WEBVTT 00:10.652 --> 00:13.921 FOR ADVANCEMENT OF CONTEMPORARY ART, ON THIS 00:13.923 --> 00:16.190 EDITION OF ARTS. THE WORK OF AN ARTIST WHOSE 00:16.192 --> 00:19.260 SUBJECTS AND MATERIALS COMMUNICATE WITH LIGHT ABOUT 00:19.262 --> 00:22.663 SENSUALITY AND HUMAN IF A GILLITY FRAGILITY. 00:22.665 --> 00:26.467 >> YOU CAME UP WITH THIS IDEA OF STRINGING CRYSTALS, 00:26.469 --> 00:31.338 ONE CRYSTAL FOR EACH ONE DAY THAT SHE LIVED. 00:31.340 --> 00:34.275 >> A FASHION ICON CONTINUES TO EVOLVE HER STYLE AFTER 00:34.277 --> 00:38.145 DECADES IN THE BUSINESS. >> MY RESPONSIBILITY IS 00:38.147 --> 00:46.153 REALLY TO BUILD AND TO PROMOTE AMERICAN FASHION. 00:46.155 --> 00:49.857 ARTIST WHO CREATES MINUTE ACTUAL WORLD WITH CUT AND 00:49.859 --> 00:52.126 FOLD DRAWINGS. >> I THINK THEY'RE BEAUTIFUL 00:52.128 --> 00:53.527 BUT I DON'T THINK THEY SHOULD NECESSARILY BE 00:53.529 --> 00:56.430 CONSIDERED BEAUTIFULS AND A POET'S MESSAGE TO A MOVIE 00:56.432 --> 00:57.698 STAR. >> THANK YOU. 00:57.700 --> 01:01.635 BRUCE LEE FOR DEVASTATING MY CHILDHOOD LIKE A SINNEDDER 01:01.637 --> 01:05.406 BLOCK. >> IT'S CINDER BLOCK. 01:05.408 --> 01:11.345 IT'S ALL AHEAD ON THIS EDITION OF ARTS. 01:11.347 --> 01:25.859 >>. >> ARTS IS MADE POSSIBLE BY 01:25.861 --> 01:32.833 THE KELSO FOUNDATION. AND BY VIEWERS LIKE YOU. 01:32.835 --> 01:37.204 ARTS IS IS PRESENTED BY THE T OBIN CENTER FOR THE 01:37.206 --> 01:40.441 PERFORMING NARTS OPENING IN 2014 PROVIDING THE BEST 01:40.443 --> 01:43.477 PLACE ANYWHERE TO SEE AND HEAR A LIVE PERFORMANCE. 01:43.479 --> 01:50.451 SAN ANTONIO'S FUTURE OF THE PERFORMING ARTS, THE T OBIN 01:50.453 --> 01:52.286 CENTER. >> THE VIBRANT ARTS 01:52.288 --> 01:54.855 COMMUNITY OF OUR CITY EXTENDS OUR CULTURES TO ART 01:54.857 --> 01:57.625 CENTERS AROUND THE COUNTRY AND THE WORLD. 01:57.627 --> 02:02.296 ONE IMPORTANT INCUBATOR FOR ARTISTIC INNOVATION IS ARTS 02:02.298 --> 02:04.498 PACE SAN ANTONIO A INTERNATIONAL LABORATORY 02:04.500 --> 02:06.467 FOR THE CREATION AND ADVANCEMENT OF CONTEMPORARY 02:06.469 --> 02:08.836 ART. INNOVATION AND EXPLORATION 02:08.838 --> 02:12.172 ARE THE KEY TO THE WORK OF JESSE AMADO. 02:12.174 --> 02:15.275 AMADO IS A CONCEPTUAL ARTIST WHOSE WORKS ARE COLLECTED BY 02:15.277 --> 02:19.313 MUSEUMS IN TEXAS ACROSS THE COUNTRY AND ABROAD. 02:19.315 --> 02:21.515 ART PACE BECAME THE LABORATORY FOR HIS 02:21.517 --> 02:24.818 INNOVATIVE WORK DURING 1995 RESIDENCY, THE YEAR ART PACE 02:24.820 --> 02:27.755 BEGAN HOSTING ARTISTS TO FOSTER THEIR CREATIVE 02:27.757 --> 02:32.259 EXPRESSION OF THE WE VISIT TODAY THE WORK OF SUN OF SAN 02:32.261 --> 02:36.163 ANTONIO, AMADO THOUGHT PROVOKING IDEAS AND 02:36.165 --> 02:54.615 MATERIALS. >> I'M THRILLED TO HAVE THIS 02:54.617 --> 02:59.920 PIECE BY JESSE AMADO ABOVE MY FIREPLACE. 02:59.922 --> 03:03.757 IT'S SO BEAUTIFUL, AND SINCE I'M A WRITER, OF COURSE, I 03:03.759 --> 03:08.062 LOVE THE FACT THAT JESSE IS FASCINATED BY WORDS AS MOST 03:08.064 --> 03:15.869 WRITERS ARE. IN THIS PIECE, A PIECE THAT 03:15.871 --> 03:19.840 IS SPELLED OUT THE LINES FROM AN OLD JAMES BROWN SONG 03:19.842 --> 03:23.911 THAT I USED TO LOVE. AND YOU'LL REMEMBER THIS 03:23.913 --> 03:26.213 LINE BECAUSE IT'S -- EVERYBODY KNOWS IT. 03:26.215 --> 03:29.783 BUT IT SAYS, THAT YOU HAVE TO REALLY LOOK, PLEASE, 03:29.785 --> 03:33.854 PLEASE, BABY, DON'T GO, I LOVE YOU SO. 03:33.856 --> 03:39.526 AND I GAVE THIS TO MY HUSBAND ON A BIG BIRTHDAY. 03:39.528 --> 03:44.264 AND I THINK THIS IS PURE JESSE. 