1 00:00:10,652 --> 00:00:13,921 FOR ADVANCEMENT OF CONTEMPORARY ART, ON THIS 2 00:00:13,923 --> 00:00:16,190 EDITION OF ARTS. THE WORK OF AN ARTIST WHOSE 3 00:00:16,192 --> 00:00:19,260 SUBJECTS AND MATERIALS COMMUNICATE WITH LIGHT ABOUT 4 00:00:19,262 --> 00:00:22,663 SENSUALITY AND HUMAN IF A GILLITY FRAGILITY. 5 00:00:22,665 --> 00:00:26,467 >> YOU CAME UP WITH THIS IDEA OF STRINGING CRYSTALS, 6 00:00:26,469 --> 00:00:31,338 ONE CRYSTAL FOR EACH ONE DAY THAT SHE LIVED. 7 00:00:31,340 --> 00:00:34,275 >> A FASHION ICON CONTINUES TO EVOLVE HER STYLE AFTER 8 00:00:34,277 --> 00:00:38,145 DECADES IN THE BUSINESS. >> MY RESPONSIBILITY IS 9 00:00:38,147 --> 00:00:46,153 REALLY TO BUILD AND TO PROMOTE AMERICAN FASHION. 10 00:00:46,155 --> 00:00:49,857 ARTIST WHO CREATES MINUTE ACTUAL WORLD WITH CUT AND 11 00:00:49,859 --> 00:00:52,126 FOLD DRAWINGS. >> I THINK THEY'RE BEAUTIFUL 12 00:00:52,128 --> 00:00:53,527 BUT I DON'T THINK THEY SHOULD NECESSARILY BE 13 00:00:53,529 --> 00:00:56,430 CONSIDERED BEAUTIFULS AND A POET'S MESSAGE TO A MOVIE 14 00:00:56,432 --> 00:00:57,698 STAR. >> THANK YOU. 15 00:00:57,700 --> 00:01:01,635 BRUCE LEE FOR DEVASTATING MY CHILDHOOD LIKE A SINNEDDER 16 00:01:01,637 --> 00:01:05,406 BLOCK. >> IT'S CINDER BLOCK. 17 00:01:05,408 --> 00:01:11,345 IT'S ALL AHEAD ON THIS EDITION OF ARTS. 18 00:01:11,347 --> 00:01:25,859 >>. >> ARTS IS MADE POSSIBLE BY 19 00:01:25,861 --> 00:01:32,833 THE KELSO FOUNDATION. AND BY VIEWERS LIKE YOU. 20 00:01:32,835 --> 00:01:37,204 ARTS IS IS PRESENTED BY THE T OBIN CENTER FOR THE 21 00:01:37,206 --> 00:01:40,441 PERFORMING NARTS OPENING IN 2014 PROVIDING THE BEST 22 00:01:40,443 --> 00:01:43,477 PLACE ANYWHERE TO SEE AND HEAR A LIVE PERFORMANCE. 23 00:01:43,479 --> 00:01:50,451 SAN ANTONIO'S FUTURE OF THE PERFORMING ARTS, THE T OBIN 24 00:01:50,453 --> 00:01:52,286 CENTER. >> THE VIBRANT ARTS 25 00:01:52,288 --> 00:01:54,855 COMMUNITY OF OUR CITY EXTENDS OUR CULTURES TO ART 26 00:01:54,857 --> 00:01:57,625 CENTERS AROUND THE COUNTRY AND THE WORLD. 27 00:01:57,627 --> 00:02:02,296 ONE IMPORTANT INCUBATOR FOR ARTISTIC INNOVATION IS ARTS 28 00:02:02,298 --> 00:02:04,498 PACE SAN ANTONIO A INTERNATIONAL LABORATORY 29 00:02:04,500 --> 00:02:06,467 FOR THE CREATION AND ADVANCEMENT OF CONTEMPORARY 30 00:02:06,469 --> 00:02:08,836 ART. INNOVATION AND EXPLORATION 31 00:02:08,838 --> 00:02:12,172 ARE THE KEY TO THE WORK OF JESSE AMADO. 32 00:02:12,174 --> 00:02:15,275 AMADO IS A CONCEPTUAL ARTIST WHOSE WORKS ARE COLLECTED BY 33 00:02:15,277 --> 00:02:19,313 MUSEUMS IN TEXAS ACROSS THE COUNTRY AND ABROAD. 34 00:02:19,315 --> 00:02:21,515 ART PACE BECAME THE LABORATORY FOR HIS 35 00:02:21,517 --> 00:02:24,818 INNOVATIVE WORK DURING 1995 RESIDENCY, THE YEAR ART PACE 36 00:02:24,820 --> 00:02:27,755 BEGAN HOSTING ARTISTS TO FOSTER THEIR CREATIVE 37 00:02:27,757 --> 00:02:32,259 EXPRESSION OF THE WE VISIT TODAY THE WORK OF SUN OF SAN 38 00:02:32,261 --> 00:02:36,163 ANTONIO, AMADO THOUGHT PROVOKING IDEAS AND 39 00:02:36,165 --> 00:02:54,615 MATERIALS. >> I'M THRILLED TO HAVE THIS 40 00:02:54,617 --> 00:02:59,920 PIECE BY JESSE AMADO ABOVE MY FIREPLACE. 41 00:02:59,922 --> 00:03:03,757 IT'S SO BEAUTIFUL, AND SINCE I'M A WRITER, OF COURSE, I 42 00:03:03,759 --> 00:03:08,062 LOVE THE FACT THAT JESSE IS FASCINATED BY WORDS AS MOST 43 00:03:08,064 --> 00:03:15,869 WRITERS ARE. IN THIS PIECE, A PIECE THAT 44 00:03:15,871 --> 00:03:19,840 IS SPELLED OUT THE LINES FROM AN OLD JAMES BROWN SONG 45 00:03:19,842 --> 00:03:23,911 THAT I USED TO LOVE. AND YOU'LL REMEMBER THIS 46 00:03:23,913 --> 00:03:26,213 LINE BECAUSE IT'S -- EVERYBODY KNOWS IT. 47 00:03:26,215 --> 00:03:29,783 BUT IT SAYS, THAT YOU HAVE TO REALLY LOOK, PLEASE, 48 00:03:29,785 --> 00:03:33,854 PLEASE, BABY, DON'T GO, I LOVE YOU SO. 49 00:03:33,856 --> 00:03:39,526 AND I GAVE THIS TO MY HUSBAND ON A BIG BIRTHDAY. 50 00:03:39,528 --> 00:03:44,264 AND I THINK THIS IS PURE JESSE. 