1
00:00:02,367 --> 00:00:04,166
AT THE DENVER ART MUSEUM IN

2
00:00:04,168 --> 00:00:05,666
COLORADO, AN EXHIBITION OFFERS

3
00:00:05,668 --> 00:00:07,699
SOMETHING FOR EVERYONE.

4
00:00:07,701 --> 00:00:08,933
FROM CONTEMPORARY ARTISTS TO

5
00:00:08,935 --> 00:00:10,699
THE AMERICAN WEST,

6
00:00:10,701 --> 00:00:11,899
PRE-COLUMBIAN WEAVINGS

7
00:00:11,901 --> 00:00:13,632
TO NAVAJO DESIGN,

8
00:00:13,634 --> 00:00:15,766
"SPUN: ADVENTURES IN TEXTILES"

9
00:00:15,768 --> 00:00:17,199
IS REDEFINING WHAT SOME MAY

10
00:00:17,201 --> 00:00:18,299
TYPICALLY PERCEIVE AS ART.

11
00:00:19,800 --> 00:00:23,766
♪

12
00:00:23,768 --> 00:00:25,499
"SPUN" AT THE DENVER ART

13
00:00:25,501 --> 00:00:27,366
MUSEUM IS A CAMPUS-WIDE

14
00:00:27,368 --> 00:00:29,132
EXHIBIT THAT WRAPS PEOPLE'S

15
00:00:29,134 --> 00:00:31,132
MINDS IN TEXTILES.

16
00:00:31,134 --> 00:00:32,966
AND FROM PRE-COLUMBIAN

17
00:00:32,968 --> 00:00:35,366
WEAVINGS TO CONTEMPORARY LIGHT

18
00:00:35,368 --> 00:00:36,899
INSTALLATIONS, DAM IS PUSHING

19
00:00:36,901 --> 00:00:38,099
THE BOUNDARIES OF WHAT ONE

20
00:00:38,101 --> 00:00:38,832
MIGHT CONSIDER TO BE FIBER

21
00:00:38,834 --> 00:00:40,099
ART.

22
00:00:40,101 --> 00:00:41,266
IT'S AN EYE-OPENER FOR WHAT

23
00:00:41,268 --> 00:00:43,266
TODAY WE TAKE FOR GRANTED.

24
00:00:43,268 --> 00:00:44,332
THIS EXHIBITION FUNCTIONS ON

25
00:00:44,334 --> 00:00:46,866
SO MANY DIFFERENT LEVELS.

26
00:00:46,868 --> 00:00:49,066
ONE IS EXACTLY THAT, FUNCTION,

27
00:00:49,068 --> 00:00:50,366
HOW DIFFERENT TEXTILES MIGHT

28
00:00:50,368 --> 00:00:52,099
HAVE BEEN USED OR WERE USED,

29
00:00:52,101 --> 00:00:53,366
WHETHER IT'S FOR WARMTH AND

30
00:00:53,368 --> 00:00:55,132
COMFORT WHEN YOU'RE SLEEPING,

31
00:00:55,134 --> 00:00:57,332
PROTECTION, SAY, FOR RITUALS.

32
00:00:57,334 --> 00:00:58,699
THERE ARE SO MANY DIFFERENT

33
00:00:58,701 --> 00:00:59,399
TECHNIQUES REPRESENTED IN THIS

34
00:00:59,401 --> 00:01:01,433
EXHIBITION.

35
00:01:01,435 --> 00:01:02,466
PEOPLE THINK OF WEAVING AND

36
00:01:02,468 --> 00:01:04,065
EMBROIDERY PERHAPS OFF THE TOP

37
00:01:04,067 --> 00:01:05,566
OF THEIR HEADS BUT BY

38
00:01:05,568 --> 00:01:07,199
EXTENSION QUILTING AND

39
00:01:07,201 --> 00:01:09,433
COVERLETS, TAPESTRY, BLOCK

40
00:01:09,435 --> 00:01:11,233
PRINTING, RESIST DYEING, SO

41
00:01:11,235 --> 00:01:12,466
ALL THE DIFFERENT WAYS TO

42
00:01:12,468 --> 00:01:14,932
DECORATE THAT PIECE OF CLOTH.