03:44.266 --> 03:48.702 WHAT IT DOES, IT FORCES TO US REALLY LOOK AND SEE EACH 03:48.704 --> 03:51.872 LETTER. IT'S KIND OF A VISUAL RIDDLE 03:51.874 --> 03:53.707 . BECAUSE AT FIRST YOU JUST 03:53.709 --> 03:55.976 LOOK UP, PEOPLE COME IN HERE AND THEY HAVE NO IDEA WHAT 03:55.978 --> 03:59.546 THAT IS. AND THEN THE MORE THEY LOOK, 03:59.548 --> 04:02.483 THEY PIECE IT OUT, SO I DON'T TELL THEM WHAT IT SAYS 04:02.485 --> 04:04.918 . AND THEY HAVE TO LOOK AT EACH LETTER AND IT FORCES 04:04.920 --> 04:09.890 US TO THINK ABOUT PERCEPTION AND HOW MUCH WE MISS IN LIFE 04:09.892 --> 04:11.725 . AND THEN AT THE END YOU GET 04:11.727 --> 04:17.231 THIS GREAT BIG PAYOUT, PAY BACK -- PAYOFF. 04:17.233 --> 04:20.567 YOU GET THIS GREAT PAYOFF BECAUSE IT'S SUCH A LINE. 04:20.569 --> 04:23.570 PLEASE, BABY, PLEASE DON'T GO, I LOVE YOU SO. IT'S 04:23.572 --> 04:28.475 ROMANTIC, IT'S FUNNY AND IT IS OF COURSE BEAUTIFUL. 04:28.477 --> 04:40.053 >>. >> WHAT ARTISTS DO IS TEACH 04:40.055 --> 04:44.558 US HOW TO BE HUMAN. AND SO WHEN YOU'RE 04:44.560 --> 04:49.663 CONFRONTED WITH A PIECE OF ART WORK, WHERE HE STICKS 04:49.665 --> 04:58.138 OUT THE LETTERS TOGETHER, OR HE CREATES THESE PIECES WITH 04:58.140 --> 05:06.113 MIRRORS AND OBJECTS THAT SHOW THE BROKENNESS IN US. 05:06.115 --> 05:10.017 THEN HE IS TOUCHING INTO THE FRAGILITY OF WHAT IT MEANS 05:10.019 --> 05:14.855 TO BE HUMAN. AND THE OTHER THING, HE 05:14.857 --> 05:19.293 RELENTLESSLY TRUTHFUL. HE'S -- HE HAS AN IN 05:19.295 --> 05:23.530 CORRUPTIBLE RELATIONSHIP WITH THE TRUTH ABOUT HIMSELF 05:23.532 --> 05:28.202 AND OTHERS. AND THAT COMES THROUGH IN 05:28.204 --> 05:35.976 THE PURITY OF HIS ART. IT'S VERY -- IT'S VERY -- I 05:35.978 --> 05:41.782 THINK OF IT AS ALMOST TRANSCENDENTAL, IT 05:41.784 --> 05:44.985 TRANSCENDS BOUNDARIES. SO MAINLY, I THINK HE'S JUST 05:44.987 --> 05:48.422 TRYING TO SHOW US WHAT IT MEANS TO BE A HUMAN BEING. 05:48.424 --> 05:52.192 AND THAT SOMETIMES WE DON'T LIVE UP TO OUR OWN 05:52.194 --> 05:55.896 EXPECTATIONS, SOMETIMES WE DO. 05:55.898 --> 06:04.671 AND ALL THE SEA OF EMOTIONS AND SO WE ARE FRAY GUILE. 06:04.673 --> 06:08.075 FRAG I WILL. FRAGI LE. 06:08.077 --> 06:13.313 >> THE FIRST TIME I EVER MET JESSE AMADO WAS IN 1995 WHEN 06:13.315 --> 06:18.418 HE WAS ONE -- IN THE FIRST CLASS OF ART PACE ARTISTS IN 06:18.420 --> 06:22.823 RESIDENCE, AND IN THAT PROGRAM WE HAVE, ART PACE 06:22.825 --> 06:25.726 HAS, A NATIONAL ARTIST AND INTERNATIONAL ARTIST AND A 06:25.728 --> 06:27.928 TEXAS ARTIST. AND JESSE WAS THE TEXAS 06:27.930 --> 06:32.065 ARTIST. AND HIS ENTIRE WORK HAD TO 06:32.067 --> 06:35.869 DO WITH KIND OF REBIRTHING HIMSELF. 06:35.871 --> 06:42.809 AND SO HE USED IN THIS WORK THINGS LIKE SOAP, IMAGES 06:42.811 --> 06:47.681 LIKE SOAP, WHICH ONE WOULD THINK OF AS CLEANSING. 06:47.683 --> 06:51.818 HE USED MIRRORS. HE'S VERY REFLECTIVE. 06:51.820 --> 06:55.389 SO MIRRORS OFTEN APPEAR IN HIS WORK. 06:55.391 --> 07:00.093 SELF-REFLECTION. AND HE USED ITEMS FROM THE 07:00.095 --> 07:05.165 ROMAN CATHOLIC CHURCH SACK MEANT AS A WAY OF OR THE OF 07:05.167 --> 07:07.601 REFLECTING ON WHERE HE HAD BEEN IN HIS LIFE AND WHERE 07:07.603 --> 07:12.906 HE WAS GOING TO GO. SO THE WORK ITSELF WAS A 07:12.908 --> 07:18.412 MEANING MAKING PROCESS. OF WHERE JESSE WAS, WHEN HE 07:18.414 --> 07:22.816 HE -- BEFORE HE TOOK THE ARTIST IN RESIDENCY AND THEN 07:22.818 --> 07:24.851 AFTER. AND THE TRUTH IS HE WAS IN 07:24.853 --> 07:30.257 FACT REBORN, BECAUSE HE WENT FROM BEING A TEXAS ARTIST TO 07:30.259 --> 07:36.263 AN INTERNATIONAL ARTIST, AS A RESULT OF THAT EXHIBITION. 07:36.265 --> 07:45.605 >> MY SENSIBILITY SOMETIMES CAN BE REFERRED TO AS A 07:45.607 --> 07:49.609 SENSIBILITY THAT COMES FROM MY HERITAGE. 07:49.611 --> 07:53.013 PERHAPS. YOU KNOW, FROM MY LOO LATINO 07:53.015 --> 07:59.386 LATINO -- FROM MY LATINO HERITAGE, MEXICAN HERITAGE. 