51 00:03:44,266 --> 00:03:48,702 WHAT IT DOES, IT FORCES TO US REALLY LOOK AND SEE EACH 52 00:03:48,704 --> 00:03:51,872 LETTER. IT'S KIND OF A VISUAL RIDDLE 53 00:03:51,874 --> 00:03:53,707 . BECAUSE AT FIRST YOU JUST 54 00:03:53,709 --> 00:03:55,976 LOOK UP, PEOPLE COME IN HERE AND THEY HAVE NO IDEA WHAT 55 00:03:55,978 --> 00:03:59,546 THAT IS. AND THEN THE MORE THEY LOOK, 56 00:03:59,548 --> 00:04:02,483 THEY PIECE IT OUT, SO I DON'T TELL THEM WHAT IT SAYS 57 00:04:02,485 --> 00:04:04,918 . AND THEY HAVE TO LOOK AT EACH LETTER AND IT FORCES 58 00:04:04,920 --> 00:04:09,890 US TO THINK ABOUT PERCEPTION AND HOW MUCH WE MISS IN LIFE 59 00:04:09,892 --> 00:04:11,725 . AND THEN AT THE END YOU GET 60 00:04:11,727 --> 00:04:17,231 THIS GREAT BIG PAYOUT, PAY BACK -- PAYOFF. 61 00:04:17,233 --> 00:04:20,567 YOU GET THIS GREAT PAYOFF BECAUSE IT'S SUCH A LINE. 62 00:04:20,569 --> 00:04:23,570 PLEASE, BABY, PLEASE DON'T GO, I LOVE YOU SO. IT'S 63 00:04:23,572 --> 00:04:28,475 ROMANTIC, IT'S FUNNY AND IT IS OF COURSE BEAUTIFUL. 64 00:04:28,477 --> 00:04:40,053 >>. >> WHAT ARTISTS DO IS TEACH 65 00:04:40,055 --> 00:04:44,558 US HOW TO BE HUMAN. AND SO WHEN YOU'RE 66 00:04:44,560 --> 00:04:49,663 CONFRONTED WITH A PIECE OF ART WORK, WHERE HE STICKS 67 00:04:49,665 --> 00:04:58,138 OUT THE LETTERS TOGETHER, OR HE CREATES THESE PIECES WITH 68 00:04:58,140 --> 00:05:06,113 MIRRORS AND OBJECTS THAT SHOW THE BROKENNESS IN US. 69 00:05:06,115 --> 00:05:10,017 THEN HE IS TOUCHING INTO THE FRAGILITY OF WHAT IT MEANS 70 00:05:10,019 --> 00:05:14,855 TO BE HUMAN. AND THE OTHER THING, HE 71 00:05:14,857 --> 00:05:19,293 RELENTLESSLY TRUTHFUL. HE'S -- HE HAS AN IN 72 00:05:19,295 --> 00:05:23,530 CORRUPTIBLE RELATIONSHIP WITH THE TRUTH ABOUT HIMSELF 73 00:05:23,532 --> 00:05:28,202 AND OTHERS. AND THAT COMES THROUGH IN 74 00:05:28,204 --> 00:05:35,976 THE PURITY OF HIS ART. IT'S VERY -- IT'S VERY -- I 75 00:05:35,978 --> 00:05:41,782 THINK OF IT AS ALMOST TRANSCENDENTAL, IT 76 00:05:41,784 --> 00:05:44,985 TRANSCENDS BOUNDARIES. SO MAINLY, I THINK HE'S JUST 77 00:05:44,987 --> 00:05:48,422 TRYING TO SHOW US WHAT IT MEANS TO BE A HUMAN BEING. 78 00:05:48,424 --> 00:05:52,192 AND THAT SOMETIMES WE DON'T LIVE UP TO OUR OWN 79 00:05:52,194 --> 00:05:55,896 EXPECTATIONS, SOMETIMES WE DO. 80 00:05:55,898 --> 00:06:04,671 AND ALL THE SEA OF EMOTIONS AND SO WE ARE FRAY GUILE. 81 00:06:04,673 --> 00:06:08,075 FRAG I WILL. FRAGI LE. 82 00:06:08,077 --> 00:06:13,313 >> THE FIRST TIME I EVER MET JESSE AMADO WAS IN 1995 WHEN 83 00:06:13,315 --> 00:06:18,418 HE WAS ONE -- IN THE FIRST CLASS OF ART PACE ARTISTS IN 84 00:06:18,420 --> 00:06:22,823 RESIDENCE, AND IN THAT PROGRAM WE HAVE, ART PACE 85 00:06:22,825 --> 00:06:25,726 HAS, A NATIONAL ARTIST AND INTERNATIONAL ARTIST AND A 86 00:06:25,728 --> 00:06:27,928 TEXAS ARTIST. AND JESSE WAS THE TEXAS 87 00:06:27,930 --> 00:06:32,065 ARTIST. AND HIS ENTIRE WORK HAD TO 88 00:06:32,067 --> 00:06:35,869 DO WITH KIND OF REBIRTHING HIMSELF. 89 00:06:35,871 --> 00:06:42,809 AND SO HE USED IN THIS WORK THINGS LIKE SOAP, IMAGES 90 00:06:42,811 --> 00:06:47,681 LIKE SOAP, WHICH ONE WOULD THINK OF AS CLEANSING. 91 00:06:47,683 --> 00:06:51,818 HE USED MIRRORS. HE'S VERY REFLECTIVE. 92 00:06:51,820 --> 00:06:55,389 SO MIRRORS OFTEN APPEAR IN HIS WORK. 93 00:06:55,391 --> 00:07:00,093 SELF-REFLECTION. AND HE USED ITEMS FROM THE 94 00:07:00,095 --> 00:07:05,165 ROMAN CATHOLIC CHURCH SACK MEANT AS A WAY OF OR THE OF 95 00:07:05,167 --> 00:07:07,601 REFLECTING ON WHERE HE HAD BEEN IN HIS LIFE AND WHERE 96 00:07:07,603 --> 00:07:12,906 HE WAS GOING TO GO. SO THE WORK ITSELF WAS A 97 00:07:12,908 --> 00:07:18,412 MEANING MAKING PROCESS. OF WHERE JESSE WAS, WHEN HE 98 00:07:18,414 --> 00:07:22,816 HE -- BEFORE HE TOOK THE ARTIST IN RESIDENCY AND THEN 99 00:07:22,818 --> 00:07:24,851 AFTER. AND THE TRUTH IS HE WAS IN 100 00:07:24,853 --> 00:07:30,257 FACT REBORN, BECAUSE HE WENT FROM BEING A TEXAS ARTIST TO 101 00:07:30,259 --> 00:07:36,263 AN INTERNATIONAL ARTIST, AS A RESULT OF THAT EXHIBITION. 102 00:07:36,265 --> 00:07:45,605 >> MY SENSIBILITY SOMETIMES CAN BE REFERRED TO AS A 103 00:07:45,607 --> 00:07:49,609 SENSIBILITY THAT COMES FROM MY HERITAGE. 104 00:07:49,611 --> 00:07:53,013 PERHAPS. YOU KNOW, FROM MY LOO LATINO 105 00:07:53,015 --> 00:07:59,386 LATINO -- FROM MY LATINO HERITAGE, MEXICAN HERITAGE. 106 00:07:59,388 --> 00:08:02,022 MEXICANS ARE VERY GOOD AT THAT, MAKING SENSUALITY. 