43
00:01:14,934 --> 00:01:16,399
BUT IT'S NOT JUST ABOUT

44
00:01:16,401 --> 00:01:18,832
CLOTH FOR TODAY'S ARTISTS.

45
00:01:18,834 --> 00:01:20,865
MANY ARE EXPERIMENTING,

46
00:01:20,867 --> 00:01:22,399
WEAVING TOGETHER UNEXPECTED

47
00:01:22,401 --> 00:01:24,865
MATERIALS AND ECHOING THE

48
00:01:24,867 --> 00:01:26,266
LAYERS AND DEPTH FOUND IN MORE

49
00:01:26,268 --> 00:01:28,199
TRADITIONAL TEXTILE WORKS.

50
00:01:28,201 --> 00:01:29,932
THERE ARE A PLETHORA OF

51
00:01:29,934 --> 00:01:31,166
MATERIALS AVAILABLE TO ARTISTS

52
00:01:31,168 --> 00:01:32,333
TODAY, AND THIS IS SUCH AN

53
00:01:32,335 --> 00:01:33,399
INCREDIBLE REPRESENTATION OF

54
00:01:33,401 --> 00:01:33,932
OVER 40 YEARS OF CONTEMPORARY

55
00:01:33,934 --> 00:01:35,898
ART.

56
00:01:35,900 --> 00:01:37,299
AND YOU CAN REALLY SEE,

57
00:01:37,301 --> 00:01:39,832
WHETHER IT'S TEXTILES, WOOD,

58
00:01:39,834 --> 00:01:42,099
CHARRED WOOD, LIGHT, THERE'S

59
00:01:42,101 --> 00:01:43,898
DIFFERENT MEDIUMS THROUGHOUT

60
00:01:43,900 --> 00:01:44,632
THIS EXHIBITION THAT REALLY

61
00:01:44,634 --> 00:01:46,299
LURE YOU IN.

62
00:01:46,301 --> 00:01:47,399
IT'S DIFFERENT THAN THE

63
00:01:47,401 --> 00:01:49,166
HISTORIC TEXTILE GALLERIES

64
00:01:49,168 --> 00:01:50,266
WHERE THERE IS MUCH MORE OF A

65
00:01:50,268 --> 00:01:51,832
FUNCTIONAL ASPECT TO THE WORK.

66
00:01:51,834 --> 00:01:53,199
IN THIS SHOW, IT'S MORE

67
00:01:53,201 --> 00:01:54,466
ARTISTS OF OUR OWN TIME

68
00:01:54,468 --> 00:01:56,032
THINKING ABOUT ISSUES THAT ARE

69
00:01:56,034 --> 00:01:59,065
RELEVANT TO US LIVING TODAY.

70
00:01:59,067 --> 00:02:00,433
THIS IS A YOUNG ARTIST.

71
00:02:00,435 --> 00:02:01,832
SHE'S TAKEN APART CHILDREN'S

72
00:02:01,834 --> 00:02:03,032
TEDDY BEARS AND THEN

73
00:02:03,034 --> 00:02:04,832
RECONSTITUTED THEM.

74
00:02:04,834 --> 00:02:06,832
THIS RUG AND THIS WALL PIECE

75
00:02:06,834 --> 00:02:07,799
AND CREATES A SORT OF

76
00:02:07,801 --> 00:02:08,633
RORSCHACH PATTERN, THE

77
00:02:08,635 --> 00:02:10,466
INK-BLOT TEST.

78
00:02:10,468 --> 00:02:12,433
SO THEY ARE HAVING FUN WITH

79
00:02:12,435 --> 00:02:14,533
MATERIALS AND THINKING ABOUT

80
00:02:14,535 --> 00:02:15,466
HOW WHEN YOU TAKE THEM OUT OF

81
00:02:15,468 --> 00:02:16,600
THEIR NORMAL CONTEXT THEY

82
00:02:16,602 --> 00:02:17,132
MIGHT MEAN SOMETHING

83
00:02:17,134 --> 00:02:19,233
DIFFERENT.