07:59.388 --> 08:02.022 MEXICANS ARE VERY GOOD AT THAT, MAKING SENSUALITY. 08:02.024 --> 08:07.594 SO YOU KNOW, REAL. AND I THINK THAT'S PART OF 08:07.596 --> 08:13.667 WHAT I DO. AND IF I CAN MAKE THE WORK 08:13.669 --> 08:20.340 SEND SEXUAL, -- SENSUAL, I WILL STRIVE FOR THAT. 08:20.342 --> 08:26.346 >> LINDA PACE FOUNDED ART PACE AND JESSE WAS THE FIRST 08:26.348 --> 08:31.318 SAN ANTONIO ARTIST TO BE AS RESIDENT AT ART PACE. 08:31.320 --> 08:34.021 SO JESSE AMADO HAD AN RELATIONSHIP WITH LINDA PACE 08:34.023 --> 08:36.256 . AFTER LINDA DIED, THE LINDA 08:36.258 --> 08:40.427 PACE FOUNDATION WANTED TO COMMISSION A WORK OF PUBLIC 08:40.429 --> 08:43.663 ART THAT WOULD CELEBRATE HER LIFE. 08:43.665 --> 08:47.634 AND WE INSTANTLY THOUGHT OF JESSE TO BE THE PERSON TO DO 08:47.636 --> 08:51.571 IT BECAUSE HE KNEW HER SO WELL. 08:51.573 --> 08:55.709 AND SO WHAT HE CREATED AS HE KNEW HE WANTED TO DO 08:55.711 --> 09:00.614 SOMETHING WITH LIGHT, AND CRYSTALS, AND SOMETHING THAT 09:00.616 --> 09:04.551 WOULD BE BEAUTIFUL, BECAUSE LINDA LED A BEAUTIFUL -- WAS 09:04.553 --> 09:08.755 A BEAUTIFUL PERSON, AND LED AN EXTRAORDINARY LIFE. 09:08.757 --> 09:11.691 SO HE STARTED PLAYING AROUND WITH IDEAS AND HE CAME UP 09:11.693 --> 09:16.563 WITH THIS IDEA OF STRINGING CRYSTALS. 09:16.565 --> 09:20.033 ONE CRYSTAL FOR EACH ONE DAY THAT SHE LIVED. 09:20.035 --> 09:27.774 WHICH WAS 22,722 DAYS. AND SO HE BEGAN STRINGING 09:27.776 --> 09:34.648 THESE CRYSTALS AND IT WAS ASTONISHING TO WATCH BECAUSE 09:34.650 --> 09:39.152 YOU KNOW, HE WAS SET ONE ALL THESE CRYSTALS, AND MANY 09:39.154 --> 09:41.521 DIFFERENT COLORS. AND THEN WHEN HE INSTALLED 09:41.523 --> 09:45.625 THE PIECE, WE DECIDED IT SHOULD GO IN THE SAN ANTONIO 09:45.627 --> 09:50.263 LIBRARY, DOWNTOWN AND WHEN HE INSTALLED THE PIECE, IT 09:50.265 --> 09:55.769 WAS -- IT'S THIS SHIMMERING SCRUP TOUR THAT MAKES A 09:55.771 --> 09:58.705 BEAUTIFUL SOUND. SO IT, FOR ME, I DON'T THINK 09:58.707 --> 10:04.845 THAT JESSE WOULD SAY THIS. FOR ME, IT'S PERFECTLY IS A 10:04.847 --> 10:10.283 METAPHOR FOR LINDA'S SPIRIT. THE SOUND OF THOSE CRYSTALS, 10:10.285 --> 10:13.820 ALWAYS TIRCHGLING AND THE LIGHT FROM -- THE LIGHT FROM 10:13.822 --> 10:18.024 THE WINDOW OUT COME IN AND HITTING ALL THOSE COLORS. 10:18.026 --> 10:23.096 IT IS JUST SUCH AN EMOTIONAL PIECE TO SEE. 10:23.098 --> 10:26.166 AND IT STOPS YOU IN YOUR TRACKS. 10:26.168 --> 10:35.175 >> I LIKE TO TALK ABOUT THE FRAGILITY OF LIFE. 10:35.177 --> 10:37.177 THAT'S ONE OF MY SUBJECT MATTERS. 10:37.179 --> 10:42.282 AS WELL AS THE TRANSITIONAL ASPECT OF LIFE AS WELL. 10:42.284 --> 10:46.186 >>S ARE, I THINK THE PIECE IS A LESSON, BECAUSE WE ONLY 10:46.188 --> 10:50.190 HAVE SO MANY DAYS. AND YOU KNOW, HOW DO YOU 10:50.192 --> 10:54.127 MAKE EACH ONE COUNT? AND THERE'S NO ONE WHO CAN 10:54.129 --> 10:59.666 SEIZE THAT SCULPTURE -- SEES THAT PIECE OF WORK THAT 10:59.668 --> 11:01.768 DOESN'T KNOW THAT. THAT EACH ONE OF THOSE DAYS -- 11:01.770 --> 11:05.539 BECAUSE THE TRUTH IS IT DIDN'T LOOK LIKE THAT MANY 11:05.541 --> 11:07.307 DAYS. IT DIDN'T LOOK LIKE THAT 11:07.309 --> 11:09.109 MANY DAYS. YOU KNOW, WE HAVE THIS IDEA 11:09.111 --> 11:13.713 THAT WE LIVE FOREVER, AND INFINITE AMOUNT OF TIME TO 11:13.715 --> 11:16.816 WASTE, ET CETERA. AND THERE'S A LOT OF OTHER 11:16.818 --> 11:20.220 THINGS ABOUT THAT PIECE, HOW IT TAPERS OFF AT THE END 11:20.222 --> 11:24.624 SUSPECT UNTIL THE VERY LAST CRYSTAL IS THE VERY LAST DAY 11:24.626 --> 11:28.028 OF HER LIFE. IT GETS -- IT GETS CROWDED 11:28.030 --> 11:31.198 IN THE MIDDLE, WHEN -- YOU KNOW, WHEN SHE WOULD HAVE 11:31.200 --> 11:34.668 BEEN AT MIDLIFE. AND THEN AT THE END IT GETS 11:34.670 --> 11:38.505 VERY THIN. THE CRYSTALS GET VERY THIN. 11:38.507 --> 11:44.177 SO MUCH THOUGHT WENT INTO IT, AND SO MUCH COMMITMENT 11:44.179 --> 11:48.281 TO HIS ART. SO I THINK IT'S ONE OF MY 11:48.283 --> 11:50.550 FAVORITE THINGS IN SAN ANTONIO. 