107 00:08:02,024 --> 00:08:07,594 SO YOU KNOW, REAL. AND I THINK THAT'S PART OF 108 00:08:07,596 --> 00:08:13,667 WHAT I DO. AND IF I CAN MAKE THE WORK 109 00:08:13,669 --> 00:08:20,340 SEND SEXUAL, -- SENSUAL, I WILL STRIVE FOR THAT. 110 00:08:20,342 --> 00:08:26,346 >> LINDA PACE FOUNDED ART PACE AND JESSE WAS THE FIRST 111 00:08:26,348 --> 00:08:31,318 SAN ANTONIO ARTIST TO BE AS RESIDENT AT ART PACE. 112 00:08:31,320 --> 00:08:34,021 SO JESSE AMADO HAD AN RELATIONSHIP WITH LINDA PACE 113 00:08:34,023 --> 00:08:36,256 . AFTER LINDA DIED, THE LINDA 114 00:08:36,258 --> 00:08:40,427 PACE FOUNDATION WANTED TO COMMISSION A WORK OF PUBLIC 115 00:08:40,429 --> 00:08:43,663 ART THAT WOULD CELEBRATE HER LIFE. 116 00:08:43,665 --> 00:08:47,634 AND WE INSTANTLY THOUGHT OF JESSE TO BE THE PERSON TO DO 117 00:08:47,636 --> 00:08:51,571 IT BECAUSE HE KNEW HER SO WELL. 118 00:08:51,573 --> 00:08:55,709 AND SO WHAT HE CREATED AS HE KNEW HE WANTED TO DO 119 00:08:55,711 --> 00:09:00,614 SOMETHING WITH LIGHT, AND CRYSTALS, AND SOMETHING THAT 120 00:09:00,616 --> 00:09:04,551 WOULD BE BEAUTIFUL, BECAUSE LINDA LED A BEAUTIFUL -- WAS 121 00:09:04,553 --> 00:09:08,755 A BEAUTIFUL PERSON, AND LED AN EXTRAORDINARY LIFE. 122 00:09:08,757 --> 00:09:11,691 SO HE STARTED PLAYING AROUND WITH IDEAS AND HE CAME UP 123 00:09:11,693 --> 00:09:16,563 WITH THIS IDEA OF STRINGING CRYSTALS. 124 00:09:16,565 --> 00:09:20,033 ONE CRYSTAL FOR EACH ONE DAY THAT SHE LIVED. 125 00:09:20,035 --> 00:09:27,774 WHICH WAS 22,722 DAYS. AND SO HE BEGAN STRINGING 126 00:09:27,776 --> 00:09:34,648 THESE CRYSTALS AND IT WAS ASTONISHING TO WATCH BECAUSE 127 00:09:34,650 --> 00:09:39,152 YOU KNOW, HE WAS SET ONE ALL THESE CRYSTALS, AND MANY 128 00:09:39,154 --> 00:09:41,521 DIFFERENT COLORS. AND THEN WHEN HE INSTALLED 129 00:09:41,523 --> 00:09:45,625 THE PIECE, WE DECIDED IT SHOULD GO IN THE SAN ANTONIO 130 00:09:45,627 --> 00:09:50,263 LIBRARY, DOWNTOWN AND WHEN HE INSTALLED THE PIECE, IT 131 00:09:50,265 --> 00:09:55,769 WAS -- IT'S THIS SHIMMERING SCRUP TOUR THAT MAKES A 132 00:09:55,771 --> 00:09:58,705 BEAUTIFUL SOUND. SO IT, FOR ME, I DON'T THINK 133 00:09:58,707 --> 00:10:04,845 THAT JESSE WOULD SAY THIS. FOR ME, IT'S PERFECTLY IS A 134 00:10:04,847 --> 00:10:10,283 METAPHOR FOR LINDA'S SPIRIT. THE SOUND OF THOSE CRYSTALS, 135 00:10:10,285 --> 00:10:13,820 ALWAYS TIRCHGLING AND THE LIGHT FROM -- THE LIGHT FROM 136 00:10:13,822 --> 00:10:18,024 THE WINDOW OUT COME IN AND HITTING ALL THOSE COLORS. 137 00:10:18,026 --> 00:10:23,096 IT IS JUST SUCH AN EMOTIONAL PIECE TO SEE. 138 00:10:23,098 --> 00:10:26,166 AND IT STOPS YOU IN YOUR TRACKS. 139 00:10:26,168 --> 00:10:35,175 >> I LIKE TO TALK ABOUT THE FRAGILITY OF LIFE. 140 00:10:35,177 --> 00:10:37,177 THAT'S ONE OF MY SUBJECT MATTERS. 141 00:10:37,179 --> 00:10:42,282 AS WELL AS THE TRANSITIONAL ASPECT OF LIFE AS WELL. 142 00:10:42,284 --> 00:10:46,186 >>S ARE, I THINK THE PIECE IS A LESSON, BECAUSE WE ONLY 143 00:10:46,188 --> 00:10:50,190 HAVE SO MANY DAYS. AND YOU KNOW, HOW DO YOU 144 00:10:50,192 --> 00:10:54,127 MAKE EACH ONE COUNT? AND THERE'S NO ONE WHO CAN 145 00:10:54,129 --> 00:10:59,666 SEIZE THAT SCULPTURE -- SEES THAT PIECE OF WORK THAT 146 00:10:59,668 --> 00:11:01,768 DOESN'T KNOW THAT. THAT EACH ONE OF THOSE DAYS -- 147 00:11:01,770 --> 00:11:05,539 BECAUSE THE TRUTH IS IT DIDN'T LOOK LIKE THAT MANY 148 00:11:05,541 --> 00:11:07,307 DAYS. IT DIDN'T LOOK LIKE THAT 149 00:11:07,309 --> 00:11:09,109 MANY DAYS. YOU KNOW, WE HAVE THIS IDEA 150 00:11:09,111 --> 00:11:13,713 THAT WE LIVE FOREVER, AND INFINITE AMOUNT OF TIME TO 151 00:11:13,715 --> 00:11:16,816 WASTE, ET CETERA. AND THERE'S A LOT OF OTHER 152 00:11:16,818 --> 00:11:20,220 THINGS ABOUT THAT PIECE, HOW IT TAPERS OFF AT THE END 153 00:11:20,222 --> 00:11:24,624 SUSPECT UNTIL THE VERY LAST CRYSTAL IS THE VERY LAST DAY 154 00:11:24,626 --> 00:11:28,028 OF HER LIFE. IT GETS -- IT GETS CROWDED 155 00:11:28,030 --> 00:11:31,198 IN THE MIDDLE, WHEN -- YOU KNOW, WHEN SHE WOULD HAVE 156 00:11:31,200 --> 00:11:34,668 BEEN AT MIDLIFE. AND THEN AT THE END IT GETS 157 00:11:34,670 --> 00:11:38,505 VERY THIN. THE CRYSTALS GET VERY THIN. 158 00:11:38,507 --> 00:11:44,177 SO MUCH THOUGHT WENT INTO IT, AND SO MUCH COMMITMENT 159 00:11:44,179 --> 00:11:48,281 TO HIS ART. SO I THINK IT'S ONE OF MY 160 00:11:48,283 --> 00:11:50,550 FAVORITE THINGS IN SAN ANTONIO. 161 00:11:50,552 --> 00:11:56,223 ' IT SPEAKS SO WELL OF SAN ANTONIO, AND OF THIS SON OF 162 00:11:56,225 --> 00:11:59,826 SAN ANTONIO, TO BE ABLE TO CREATE SOMETHING SO 163 00:11:59,828 --> 00:12:06,700 EXTRAORDINARY AND SO BEAUTIFUL. 164 00:12:06,702 --> 00:12:09,903 >> AND NOW HERE'S A LOOK AT A FEW ARTIST EVENTS 165 00:12:09,905 --> 00:12:14,040 HAPPENING THIS WEEK IN SAN ANTONIO. 166 00:12:14,042 --> 00:12:29,155 >> TO SUBMIT YOUR EVENT TO THE KLRN ARTS CALENDAR, 167 00:12:29,157 --> 00:12:33,360 VISIT KLRN.ORG/ARTS. UP NEXT, WE MEET FASHION 168 00:12:33,362 --> 00:12:37,230 DESIGNER DIANE VON FURSTENBERG WHOSE ICONIC 169 00:12:37,232 --> 00:12:40,267 WRAP DRESS HAS STOOD THE TEST OF TIME. 170 00:12:40,269 --> 00:12:43,103 NOW VON FURSTENBERG IS FOCUSING ON HER ROLE AS A 171 00:12:43,105 --> 00:12:44,604 LEADER IN THE FASHION INDUSTRY. 172 00:12:44,606 --> 00:12:47,140 HER EFFORT TO PUSH FOR WOMEN'S RIGHTS AND NEWEST 173 00:12:47,142 --> 00:12:52,112 CLOTHING LINE CALLED RENDEZVOUS. 174 00:12:52,114 --> 00:12:55,315 >> IT'S A PLEASURE TO BE INVITED INTO YOUR 175 00:12:55,317 --> 00:12:56,549 HEADQUARTERS HERE. >> THANK YOU FOR HAVING US. 176 00:12:56,551 --> 00:12:58,418 >> WELCOME. >> I WOULD LOVE TO TALK 177 00:12:58,420 --> 00:13:00,787 ABOUT YOUR NEW COLLECTIONS, THE FALL 2012 IS NOW OUT. 178 00:13:00,789 --> 00:13:02,722 >> RIGHT. >> DESCRIBE TO ME WHAT THE 179 00:13:02,724 --> 00:13:05,425 PROCESS IS LIKE WHEN YOU'RE LOOKING AT THE -- 180 00:13:05,427 --> 00:13:09,729 >> IT WAS CALLED RENDEZVOUS BECAUSE WE WANTED SOMETHING 181 00:13:09,731 --> 00:13:12,032 SEDUCTIVE. SO NOTHING IS MORE SEDUCTIVE 182 00:13:12,034 --> 00:13:15,769 THAN THE RENDEZVOUS. IT'S -- ITS EXPECTATION, 183 00:13:15,771 --> 00:13:22,042 WHETHER IT'S A BUSINESS REND RENDEZVOUS, IT IS A 184 00:13:22,044 --> 00:13:25,011 MYSTERIOUS, SEDUCTIVE, ALWAYS READY FOR THE UN 185 00:13:25,013 --> 00:13:27,614 EXPECTED. SO THE COLLECTION IS VERY 186 00:13:27,616 --> 00:13:30,183 FLUID I CAN AND IT IS CLOSE TO THE BODY. 187 00:13:30,185 --> 00:13:33,153 THE DRESS THAT OPEN THE COLLECTION IS CALLED BENTLEY 188 00:13:33,155 --> 00:13:37,691 AND IT'S NEW FORM OF WRAP. COLORS ARE STRONG. 189 00:13:37,693 --> 00:13:48,802 IT'S SEDUCTIVE. >>. 190 00:13:48,804 --> 00:13:51,771 >> TAKE US BACK TO YOUR EARLY DAYS OF LIFE IN THE 191 00:13:51,773 --> 00:13:53,473 UNITED STATES. NOBODY KNEW WHO YOU WERE BUT 192 00:13:53,475 --> 00:13:57,444 YOU WERE A JET JETTER -- JET-SETTER WHO HAD JUST 193 00:13:57,446 --> 00:13:59,145 MARRIED A PRINCE. >> I WAS 22. 194 00:13:59,147 --> 00:14:04,417 I CAME TO AMERICA, I HAD JUST MARRIED MY SWEETHEART 195 00:14:04,419 --> 00:14:07,287 FROM COLLEGE, WHO WAS A PRINCE. 196 00:14:07,289 --> 00:14:10,623 AND A HEIR OF THE FAMILY AND I WAS PREGNANT. 197 00:14:10,625 --> 00:14:14,027 AND I WAS VERY HAPPY AND VERY MUCH IN LOVE. 198 00:14:14,029 --> 00:14:17,797 BUT I WANTED VERY MUCH TO BE INDEPENDENT. 199 00:14:17,799 --> 00:14:22,202 AND I HAD BEEN WORKING FOR AN ITALIAN INDUSTRIALIST IN 200 00:14:22,204 --> 00:14:26,072 THE FASHION BUSINESS, A MAN WHO HAD AN PRINTING FACTORY, 201 00:14:26,074 --> 00:14:33,713 WHERE HE PRINTED SCARFS AND MADE JERSEY, AND I SAID CAN 202 00:14:33,715 --> 00:14:37,150 I MAKE A FEW SAMPLES AND TRY TO SELL THEM IN AMERICA SO. 203 00:14:37,152 --> 00:14:39,853 AT NIGHT WHEN THE FACTORY WAS CLOSED, I WOULD STAY 204 00:14:39,855 --> 00:14:42,989 WITH THE PATTERN MAKER AND FIND WHATEVER FABRIC WAS 205 00:14:42,991 --> 00:14:46,025 AROUND AND I MADE MY FIRST SAMPLE. 206 00:14:46,027 --> 00:14:50,029 >> AND I HAD THAT LITTLE DRESS. 207 00:14:50,031 --> 00:14:51,564 >> LET'S TALK ABOUT THE LITTLE DRESS. 208 00:14:51,566 --> 00:14:54,467 >> IT IS THE WRAP DRESS. >> THE WRAP DRESS. 209 00:14:54,469 --> 00:14:58,238 >> BUT WHICH IS BASICALLY HAS ENDURED FOR THREE 210 00:14:58,240 --> 00:14:59,773 DECADES. >> 38 YEARS. 