FOR ADVANCEMENT OF
CONTEMPORARY ART, ON THIS
EDITION OF ARTS.
THE WORK OF AN ARTIST WHOSE
SUBJECTS AND MATERIALS
COMMUNICATE WITH LIGHT ABOUT
SENSUALITY AND HUMAN IF A
GILLITY FRAGILITY.
>> YOU CAME UP WITH THIS
IDEA OF STRINGING CRYSTALS,
ONE CRYSTAL FOR EACH ONE DAY
THAT SHE LIVED.
>> A FASHION ICON CONTINUES
TO EVOLVE HER STYLE AFTER
DECADES IN THE BUSINESS.
>> MY RESPONSIBILITY IS
REALLY TO BUILD AND TO
PROMOTE AMERICAN FASHION.
ARTIST WHO CREATES MINUTE
ACTUAL WORLD WITH CUT AND
FOLD DRAWINGS.
>> I THINK THEY'RE BEAUTIFUL
BUT I DON'T THINK THEY
SHOULD NECESSARILY BE
CONSIDERED BEAUTIFULS AND A
POET'S MESSAGE TO A MOVIE
STAR.
>> THANK YOU.
BRUCE LEE FOR DEVASTATING MY
CHILDHOOD LIKE A SINNEDDER
BLOCK.
>> IT'S CINDER BLOCK.
IT'S ALL AHEAD ON THIS
EDITION OF ARTS.
>>.
>> ARTS IS MADE POSSIBLE BY
THE KELSO FOUNDATION.
AND BY VIEWERS LIKE YOU.
ARTS IS IS PRESENTED BY THE
T OBIN CENTER FOR THE
PERFORMING NARTS OPENING IN
2014 PROVIDING THE BEST
PLACE ANYWHERE TO SEE AND
HEAR A LIVE PERFORMANCE.
SAN ANTONIO'S FUTURE OF THE
PERFORMING ARTS, THE T OBIN
CENTER.
>> THE VIBRANT ARTS
COMMUNITY OF OUR CITY
EXTENDS OUR CULTURES TO ART
CENTERS AROUND THE COUNTRY
AND THE WORLD.
ONE IMPORTANT INCUBATOR FOR
ARTISTIC INNOVATION IS ARTS
PACE SAN ANTONIO A
INTERNATIONAL LABORATORY
FOR THE CREATION AND
ADVANCEMENT OF CONTEMPORARY
ART.
INNOVATION AND EXPLORATION
ARE THE KEY TO THE WORK OF
JESSE AMADO.
AMADO IS A CONCEPTUAL ARTIST
WHOSE WORKS ARE COLLECTED BY
MUSEUMS IN TEXAS ACROSS THE
COUNTRY AND ABROAD.
ART PACE BECAME THE
LABORATORY FOR HIS
INNOVATIVE WORK DURING 1995
RESIDENCY, THE YEAR ART PACE
BEGAN HOSTING ARTISTS TO
FOSTER THEIR CREATIVE
EXPRESSION OF THE WE VISIT
TODAY THE WORK OF SUN OF SAN
ANTONIO, AMADO THOUGHT
PROVOKING IDEAS AND
MATERIALS.
>> I'M THRILLED TO HAVE THIS
PIECE BY JESSE AMADO ABOVE
MY FIREPLACE.
IT'S SO BEAUTIFUL, AND SINCE
I'M A WRITER, OF COURSE, I
LOVE THE FACT THAT JESSE IS
FASCINATED BY WORDS AS MOST
WRITERS ARE.
IN THIS PIECE, A PIECE THAT
IS SPELLED OUT THE LINES
FROM AN OLD JAMES BROWN SONG
THAT I USED TO LOVE.
AND YOU'LL REMEMBER THIS
LINE BECAUSE IT'S --
EVERYBODY KNOWS IT.
BUT IT SAYS, THAT YOU HAVE
TO REALLY LOOK, PLEASE,
PLEASE, BABY, DON'T GO, I
LOVE YOU SO.
AND I GAVE THIS TO MY
HUSBAND ON A BIG BIRTHDAY.
AND I THINK THIS IS PURE
JESSE.
WHAT IT DOES, IT FORCES TO
US REALLY LOOK AND SEE EACH
LETTER.
IT'S KIND OF A VISUAL RIDDLE
.
