ARR!

398
00:29:35,885 --> 00:29:37,051
- ALL RIGHT, CAPTAIN.

399
00:29:37,119 --> 00:29:38,953
HERE'S YOUR CREW.

400
00:29:39,021 --> 00:29:40,522
- HA HA HA! GREAT!

401
00:29:40,589 --> 00:29:44,092
NOW LET'S CHECK OUT ME MAGIC 
TREASURE MAP AND SEE WHERE

402
00:29:44,160 --> 00:29:46,861
WE GO NEXT.

403
00:29:46,929 --> 00:29:50,929
THE MAP WANTS US TO FIND THE 
ISLAND OF THE GUSHING GEYSER,