211 00:14:59,775 --> 00:15:03,743 LIKE A DRESS THAT DOESN'T HAVE A ZIPPER, BUT, BUTTON 212 00:15:03,745 --> 00:15:05,879 THAT WRAPS AROUND LIKE A KIMONO. 213 00:15:05,881 --> 00:15:07,847 WHAT'S DIFFERENT ABOUT IT, IT WAS MADE IN JERSEY. 214 00:15:07,849 --> 00:15:11,551 THEREFORE, YOU MOLDED THE BODY. 215 00:15:11,553 --> 00:15:13,453 >> YOU CAN WASH IT. >> YOU CAN WASH IT AND THERE 216 00:15:13,455 --> 00:15:16,089 WAS A PRINT AND THEN THE MOVEMENT OF THE PRINT IS 217 00:15:16,091 --> 00:15:18,858 LIKE AN ANIMAL. THAT KIND OF GOES WITH THE 218 00:15:18,860 --> 00:15:22,462 BODY. >> AND ALL OF THAT TOGETHER 219 00:15:22,464 --> 00:15:25,999 WAS JUST -- MADE IT THIS INCREDIBLE THING. AND TO 220 00:15:26,001 --> 00:15:29,269 THIS DAY, I SEE PEOPLE WEARING IT AND I THINK, YOU 221 00:15:29,271 --> 00:15:33,606 KNOW WHAT, IT'S -- IT WORKS, THERE'S SOMETHING MAGICAL, 222 00:15:33,608 --> 00:15:35,875 SOMETHING VERY PECIAL ABOUT THAT DRESS. 223 00:15:35,877 --> 00:15:38,611 AND AT THIS POINT I JUST HAVE TO ACCEPT IT, BECAUSE 224 00:15:38,613 --> 00:15:44,517 IT HAS STAYED. >> I WAS THE FIRST PERSON 225 00:15:44,519 --> 00:15:47,053 THAT MADE INEXPENSIVE DRESS ES THAT ALL WOMEN WOULD 226 00:15:47,055 --> 00:15:49,255 BUY. I STARTED AS A WOMAN AND I 227 00:15:49,257 --> 00:15:53,092 LOOKED FOR THE PRACTICAL SIDE AND SOPHISTICATED AND 228 00:15:53,094 --> 00:15:55,361 ALL OF THAT. BUT THEN OF COURSE AFTER -- 229 00:15:55,363 --> 00:15:59,799 YOU KNOW, DECADES, I BECAME A DESIGNER AND NOW I'M A 230 00:15:59,801 --> 00:16:01,901 PROP. >> YOU CERTAINLY ARE. 231 00:16:01,903 --> 00:16:05,972 BASICALLY THREE VERY DIFFERENT EVOLUTIONS OF YOUR 232 00:16:05,974 --> 00:16:09,409 COMPANY UT A METEOR I CAN RISE. 233 00:16:09,411 --> 00:16:12,178 >> MY FIRST WAS AMERICAN DREAM. 234 00:16:12,180 --> 00:16:19,252 YOUNG GIRLS COMES TO AMERICA , AND OVERNIGHT, 235 00:16:19,254 --> 00:16:21,721 IMMEDIATE SUCCESS. AGE 28. 236 00:16:21,723 --> 00:16:26,125 AND SO ON. AND I SOLD IT. AFTER 10 YEARS, 11 YEARS, I 237 00:16:26,127 --> 00:16:28,695 SOLD THE WHOLE BUSINESS AND I THOUGHT I WAS FINISHED 238 00:16:28,697 --> 00:16:31,965 WITH IT AND MY CHILDREN WENT TO BOARDING SCHOOL, I -- 239 00:16:31,967 --> 00:16:34,033 >> NEW LIFE. >> AND THEN I HAD A NEW 240 00:16:34,035 --> 00:16:36,936 LIFE. AND THEN I CAME BACK AND MY 241 00:16:36,938 --> 00:16:40,273 BRAND HAD COMPLETELY DETERIORATED. 242 00:16:40,275 --> 00:16:43,943 IT WAS ALL OVER THE PLACE, THE PRODUCT, ALL PRICES AND 243 00:16:43,945 --> 00:16:48,014 IT JUST LOST HITS DNA, LOST EVERYTHING. 244 00:16:48,016 --> 00:16:50,750 >> I STARTED MY SECOND GENERATION BECAUSE I REALIZE 245 00:16:50,752 --> 00:16:54,621 WHAT HAD MADE ME DO DO IT IS I REALIZED THAT YOUNG HIP 246 00:16:54,623 --> 00:16:58,091 GIRLS WERE BUYING THE OLD DRESSES IN VINTAGE SHOPS. 247 00:16:58,093 --> 00:17:01,761 >> WHAT DO YOU THINK THE KEY WAS TO MAKING YOURSELF 248 00:17:01,763 --> 00:17:04,764 RELEVANT AGAIN, AS YOU WERE TRYING TO -- 249 00:17:04,766 --> 00:17:06,900 >> I DON'T KNOW, I STARTED BACK WITH THE OLD DRESS 250 00:17:06,902 --> 00:17:11,304 AGAIN, AND I -- THREW MYSELF INTO IT AND IT WORKEDS AND 251 00:17:11,306 --> 00:17:15,675 NOW, JUST ABOUT NOW, BETWEEN THIS YEAR AND NEXT YEAR, I 252 00:17:15,677 --> 00:17:19,479 THINK IT'S THE THIRD PERIOD THAT IT'S STARTING. 253 00:17:19,481 --> 00:17:22,949 SUCCESS WITH MY NEXT BIG EFFORT, AND SO I'M WORKING 254 00:17:22,951 --> 00:17:28,187 IN THE COMPANY AND CREATING A REGULARS ' AND A PACKAGE 255 00:17:28,189 --> 00:17:30,290 THAT WILL BE ABLE TO LAST AFTER ME. 256 00:17:30,292 --> 00:17:33,092 >> I KNOW THERE ARE OTHER PASSIONS IN YOUR LIFE, 257 00:17:33,094 --> 00:17:36,729 OUTSIDE OF YOUR BUSINESS. LET'S TALK ABOUT YOUR WORK 258 00:17:36,731 --> 00:17:39,632 WITH THE C FDA. I KNOW YOU FEEL IT'S YOUR 259 00:17:39,634 --> 00:17:42,035 RESPONSIBILITY TO HELP NURTURE YOUR TALENT. 260 00:17:42,037 --> 00:17:47,206 >> YES, I MEAN, MY RESPONSIBILITY IS REALLY TO 261 00:17:47,208 --> 00:17:50,243 BUILD AND PROMOTE AMERICAN FASHION SO. WE DO IT FROM 262 00:17:50,245 --> 00:17:54,047 THE SCHOOL ZONE, WE BREED NEW TALENTS AT THE SCHOOLS, 263 00:17:54,049 --> 00:17:58,051 THEN WHEN NEW DESIGNERS COME IN, WE HELP THEM, WE HAVE 264 00:17:58,053 --> 00:18:03,122 THE C FDA VOGUE FUND, WHERE ANA WAS EXTRAORDINARY. 