11:50.552 --> 11:56.223 ' IT SPEAKS SO WELL OF SAN ANTONIO, AND OF THIS SON OF 11:56.225 --> 11:59.826 SAN ANTONIO, TO BE ABLE TO CREATE SOMETHING SO 11:59.828 --> 12:06.700 EXTRAORDINARY AND SO BEAUTIFUL. 12:06.702 --> 12:09.903 >> AND NOW HERE'S A LOOK AT A FEW ARTIST EVENTS 12:09.905 --> 12:14.040 HAPPENING THIS WEEK IN SAN ANTONIO. 12:14.042 --> 12:29.155 >> TO SUBMIT YOUR EVENT TO THE KLRN ARTS CALENDAR, 12:29.157 --> 12:33.360 VISIT KLRN.ORG/ARTS. UP NEXT, WE MEET FASHION 12:33.362 --> 12:37.230 DESIGNER DIANE VON FURSTENBERG WHOSE ICONIC 12:37.232 --> 12:40.267 WRAP DRESS HAS STOOD THE TEST OF TIME. 12:40.269 --> 12:43.103 NOW VON FURSTENBERG IS FOCUSING ON HER ROLE AS A 12:43.105 --> 12:44.604 LEADER IN THE FASHION INDUSTRY. 12:44.606 --> 12:47.140 HER EFFORT TO PUSH FOR WOMEN'S RIGHTS AND NEWEST 12:47.142 --> 12:52.112 CLOTHING LINE CALLED RENDEZVOUS. 12:52.114 --> 12:55.315 >> IT'S A PLEASURE TO BE INVITED INTO YOUR 12:55.317 --> 12:56.549 HEADQUARTERS HERE. >> THANK YOU FOR HAVING US. 12:56.551 --> 12:58.418 >> WELCOME. >> I WOULD LOVE TO TALK 12:58.420 --> 13:00.787 ABOUT YOUR NEW COLLECTIONS, THE FALL 2012 IS NOW OUT. 13:00.789 --> 13:02.722 >> RIGHT. >> DESCRIBE TO ME WHAT THE 13:02.724 --> 13:05.425 PROCESS IS LIKE WHEN YOU'RE LOOKING AT THE -- 13:05.427 --> 13:09.729 >> IT WAS CALLED RENDEZVOUS BECAUSE WE WANTED SOMETHING 13:09.731 --> 13:12.032 SEDUCTIVE. SO NOTHING IS MORE SEDUCTIVE 13:12.034 --> 13:15.769 THAN THE RENDEZVOUS. IT'S -- ITS EXPECTATION, 13:15.771 --> 13:22.042 WHETHER IT'S A BUSINESS REND RENDEZVOUS, IT IS A 13:22.044 --> 13:25.011 MYSTERIOUS, SEDUCTIVE, ALWAYS READY FOR THE UN 13:25.013 --> 13:27.614 EXPECTED. SO THE COLLECTION IS VERY 13:27.616 --> 13:30.183 FLUID I CAN AND IT IS CLOSE TO THE BODY. 13:30.185 --> 13:33.153 THE DRESS THAT OPEN THE COLLECTION IS CALLED BENTLEY 13:33.155 --> 13:37.691 AND IT'S NEW FORM OF WRAP. COLORS ARE STRONG. 13:37.693 --> 13:48.802 IT'S SEDUCTIVE. >>. 13:48.804 --> 13:51.771 >> TAKE US BACK TO YOUR EARLY DAYS OF LIFE IN THE 13:51.773 --> 13:53.473 UNITED STATES. NOBODY KNEW WHO YOU WERE BUT 13:53.475 --> 13:57.444 YOU WERE A JET JETTER -- JET-SETTER WHO HAD JUST 13:57.446 --> 13:59.145 MARRIED A PRINCE. >> I WAS 22. 13:59.147 --> 14:04.417 I CAME TO AMERICA, I HAD JUST MARRIED MY SWEETHEART 14:04.419 --> 14:07.287 FROM COLLEGE, WHO WAS A PRINCE. 14:07.289 --> 14:10.623 AND A HEIR OF THE FAMILY AND I WAS PREGNANT. 14:10.625 --> 14:14.027 AND I WAS VERY HAPPY AND VERY MUCH IN LOVE. 14:14.029 --> 14:17.797 BUT I WANTED VERY MUCH TO BE INDEPENDENT. 14:17.799 --> 14:22.202 AND I HAD BEEN WORKING FOR AN ITALIAN INDUSTRIALIST IN 14:22.204 --> 14:26.072 THE FASHION BUSINESS, A MAN WHO HAD AN PRINTING FACTORY, 14:26.074 --> 14:33.713 WHERE HE PRINTED SCARFS AND MADE JERSEY, AND I SAID CAN 14:33.715 --> 14:37.150 I MAKE A FEW SAMPLES AND TRY TO SELL THEM IN AMERICA SO. 14:37.152 --> 14:39.853 AT NIGHT WHEN THE FACTORY WAS CLOSED, I WOULD STAY 14:39.855 --> 14:42.989 WITH THE PATTERN MAKER AND FIND WHATEVER FABRIC WAS 14:42.991 --> 14:46.025 AROUND AND I MADE MY FIRST SAMPLE. 14:46.027 --> 14:50.029 >> AND I HAD THAT LITTLE DRESS. 14:50.031 --> 14:51.564 >> LET'S TALK ABOUT THE LITTLE DRESS. 14:51.566 --> 14:54.467 >> IT IS THE WRAP DRESS. >> THE WRAP DRESS. 14:54.469 --> 14:58.238 >> BUT WHICH IS BASICALLY HAS ENDURED FOR THREE 14:58.240 --> 14:59.773 DECADES. >> 38 YEARS. 