BECAUSE AT FIRST YOU JUST
LOOK UP, PEOPLE COME IN HERE
AND THEY HAVE NO IDEA WHAT
THAT IS.
AND THEN THE MORE THEY LOOK,
THEY PIECE IT OUT, SO I
DON'T TELL THEM WHAT IT SAYS
. AND THEY HAVE TO LOOK
AT EACH LETTER AND IT FORCES
US TO THINK ABOUT PERCEPTION
AND HOW MUCH WE MISS IN LIFE
.
AND THEN AT THE END YOU GET
THIS GREAT BIG PAYOUT, PAY
BACK -- PAYOFF.
YOU GET THIS GREAT PAYOFF
BECAUSE IT'S SUCH A LINE.
PLEASE, BABY, PLEASE DON'T
GO, I LOVE YOU SO. IT'S
ROMANTIC, IT'S FUNNY AND IT
IS OF COURSE BEAUTIFUL.
>>.
>> WHAT ARTISTS DO IS TEACH
US HOW TO BE HUMAN.
AND SO WHEN YOU'RE
CONFRONTED WITH A PIECE OF
ART WORK, WHERE HE STICKS
OUT THE LETTERS TOGETHER, OR
HE CREATES THESE PIECES WITH
MIRRORS AND OBJECTS THAT
SHOW THE BROKENNESS IN US.
THEN HE IS TOUCHING INTO THE
FRAGILITY OF WHAT IT MEANS
TO BE HUMAN.
AND THE OTHER THING, HE
RELENTLESSLY TRUTHFUL.
HE'S -- HE HAS AN IN
CORRUPTIBLE RELATIONSHIP
WITH THE TRUTH ABOUT HIMSELF
AND OTHERS.
AND THAT COMES THROUGH IN
THE PURITY OF HIS ART.
IT'S VERY -- IT'S VERY -- I
THINK OF IT AS ALMOST
TRANSCENDENTAL, IT
TRANSCENDS BOUNDARIES.
SO MAINLY, I THINK HE'S JUST
TRYING TO SHOW US WHAT IT
MEANS TO BE A HUMAN BEING.
AND THAT SOMETIMES WE DON'T
LIVE UP TO OUR OWN
EXPECTATIONS, SOMETIMES WE
DO.
AND ALL THE SEA OF EMOTIONS
AND SO WE ARE FRAY GUILE.
FRAG I WILL.
FRAGI LE.
>> THE FIRST TIME I EVER MET
JESSE AMADO WAS IN 1995 WHEN
HE WAS ONE -- IN THE FIRST
CLASS OF ART PACE ARTISTS IN
RESIDENCE, AND IN THAT
PROGRAM WE HAVE, ART PACE
HAS, A NATIONAL ARTIST AND
INTERNATIONAL ARTIST AND A
TEXAS ARTIST.
AND JESSE WAS THE TEXAS
ARTIST.
AND HIS ENTIRE WORK HAD TO
DO WITH KIND OF REBIRTHING
HIMSELF.
AND SO HE USED IN THIS WORK
THINGS LIKE SOAP, IMAGES
LIKE SOAP, WHICH ONE WOULD
THINK OF AS CLEANSING.
HE USED MIRRORS.
HE'S VERY REFLECTIVE.
SO MIRRORS OFTEN APPEAR IN
HIS WORK.
SELF-REFLECTION.
AND HE USED ITEMS FROM THE
ROMAN CATHOLIC CHURCH SACK
MEANT AS A WAY OF OR THE OF
REFLECTING ON WHERE HE HAD
BEEN IN HIS LIFE AND WHERE
HE WAS GOING TO GO.
SO THE WORK ITSELF WAS A
MEANING MAKING PROCESS.
OF WHERE JESSE WAS, WHEN HE
HE -- BEFORE HE TOOK THE
ARTIST IN RESIDENCY AND THEN
AFTER.
AND THE TRUTH IS HE WAS IN
FACT REBORN, BECAUSE HE WENT
FROM BEING A TEXAS ARTIST TO
AN INTERNATIONAL ARTIST, AS
A RESULT OF THAT EXHIBITION.
>> MY SENSIBILITY SOMETIMES
CAN BE REFERRED TO AS A
SENSIBILITY THAT COMES FROM
MY HERITAGE.
PERHAPS.
YOU KNOW, FROM MY LOO LATINO
LATINO -- FROM MY LATINO
HERITAGE, MEXICAN HERITAGE.