265 00:18:03,124 --> 00:18:07,527 ALL THE YOUNG NEW DESIGNERS, ALL COME OUT OF THAT FUND. 266 00:18:07,529 --> 00:18:16,502 I MEAN, FROM ALEC, ALL CAME OUT OF THAT. 267 00:18:16,504 --> 00:18:22,709 AND THEN MY OTHER COMMITMENT IS REALLY MY COMMITMENT TO 268 00:18:22,711 --> 00:18:25,378 WOMEN. I'M ON ADVISORY BOARDS. 269 00:18:25,380 --> 00:18:27,714 IT'S AN ORGANIZATION THAT EMPOWERS WOMEN. 270 00:18:27,716 --> 00:18:30,083 THAT TRAINS WOMEN ALL OVER THE WORLD. 271 00:18:30,085 --> 00:18:33,620 WOMEN NEED IT. AND SO THEY DO THINGS TO 272 00:18:33,622 --> 00:18:36,956 ADVANCE HUMAN RIGHTS. AND TO GET POLITICAL 273 00:18:36,958 --> 00:18:40,059 ACCEPTANCE. AND FOR ECONOMIC DEVELOPMENT 274 00:18:40,061 --> 00:18:44,263 >> I WANT TO HELP OTHER WOMEN BECAUSE I AM SO 275 00:18:44,265 --> 00:18:49,035 IMPRESSED BY STRENGTHS OF WOMEN. 276 00:18:49,037 --> 00:18:51,037 THAT REALLY IS INSPIRING TO ME. 277 00:18:51,039 --> 00:18:55,208 BECAUSE I HAVE NEVER MEANT A WOMAN WHO WAS NOT STRONG. 278 00:18:55,210 --> 00:19:01,614 >> MAYBE BECAUSE MY MOTHER WAS IN THE DEATH CAMPS WHEN 279 00:19:01,616 --> 00:19:05,184 SHE WAS 20 AND FREEDOM WAS SO IMPORTANT TO HER, SO SHE 280 00:19:05,186 --> 00:19:09,288 ALWAYS TOLD ME SHE SURVIVED. GOD MADE HER SURVIVE SO SHE 281 00:19:09,290 --> 00:19:11,624 CAN GIVE ME LIFE AND THEREFORE TOYED CARRY HER 282 00:19:11,626 --> 00:19:14,027 FLAG -- THEREFORE I HAD TO CARRY HER FLAG. 283 00:19:14,029 --> 00:19:16,729 AND I REALIZED THAT EVERYTHING I DO, ALL GOES TO 284 00:19:16,731 --> 00:19:19,465 THE SAME THING. THE MISSION IS THE SAME. 285 00:19:19,467 --> 00:19:22,268 IS TO EMPOWER WOMEN. >> ARE YOU THE WOMAN YOU 286 00:19:22,270 --> 00:19:25,772 WANT TO BE TODAY? >> YEAH. 287 00:19:25,774 --> 00:19:30,109 >> AND IF YOU ASK ME WHAT I WANT TO BE REMEMBERED FOR, 288 00:19:30,111 --> 00:19:34,814 IS IF I CAN HAVE INSPIRED WOMEN TO BE THE WOMEN THEY 289 00:19:34,816 --> 00:19:39,085 WANT TO BE, THROUGH EVERYTHING I, DO MY WORK, 290 00:19:39,087 --> 00:19:42,789 MENTORING, PHILANTHROPY, I MEAN TO ME THAT'S ALL VERY 291 00:19:42,791 --> 00:19:45,291 COHERENT. >> WE'RE DELIGHTED TO BE 292 00:19:45,293 --> 00:19:48,361 ABLE TO TALK WITH YOU. THANK YOU, DIANE. 293 00:19:48,363 --> 00:19:53,132 EARLIER THIS YEAR, DIANE VON FURSTENBERG, LAUNCHED HER 294 00:19:53,134 --> 00:20:04,343 FIRST CHILDREN LINE. A CHILD SIZED WRAP DRESS. 295 00:20:04,345 --> 00:20:06,546 MUSEUMS ARE OFTEN LITTERED WITH SIGNS REMINDSING 296 00:20:06,548 --> 00:20:08,581 VISITORS, PLEASE DO NOT TOUCH. 297 00:20:08,583 --> 00:20:12,285 BUT ARTISTS GARY KACHADORIAN TAKES A MORE HANDS ON 298 00:20:12,287 --> 00:20:14,821 APPROACH TO HIS WORK. HIS BOOKS ARE FULL OF 299 00:20:14,823 --> 00:20:17,390 DRAWINGS OF ABSENCE FROM EVERY DAY LIFE, FROM SOFAS 300 00:20:17,392 --> 00:20:20,893 TO ATM MACHINES, THE OBJECTS MAY BE COMMON, BUT 301 00:20:20,895 --> 00:20:30,169 KACHADORIAN BELIEVES THEY STILL CAN BE ART. 302 00:20:30,171 --> 00:20:32,772 >> CHOOTION THE OBJECTS I CHOOSE IS LARGELY BECAUSE 303 00:20:32,774 --> 00:20:37,076 I'M INTERESTED IN THEM. I THINK THEY'RE BEAUTIFUL 304 00:20:37,078 --> 00:20:39,011 BUT I DON'T NECESSARILY THINK THAT THEY SHOULD BE 305 00:20:39,013 --> 00:20:41,380 CONSIDERED BEAUTIFUL. IT'S JUST WHAT STICKS IN 306 00:20:41,382 --> 00:20:44,217 YOUR BRAIN AND YOU KNOW, YOU ASSUME WHAT'S STAYING IN 307 00:20:44,219 --> 00:20:47,353 YOUR BRAIN IS SOMETHING THAT TELLS SOMETHING ABOUT YOU, 308 00:20:47,355 --> 00:20:49,489 PROBABLY. AND THAT'S KIND OF THE POINT 309 00:20:49,491 --> 00:20:54,560 OF MAKING ART. >> I LOOK AT OTHER ARTISTS'' 310 00:20:54,562 --> 00:20:57,797 WORK, YOU KNOW, HALF OF IT IS WHAT I COULD FIND OUT 311 00:20:57,799 --> 00:21:01,000 ABOUT THE WAY THEY THINK. THIS IS ONE OF THE LAST 312 00:21:01,002 --> 00:21:04,137 PROJECTS I FINISHED WHICH IS A BOOK OF COLORFUL OBJECTS, 313 00:21:04,139 --> 00:21:07,774 ANYTHING FROM A SELF- PORTRAIT, YOU KNOW, TO 314 00:21:07,776 --> 00:21:12,745 A SPOT OF POTS, TO BARRIERS, YOU KNOW, VACANT LOT. 315 00:21:12,747 --> 00:21:15,715 SNOWBALL STAND. THINGS YOU DRIVE BY EVERY 316 00:21:15,717 --> 00:21:19,719 DAY THAT ARE FAIRLY CENTRAL AND ELEMENTAL TO SOCIETY 317 00:21:19,721 --> 00:21:23,990 THAT WE LIVE IN. THIS PIECE IS A BRAND-NEW 318 00:21:23,992 --> 00:21:26,192 SET OF LIKE CUT AND FOLD SERIES. 