14:59.775 --> 15:03.743 LIKE A DRESS THAT DOESN'T HAVE A ZIPPER, BUT, BUTTON 15:03.745 --> 15:05.879 THAT WRAPS AROUND LIKE A KIMONO. 15:05.881 --> 15:07.847 WHAT'S DIFFERENT ABOUT IT, IT WAS MADE IN JERSEY. 15:07.849 --> 15:11.551 THEREFORE, YOU MOLDED THE BODY. 15:11.553 --> 15:13.453 >> YOU CAN WASH IT. >> YOU CAN WASH IT AND THERE 15:13.455 --> 15:16.089 WAS A PRINT AND THEN THE MOVEMENT OF THE PRINT IS 15:16.091 --> 15:18.858 LIKE AN ANIMAL. THAT KIND OF GOES WITH THE 15:18.860 --> 15:22.462 BODY. >> AND ALL OF THAT TOGETHER 15:22.464 --> 15:25.999 WAS JUST -- MADE IT THIS INCREDIBLE THING. AND TO 15:26.001 --> 15:29.269 THIS DAY, I SEE PEOPLE WEARING IT AND I THINK, YOU 15:29.271 --> 15:33.606 KNOW WHAT, IT'S -- IT WORKS, THERE'S SOMETHING MAGICAL, 15:33.608 --> 15:35.875 SOMETHING VERY PECIAL ABOUT THAT DRESS. 15:35.877 --> 15:38.611 AND AT THIS POINT I JUST HAVE TO ACCEPT IT, BECAUSE 15:38.613 --> 15:44.517 IT HAS STAYED. >> I WAS THE FIRST PERSON 15:44.519 --> 15:47.053 THAT MADE INEXPENSIVE DRESS ES THAT ALL WOMEN WOULD 15:47.055 --> 15:49.255 BUY. I STARTED AS A WOMAN AND I 15:49.257 --> 15:53.092 LOOKED FOR THE PRACTICAL SIDE AND SOPHISTICATED AND 15:53.094 --> 15:55.361 ALL OF THAT. BUT THEN OF COURSE AFTER -- 15:55.363 --> 15:59.799 YOU KNOW, DECADES, I BECAME A DESIGNER AND NOW I'M A 15:59.801 --> 16:01.901 PROP. >> YOU CERTAINLY ARE. 16:01.903 --> 16:05.972 BASICALLY THREE VERY DIFFERENT EVOLUTIONS OF YOUR 16:05.974 --> 16:09.409 COMPANY UT A METEOR I CAN RISE. 16:09.411 --> 16:12.178 >> MY FIRST WAS AMERICAN DREAM. 16:12.180 --> 16:19.252 YOUNG GIRLS COMES TO AMERICA , AND OVERNIGHT, 16:19.254 --> 16:21.721 IMMEDIATE SUCCESS. AGE 28. 16:21.723 --> 16:26.125 AND SO ON. AND I SOLD IT. AFTER 10 YEARS, 11 YEARS, I 16:26.127 --> 16:28.695 SOLD THE WHOLE BUSINESS AND I THOUGHT I WAS FINISHED 16:28.697 --> 16:31.965 WITH IT AND MY CHILDREN WENT TO BOARDING SCHOOL, I -- 16:31.967 --> 16:34.033 >> NEW LIFE. >> AND THEN I HAD A NEW 16:34.035 --> 16:36.936 LIFE. AND THEN I CAME BACK AND MY 16:36.938 --> 16:40.273 BRAND HAD COMPLETELY DETERIORATED. 16:40.275 --> 16:43.943 IT WAS ALL OVER THE PLACE, THE PRODUCT, ALL PRICES AND 16:43.945 --> 16:48.014 IT JUST LOST HITS DNA, LOST EVERYTHING. 16:48.016 --> 16:50.750 >> I STARTED MY SECOND GENERATION BECAUSE I REALIZE 16:50.752 --> 16:54.621 WHAT HAD MADE ME DO DO IT IS I REALIZED THAT YOUNG HIP 16:54.623 --> 16:58.091 GIRLS WERE BUYING THE OLD DRESSES IN VINTAGE SHOPS. 16:58.093 --> 17:01.761 >> WHAT DO YOU THINK THE KEY WAS TO MAKING YOURSELF 17:01.763 --> 17:04.764 RELEVANT AGAIN, AS YOU WERE TRYING TO -- 17:04.766 --> 17:06.900 >> I DON'T KNOW, I STARTED BACK WITH THE OLD DRESS 17:06.902 --> 17:11.304 AGAIN, AND I -- THREW MYSELF INTO IT AND IT WORKEDS AND 17:11.306 --> 17:15.675 NOW, JUST ABOUT NOW, BETWEEN THIS YEAR AND NEXT YEAR, I 17:15.677 --> 17:19.479 THINK IT'S THE THIRD PERIOD THAT IT'S STARTING. 17:19.481 --> 17:22.949 SUCCESS WITH MY NEXT BIG EFFORT, AND SO I'M WORKING 17:22.951 --> 17:28.187 IN THE COMPANY AND CREATING A REGULARS ' AND A PACKAGE 17:28.189 --> 17:30.290 THAT WILL BE ABLE TO LAST AFTER ME. 17:30.292 --> 17:33.092 >> I KNOW THERE ARE OTHER PASSIONS IN YOUR LIFE, 17:33.094 --> 17:36.729 OUTSIDE OF YOUR BUSINESS. LET'S TALK ABOUT YOUR WORK 17:36.731 --> 17:39.632 WITH THE C FDA. I KNOW YOU FEEL IT'S YOUR 17:39.634 --> 17:42.035 RESPONSIBILITY TO HELP NURTURE YOUR TALENT. 17:42.037 --> 17:47.206 >> YES, I MEAN, MY RESPONSIBILITY IS REALLY TO 17:47.208 --> 17:50.243 BUILD AND PROMOTE AMERICAN FASHION SO. WE DO IT FROM 17:50.245 --> 17:54.047 THE SCHOOL ZONE, WE BREED NEW TALENTS AT THE SCHOOLS, 17:54.049 --> 17:58.051 THEN WHEN NEW DESIGNERS COME IN, WE HELP THEM, WE HAVE 17:58.053 --> 18:03.122 THE C FDA VOGUE FUND, WHERE ANA WAS EXTRAORDINARY. 18:03.124 --> 18:07.527 ALL THE YOUNG NEW DESIGNERS, ALL COME OUT OF THAT FUND. 18:07.529 --> 18:16.502 I MEAN, FROM ALEC, ALL CAME OUT OF THAT. 18:16.504 --> 18:22.709 AND THEN MY OTHER COMMITMENT IS REALLY MY COMMITMENT TO 18:22.711 --> 18:25.378 WOMEN. I'M ON ADVISORY BOARDS. 18:25.380 --> 18:27.714 IT'S AN ORGANIZATION THAT EMPOWERS WOMEN. 18:27.716 --> 18:30.083 THAT TRAINS WOMEN ALL OVER THE WORLD. 18:30.085 --> 18:33.620 WOMEN NEED IT. AND SO THEY DO THINGS TO 18:33.622 --> 18:36.956 ADVANCE HUMAN RIGHTS. AND TO GET POLITICAL 18:36.958 --> 18:40.059 ACCEPTANCE. AND FOR ECONOMIC DEVELOPMENT 18:40.061 --> 18:44.263 >> I WANT TO HELP OTHER WOMEN BECAUSE I AM SO 18:44.265 --> 18:49.035 IMPRESSED BY STRENGTHS OF WOMEN. 18:49.037 --> 18:51.037 THAT REALLY IS INSPIRING TO ME. 18:51.039 --> 18:55.208 BECAUSE I HAVE NEVER MEANT A WOMAN WHO WAS NOT STRONG. 18:55.210 --> 19:01.614 >> MAYBE BECAUSE MY MOTHER WAS IN THE DEATH CAMPS WHEN 19:01.616 --> 19:05.184 SHE WAS 20 AND FREEDOM WAS SO IMPORTANT TO HER, SO SHE 19:05.186 --> 19:09.288 ALWAYS TOLD ME SHE SURVIVED. GOD MADE HER SURVIVE SO SHE 19:09.290 --> 19:11.624 CAN GIVE ME LIFE AND THEREFORE TOYED CARRY HER 19:11.626 --> 19:14.027 FLAG -- THEREFORE I HAD TO CARRY HER FLAG. 19:14.029 --> 19:16.729 AND I REALIZED THAT EVERYTHING I DO, ALL GOES TO 19:16.731 --> 19:19.465 THE SAME THING. THE MISSION IS THE SAME. 19:19.467 --> 19:22.268 IS TO EMPOWER WOMEN. >> ARE YOU THE WOMAN YOU 19:22.270 --> 19:25.772 WANT TO BE TODAY? >> YEAH. 19:25.774 --> 19:30.109 >> AND IF YOU ASK ME WHAT I WANT TO BE REMEMBERED FOR, 19:30.111 --> 19:34.814 IS IF I CAN HAVE INSPIRED WOMEN TO BE THE WOMEN THEY 19:34.816 --> 19:39.085 WANT TO BE, THROUGH EVERYTHING I, DO MY WORK, 19:39.087 --> 19:42.789 MENTORING, PHILANTHROPY, I MEAN TO ME THAT'S ALL VERY 19:42.791 --> 19:45.291 COHERENT. >> WE'RE DELIGHTED TO BE 19:45.293 --> 19:48.361 ABLE TO TALK WITH YOU. THANK YOU, DIANE. 19:48.363 --> 19:53.132 EARLIER THIS YEAR, DIANE VON FURSTENBERG, LAUNCHED HER 19:53.134 --> 20:04.343 FIRST CHILDREN LINE. A CHILD SIZED WRAP DRESS. 20:04.345 --> 20:06.546 MUSEUMS ARE OFTEN LITTERED WITH SIGNS REMINDSING 20:06.548 --> 20:08.581 VISITORS, PLEASE DO NOT TOUCH. 20:08.583 --> 20:12.285 BUT ARTISTS GARY KACHADORIAN TAKES A MORE HANDS ON 20:12.287 --> 20:14.821 APPROACH TO HIS WORK. HIS BOOKS ARE FULL OF 20:14.823 --> 20:17.390 DRAWINGS OF ABSENCE FROM EVERY DAY LIFE, FROM SOFAS 20:17.392 --> 20:20.893 TO ATM MACHINES, THE OBJECTS MAY BE COMMON, BUT 20:20.895 --> 20:30.169 KACHADORIAN BELIEVES THEY STILL CAN BE ART. 20:30.171 --> 20:32.772 >> CHOOTION THE OBJECTS I CHOOSE IS LARGELY BECAUSE 20:32.774 --> 20:37.076 I'M INTERESTED IN THEM. I THINK THEY'RE BEAUTIFUL 20:37.078 --> 20:39.011 BUT I DON'T NECESSARILY THINK THAT THEY SHOULD BE 20:39.013 --> 20:41.380 CONSIDERED BEAUTIFUL. IT'S JUST WHAT STICKS IN 20:41.382 --> 20:44.217 YOUR BRAIN AND YOU KNOW, YOU ASSUME WHAT'S STAYING IN 20:44.219 --> 20:47.353 YOUR BRAIN IS SOMETHING THAT TELLS SOMETHING ABOUT YOU, 20:47.355 --> 20:49.489 PROBABLY. AND THAT'S KIND OF THE POINT 20:49.491 --> 20:54.560 OF MAKING ART. >> I LOOK AT OTHER ARTISTS'' 20:54.562 --> 20:57.797 WORK, YOU KNOW, HALF OF IT IS WHAT I COULD FIND OUT 20:57.799 --> 21:01.000 ABOUT THE WAY THEY THINK. THIS IS ONE OF THE LAST 21:01.002 --> 21:04.137 PROJECTS I FINISHED WHICH IS A BOOK OF COLORFUL OBJECTS, 21:04.139 --> 21:07.774 ANYTHING FROM A SELF- PORTRAIT, YOU KNOW, TO 21:07.776 --> 21:12.745 A SPOT OF POTS, TO BARRIERS, YOU KNOW, VACANT LOT. 21:12.747 --> 21:15.715 SNOWBALL STAND. THINGS YOU DRIVE BY EVERY 21:15.717 --> 21:19.719 DAY THAT ARE FAIRLY CENTRAL AND ELEMENTAL TO SOCIETY 21:19.721 --> 21:23.990 THAT WE LIVE IN. THIS PIECE IS A BRAND-NEW 21:23.992 --> 21:26.192 SET OF LIKE CUT AND FOLD SERIES. 