MEXICANS ARE VERY GOOD AT
THAT, MAKING SENSUALITY.
SO YOU KNOW, REAL.
AND I THINK THAT'S PART OF
WHAT I DO.
AND IF I CAN MAKE THE WORK
SEND SEXUAL, -- SENSUAL, I
WILL STRIVE FOR THAT.
>> LINDA PACE FOUNDED ART
PACE AND JESSE WAS THE FIRST
SAN ANTONIO ARTIST TO BE AS
RESIDENT AT ART PACE.
SO JESSE AMADO HAD AN
RELATIONSHIP WITH LINDA PACE
.
AFTER LINDA DIED, THE LINDA
PACE FOUNDATION WANTED TO
COMMISSION A WORK OF PUBLIC
ART THAT WOULD CELEBRATE HER
LIFE.
AND WE INSTANTLY THOUGHT OF
JESSE TO BE THE PERSON TO DO
IT BECAUSE HE KNEW HER SO
WELL.
AND SO WHAT HE CREATED AS HE
KNEW HE WANTED TO DO
SOMETHING WITH LIGHT, AND
CRYSTALS, AND SOMETHING THAT
WOULD BE BEAUTIFUL, BECAUSE
LINDA LED A BEAUTIFUL -- WAS
A BEAUTIFUL PERSON, AND LED
AN EXTRAORDINARY LIFE.
SO HE STARTED PLAYING AROUND
WITH IDEAS AND HE CAME UP
WITH THIS IDEA OF STRINGING
CRYSTALS.
ONE CRYSTAL FOR EACH ONE DAY
THAT SHE LIVED.
WHICH WAS 22,722 DAYS.
AND SO HE BEGAN STRINGING
THESE CRYSTALS AND IT WAS
ASTONISHING TO WATCH BECAUSE
YOU KNOW, HE WAS SET ONE ALL
THESE CRYSTALS, AND MANY
DIFFERENT COLORS.
AND THEN WHEN HE INSTALLED
THE PIECE, WE DECIDED IT
SHOULD GO IN THE SAN ANTONIO
LIBRARY, DOWNTOWN AND WHEN
HE INSTALLED THE PIECE, IT
WAS -- IT'S THIS SHIMMERING
SCRUP TOUR THAT MAKES A
BEAUTIFUL SOUND.
SO IT, FOR ME, I DON'T THINK
THAT JESSE WOULD SAY THIS.
FOR ME, IT'S PERFECTLY IS A
METAPHOR FOR LINDA'S SPIRIT.
THE SOUND OF THOSE CRYSTALS,
ALWAYS TIRCHGLING AND THE
LIGHT FROM -- THE LIGHT FROM
THE WINDOW OUT COME IN AND
HITTING ALL THOSE COLORS.
IT IS JUST SUCH AN EMOTIONAL
PIECE TO SEE.
AND IT STOPS YOU IN YOUR
TRACKS.
>> I LIKE TO TALK ABOUT THE
FRAGILITY OF LIFE.
THAT'S ONE OF MY SUBJECT
MATTERS.
AS WELL AS THE TRANSITIONAL
ASPECT OF LIFE AS WELL.
>>S ARE, I THINK THE PIECE
IS A LESSON, BECAUSE WE ONLY
HAVE SO MANY DAYS.
AND YOU KNOW, HOW DO YOU
MAKE EACH ONE COUNT?
AND THERE'S NO ONE WHO CAN
SEIZE THAT SCULPTURE -- SEES
THAT PIECE OF WORK THAT
DOESN'T KNOW THAT. THAT
EACH ONE OF THOSE DAYS --
BECAUSE THE TRUTH IS IT
DIDN'T LOOK LIKE THAT MANY
DAYS.
IT DIDN'T LOOK LIKE THAT
MANY DAYS.
YOU KNOW, WE HAVE THIS IDEA
THAT WE LIVE FOREVER, AND
INFINITE AMOUNT OF TIME TO
WASTE, ET CETERA.
AND THERE'S A LOT OF OTHER
THINGS ABOUT THAT PIECE, HOW
IT TAPERS OFF AT THE END
SUSPECT UNTIL THE VERY LAST
CRYSTAL IS THE VERY LAST DAY
OF HER LIFE.
IT GETS -- IT GETS CROWDED
IN THE MIDDLE, WHEN -- YOU
KNOW, WHEN SHE WOULD HAVE
BEEN AT MIDLIFE.
AND THEN AT THE END IT GETS
VERY THIN.
THE CRYSTALS GET VERY THIN.
SO MUCH THOUGHT WENT INTO
IT, AND SO MUCH COMMITMENT
TO HIS ART.
SO I THINK IT'S ONE OF MY
FAVORITE THINGS IN SAN
ANTONIO.
' IT SPEAKS SO WELL OF SAN
ANTONIO, AND OF THIS SON OF
SAN ANTONIO, TO BE ABLE TO
CREATE SOMETHING SO
EXTRAORDINARY AND SO
BEAUTIFUL.
>> AND NOW HERE'S A LOOK AT
A FEW ARTIST EVENTS
HAPPENING THIS WEEK IN SAN
ANTONIO.
>> TO SUBMIT YOUR EVENT TO
THE KLRN ARTS CALENDAR,
VISIT KLRN.ORG/ARTS.
UP NEXT, WE MEET FASHION
DESIGNER DIANE VON
FURSTENBERG WHOSE ICONIC
WRAP DRESS HAS STOOD THE
TEST OF TIME.
NOW VON FURSTENBERG IS
FOCUSING ON HER ROLE AS A
LEADER IN THE FASHION
INDUSTRY.
HER EFFORT TO PUSH FOR
WOMEN'S RIGHTS AND NEWEST
CLOTHING LINE CALLED
RENDEZVOUS.
>> IT'S A PLEASURE TO BE
INVITED INTO YOUR
HEADQUARTERS HERE.
>> THANK YOU FOR HAVING US.
>> WELCOME.
>> I WOULD LOVE TO TALK
ABOUT YOUR NEW COLLECTIONS,
THE FALL 2012 IS NOW OUT.
>> RIGHT.
>> DESCRIBE TO ME WHAT THE
PROCESS IS LIKE WHEN YOU'RE
LOOKING AT THE --
>> IT WAS CALLED RENDEZVOUS
BECAUSE WE WANTED SOMETHING
SEDUCTIVE.
SO NOTHING IS MORE SEDUCTIVE
THAN THE RENDEZVOUS.
IT'S -- ITS EXPECTATION,
WHETHER IT'S A BUSINESS REND
RENDEZVOUS, IT IS A
MYSTERIOUS, SEDUCTIVE,
ALWAYS READY FOR THE UN
EXPECTED.
SO THE COLLECTION IS VERY
FLUID I CAN AND IT IS CLOSE
TO THE BODY.
THE DRESS THAT OPEN THE
COLLECTION IS CALLED BENTLEY
AND IT'S NEW FORM OF WRAP.
COLORS ARE STRONG.
IT'S SEDUCTIVE.
>>.
>> TAKE US BACK TO YOUR
EARLY DAYS OF LIFE IN THE
UNITED STATES.
NOBODY KNEW WHO YOU WERE BUT
YOU WERE A JET JETTER --
JET-SETTER WHO HAD JUST
MARRIED A PRINCE.
>> I WAS 22.
I CAME TO AMERICA, I HAD
JUST MARRIED MY SWEETHEART
FROM COLLEGE, WHO WAS A
PRINCE.
AND A HEIR OF THE FAMILY AND
I WAS PREGNANT.
AND I WAS VERY HAPPY AND
VERY MUCH IN LOVE.
BUT I WANTED VERY MUCH TO BE
INDEPENDENT.
AND I HAD BEEN WORKING FOR
AN ITALIAN INDUSTRIALIST IN
THE FASHION BUSINESS, A MAN
WHO HAD AN PRINTING FACTORY,
WHERE HE PRINTED SCARFS AND
MADE JERSEY, AND I SAID CAN
I MAKE A FEW SAMPLES AND TRY
TO SELL THEM IN AMERICA SO.
AT NIGHT WHEN THE FACTORY
WAS CLOSED, I WOULD STAY
WITH THE PATTERN MAKER AND
FIND WHATEVER FABRIC WAS
AROUND AND I MADE MY FIRST
SAMPLE.
>> AND I HAD THAT LITTLE
DRESS.
>> LET'S TALK ABOUT THE
LITTLE DRESS.
>> IT IS THE WRAP DRESS.
>> THE WRAP DRESS.
>> BUT WHICH IS BASICALLY
HAS ENDURED FOR THREE
DECADES.
>> 38 YEARS.
LIKE A DRESS THAT DOESN'T
HAVE A ZIPPER, BUT, BUTTON
THAT WRAPS AROUND LIKE A
KIMONO.
WHAT'S DIFFERENT ABOUT IT,
IT WAS MADE IN JERSEY.
THEREFORE, YOU MOLDED THE
BODY.
>> YOU CAN WASH IT.
>> YOU CAN WASH IT AND THERE
WAS A PRINT AND THEN THE
MOVEMENT OF THE PRINT IS
LIKE AN ANIMAL.
THAT KIND OF GOES WITH THE
BODY.
>> AND ALL OF THAT TOGETHER
WAS JUST -- MADE IT THIS
INCREDIBLE THING. AND TO
THIS DAY, I SEE PEOPLE
WEARING IT AND I THINK, YOU
KNOW WHAT, IT'S -- IT WORKS,
THERE'S SOMETHING MAGICAL,
SOMETHING VERY PECIAL ABOUT
THAT DRESS.
AND AT THIS POINT I JUST
HAVE TO ACCEPT IT, BECAUSE
IT HAS STAYED.
>> I WAS THE FIRST PERSON
THAT MADE INEXPENSIVE DRESS
ES THAT ALL WOMEN WOULD
BUY.
I STARTED AS A WOMAN AND I
LOOKED FOR THE PRACTICAL
SIDE AND SOPHISTICATED AND
ALL OF THAT.
BUT THEN OF COURSE AFTER --
YOU KNOW, DECADES, I BECAME
A DESIGNER AND NOW I'M A
PROP.
>> YOU CERTAINLY ARE.
BASICALLY THREE VERY
DIFFERENT EVOLUTIONS OF YOUR
COMPANY UT A METEOR I CAN
RISE.
>> MY FIRST WAS AMERICAN
DREAM.
YOUNG GIRLS COMES TO AMERICA
, AND OVERNIGHT,
IMMEDIATE SUCCESS.
AGE 28.
AND SO ON. AND I SOLD IT.
AFTER 10 YEARS, 11 YEARS, I
SOLD THE WHOLE BUSINESS AND
I THOUGHT I WAS FINISHED
WITH IT AND MY CHILDREN WENT
TO BOARDING SCHOOL, I --
>> NEW LIFE.
>> AND THEN I HAD A NEW
LIFE.
AND THEN I CAME BACK AND MY
BRAND HAD COMPLETELY
DETERIORATED.
IT WAS ALL OVER THE PLACE,
THE PRODUCT, ALL PRICES AND
IT JUST LOST HITS DNA, LOST
EVERYTHING.
>> I STARTED MY SECOND
GENERATION BECAUSE I REALIZE
WHAT HAD MADE ME DO DO IT IS
I REALIZED THAT YOUNG HIP
GIRLS WERE BUYING THE OLD
DRESSES IN VINTAGE SHOPS.
>> WHAT DO YOU THINK THE KEY
WAS TO MAKING YOURSELF
RELEVANT AGAIN, AS YOU WERE
TRYING TO --
>> I DON'T KNOW, I STARTED
BACK WITH THE OLD DRESS
AGAIN, AND I -- THREW MYSELF
INTO IT AND IT WORKEDS AND
NOW, JUST ABOUT NOW, BETWEEN
THIS YEAR AND NEXT YEAR, I
THINK IT'S THE THIRD PERIOD
THAT IT'S STARTING.
SUCCESS WITH MY NEXT BIG
EFFORT, AND SO I'M WORKING
IN THE COMPANY AND CREATING
A REGULARS ' AND A PACKAGE
THAT WILL BE ABLE TO LAST
AFTER ME.
>> I KNOW THERE ARE OTHER
PASSIONS IN YOUR LIFE,
OUTSIDE OF YOUR BUSINESS.
LET'S TALK ABOUT YOUR WORK
WITH THE C FDA.
I KNOW YOU FEEL IT'S YOUR
RESPONSIBILITY TO HELP
NURTURE YOUR TALENT.
>> YES, I MEAN, MY
RESPONSIBILITY IS REALLY TO
BUILD AND PROMOTE AMERICAN
FASHION SO. WE DO IT FROM
THE SCHOOL ZONE, WE BREED
NEW TALENTS AT THE SCHOOLS,
THEN WHEN NEW DESIGNERS COME
IN, WE HELP THEM, WE HAVE
THE C FDA VOGUE FUND, WHERE
ANA WAS EXTRAORDINARY.
ALL THE YOUNG NEW DESIGNERS,
ALL COME OUT OF THAT FUND.
I MEAN, FROM ALEC, ALL CAME
OUT OF THAT.
AND THEN MY OTHER COMMITMENT
IS REALLY MY COMMITMENT TO
WOMEN.
I'M ON ADVISORY BOARDS.
IT'S AN ORGANIZATION THAT
EMPOWERS WOMEN.
THAT TRAINS WOMEN ALL OVER
THE WORLD.
WOMEN NEED IT.
AND SO THEY DO THINGS TO
ADVANCE HUMAN RIGHTS.
AND TO GET POLITICAL
ACCEPTANCE.
AND FOR ECONOMIC DEVELOPMENT
>> I WANT TO HELP OTHER
WOMEN BECAUSE I AM SO
IMPRESSED BY STRENGTHS OF
WOMEN.
THAT REALLY IS INSPIRING TO
ME.
BECAUSE I HAVE NEVER MEANT A
WOMAN WHO WAS NOT STRONG.
>> MAYBE BECAUSE MY MOTHER
WAS IN THE DEATH CAMPS WHEN
SHE WAS 20 AND FREEDOM WAS
SO IMPORTANT TO HER, SO SHE
ALWAYS TOLD ME SHE SURVIVED.
GOD MADE HER SURVIVE SO SHE
CAN GIVE ME LIFE AND
THEREFORE TOYED CARRY HER
FLAG -- THEREFORE I HAD TO
CARRY HER FLAG.
AND I REALIZED THAT
EVERYTHING I DO, ALL GOES TO
THE SAME THING.
THE MISSION IS THE SAME.
IS TO EMPOWER WOMEN.
>> ARE YOU THE WOMAN YOU
WANT TO BE TODAY?
>> YEAH.
>> AND IF YOU ASK ME WHAT I
WANT TO BE REMEMBERED FOR,
IS IF I CAN HAVE INSPIRED
WOMEN TO BE THE WOMEN THEY
WANT TO BE, THROUGH
EVERYTHING I, DO MY WORK,
MENTORING, PHILANTHROPY, I
MEAN TO ME THAT'S ALL VERY
COHERENT.
>> WE'RE DELIGHTED TO BE
ABLE TO TALK WITH YOU.
THANK YOU, DIANE.
EARLIER THIS YEAR, DIANE VON
FURSTENBERG, LAUNCHED HER
FIRST CHILDREN LINE.
A CHILD SIZED WRAP DRESS.
MUSEUMS ARE OFTEN LITTERED
WITH SIGNS REMINDSING
VISITORS, PLEASE DO NOT
TOUCH.
BUT ARTISTS GARY KACHADORIAN
TAKES A MORE HANDS ON
APPROACH TO HIS WORK.
HIS BOOKS ARE FULL OF
DRAWINGS OF ABSENCE FROM
EVERY DAY LIFE, FROM SOFAS
TO ATM MACHINES, THE OBJECTS
MAY BE COMMON, BUT
KACHADORIAN BELIEVES THEY
STILL CAN BE ART.
>> CHOOTION THE OBJECTS I
CHOOSE IS LARGELY BECAUSE
I'M INTERESTED IN THEM.
I THINK THEY'RE BEAUTIFUL
BUT I DON'T NECESSARILY
THINK THAT THEY SHOULD BE
CONSIDERED BEAUTIFUL.
IT'S JUST WHAT STICKS IN
YOUR BRAIN AND YOU KNOW, YOU
ASSUME WHAT'S STAYING IN
YOUR BRAIN IS SOMETHING THAT
TELLS SOMETHING ABOUT YOU,
PROBABLY.
AND THAT'S KIND OF THE POINT
OF MAKING ART.
>> I LOOK AT OTHER ARTISTS''
WORK, YOU KNOW, HALF OF IT
IS WHAT I COULD FIND OUT
ABOUT THE WAY THEY THINK.
THIS IS ONE OF THE LAST
PROJECTS I FINISHED WHICH IS
A BOOK OF COLORFUL OBJECTS,
ANYTHING FROM A SELF-
PORTRAIT, YOU KNOW, TO
A SPOT OF POTS, TO BARRIERS,
YOU KNOW, VACANT LOT.
SNOWBALL STAND.
THINGS YOU DRIVE BY EVERY
DAY THAT ARE FAIRLY CENTRAL
AND ELEMENTAL TO SOCIETY
THAT WE LIVE IN.
THIS PIECE IS A BRAND-NEW
SET OF LIKE CUT AND FOLD
SERIES.
AND IT'S AN APARTMENT
DUMPSTER, WHICH I'VE DONE A
FEW FLAT ONES OF BEFORE, BUT
THIS IS A THREE-DIMENSIONAL
ONE.
AND SOFA WITH THE REMOVABLE
CUSHIONS BECAUSE THERE'S
ALWAYS, WHEN YOU GO BY
APARTMENT COMPLEXES, YOU SEE
A SOFA NEXT TO THE DUMPSTER.
DID I THIS SELF-PORTRAIT A
FEW YEARS AGO, ACTUALLY THE
ONLY I GUESS ENAMEL I'VE
DONE A DRAWING OF, AND IN
PROBABLY 6 YEARS.
BUT THIS ONE I KIND OF
THOUGHT I HAD TO DO, AND IT
CAME FROM STANDING IN LINE
WITH THE 711 AND LOOKING AT
THE SECURITY CAMERA AND
NOTICEING A REALLY LARGE
BALD SPOT I HADN'T NOTICED
WAS. THIS A SURPRISE,
SEEMED LIKE A GOOD TIME TO
DOCUMENT THAT PARTICULAR
AGING PROCESS.
I DON'T LOOK AT ANY OF THESE
THINGS BEING MASS PRODUCED
AT THIS POINT.
THIS LOOKS -- THIS SOLD FOR
$4 AND I SELL IT DIFFERENT,
MOSTLY LIKE ARTIST BOOKS,
OUTLET, PLACES LIKE GSH --
AND LOCALLY.
I DO POSTERS AND -- THIS IS
ACTUALLY ANOTHER SCALE
VERSION OF THE VACANT LOT.
BEHIND IT, BOTH OF THESE
PANELS, ACTUALLY, ARE --
WERE CEILING PANELS I HAD UP
BEFORE, SO THEY'RE A DRAWING
OF DROP CEILING, ACOUSTIC
TILE.
AND THEN THE LAST, THIS KIND
OF SEQUENCE IS INSTALLATION
THAT I DID ON A BUILDING ON
NORTH AND CHARLES THAT USE
AS BUSH IN EARLY SPRING.
AND DETECTIVE BLOCK WALL.
FROM THE POINT OF VIEW OF
MAKING THE DRAWINGS, YOU
HAVE TO MAKE IT IN AN UN
COMPROMISING MANNER.
YOU KNOW, BUT AT THE SAME
TIME MAKE IT SO THAT PEOPLE
MIGHT FIND IT INTERESTING TO
LOOK AT.
A TOUGH THING, YOU'RE NOT
TRYING TO BEND TO PLEASE
THEM.
YOU'RE TRYING TO MAKE
SOMETHING THAT WILL PLEASE
THEM.
ON YOUR TERMS.
>> TO SEE MORE OF HIS WORK,
VISIT HIS WEBSITE AT GARY
KACHADORIAN.COM.
HERE'S WHAT HAPPENED IN OUR
HISTORY ART HISTORY.
MANY CHILDREN GROW UP IDOL
IZING THE PEOPLE THEY
SEE ON THE BIG SCREEN. POET
HE HAD BOK LEE REMEMBERS
LOOKING UP TO BRUCE LEE BUT
HIS IMPRESSION OF THE MOVIE
STAR CHANGED WHEN HE BEGAN
TO SEE THE ACTOR BEYOND THE
BLOW OF THE SILVER GLOW OF
THE SILL SILVER SILVER
SCREEN.
HERE IS ODE TO BRUCE LEE.
>>.
>> THANK YOU.
BRUCE LEE.
FOR DEVASTATING MY CHILDHOOD
LIKE A CRINDER BLOCK FOR ALL
ALL -- CINDER BLOCK FOR ALL
THIS.
OF COURSE YOU CHOKED ON THE
MASK THEY HANDED YOU AS THE
GREEN HORNET, LIKE SOME
RETRO DEMOTED ROLE FOR T ONT
O.
INSTEAD THEY CAST DAVID CARE
DEAN INSTEAD OF YOU.
THANK YOU FOR HIGH TAILING
IT BACK TO HONG KONG, JAW OF
REVENGE.
NOT EVEN KOREAN FOOTPRINT
COULD WALK ON YOU, BORN IN
SAN FRANCISCO.
BURIED IN SEATTLE.
RAISED A CHINESE NATIONALIST
, THANK YOU FOR
TEACHING CHUCK NORRIS HOW TO
STAR IN ABDOMINAL REHE DUCKS
COMMERCIALS FOR YOUR
CANTONESE OPERA STAR AND
ASIA AMERICAN MOTHER,
FLUMPGED OUT CATH CATHOLIC
STREET BRAWLER, THANK YOU
FOR BEING ACCEPTED BY BLACKS
BEFORE WHITES, FOR CLAWING
THE FACE OF THE WORK FOR
KNOWING WHO YOU WERE WHEN
EVERYONE ELSE WAS JUST TOO
DAMN LOW -- TOO DAMN SLOW.
ADULTERER TO YOUR AMERICAN
WIFE, RACE TRADE TORE TAIWAN
EASE LOVER, FLESH SCRUPTOR,
ENYING MARX FLAWED HEART OF
SANDAL WOOD.
THANK YOU FOR HIDING YOUR
QUARTER GERMAN ANCESTRY TO
FIGHT LATER TO TRAIN
CAUCASIAN BUT ONLY
CERTIFYING AS INSTRUCTORS
ASIAN.
ASSASSIN ATHOUSAND
STEREOTYPES SMASHED.
THANK YOU FOR NOT BEING
JACKIE CHAN.
INSTEAD, SEXY, HORT, AND
SHORT AND CUT AS A BEGIN SUE
KNIFE FOR NEVER TAKING YOUR
EYE OFF THE MAN US A BOW
ATTEMPTING TO HE HADFY
BEFORE YOU HAVE TO KILL HIM,
MONK, HEALTH FANATIC, POT
SMOKER.
SOMETIMES MY FATHER SMUK
SODA AND BEER TO GO WITH OUR
POPCORN.
PAST MIDNIGHT WE'D AMBLE
OUT, THE ONLY TWO EXTRAS TO
SURVIVE A FORGOTTEN WAR, AND
MONDAY'S PLAYGROUND.
THANK YOU FOR BROKEN ENGLISH
, AND A HUSTLER'S
FLOW SUNG WITH LIMBS AND A
SCREEN BEYOND ANY COLOR OR
GENDER BARRIER, CHARLATAN
WHENEVER THEY HAD THE REAL
YOU CORNERED, BOKING AND CHA
CHA CHAMPION, STYLE OF NO
STYLE, TEACHER, WAITER,
DRAGON, CHARRED IN A 1970S
BALLOON OBSESSED CROWD.
SNAPPING GESTURES, IRONIC,
ICONIC, LOUD, HANDSOME, EACH
TIME SOME DUMB KID ASKED ME
IF I WAS RELATED TO YOU.
BUT MOST OF ALL, BRUCE,
THANK YOU FOR ADVANCING ON
TO THAT FINAL ISLAND MIST IN
THE SKY AND TAKING AS MANY
OF US AS YOU COULD WITH YOU.
>> ED BOK LEE'S BOOK WORLD
IS ON THE POETRY
FOUNDATION'S 2012 BEST
SELLER'S LIST AND IS A
WINNER OF THIS YEAR'S
AMERICAN BOOK AWARDS.
AND THAT WRAPS IT UP FOR
THIS HE HAD HE ITION OF ARTS
ARTS -- THIS EDITION OF ARTS
.
FOR MORE, VISIT OUR WEBSITE
AT KLRN.ORG/ARTS.
WHERE YOU'LL FIND
INFORMATION ON UPCOMING ARTS
EVENTS IN AND AROUND SAN
ANTONIO.
JOIN US NEXT THURSDAY AT
8:30 P.M.
UNTIL THEN, I'M ASIA
CIARAVINO, THANK YOU FOR
WATCHING.
>> ARTS IS MADE POSSIBLE BY
THE KELSO FOUNDATION.
AND BY VIEWERS LIKE YOU.
ARTS IS PRESENTED BY THE T O
BIN 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 T OBIN
CENTER.