319 00:21:26,194 --> 00:21:29,095 AND IT'S AN APARTMENT DUMPSTER, WHICH I'VE DONE A 320 00:21:29,097 --> 00:21:32,498 FEW FLAT ONES OF BEFORE, BUT THIS IS A THREE-DIMENSIONAL 321 00:21:32,500 --> 00:21:35,535 ONE. AND SOFA WITH THE REMOVABLE 322 00:21:35,537 --> 00:21:38,304 CUSHIONS BECAUSE THERE'S ALWAYS, WHEN YOU GO BY 323 00:21:38,306 --> 00:21:43,176 APARTMENT COMPLEXES, YOU SEE A SOFA NEXT TO THE DUMPSTER. 324 00:21:43,178 --> 00:21:46,979 DID I THIS SELF-PORTRAIT A FEW YEARS AGO, ACTUALLY THE 325 00:21:46,981 --> 00:21:52,218 ONLY I GUESS ENAMEL I'VE DONE A DRAWING OF, AND IN 326 00:21:52,220 --> 00:21:54,654 PROBABLY 6 YEARS. BUT THIS ONE I KIND OF 327 00:21:54,656 --> 00:21:58,324 THOUGHT I HAD TO DO, AND IT CAME FROM STANDING IN LINE 328 00:21:58,326 --> 00:22:03,996 WITH THE 711 AND LOOKING AT THE SECURITY CAMERA AND 329 00:22:03,998 --> 00:22:08,568 NOTICEING A REALLY LARGE BALD SPOT I HADN'T NOTICED 330 00:22:08,570 --> 00:22:11,337 WAS. THIS A SURPRISE, SEEMED LIKE A GOOD TIME TO 331 00:22:11,339 --> 00:22:15,474 DOCUMENT THAT PARTICULAR AGING PROCESS. 332 00:22:15,476 --> 00:22:18,711 I DON'T LOOK AT ANY OF THESE THINGS BEING MASS PRODUCED 333 00:22:18,713 --> 00:22:23,049 AT THIS POINT. THIS LOOKS -- THIS SOLD FOR 334 00:22:23,051 --> 00:22:26,519 $4 AND I SELL IT DIFFERENT, MOSTLY LIKE ARTIST BOOKS, 335 00:22:26,521 --> 00:22:36,562 OUTLET, PLACES LIKE GSH -- AND LOCALLY. 336 00:22:36,564 --> 00:22:40,700 I DO POSTERS AND -- THIS IS ACTUALLY ANOTHER SCALE 337 00:22:40,702 --> 00:22:45,004 VERSION OF THE VACANT LOT. BEHIND IT, BOTH OF THESE 338 00:22:45,006 --> 00:22:49,675 PANELS, ACTUALLY, ARE -- WERE CEILING PANELS I HAD UP 339 00:22:49,677 --> 00:22:53,579 BEFORE, SO THEY'RE A DRAWING OF DROP CEILING, ACOUSTIC 340 00:22:53,581 --> 00:22:59,051 TILE. AND THEN THE LAST, THIS KIND 341 00:22:59,053 --> 00:23:04,857 OF SEQUENCE IS INSTALLATION THAT I DID ON A BUILDING ON 342 00:23:04,859 --> 00:23:11,197 NORTH AND CHARLES THAT USE AS BUSH IN EARLY SPRING. 343 00:23:11,199 --> 00:23:18,304 AND DETECTIVE BLOCK WALL. FROM THE POINT OF VIEW OF 344 00:23:18,306 --> 00:23:21,240 MAKING THE DRAWINGS, YOU HAVE TO MAKE IT IN AN UN 345 00:23:21,242 --> 00:23:23,943 COMPROMISING MANNER. YOU KNOW, BUT AT THE SAME 346 00:23:23,945 --> 00:23:26,812 TIME MAKE IT SO THAT PEOPLE MIGHT FIND IT INTERESTING TO 347 00:23:26,814 --> 00:23:29,815 LOOK AT. A TOUGH THING, YOU'RE NOT 348 00:23:29,817 --> 00:23:31,584 TRYING TO BEND TO PLEASE THEM. 349 00:23:31,586 --> 00:23:33,886 YOU'RE TRYING TO MAKE SOMETHING THAT WILL PLEASE 350 00:23:33,888 --> 00:23:40,726 THEM. ON YOUR TERMS. 351 00:23:40,728 --> 00:23:46,532 >> TO SEE MORE OF HIS WORK, VISIT HIS WEBSITE AT GARY 352 00:23:46,534 --> 00:23:48,968 KACHADORIAN.COM. HERE'S WHAT HAPPENED IN OUR 353 00:23:48,970 --> 00:23:58,945 HISTORY ART HISTORY. MANY CHILDREN GROW UP IDOL 354 00:23:58,947 --> 00:24:01,948 IZING THE PEOPLE THEY SEE ON THE BIG SCREEN. POET 355 00:24:01,950 --> 00:24:04,984 HE HAD BOK LEE REMEMBERS LOOKING UP TO BRUCE LEE BUT 356 00:24:04,986 --> 00:24:08,054 HIS IMPRESSION OF THE MOVIE STAR CHANGED WHEN HE BEGAN 357 00:24:08,056 --> 00:24:12,091 TO SEE THE ACTOR BEYOND THE BLOW OF THE SILVER GLOW OF 358 00:24:12,093 --> 00:24:16,295 THE SILL SILVER SILVER SCREEN. 359 00:24:16,297 --> 00:24:20,299 HERE IS ODE TO BRUCE LEE. >>. 360 00:24:20,301 --> 00:24:22,501 >> THANK YOU. BRUCE LEE. 361 00:24:22,503 --> 00:24:26,706 FOR DEVASTATING MY CHILDHOOD LIKE A CRINDER BLOCK FOR ALL 362 00:24:26,708 --> 00:24:29,308 ALL -- CINDER BLOCK FOR ALL THIS. 363 00:24:29,310 --> 00:24:32,445 OF COURSE YOU CHOKED ON THE MASK THEY HANDED YOU AS THE 364 00:24:32,447 --> 00:24:39,151 GREEN HORNET, LIKE SOME RETRO DEMOTED ROLE FOR T ONT 365 00:24:39,153 --> 00:24:41,087 O. INSTEAD THEY CAST DAVID CARE 366 00:24:41,089 --> 00:24:43,622 DEAN INSTEAD OF YOU. THANK YOU FOR HIGH TAILING 367 00:24:43,624 --> 00:24:46,292 IT BACK TO HONG KONG, JAW OF REVENGE. 