21:26.194 --> 21:29.095 AND IT'S AN APARTMENT DUMPSTER, WHICH I'VE DONE A 21:29.097 --> 21:32.498 FEW FLAT ONES OF BEFORE, BUT THIS IS A THREE-DIMENSIONAL 21:32.500 --> 21:35.535 ONE. AND SOFA WITH THE REMOVABLE 21:35.537 --> 21:38.304 CUSHIONS BECAUSE THERE'S ALWAYS, WHEN YOU GO BY 21:38.306 --> 21:43.176 APARTMENT COMPLEXES, YOU SEE A SOFA NEXT TO THE DUMPSTER. 21:43.178 --> 21:46.979 DID I THIS SELF-PORTRAIT A FEW YEARS AGO, ACTUALLY THE 21:46.981 --> 21:52.218 ONLY I GUESS ENAMEL I'VE DONE A DRAWING OF, AND IN 21:52.220 --> 21:54.654 PROBABLY 6 YEARS. BUT THIS ONE I KIND OF 21:54.656 --> 21:58.324 THOUGHT I HAD TO DO, AND IT CAME FROM STANDING IN LINE 21:58.326 --> 22:03.996 WITH THE 711 AND LOOKING AT THE SECURITY CAMERA AND 22:03.998 --> 22:08.568 NOTICEING A REALLY LARGE BALD SPOT I HADN'T NOTICED 22:08.570 --> 22:11.337 WAS. THIS A SURPRISE, SEEMED LIKE A GOOD TIME TO 22:11.339 --> 22:15.474 DOCUMENT THAT PARTICULAR AGING PROCESS. 22:15.476 --> 22:18.711 I DON'T LOOK AT ANY OF THESE THINGS BEING MASS PRODUCED 22:18.713 --> 22:23.049 AT THIS POINT. THIS LOOKS -- THIS SOLD FOR 22:23.051 --> 22:26.519 $4 AND I SELL IT DIFFERENT, MOSTLY LIKE ARTIST BOOKS, 22:26.521 --> 22:36.562 OUTLET, PLACES LIKE GSH -- AND LOCALLY. 22:36.564 --> 22:40.700 I DO POSTERS AND -- THIS IS ACTUALLY ANOTHER SCALE 22:40.702 --> 22:45.004 VERSION OF THE VACANT LOT. BEHIND IT, BOTH OF THESE 22:45.006 --> 22:49.675 PANELS, ACTUALLY, ARE -- WERE CEILING PANELS I HAD UP 22:49.677 --> 22:53.579 BEFORE, SO THEY'RE A DRAWING OF DROP CEILING, ACOUSTIC 22:53.581 --> 22:59.051 TILE. AND THEN THE LAST, THIS KIND 22:59.053 --> 23:04.857 OF SEQUENCE IS INSTALLATION THAT I DID ON A BUILDING ON 23:04.859 --> 23:11.197 NORTH AND CHARLES THAT USE AS BUSH IN EARLY SPRING. 23:11.199 --> 23:18.304 AND DETECTIVE BLOCK WALL. FROM THE POINT OF VIEW OF 23:18.306 --> 23:21.240 MAKING THE DRAWINGS, YOU HAVE TO MAKE IT IN AN UN 23:21.242 --> 23:23.943 COMPROMISING MANNER. YOU KNOW, BUT AT THE SAME 23:23.945 --> 23:26.812 TIME MAKE IT SO THAT PEOPLE MIGHT FIND IT INTERESTING TO 23:26.814 --> 23:29.815 LOOK AT. A TOUGH THING, YOU'RE NOT 23:29.817 --> 23:31.584 TRYING TO BEND TO PLEASE THEM. 23:31.586 --> 23:33.886 YOU'RE TRYING TO MAKE SOMETHING THAT WILL PLEASE 23:33.888 --> 23:40.726 THEM. ON YOUR TERMS. 23:40.728 --> 23:46.532 >> TO SEE MORE OF HIS WORK, VISIT HIS WEBSITE AT GARY 23:46.534 --> 23:48.968 KACHADORIAN.COM. HERE'S WHAT HAPPENED IN OUR 23:48.970 --> 23:58.945 HISTORY ART HISTORY. MANY CHILDREN GROW UP IDOL 23:58.947 --> 24:01.948 IZING THE PEOPLE THEY SEE ON THE BIG SCREEN. POET 24:01.950 --> 24:04.984 HE HAD BOK LEE REMEMBERS LOOKING UP TO BRUCE LEE BUT 24:04.986 --> 24:08.054 HIS IMPRESSION OF THE MOVIE STAR CHANGED WHEN HE BEGAN 24:08.056 --> 24:12.091 TO SEE THE ACTOR BEYOND THE BLOW OF THE SILVER GLOW OF 24:12.093 --> 24:16.295 THE SILL SILVER SILVER SCREEN. 24:16.297 --> 24:20.299 HERE IS ODE TO BRUCE LEE. >>. 24:20.301 --> 24:22.501 >> THANK YOU. BRUCE LEE. 24:22.503 --> 24:26.706 FOR DEVASTATING MY CHILDHOOD LIKE A CRINDER BLOCK FOR ALL 24:26.708 --> 24:29.308 ALL -- CINDER BLOCK FOR ALL THIS. 24:29.310 --> 24:32.445 OF COURSE YOU CHOKED ON THE MASK THEY HANDED YOU AS THE 24:32.447 --> 24:39.151 GREEN HORNET, LIKE SOME RETRO DEMOTED ROLE FOR T ONT 24:39.153 --> 24:41.087 O. INSTEAD THEY CAST DAVID CARE 24:41.089 --> 24:43.622 DEAN INSTEAD OF YOU. THANK YOU FOR HIGH TAILING 24:43.624 --> 24:46.292 IT BACK TO HONG KONG, JAW OF REVENGE. 24:46.294 --> 24:50.262 NOT EVEN KOREAN FOOTPRINT COULD WALK ON YOU, BORN IN 24:50.264 --> 24:52.765 SAN FRANCISCO. BURIED IN SEATTLE. 24:52.767 --> 24:56.969 RAISED A CHINESE NATIONALIST , THANK YOU FOR 24:56.971 --> 25:00.573 TEACHING CHUCK NORRIS HOW TO STAR IN ABDOMINAL REHE DUCKS 25:00.575 --> 25:04.176 COMMERCIALS FOR YOUR CANTONESE OPERA STAR AND 25:04.178 --> 25:08.014 ASIA AMERICAN MOTHER, FLUMPGED OUT CATH CATHOLIC 25:08.016 --> 25:10.850 STREET BRAWLER, THANK YOU FOR BEING ACCEPTED BY BLACKS 25:10.852 --> 25:14.887 BEFORE WHITES, FOR CLAWING THE FACE OF THE WORK FOR 25:14.889 --> 25:17.023 KNOWING WHO YOU WERE WHEN EVERYONE ELSE WAS JUST TOO 25:17.025 --> 25:27.166 DAMN LOW -- TOO DAMN SLOW. ADULTERER TO YOUR AMERICAN 25:27.168 --> 25:32.738 WIFE, RACE TRADE TORE TAIWAN EASE LOVER, FLESH SCRUPTOR, 25:32.740 --> 25:35.641 ENYING MARX FLAWED HEART OF SANDAL WOOD. 25:35.643 --> 25:39.445 THANK YOU FOR HIDING YOUR QUARTER GERMAN ANCESTRY TO 25:39.447 --> 25:42.281 FIGHT LATER TO TRAIN CAUCASIAN BUT ONLY 25:42.283 --> 25:46.519 CERTIFYING AS INSTRUCTORS ASIAN. 25:46.521 --> 25:49.889 ASSASSIN ATHOUSAND STEREOTYPES SMASHED. 25:49.891 --> 25:51.824 THANK YOU FOR NOT BEING JACKIE CHAN. 25:51.826 --> 25:58.064 INSTEAD, SEXY, HORT, AND SHORT AND CUT AS A BEGIN SUE 25:58.066 --> 26:01.100 KNIFE FOR NEVER TAKING YOUR EYE OFF THE MAN US A BOW 26:01.102 --> 26:04.770 ATTEMPTING TO HE HADFY BEFORE YOU HAVE TO KILL HIM, 26:04.772 --> 26:07.673 MONK, HEALTH FANATIC, POT SMOKER. 26:07.675 --> 26:11.410 SOMETIMES MY FATHER SMUK SODA AND BEER TO GO WITH OUR 26:11.412 --> 26:14.313 POPCORN. PAST MIDNIGHT WE'D AMBLE 26:14.315 --> 26:18.984 OUT, THE ONLY TWO EXTRAS TO SURVIVE A FORGOTTEN WAR, AND 26:18.986 --> 26:22.088 MONDAY'S PLAYGROUND. THANK YOU FOR BROKEN ENGLISH 26:22.090 --> 26:25.925 , AND A HUSTLER'S FLOW SUNG WITH LIMBS AND A 26:25.927 --> 26:29.128 SCREEN BEYOND ANY COLOR OR GENDER BARRIER, CHARLATAN 26:29.130 --> 26:32.364 WHENEVER THEY HAD THE REAL YOU CORNERED, BOKING AND CHA 26:32.366 --> 26:36.869 CHA CHAMPION, STYLE OF NO STYLE, TEACHER, WAITER, 26:36.871 --> 26:42.374 DRAGON, CHARRED IN A 1970S BALLOON OBSESSED CROWD. 26:42.376 --> 26:47.613 SNAPPING GESTURES, IRONIC, ICONIC, LOUD, HANDSOME, EACH 26:47.615 --> 26:50.649 TIME SOME DUMB KID ASKED ME IF I WAS RELATED TO YOU. 26:50.651 --> 26:52.818 BUT MOST OF ALL, BRUCE, THANK YOU FOR ADVANCING ON 26:52.820 --> 26:57.089 TO THAT FINAL ISLAND MIST IN THE SKY AND TAKING AS MANY 26:57.091 --> 27:15.508 OF US AS YOU COULD WITH YOU. >> ED BOK LEE'S BOOK WORLD 27:15.510 --> 27:18.577 IS ON THE POETRY FOUNDATION'S 2012 BEST 27:18.579 --> 27:20.713 SELLER'S LIST AND IS A WINNER OF THIS YEAR'S 27:20.715 --> 27:22.748 AMERICAN BOOK AWARDS. AND THAT WRAPS IT UP FOR 27:22.750 --> 27:25.684 THIS HE HAD HE ITION OF ARTS ARTS -- THIS EDITION OF ARTS 27:25.686 --> 27:27.520 . FOR MORE, VISIT OUR WEBSITE 27:27.522 --> 27:30.222 AT KLRN.ORG/ARTS. WHERE YOU'LL FIND 27:30.224 --> 27:33.492 INFORMATION ON UPCOMING ARTS EVENTS IN AND AROUND SAN 27:33.494 --> 27:36.061 ANTONIO. JOIN US NEXT THURSDAY AT 27:36.063 --> 27:38.631 8:30 P.M. UNTIL THEN, I'M ASIA 27:38.633 --> 27:44.336 CIARAVINO, THANK YOU FOR WATCHING. 27:44.338 --> 27:48.807 >> ARTS IS MADE POSSIBLE BY THE KELSO FOUNDATION. 27:48.809 --> 27:54.813 AND BY VIEWERS LIKE YOU. ARTS IS PRESENTED BY THE T O 27:54.815 --> 27:58.384 BIN CENTER FOR THE PERFORM ING ARTS, OPENING IN 27:58.386 --> 28:00.286 2014. PROVIDING THE BEST PLACE 28:00.288 --> 28:03.522 ANYWHERE TO SEE AND HEAR A LIVE PERFORMANCE. 28:03.524 --> 28:08.227 SAN ANTONIO'S FUTURE OF THE PERFORMING ARTS, THE T OBIN 28:08.229 --> 28:12.229 CENTER.