84
00:02:19,235 --> 00:02:20,500
I MADE THESE WORKS IN THE

85
00:02:20,502 --> 00:02:21,233
EARLY '90s AT THE HEIGHT OF

86
00:02:21,235 --> 00:02:23,099
THE AIDS CRISIS.

87
00:02:23,101 --> 00:02:24,333
A LOT OF MY FRIENDS WERE

88
00:02:24,335 --> 00:02:25,932
DYING, AND THIS WORK REALLY

89
00:02:25,934 --> 00:02:27,832
WAS IN RESPONSE TO THAT.

90
00:02:27,834 --> 00:02:30,166
SO FOR ME TO PLOW MY WAY

91
00:02:30,168 --> 00:02:31,799
SYSTEMATICALLY THROUGH TIME BY

92
00:02:31,801 --> 00:02:34,233
KNITTING FOR ABOUT 10 YEARS

93
00:02:34,235 --> 00:02:35,799
OF KNITTING ABOUT 12 HOURS,

94
00:02:35,801 --> 00:02:37,533
13 HOURS A DAY.

95
00:02:37,535 --> 00:02:39,032
SO IT WAS A WAY FOR ME TO KEEP

96
00:02:39,034 --> 00:02:40,300
TRACK AND ALSO TO MEDITATE ON

97
00:02:40,302 --> 00:02:42,233
THE PASSAGE OF TIME.

98
00:02:42,235 --> 00:02:43,799
ARTIST OLIVER HERRING'S

99
00:02:43,801 --> 00:02:44,667
WORK IS A REFLECTION OF HIS

100
00:02:44,669 --> 00:02:46,433
EXPERIENCE.

101
00:02:46,435 --> 00:02:48,433
I ASKED CURATOR ALICE ZREBEIC

102
00:02:48,435 --> 00:02:49,500
HOW OTHER PEOPLE THROUGHOUT

103
00:02:49,502 --> 00:02:51,533
HISTORY HAVE USED MATERIALS

104
00:02:51,535 --> 00:02:52,699
AND AS A RESULT, WHAT WE LEARN

105
00:02:52,701 --> 00:02:54,366
ABOUT CULTURE.

106
00:02:54,368 --> 00:02:55,099
TEXTILES SAY A LOT ABOUT

107
00:02:55,101 --> 00:02:57,466
CULTURE.

108
00:02:57,468 --> 00:02:59,500
IT COULD BE THE MATERIAL,

109
00:02:59,502 --> 00:03:01,133
BECAUSE CERTAIN AREAS OF THE

110
00:03:01,135 --> 00:03:02,532
WORLD HAVING FLOCKS OF SHEEP,

111
00:03:02,534 --> 00:03:03,866
AND THEY MIGHT BE MAKING THEIR

112
00:03:03,868 --> 00:03:05,432
TEXTILES FROM WOOL.

113
00:03:05,434 --> 00:03:06,032
OTHERS MIGHT HAVE FLAX OR

114
00:03:06,034 --> 00:03:07,366
LINEN.

115
00:03:07,368 --> 00:03:08,099
OTHERS ARE SILK-GROWING

116
00:03:08,101 --> 00:03:09,699
CULTURES.

117
00:03:09,701 --> 00:03:10,999
SO WHERE YOU LIVE IN THE

118
00:03:11,001 --> 00:03:12,432
WORLD, THAT'S GOING TO

119
00:03:12,434 --> 00:03:13,566
INFLUENCE TO A DEGREE WHAT

120
00:03:13,568 --> 00:03:15,066
YOUR TEXTILES ARE MADE FROM.

121
00:03:15,068 --> 00:03:16,499
OF COURSE, TRADE IS A BIG PART

122
00:03:16,501 --> 00:03:17,832
OF THAT, AND PEOPLE ARE ALWAYS

123
00:03:17,834 --> 00:03:19,133
INCORPORATING THINGS TAKEN

124
00:03:19,135 --> 00:03:19,832
FROM A DISTANCE INTO THEIR

125
00:03:19,834 --> 00:03:22,599
OWN.