368 00:24:46,294 --> 00:24:50,262 NOT EVEN KOREAN FOOTPRINT COULD WALK ON YOU, BORN IN 369 00:24:50,264 --> 00:24:52,765 SAN FRANCISCO. BURIED IN SEATTLE. 370 00:24:52,767 --> 00:24:56,969 RAISED A CHINESE NATIONALIST , THANK YOU FOR 371 00:24:56,971 --> 00:25:00,573 TEACHING CHUCK NORRIS HOW TO STAR IN ABDOMINAL REHE DUCKS 372 00:25:00,575 --> 00:25:04,176 COMMERCIALS FOR YOUR CANTONESE OPERA STAR AND 373 00:25:04,178 --> 00:25:08,014 ASIA AMERICAN MOTHER, FLUMPGED OUT CATH CATHOLIC 374 00:25:08,016 --> 00:25:10,850 STREET BRAWLER, THANK YOU FOR BEING ACCEPTED BY BLACKS 375 00:25:10,852 --> 00:25:14,887 BEFORE WHITES, FOR CLAWING THE FACE OF THE WORK FOR 376 00:25:14,889 --> 00:25:17,023 KNOWING WHO YOU WERE WHEN EVERYONE ELSE WAS JUST TOO 377 00:25:17,025 --> 00:25:27,166 DAMN LOW -- TOO DAMN SLOW. ADULTERER TO YOUR AMERICAN 378 00:25:27,168 --> 00:25:32,738 WIFE, RACE TRADE TORE TAIWAN EASE LOVER, FLESH SCRUPTOR, 379 00:25:32,740 --> 00:25:35,641 ENYING MARX FLAWED HEART OF SANDAL WOOD. 380 00:25:35,643 --> 00:25:39,445 THANK YOU FOR HIDING YOUR QUARTER GERMAN ANCESTRY TO 381 00:25:39,447 --> 00:25:42,281 FIGHT LATER TO TRAIN CAUCASIAN BUT ONLY 382 00:25:42,283 --> 00:25:46,519 CERTIFYING AS INSTRUCTORS ASIAN. 383 00:25:46,521 --> 00:25:49,889 ASSASSIN ATHOUSAND STEREOTYPES SMASHED. 384 00:25:49,891 --> 00:25:51,824 THANK YOU FOR NOT BEING JACKIE CHAN. 385 00:25:51,826 --> 00:25:58,064 INSTEAD, SEXY, HORT, AND SHORT AND CUT AS A BEGIN SUE 386 00:25:58,066 --> 00:26:01,100 KNIFE FOR NEVER TAKING YOUR EYE OFF THE MAN US A BOW 387 00:26:01,102 --> 00:26:04,770 ATTEMPTING TO HE HADFY BEFORE YOU HAVE TO KILL HIM, 388 00:26:04,772 --> 00:26:07,673 MONK, HEALTH FANATIC, POT SMOKER. 389 00:26:07,675 --> 00:26:11,410 SOMETIMES MY FATHER SMUK SODA AND BEER TO GO WITH OUR 390 00:26:11,412 --> 00:26:14,313 POPCORN. PAST MIDNIGHT WE'D AMBLE 391 00:26:14,315 --> 00:26:18,984 OUT, THE ONLY TWO EXTRAS TO SURVIVE A FORGOTTEN WAR, AND 392 00:26:18,986 --> 00:26:22,088 MONDAY'S PLAYGROUND. THANK YOU FOR BROKEN ENGLISH 393 00:26:22,090 --> 00:26:25,925 , AND A HUSTLER'S FLOW SUNG WITH LIMBS AND A 394 00:26:25,927 --> 00:26:29,128 SCREEN BEYOND ANY COLOR OR GENDER BARRIER, CHARLATAN 395 00:26:29,130 --> 00:26:32,364 WHENEVER THEY HAD THE REAL YOU CORNERED, BOKING AND CHA 396 00:26:32,366 --> 00:26:36,869 CHA CHAMPION, STYLE OF NO STYLE, TEACHER, WAITER, 397 00:26:36,871 --> 00:26:42,374 DRAGON, CHARRED IN A 1970S BALLOON OBSESSED CROWD. 398 00:26:42,376 --> 00:26:47,613 SNAPPING GESTURES, IRONIC, ICONIC, LOUD, HANDSOME, EACH 399 00:26:47,615 --> 00:26:50,649 TIME SOME DUMB KID ASKED ME IF I WAS RELATED TO YOU. 400 00:26:50,651 --> 00:26:52,818 BUT MOST OF ALL, BRUCE, THANK YOU FOR ADVANCING ON 401 00:26:52,820 --> 00:26:57,089 TO THAT FINAL ISLAND MIST IN THE SKY AND TAKING AS MANY 402 00:26:57,091 --> 00:27:15,508 OF US AS YOU COULD WITH YOU. >> ED BOK LEE'S BOOK WORLD 403 00:27:15,510 --> 00:27:18,577 IS ON THE POETRY FOUNDATION'S 2012 BEST 404 00:27:18,579 --> 00:27:20,713 SELLER'S LIST AND IS A WINNER OF THIS YEAR'S 405 00:27:20,715 --> 00:27:22,748 AMERICAN BOOK AWARDS. AND THAT WRAPS IT UP FOR 406 00:27:22,750 --> 00:27:25,684 THIS HE HAD HE ITION OF ARTS ARTS -- THIS EDITION OF ARTS 407 00:27:25,686 --> 00:27:27,520 . FOR MORE, VISIT OUR WEBSITE 408 00:27:27,522 --> 00:27:30,222 AT KLRN.ORG/ARTS. WHERE YOU'LL FIND 409 00:27:30,224 --> 00:27:33,492 INFORMATION ON UPCOMING ARTS EVENTS IN AND AROUND SAN 410 00:27:33,494 --> 00:27:36,061 ANTONIO. JOIN US NEXT THURSDAY AT 411 00:27:36,063 --> 00:27:38,631 8:30 P.M. UNTIL THEN, I'M ASIA 412 00:27:38,633 --> 00:27:44,336 CIARAVINO, THANK YOU FOR WATCHING. 413 00:27:44,338 --> 00:27:48,807 >> ARTS IS MADE POSSIBLE BY THE KELSO FOUNDATION. 414 00:27:48,809 --> 00:27:54,813 AND BY VIEWERS LIKE YOU. ARTS IS PRESENTED BY THE T O 415 00:27:54,815 --> 00:27:58,384 BIN CENTER FOR THE PERFORM ING ARTS, OPENING IN 416 00:27:58,386 --> 00:28:00,286 2014. PROVIDING THE BEST PLACE 417 00:28:00,288 --> 00:28:03,522 ANYWHERE TO SEE AND HEAR A LIVE PERFORMANCE. 418 00:28:03,524 --> 00:28:08,227 SAN ANTONIO'S FUTURE OF THE PERFORMING ARTS, THE T OBIN 419 00:28:08,229 --> 00:28:12,229 CENTER.