126
00:03:22,601 --> 00:03:23,299
COLOR CHOICES CAN BE DICTATED

127
00:03:23,301 --> 00:03:25,099
BY CULTURE.

128
00:03:25,101 --> 00:03:25,932
YOU'LL SEE LOT OF INDIGO IN

129
00:03:25,934 --> 00:03:27,366
THE SHOW.

130
00:03:27,368 --> 00:03:29,032
MANY OF THOSE TEXTILES ARE

131
00:03:29,034 --> 00:03:31,699
FROM JAPAN, WHEREAS THE UZBEK

132
00:03:31,701 --> 00:03:34,966
IS A FLAME OF COLORS.

133
00:03:34,968 --> 00:03:36,166
THEY ARE IN AN ART MUSEUM, AND

134
00:03:36,168 --> 00:03:37,266
WE ARE APPRECIATING THEM FOR

135
00:03:37,268 --> 00:03:38,466
EITHER A FABULOUS DESIGN,

136
00:03:38,468 --> 00:03:40,166
BEAUTIFUL WORKMANSHIP, BUT

137
00:03:40,168 --> 00:03:42,432
OBJECT.

138
00:03:42,434 --> 00:03:43,566
SO WE'RE HERE IN THE QUILT

139
00:03:43,568 --> 00:03:44,299
STUDIO, WHICH IS

140
00:03:44,301 --> 00:03:45,399
PART OF "SPUN."

141
00:03:45,401 --> 00:03:46,699
WHY DID THE MUSEUM

142
00:03:46,701 --> 00:03:48,799
WANT TO INCLUDE A SPACE

143
00:03:48,801 --> 00:03:50,133
LIKE THIS, JENNA?

144
00:03:50,135 --> 00:03:51,266
THIS IS NOT YOUR GRANDMA'S

145
00:03:51,268 --> 00:03:52,666
QUILT STUDIO.

146
00:03:52,668 --> 00:03:54,066
THIS IS REALLY ABOUT

147
00:03:54,068 --> 00:03:55,199
CONTEMPORARY PRACTICE, SO

148
00:03:55,201 --> 00:03:56,566
REALLY THINKING ABOUT THE WAYS

149
00:03:56,568 --> 00:03:58,233
THAT COLORS AND PATTERNS AND

150
00:03:58,235 --> 00:03:59,799
DIFFERENT TEXTURES WORK, WHICH

151
00:03:59,801 --> 00:04:01,266
IS EXACTLY THE SAME PROCESS

152
00:04:01,268 --> 00:04:03,033
THAT A PAINTER OR A SCULPTOR

153
00:04:03,035 --> 00:04:04,033
GOES THROUGH IN MAKING THE

154
00:04:04,035 --> 00:04:06,633
CREATIVE DECISION.

155
00:04:06,635 --> 00:04:07,333
THERE ARE LABELS THROUGHOUT

156
00:04:07,335 --> 00:04:08,666
THE EXHIBITION.

157
00:04:08,668 --> 00:04:10,300
YOU CAN USE YOUR MOBILE PHONE

158
00:04:10,302 --> 00:04:11,899
AND TAKE A PICTURE OF THE QR

159
00:04:11,901 --> 00:04:13,099
CODE BENEATH THE LABEL, AND IT

160
00:04:13,101 --> 00:04:14,266
TAKES YOU TO VIDEOS AND THE

161
00:04:14,268 --> 00:04:14,733
ARTISTS TALKING ABOUT THEIR

162
00:04:14,735 --> 00:04:16,266
WORK.

163
00:04:16,268 --> 00:04:17,499
I WOULD VENTURE TO SAY THAT

164
00:04:17,501 --> 00:04:19,666
ALL ART IS INTERACTIVE.

165
00:04:19,668 --> 00:04:21,233
A LOT OF CONTEMPORARY ARTISTS,

166
00:04:21,235 --> 00:04:22,566
THE VIEWER COMPLETES THE

167
00:04:22,568 --> 00:04:23,066
PIECE, SO IT IS AN INTERACTIVE

168
00:04:23,068 --> 00:04:24,400
THING.

169
00:04:24,402 --> 00:04:25,433
WE ALL BRING BAGGAGE AND

170
00:04:25,435 --> 00:04:26,965
DIFFERENT MEANINGS TO WORK.

171
00:04:26,967 --> 00:04:30,065
THE TRANSPOSITION IS LOOKING

172
00:04:30,067 --> 00:04:31,065
AT INTERACTIVITY THROUGH

173
00:04:31,067 --> 00:04:31,600
TECHNOLOGY, AND THAT'S A VERY

174
00:04:31,602 --> 00:04:32,865
NEW THING.

175
00:04:32,867 --> 00:04:34,333
ONLY THE ACCESSIBILITY OF

176
00:04:34,335 --> 00:04:35,566
YOUNG ARTISTS BEING ABLE TO

177
00:04:35,568 --> 00:04:36,899
WORK WITH TECHNOLOGY TO MAKE A

178
00:04:36,901 --> 00:04:38,566
PIECE LIKE THAT HAS ONLY COME

179
00:04:38,568 --> 00:04:40,633
ABOUT IN THE LAST DECADE.

180
00:04:40,635 --> 00:04:42,232
YOUR MOVEMENT IS PICKED UP BY

181
00:04:42,234 --> 00:04:44,132
CAMERAS THAT YOU DON'T SEE AND

182
00:04:44,134 --> 00:04:46,333
IS TRANSLATED THROUGH SOFTWARE

183
00:04:46,335 --> 00:04:48,466
TO CREATE THIS MOVEMENT THAT'S

184
00:04:48,468 --> 00:04:49,799
PROJECTED ONTO THE WALL.

185
00:04:49,801 --> 00:04:51,300
IT BECOMES THIS OPTICAL

186
00:04:51,302 --> 00:04:52,633
BEAUTIFUL.

187
00:04:52,635 --> 00:04:54,832
BUT IT ALSO MAKES YOU AWARE OF

188
00:04:54,834 --> 00:04:56,600
YOUR BODY AND OWN MOVEMENTS.

189
00:04:56,602 --> 00:05:00,366
PIECE.

190
00:05:00,368 --> 00:05:01,499
IT'S A VERY DIFFERENT WAY OF

191
00:05:01,501 --> 00:05:03,032
THINKING ABOUT MAKING ART.

192
00:05:03,034 --> 00:05:04,032
SO ART IS NO LONGER JUST A

193
00:05:04,034 --> 00:05:05,399
PAINTING OR A SCULPTURE OR

194
00:05:05,401 --> 00:05:09,032
PHOTOGRAPHY, FOR THAT MATTER.

195
00:05:09,034 --> 00:05:10,066
CONTEMPORARY ART.

196
00:05:10,068 --> 00:05:11,233
YOU CAN SEE THE SORT OF

197
00:05:11,235 --> 00:05:13,032
TRANSGRESSION OF HOW THEY ARE

198
00:05:13,034 --> 00:05:13,932
ALL CONTINUING TO PUSH THE

199
00:05:13,934 --> 00:05:15,632
LIMITS OF WHAT A PIECE OF WOOD

200
00:05:15,634 --> 00:05:17,299
CAN DO OR JUST FABRIC AND

201
00:05:17,301 --> 00:05:19,066
MATERIALS, IN GENERAL, TO

202
00:05:19,068 --> 00:05:20,632
CONVEY THESE VERY DEEP,

203
00:05:20,634 --> 00:05:22,066
THOUGHTFUL, EMOTIONAL, AND

204
00:05:22,068 --> 00:05:23,932
POLITICAL RESPONSES.

205
00:05:28,467 --> 00:05:28,932
FOR MORE ON THIS EXHIBIT,

206
00:05:28,934 --> 00:05:29,833
VISIT: