James Michalopoulos, RedLine Gallery, William Fields, Phantasmagoria | Episode 421 | Art Rocks


>>COMING UP NEXT ON “ART
ROCKS,” A NEW ORLEANS ARTIST WHO ROCKS,” A NEW ORLEANS ARTIST WHO
MAKES BUILDINGS DANCE TO THE MAKES BUILDINGS DANCE TO THE
BEAT OF THE CITY THAT SURROUNDS BEAT OF THE CITY THAT SURROUNDS
HIM. HIM.
>>I TAKE MY LIBERTIES AND MY>>I TAKE MY LIBERTIES AND MY
EXPRESSION OF THE BUILDING. EXPRESSION OF THE BUILDING.
I’M LOOKING TO EXPRESS NOT ONLY I’M LOOKING TO EXPRESS NOT ONLY
A REPRESENTATION OF THE CITY, A REPRESENTATION OF THE CITY,
I’M REALLY LOOKING TO REPRESENT I’M REALLY LOOKING TO REPRESENT
THE LIFE HERE. THE LIFE HERE.
>>A GALLERY THAT USES ART TO>>A GALLERY THAT USES ART TO
ENCOURAGE PLAY, AND VICE VERSA. ENCOURAGE PLAY, AND VICE VERSA.
>>THROUGH THESE VERY>>THROUGH THESE VERY
RECOGNIZABLE THINGS, WE FIND A RECOGNIZABLE THINGS, WE FIND A
MEANING POINT WHERE WE ARE BOTH MEANING POINT WHERE WE ARE BOTH
EQUAL. EQUAL.
>>A PHOTOGRAPHER’S TIMELESS>>A PHOTOGRAPHER’S TIMELESS
IMAGES — IMAGES —
>>I’M INSPIRED ON A DAILY BASIS>>I’M INSPIRED ON A DAILY BASIS
BY WHAT I SEE AROUND ME, BY THE BY WHAT I SEE AROUND ME, BY THE
OLD BUILDINGS, BY THE BEAUTIFUL OLD BUILDINGS, BY THE BEAUTIFUL
FARMLAND. FARMLAND.
>>AND THE PAINTING THAT GEORGE>>AND THE PAINTING THAT GEORGE
RODRIGUE BELIEVES CEMENTED HIS RODRIGUE BELIEVES CEMENTED HIS
REPUTATION AS AN ARTIST. REPUTATION AS AN ARTIST.
THAT’S ALL COMING UP ON “ART THAT’S ALL COMING UP ON “ART
ROCKS.”>>”ART ROCKS” IS MADE POSSIBLE
BY THE FOUNDATION FOR EXCELLENCE BY THE FOUNDATION FOR EXCELLENCE
IN LOUISIANA PUBLIC IN LOUISIANA PUBLIC
BROADCASTING. BROADCASTING.
AND BY VIEWERS LIKE YOU. AND BY VIEWERS LIKE YOU.
>>HELLO, I’M JAMES FOX-SMITH,>>HELLO, I’M JAMES FOX-SMITH,
PUBLISHER OF “COUNTRY ROADS” PUBLISHER OF “COUNTRY ROADS”
MAGAZINE. MAGAZINE.
AND THANKS FOR JOINING US FOR AND THANKS FOR JOINING US FOR
“ART ROCKS.” “ART ROCKS.”
MANY WILL RECOGNIZE JAMES MANY WILL RECOGNIZE JAMES
MICHALOPOULOS AS LOUISIANA’S MICHALOPOULOS AS LOUISIANA’S
PREMIER PAINTER WHEN IT COMES TO PREMIER PAINTER WHEN IT COMES TO
CAPTURING THE SPIRIT OF CAPTURING THE SPIRIT OF
NEW ORLEANS, ITS BUILDINGS, AND NEW ORLEANS, ITS BUILDINGS, AND
ITS MUSICIANS. ITS MUSICIANS.
WE VISITED JAMES’ STUDIO TO WE VISITED JAMES’ STUDIO TO
LEARN HOW THIS FORMER STREET LEARN HOW THIS FORMER STREET
ARTIST GOES ABOUT COMMITTING THE ARTIST GOES ABOUT COMMITTING THE
CITY’S ESSENTIAL RHYTHM TO CITY’S ESSENTIAL RHYTHM TO
CANVAS. ♪♪
>>I LOVE TO GET STARTED AT 5:00>>I LOVE TO GET STARTED AT 5:00
IN THE MORNING AND WORK THROUGH IN THE MORNING AND WORK THROUGH
TILL ABOUT MIDDAY. TILL ABOUT MIDDAY.
TAKE A NICE LONG BREAK, MAYBE TAKE A NICE LONG BREAK, MAYBE
EVEN UP TO THREE OR FOUR HOURS. EVEN UP TO THREE OR FOUR HOURS.
I LIKE TO READ AFTER I EAT, AND I LIKE TO READ AFTER I EAT, AND
JUST KIND OF WIND MY WAY BACK. JUST KIND OF WIND MY WAY BACK.
BUT THEN I DO LIKE AN AFTERNOON BUT THEN I DO LIKE AN AFTERNOON
SESSION WHERE I’M ABLE TO REGARD SESSION WHERE I’M ABLE TO REGARD
AGAIN CRITICALLY WHAT I’VE DONE AGAIN CRITICALLY WHAT I’VE DONE
IN THE MORNING AND WORK ON IT, IN THE MORNING AND WORK ON IT,
AND I LIKE TO FINISH IN THE AND I LIKE TO FINISH IN THE
EARLY EVENING. EARLY EVENING.
IT HAS A LOT TO DO WITH THE IT HAS A LOT TO DO WITH THE
SOLITUDE. SOLITUDE.
AND IF IN MY STUDIO THERE’S A AND IF IN MY STUDIO THERE’S A
LOT OF ACTIVITY, THEN I TRY TO LOT OF ACTIVITY, THEN I TRY TO
AVOID IT AND START LATER IN AVOID IT AND START LATER IN
TERMS OF MY SOLITARY CONCERNS. TERMS OF MY SOLITARY CONCERNS.
I TAKE MY LIBERTIES AND MY I TAKE MY LIBERTIES AND MY
EXPRESSION OF THE BUILDING. EXPRESSION OF THE BUILDING.
I’M LOOKING TO EXPRESS NOT ONLY I’M LOOKING TO EXPRESS NOT ONLY
A REPRESENTATION OF THE CITY, A REPRESENTATION OF THE CITY,
I’M REALLY LOOKING TO REPRESENT I’M REALLY LOOKING TO REPRESENT
THE LIFE HERE. THE LIFE HERE.
AND SO I LIKE THAT THE BUILDINGS AND SO I LIKE THAT THE BUILDINGS
HAVE A SENSE OF MOVEMENT AND HAVE A SENSE OF MOVEMENT AND
MUSICALITY, BECAUSE I FEEL LIKE MUSICALITY, BECAUSE I FEEL LIKE
I’M NOT REALLY PORTRAYING IN A I’M NOT REALLY PORTRAYING IN A
LITERAL WAY THE CITY’S LOOK, I’M LITERAL WAY THE CITY’S LOOK, I’M
MORE TALKING ABOUT OUR CULTURAL MORE TALKING ABOUT OUR CULTURAL
LIFE, TRYING TO PRESENT LIFE, TRYING TO PRESENT
SOMETHING IN A LITTLE MORE TOTAL SOMETHING IN A LITTLE MORE TOTAL
SENSE. SENSE.
NEW ORLEANS HAS PROBABLY THE NEW ORLEANS HAS PROBABLY THE
MOST UNIQUE HOUSING STOCK IN THE MOST UNIQUE HOUSING STOCK IN THE
UNITED STATES. UNITED STATES.
IT’S AN EXTRAORDINARILY ORIGINAL IT’S AN EXTRAORDINARILY ORIGINAL
ENVIRONMENT. ENVIRONMENT.
IT’S AN ENVIRONMENT THAT IS IT’S AN ENVIRONMENT THAT IS
SOCIAL IN A WAY THAT NO OTHER SOCIAL IN A WAY THAT NO OTHER
AMERICAN CITY IS SOCIAL IN THE AMERICAN CITY IS SOCIAL IN THE
SENSE THAT MOST OF THE CITY OR SENSE THAT MOST OF THE CITY OR
MUCH OF THE CITY WAS DEVELOPED MUCH OF THE CITY WAS DEVELOPED
PRIOR TO A WIDE EXTENSIVE USE OF PRIOR TO A WIDE EXTENSIVE USE OF
THE AUTOMOBILE, SO THERE’S A THE AUTOMOBILE, SO THERE’S A
UNIQUE BUILT QUALITY TO THE UNIQUE BUILT QUALITY TO THE
SOCIAL SPACES, IN ADDITION TO A SOCIAL SPACES, IN ADDITION TO A
UNIQUE ARCHITECTURAL STYLE. UNIQUE ARCHITECTURAL STYLE.
OUR DOUBLE SHOTGUN, OUR SINGLE OUR DOUBLE SHOTGUN, OUR SINGLE
SHOTGUN AND MORE VICTORIAN SHOTGUN AND MORE VICTORIAN
EMBELLISHED BUILDINGS ON THE EMBELLISHED BUILDINGS ON THE
UPTOWN SIDE OF THE CITY, THAT UPTOWN SIDE OF THE CITY, THAT
ARE UTTERLY UNUSUAL AND TRULY ARE UTTERLY UNUSUAL AND TRULY
INSPIRING. INSPIRING.
THE ORNAMENTATION IS TRULY THE ORNAMENTATION IS TRULY
SPECIAL. SPECIAL.
THE ’20s AND 30s SO YOU A THE ’20s AND 30s SO YOU A
GREAT DEAL OF VICTORIAN GREAT DEAL OF VICTORIAN
EMBELLISHMENT, AND IT’S A REAL EMBELLISHMENT, AND IT’S A REAL
PLEASURE TO PORTRAY IT. PLEASURE TO PORTRAY IT.
REALLY WHAT I WANT TO DO IS GO REALLY WHAT I WANT TO DO IS GO
TO THE LIFE, I WANT TO GO TO THE TO THE LIFE, I WANT TO GO TO THE
LIFESTYLE, AND I WANT TO BE LIFESTYLE, AND I WANT TO BE
THERE, I WANT TO LIVE IT, AND I THERE, I WANT TO LIVE IT, AND I
HOPE THE CANVAS REPRESENTS THAT HOPE THE CANVAS REPRESENTS THAT
LIVINGNESS. LIVINGNESS.
I USE A LOT OF COLOR BECAUSE I USE A LOT OF COLOR BECAUSE
NEW ORLEANS IS AN NEW ORLEANS IS AN
EXTRAORDINARILY COLORFUL CITY. EXTRAORDINARILY COLORFUL CITY.
COLOR FOR ME IS AN EMBELLISHMENT COLOR FOR ME IS AN EMBELLISHMENT
THAT IS NOT UNLIKE A FANSFUL THAT IS NOT UNLIKE A FANSFUL
ADDITION TO A RECIPE, OR A ADDITION TO A RECIPE, OR A
FLOURISH, A DANCE MOVE. FLOURISH, A DANCE MOVE.
WE’RE A CULTURE THAT IS WE’RE A CULTURE THAT IS
EXTRAORDINARILY LIVELY, RICH AND EXTRAORDINARILY LIVELY, RICH AND
OUT OF CONTROL IN A CERTAIN WAY. OUT OF CONTROL IN A CERTAIN WAY.
MUSIC PERMEATES MOVEMENT MUSIC PERMEATES MOVEMENT
PERMEATES, SENSE WAWLT PERMEATES, SENSE WAWLT
PERMEATES, PAINT IS A WAY OF PERMEATES, PAINT IS A WAY OF
EXPRESSING SOME OF THESE MORE EXPRESSING SOME OF THESE MORE
SUBTLE QUALITIES OF OUR CULTURE SUBTLE QUALITIES OF OUR CULTURE
AND THE COLOR CERTAINLY HELPS ME AND THE COLOR CERTAINLY HELPS ME
GET THERE. GET THERE.
YOU LEARN A LOT ABOUT A SUBJECT YOU LEARN A LOT ABOUT A SUBJECT
BY NOT ONLY LOOKING AT WHAT IS BY NOT ONLY LOOKING AT WHAT IS
BRIGHTLY LIT, BUT WHAT IS MORE BRIGHTLY LIT, BUT WHAT IS MORE
SUBTLY SHADED. SUBTLY SHADED.
AND THERE’S ALMOST NOTHING MORE AND THERE’S ALMOST NOTHING MORE
FASCINATING THAN OUR BUILDINGS FASCINATING THAN OUR BUILDINGS
IN THE SUNLIGHT. IN THE SUNLIGHT.
WE ENJOY A TREMENDOUS AMOUNT OF WE ENJOY A TREMENDOUS AMOUNT OF
SUNLIGHT, AND THERE IS AN SUNLIGHT, AND THERE IS AN
EXTRAORDINARY BEAUTY HIDDEN IN EXTRAORDINARY BEAUTY HIDDEN IN
THE QUITE ATTITUDE — QUIET THE QUITE ATTITUDE — QUIET
YOU’D OF AN AFTERNOON SHADOW. YOU’D OF AN AFTERNOON SHADOW.
I LOVE PORTRAITS. I LOVE PORTRAITS.
IT’S A WONDERFUL THING TO IT’S A WONDERFUL THING TO
PORTRAY A HUMAN BEING. PORTRAY A HUMAN BEING.
I HAVE BEEN HONORED TO PAINT THE I HAVE BEEN HONORED TO PAINT THE
JAZZ FEST SIX TIMES, AND IT JAZZ FEST SIX TIMES, AND IT
IS — IN A SENSE A IS — IN A SENSE A
RESPONSIBILITY TO THE CITY, IT’S RESPONSIBILITY TO THE CITY, IT’S
AN OPPORTUNITY TO PRESENT AN AN OPPORTUNITY TO PRESENT AN
ASPECT OF MUSICAL CULTURE AND, ASPECT OF MUSICAL CULTURE AND,
YEAH, IT’S A SUPER CHALLENGE. YEAH, IT’S A SUPER CHALLENGE.
I LOVE TAKING IT ON, I LOVE THE I LOVE TAKING IT ON, I LOVE THE
DIFFICULTY OF IT. DIFFICULTY OF IT.
IT IS WORKING WITH A LARGER IT IS WORKING WITH A LARGER
GROUP, AND PORTRAYING INTIMATELY GROUP, AND PORTRAYING INTIMATELY
AN ARTIST’S PERSONALITY, GETTING AN ARTIST’S PERSONALITY, GETTING
IN DEEPLY INTO THEIR MUSIC. IN DEEPLY INTO THEIR MUSIC.
I FREQUENTLY ALTERNATE BETWEEN I FREQUENTLY ALTERNATE BETWEEN
THE TWO TOOLS, THE KNIFE AND THE THE TWO TOOLS, THE KNIFE AND THE
BRUSH. BRUSH.
I FIND THEM BOTH VERY USEFUL FOR I FIND THEM BOTH VERY USEFUL FOR
CERTAIN THINGS. CERTAIN THINGS.
SO TYPICALLY I’LL START A SO TYPICALLY I’LL START A
PAINTING WITH A BRUSH. PAINTING WITH A BRUSH.
I’LL INDICATE THE MAJOR I’LL INDICATE THE MAJOR
PROPORTIONS OF THE BUILDING, AND PROPORTIONS OF THE BUILDING, AND
THEN I WILL FOLLOW WITH A PALLET THEN I WILL FOLLOW WITH A PALLET
KNIFE, AND THEN IT DEPENDS ON KNIFE, AND THEN IT DEPENDS ON
THE SUBJECT. THE SUBJECT.
I GO BACK AND FORTH. I GO BACK AND FORTH.
I DON’T HAVE ANY RULES OR I DON’T HAVE ANY RULES OR
REGULATIONS. REGULATIONS.
THEY’RE BOTH GREAT TOOLS, I LIKE THEY’RE BOTH GREAT TOOLS, I LIKE
TO USE THEM INDEPENDENTLY. TO USE THEM INDEPENDENTLY.
THE PALETTE IS QUITE FRESH. THE PALETTE IS QUITE FRESH.
IT’S ONLY ABOUT EIGHT YEARS OLD, IT’S ONLY ABOUT EIGHT YEARS OLD,
IT PROBABLY HAS TWO INCHES OF IT PROBABLY HAS TWO INCHES OF
SOLID PAINT ON IT, AND I’M SOLID PAINT ON IT, AND I’M
PROBABLY DUE FOR A TRADE OUT, PROBABLY DUE FOR A TRADE OUT,
BUT IT’S A FELLOW TRAVELER FOR A BUT IT’S A FELLOW TRAVELER FOR A
LONG TIME, AND THEY’RE HARD TO LONG TIME, AND THEY’RE HARD TO
GET RID OF. GET RID OF.
THEY’RE HARD TO CHANGE OUT, AND THEY’RE HARD TO CHANGE OUT, AND
I’M STILL IN LOVE WITH IT. I’M STILL IN LOVE WITH IT.
I DID NOT START MY ARTISTIC LIFE I DID NOT START MY ARTISTIC LIFE
AS A CHILD. AS A CHILD.
IT’S SOMETHING I CAME INTO KIND IT’S SOMETHING I CAME INTO KIND
OF ACCIDENTALLY IN ADULTHOOD, OF ACCIDENTALLY IN ADULTHOOD,
AND I DIDN’T IMAGINE THAT I AND I DIDN’T IMAGINE THAT I
WOULD END UP HAVING MORE THAN A WOULD END UP HAVING MORE THAN A
HOBBY WITNESS, BUT I KIND OF HOBBY WITNESS, BUT I KIND OF
FELL IN LOVE WITH IT, AND HAVE FELL IN LOVE WITH IT, AND HAVE
BEEN DEEPLY ENGAGED FOR ABOUT 35 BEEN DEEPLY ENGAGED FOR ABOUT 35
YEARS NOW. YEARS NOW.
IN A SENSE IT BECOMES A IN A SENSE IT BECOMES A
SPIRITUAL PRACTICE, OR A SPIRITUAL PRACTICE, OR A
PSYCHOLOGICAL PRACTICE. PSYCHOLOGICAL PRACTICE.
SO THE MAKING OF ART IS IN PART SO THE MAKING OF ART IS IN PART
A STUDY OF TRAN SEN DENT LIFE. A STUDY OF TRAN SEN DENT LIFE.
SO JUST LIKE LIVING IN SO JUST LIKE LIVING IN
NEW ORLEANS IS A STUDY IN NEW ORLEANS IS A STUDY IN
TRANSCENDENT LIFE, IT’S A WAY TO TRANSCENDENT LIFE, IT’S A WAY TO
GET TO ANOTHER PLACE. GET TO ANOTHER PLACE.
IT’S A WAY TO BECOME LARGER. IT’S A WAY TO BECOME LARGER.
>>OVER 30-SOME ODD YEARS, JAMES>>OVER 30-SOME ODD YEARS, JAMES
HAS BECOME ONE OF THE MOST HAS BECOME ONE OF THE MOST
ICONIC PAINTINGS IN NEW ORLEANS. ICONIC PAINTINGS IN NEW ORLEANS.
A FRIEND RECENTLY SAID, WHEN YOU A FRIEND RECENTLY SAID, WHEN YOU
CLOSE YOUR EYE AND THINK ABOUT CLOSE YOUR EYE AND THINK ABOUT
NEW ORLEANS, YOU SEE A JAMES NEW ORLEANS, YOU SEE A JAMES
MICHALOPOULOS PAINTING. ♪♪>>MICHALOPOULOS SAYS HE RARELY
DOES COMMISSION WORK, UNLESS DOES COMMISSION WORK, UNLESS
IT’S FOR A CHARITABLE CAUSE. IT’S FOR A CHARITABLE CAUSE.
HE PREFERS PAINTING WHAT HE IS HE PREFERS PAINTING WHAT HE IS
FEELING AT THE TIME. FEELING AT THE TIME.
HIS MOTTO — ALWAYS PAINT FOR HIS MOTTO — ALWAYS PAINT FOR
YOURSELF. YOURSELF.
>>NO MATTER WHERE YOU LIVE IN>>NO MATTER WHERE YOU LIVE IN
LOUISIANA, OPPORTUNITIES TO LOUISIANA, OPPORTUNITIES TO
CONNECT WITH THE ARTS ARE CONNECT WITH THE ARTS ARE
EVERYWHERE. EVERYWHERE.
YOU JUST NEED TO KNOW WHERE TO YOU JUST NEED TO KNOW WHERE TO
LOOK. LOOK.
SO HERE ARE A FEW OF THE MANY SO HERE ARE A FEW OF THE MANY
FESTIVALS, EXHIBITS, AND SHOWS FESTIVALS, EXHIBITS, AND SHOWS
COMING UP AROUND THE STATE.>>TO LEARN MORE ABOUT THESE AND
OTHER EVENTS IN LOUISIANA, VISIT OTHER EVENTS IN LOUISIANA, VISIT
THE WEBSITE AT LPB.ORG/ARTROCKS THE WEBSITE AT LPB.ORG/ARTROCKS
OR MORE ABOUT THESE AND OTHER OR MORE ABOUT THESE AND OTHER
EVENTS, SNAG A COPY OF “COUNTRY EVENTS, SNAG A COPY OF “COUNTRY
ROADS” MAGAZINE. ROADS” MAGAZINE.
THEY’RE ALL AROUND TOWN AND THE THEY’RE ALL AROUND TOWN AND THE
“ART ROCKS” WEBSITE HAS AN “ART ROCKS” WEBSITE HAS AN
ARCHIVE OF PREVIOUS EPISODES. ARCHIVE OF PREVIOUS EPISODES.
TO SEE ANY SEGMENT AGAIN, LOG ON TO SEE ANY SEGMENT AGAIN, LOG ON
TO LPB.ORG. TO LPB.ORG.
>>ALL AROUND THE WORLD, THERE’S>>ALL AROUND THE WORLD, THERE’S
A GROWING TREND TOWARDS CREATING A GROWING TREND TOWARDS CREATING
ART USING METHODS THAT INVITE ART USING METHODS THAT INVITE
VIEWERS TO BECOME ACTIVELY VIEWERS TO BECOME ACTIVELY
INVOLVED. INVOLVED.
IN DENVER, COLORADO, REDLINE IN DENVER, COLORADO, REDLINE
GALLERY EMBRACED THE IDEA WITH GALLERY EMBRACED THE IDEA WITH
ITS PLAYGROUND EXHIBIT. ITS PLAYGROUND EXHIBIT.
IN DOING SO, THE GALLERY IN DOING SO, THE GALLERY
CHALLENGED TRADITIONAL IDEAS CHALLENGED TRADITIONAL IDEAS
ABOUT HOW WE INTERACT WITH ABOUT HOW WE INTERACT WITH
FAMILIAR SPACES AND OBJECTS. FAMILIAR SPACES AND OBJECTS.
NO “DON’T TOUCH” SIGNS HERE. NO “DON’T TOUCH” SIGNS HERE.
LET’S TAKE A LOOK.>>PLAY.
THIS SEEMINGLY SIMPLE ACT IS THIS SEEMINGLY SIMPLE ACT IS
SOMETHING CORTNEY LANE STELL HAS SOMETHING CORTNEY LANE STELL HAS
THOUGHT ABOUT MORE SERIOUSLY THOUGHT ABOUT MORE SERIOUSLY
THAN MOST. THAN MOST.
>>PLAY IS A VERY INTERESTING>>PLAY IS A VERY INTERESTING
CONCEPT FOR MANY REASONS. CONCEPT FOR MANY REASONS.
IT’S A WAY TO GET CHILDREN TO IT’S A WAY TO GET CHILDREN TO
ENGAGE WITH IDEAS OF ENGAGE WITH IDEAS OF
RESPONSIBILITY, CARE TAKING, RESPONSIBILITY, CARE TAKING,
COOKING, WAR. COOKING, WAR.
PLAY IS ALSO, CONVERSELY, A WAY PLAY IS ALSO, CONVERSELY, A WAY
TO GET AWAY FROM A PROGRAMMED TO GET AWAY FROM A PROGRAMMED
UNDERSTANDING, OR WAY OF LOOKING UNDERSTANDING, OR WAY OF LOOKING
AT THE WORLD, AND LASTLY, AT THE WORLD, AND LASTLY,
PROBABLY THE ONE THAT EXCITES ME PROBABLY THE ONE THAT EXCITES ME
THE MOST, PLAY IS A WAY TO THINK THE MOST, PLAY IS A WAY TO THINK
ABOUT THE NOW. ABOUT THE NOW.
IT’S A WAY TO ENGAGE IN THE IT’S A WAY TO ENGAGE IN THE
CURRENT MOMENT. CURRENT MOMENT.
>>AS COCURATOR OF THE EXHIBIT>>AS COCURATOR OF THE EXHIBIT
“PLAYGROUNDS” FOR REDLINE, A “PLAYGROUNDS” FOR REDLINE, A
CONTEMPORARY ART CENTER IN CONTEMPORARY ART CENTER IN
DENVER, SHE BROUGHT TOGETHER DENVER, SHE BROUGHT TOGETHER
NATIONAL AND INTERNATIONAL NATIONAL AND INTERNATIONAL
ARTISTS TO MESS AROUND WITH THE ARTISTS TO MESS AROUND WITH THE
IDEA OF PLAY. IDEA OF PLAY.
>>SO YOU SEE EVERYTHING FROM>>SO YOU SEE EVERYTHING FROM
FOUND OBJECTS, SCULPTURES, TO FOUND OBJECTS, SCULPTURES, TO
ARTISTS WHO HAVE ENGAGED WITH ARTISTS WHO HAVE ENGAGED WITH
HACKING VIDEO GAMES, TO A COUCH HACKING VIDEO GAMES, TO A COUCH
FORT, POOL TABLE IN THE SHAPE OF FORT, POOL TABLE IN THE SHAPE OF
CUBA, AND EVEN A HOSPITAL SCOTCH CUBA, AND EVEN A HOSPITAL SCOTCH
THAT’S THOUSANDS AND THOUSANDS THAT’S THOUSANDS AND THOUSANDS
OF NUMBERS LONG THAT GOES OF NUMBERS LONG THAT GOES
THROUGHOUT THE CITY. THROUGHOUT THE CITY.
>>THROUGH THIS VERY>>THROUGH THIS VERY
RECOGNIZABLE GAME, WE FIND A RECOGNIZABLE GAME, WE FIND A
MEETING POINT WHERE WE ARE BOTH MEETING POINT WHERE WE ARE BOTH
EQUAL. EQUAL.
>>ARGENTINAN ARTIST AUGUSTINA>>ARGENTINAN ARTIST AUGUSTINA
WOODGATE SAID SHE HOPES THAT WOODGATE SAID SHE HOPES THAT
COMMON GROUND WILL INSPIRE COMMON GROUND WILL INSPIRE
CONVERSATION. CONVERSATION.
>>NO ONE KNOWS THEIR NEIGHBOR>>NO ONE KNOWS THEIR NEIGHBOR
ANYMORE. ANYMORE.
NO ONE USES THE SIDEWALK NO ONE USES THE SIDEWALK
ANYMORE. ANYMORE.
NO ONE PLAYS OUTSIDE ANYMORE. NO ONE PLAYS OUTSIDE ANYMORE.
>>WOODGATE HAS INSTALLED HER>>WOODGATE HAS INSTALLED HER
HOSPITAL SCOTCH BOARDS SEVERAL HOSPITAL SCOTCH BOARDS SEVERAL
LOCATIONS THROUGHOUT THE WORLD, LOCATIONS THROUGHOUT THE WORLD,
INCLUDING HER NATIVE BUENOS INCLUDING HER NATIVE BUENOS
AIRES, AND MOST RECENTLY, AIRES, AND MOST RECENTLY,
DENVER, COLORADO. DENVER, COLORADO.
HER WORK, CONNECTED THROUGH THE HER WORK, CONNECTED THROUGH THE
CITY STORM DRAINS, IS MEANT TO CITY STORM DRAINS, IS MEANT TO
BE TEMPORARY. BE TEMPORARY.
>>THE TYPE OF PAINT I’M USING>>THE TYPE OF PAINT I’M USING
EVENTUALLY WILL RUN AWAY, IT EVENTUALLY WILL RUN AWAY, IT
WILL WASH OFF WITH THE FOOT WILL WASH OFF WITH THE FOOT
TRAFFIC AS WELL AS WITH THE TRAFFIC AS WELL AS WITH THE
WEATHER IF IT RAIN AS LOT. WEATHER IF IT RAIN AS LOT.
SO IT’S IMPORTANT FOR ME ALSO TO SO IT’S IMPORTANT FOR ME ALSO TO
MAINTAIN THAT LEVEL OF EPHEMERAL MAINTAIN THAT LEVEL OF EPHEMERAL
ASPECT OF HOSPITAL SCOTCH. ASPECT OF HOSPITAL SCOTCH.
— HOPSCOTCH. — HOPSCOTCH.
>>WOODGATE WORKS WITH>>WOODGATE WORKS WITH
COMMUNITIES TO IDENTIFY PLACES COMMUNITIES TO IDENTIFY PLACES
THEY BELIEVE HOPSCOTCH COULD GET THEY BELIEVE HOPSCOTCH COULD GET
PEOPLE TALKING. PEOPLE TALKING.
>>IT’S INTERESTING IN DIFFERENT>>IT’S INTERESTING IN DIFFERENT
NEIGHBORHOODS, AS WELL AS IN NEIGHBORHOODS, AS WELL AS IN
DIFFERENT CITIES AND DIFFERENT DIFFERENT CITIES AND DIFFERENT
COUNTRIES, THE CONVERSATION COUNTRIES, THE CONVERSATION
CHANGES. CHANGES.
THE HOPSCOTCH IS LIKE A STARTING THE HOPSCOTCH IS LIKE A STARTING
POINT FOR THEM TO DISCUSS ALL POINT FOR THEM TO DISCUSS ALL
THESE OTHER TOPICS BETWEEN THEM, THESE OTHER TOPICS BETWEEN THEM,
REALLY. REALLY.
MY PURPOSE WITH THIS WORK, PAY MY PURPOSE WITH THIS WORK, PAY
ATTENTION TO — BRING ATTENTION ATTENTION TO — BRING ATTENTION
TO SIDEWALKS, TO THAT PUBLIC TO SIDEWALKS, TO THAT PUBLIC
SPACE THAT HAS BEEN, THROUGHOUT SPACE THAT HAS BEEN, THROUGHOUT
HISTORY, A VERY IMPORTANT HISTORY, A VERY IMPORTANT
POLITICAL SPACE. POLITICAL SPACE.
>>A SENSE OF PLACE WAS ALSO>>A SENSE OF PLACE WAS ALSO
IMPORTANT TO ARTIST CONOR IMPORTANT TO ARTIST CONOR
McGARRIGLE’S WORK. McGARRIGLE’S WORK.
>>YOU CAN SEE THIS LONG LINE>>YOU CAN SEE THIS LONG LINE
THAT IS A MAP. THAT IS A MAP.
IT’S A SATELLITE IMAGE OF THE IT’S A SATELLITE IMAGE OF THE
LENGTH OF COLFAX, AND CONOR, WHO LENGTH OF COLFAX, AND CONOR, WHO
IS AN IRISH ARTIST, FOUND OUT IS AN IRISH ARTIST, FOUND OUT
THAT COLFAX IS THE LONGETTES THAT COLFAX IS THE LONGETTES
AVENUE IN THE NATION, SO HE AVENUE IN THE NATION, SO HE
WALKED FROM THE EAST END OF WALKED FROM THE EAST END OF
COLFAX ALL THE WAY TO THE OTHER COLFAX ALL THE WAY TO THE OTHER
END OF WEST, AND HIRED A END OF WEST, AND HIRED A
SATELLITE TO TAKE A PICTURE OF SATELLITE TO TAKE A PICTURE OF
HIM THROUGHOUT THAT ENTIRE WALK. HIM THROUGHOUT THAT ENTIRE WALK.
SO IT WAS A SORT OF STRAIGHT SO IT WAS A SORT OF STRAIGHT
LINE WANDERING, SO TO SAY, AND A LINE WANDERING, SO TO SAY, AND A
WAY TO EXPLORE THE CITY AND TO WAY TO EXPLORE THE CITY AND TO
SEE WHAT IT’S REALLY LIKE FROM SEE WHAT IT’S REALLY LIKE FROM
GROUND LEVEL. GROUND LEVEL.
>>THE REASON WHY I LOVE ART IS>>THE REASON WHY I LOVE ART IS
BECAUSE ART IS COMMUNICATION, BECAUSE ART IS COMMUNICATION,
FOR ME. FOR ME.
IT’S VERY — AT ITS VERY BASE IT’S VERY — AT ITS VERY BASE
LEVEL. LEVEL.
WE ARE ALL INDIVIDUALS, AND WE ARE ALL INDIVIDUALS, AND
WE’RE ALL PART OF LARGER WE’RE ALL PART OF LARGER
SOCIETY, AND ARTISTS ACT AS SOCIETY, AND ARTISTS ACT AS
MIRRORS, ARTISTS PUSH AGAINST, MIRRORS, ARTISTS PUSH AGAINST,
ARTISTS CONNECT US. ARTISTS CONNECT US.
>>AND IN THIS INSTANCE,>>AND IN THIS INSTANCE,
ENCOURAGE EACH OF US TO PLAY.>>HERMANN, MISSOURI,
PHOTOGRAPHER WILLIAM FIELDS PHOTOGRAPHER WILLIAM FIELDS
FINDS HIS INSPIRATION IN THE FINDS HIS INSPIRATION IN THE
ROLLING LANDSCAPES OF MISSOURI ROLLING LANDSCAPES OF MISSOURI
RIVER COUNTRY. RIVER COUNTRY.
HIS PHOTOGRAPHIC TECHNIQUES LEND HIS PHOTOGRAPHIC TECHNIQUES LEND
A MYSTERY AND A SENSE OF A MYSTERY AND A SENSE OF
TIMELESSNESS TO HIS IMAGES. TIMELESSNESS TO HIS IMAGES.
LOOK CLOSER. ♪♪
>>THROUGH HIS PHOTOGRAPHER,>>THROUGH HIS PHOTOGRAPHER,
WILLIAM FIELDS EXPLORES HIS WILLIAM FIELDS EXPLORES HIS
FASCINATION WITH THE LANDSCAPE FASCINATION WITH THE LANDSCAPE
SHAPED BY RIVERS. SHAPED BY RIVERS.
THE NATURAL GEE ONLY TRIOF THE THE NATURAL GEE ONLY TRIOF THE
LAND. LAND.
THE INFINITE VARIETY OF SHAPES, THE INFINITE VARIETY OF SHAPES,
AND COLORS, AND THE PASSING AND COLORS, AND THE PASSING
GENERATIONS OF PEOPLE WORKING GENERATIONS OF PEOPLE WORKING
THAT LAND.>>I CONSTANTLY AM OVERWHELMED
IN KNOTS IN MY KNEES BY THE IN KNOTS IN MY KNEES BY THE
BEAUTY I SEE ALL AROUND ME. BEAUTY I SEE ALL AROUND ME.
I CAME HERE 21 YEARS AGO, AND I I CAME HERE 21 YEARS AGO, AND I
DIDN’T KNOW HOW LONG I WOULD DIDN’T KNOW HOW LONG I WOULD
STAY. STAY.
BUT I’VE LIVED HERE LONGER THAN BUT I’VE LIVED HERE LONGER THAN
I’VE LIVED ANYWHERE ELSE IN MY I’VE LIVED ANYWHERE ELSE IN MY
LIFE BECAUSE OF THE FACT THAT LIFE BECAUSE OF THE FACT THAT
I’M INSPIRED ON A DAILY BASIS, I’M INSPIRED ON A DAILY BASIS,
BY WHAT I SEE AROUND ME, BY THE BY WHAT I SEE AROUND ME, BY THE
OLD BILLINGS — BUILDINGS, BY OLD BILLINGS — BUILDINGS, BY
THE BEAUTIFUL FARMLAND, JUST THE THE BEAUTIFUL FARMLAND, JUST THE
AMAZING MISSOURI RIVER AND AMAZING MISSOURI RIVER AND
EVERYTHING IT HAS TO OFFER.>>THE OPEN SPACES, IT’S THE
QUALITY OF LIFE, AND IT’S THE QUALITY OF LIFE, AND IT’S THE
WAY — THE DISTANT HILLS CAN WAY — THE DISTANT HILLS CAN
BECOME LIKE A WATERCOLOR WHERE BECOME LIKE A WATERCOLOR WHERE
THERE’S LAYERS OF VALUES FROM THERE’S LAYERS OF VALUES FROM
ONE ROW OF TREES TO THE NEXT, TO ONE ROW OF TREES TO THE NEXT, TO
THE NEXT, TO THE NEXT HILL, TO THE NEXT, TO THE NEXT HILL, TO
THE NEXT FARM. THE NEXT FARM.
OF COURSE THE SKY, THE SKY IS OF COURSE THE SKY, THE SKY IS
ALWAYS A HUGE PART OF WHEN I ALWAYS A HUGE PART OF WHEN I
MAKE A PICTURE, I LOOK FOR MAKE A PICTURE, I LOOK FOR
ACTIVE SKIES, BIG, STRONG ACTIVE SKIES, BIG, STRONG
CLOUDS, TOWERING STUFF INTO THE CLOUDS, TOWERING STUFF INTO THE
ATMOSPHERE. ATMOSPHERE.
THAT’S WHAT EXCITES ME. THAT’S WHAT EXCITES ME.
IT’S JUST A CONSTANT VISUAL IT’S JUST A CONSTANT VISUAL
DELIGHT TO ME. DELIGHT TO ME.
ONE OF THE GREAT THINGS THAT I ONE OF THE GREAT THINGS THAT I
FIND SO UNIQUE ABOUT THIS AREA FIND SO UNIQUE ABOUT THIS AREA
IS THE RIVER BOTTOMS. IS THE RIVER BOTTOMS.
ALL OF THIS LAND THAT WE SEE OUT ALL OF THIS LAND THAT WE SEE OUT
HERE, THESE CORNFIELDS AND THESE HERE, THESE CORNFIELDS AND THESE
FARMS WERE ONCE PART OF THE FARMS WERE ONCE PART OF THE
RIVER ITSELF. RIVER ITSELF.
THE RIVER CAME RIGHT HERE TO THE RIVER CAME RIGHT HERE TO
THIS BUILDING. THIS BUILDING.
THIS WAS A PORT WHERE THEY THIS WAS A PORT WHERE THEY
SHIPPED STUFF. SHIPPED STUFF.
SO ALL THAT LAND OUT THERE IS SO ALL THAT LAND OUT THERE IS
NOW PART OF THE LANDSCAPE, AND NOW PART OF THE LANDSCAPE, AND
IT WAS WHEN LEWIS AND CLARK CAME IT WAS WHEN LEWIS AND CLARK CAME
OUT TO THE RIVER, IT WAS THE OUT TO THE RIVER, IT WAS THE
RIVER. RIVER.
I’M FASCINATED BY THE PHYSICAL I’M FASCINATED BY THE PHYSICAL
DECAY. DECAY.
THE MACHINE THAT IS RUSTING ON THE MACHINE THAT IS RUSTING ON
THE SIDE OF THE TRAIL, THE BARN THE SIDE OF THE TRAIL, THE BARN
THAT IS FALLING DOWN WITH ONE THAT IS FALLING DOWN WITH ONE
DOOR HANGING OFF THE HINGES. DOOR HANGING OFF THE HINGES.
ALL OF THOSE THINGS ARE JUST A ALL OF THOSE THINGS ARE JUST A
VISUAL TREAT. VISUAL TREAT.
YOU KNOW, IT’S GREAT STUFF. YOU KNOW, IT’S GREAT STUFF.
IT’S JUST A BIG CONCEPT THAT’S IT’S JUST A BIG CONCEPT THAT’S
HARD TO GET MY ARMS AROUND IN HARD TO GET MY ARMS AROUND IN
WORDS SOMETIMES. WORDS SOMETIMES.
THE FACT THAT I COULD ARTICULATE THE FACT THAT I COULD ARTICULATE
IT, I WOULDN’T HAVE TO MAKE IT, I WOULDN’T HAVE TO MAKE
PICTURES OF IT.>>WHEN MOST OF US THINK OF
LEGENDARY LOUISIANA PAINTER LEGENDARY LOUISIANA PAINTER
GEORGE RODRIGUE, IT’S HIS BLUE GEORGE RODRIGUE, IT’S HIS BLUE
DOGS THAT LEAP TO MIND. DOGS THAT LEAP TO MIND.
BUT HE HAD A SPECIAL PLACE IN BUT HE HAD A SPECIAL PLACE IN
HIS HEART FOR ANOTHER PAINTING, HIS HEART FOR ANOTHER PAINTING,
THE AIOLI DINNER. THE AIOLI DINNER.
OGDEN MUSEUM CURATOR BRADLEY OGDEN MUSEUM CURATOR BRADLEY
SUMRALL EXPLAINS THE SUMRALL EXPLAINS THE
SIGNIFICANCE THINNED PAINTING SIGNIFICANCE THINNED PAINTING
FOR ROD RG3 AND THE — FOR FOR ROD RG3 AND THE — FOR
RODRIGUE AND THE CULTURE THAT RODRIGUE AND THE CULTURE THAT
RAISED HIM. RAISED HIM.
>>THIS IS GEORGE RODRIGUE’S>>THIS IS GEORGE RODRIGUE’S
PIECE HE USED THE HUMAN FIGURE PIECE HE USED THE HUMAN FIGURE
IN THE LANDSCAPE. IN THE LANDSCAPE.
IT’S CONSIDERED HIS MASTERPIECE IT’S CONSIDERED HIS MASTERPIECE
BY THE FAMILY AND BY SCHOLARS, BY THE FAMILY AND BY SCHOLARS,
AND WE’RE REALLY PROUD TO HAVE AND WE’RE REALLY PROUD TO HAVE
IT HERE AT THE OGDEN. IT HERE AT THE OGDEN.
SO THIS DEPICTS A DARBY HOUSE, SO THIS DEPICTS A DARBY HOUSE,
AND A TRADITIONAL DINNER THAT AND A TRADITIONAL DINNER THAT
WAS HELD WITHIN THE FRENCH WAS HELD WITHIN THE FRENCH
CREOLE FAMILY THERE. CREOLE FAMILY THERE.
THE MEN WOULD COME WITH THEIR THE MEN WOULD COME WITH THEIR
OWN BOTTLE OF WINE AND SIT OWN BOTTLE OF WINE AND SIT
AROUND THE TABLE, THESE DINNERS AROUND THE TABLE, THESE DINNERS
WOULD LAST FOR LIKE SIX HOURS. WOULD LAST FOR LIKE SIX HOURS.
ONE OF THE ELDERS WOULD MAKE THE ONE OF THE ELDERS WOULD MAKE THE
AIOLI, WHICH IS A MAYONNAISE, AIOLI, WHICH IS A MAYONNAISE,
AND THE BOYS WOULD SERVE THE AND THE BOYS WOULD SERVE THE
TABLE AND THE WOMEN DID ALL OF TABLE AND THE WOMEN DID ALL OF
THE COOKING. THE COOKING.
THEY WERE THESE GOURMET THEY WERE THESE GOURMET
SOCIETIES, THESE GROUPS OF SOCIETIES, THESE GROUPS OF
GOURMANDS WITHIN THE FRENCH GOURMANDS WITHIN THE FRENCH
CREOLE CULTURE. CREOLE CULTURE.
WHAT YOU SEE IN THIS COMPOSITION WHAT YOU SEE IN THIS COMPOSITION
IS HOW HE PUSHED ALL OF THE IS HOW HE PUSHED ALL OF THE
ACTION UP INTO THE UPPER SECTION ACTION UP INTO THE UPPER SECTION
OF THE PAINTING, AND THEN YOU OF THE PAINTING, AND THEN YOU
HAVE THIS BEAUTIFUL FOREGROUND HAVE THIS BEAUTIFUL FOREGROUND
THAT ALMOST BECOMES LIKE AN THAT ALMOST BECOMES LIKE AN
ABSTRACTION OF THE GREENS AND ABSTRACTION OF THE GREENS AND
BROWNS AND BLACKS HERE. BROWNS AND BLACKS HERE.
AND IT’S TRULY MASTERFUL AND AND IT’S TRULY MASTERFUL AND
SHOWS THE TRAJECTORY OF HIS SHOWS THE TRAJECTORY OF HIS
CAREER. CAREER.
GEORGE RODRIGUE WAS PAINTING GEORGE RODRIGUE WAS PAINTING
WHAT HE KNEW. WHAT HE KNEW.
AND I SAW AN INTERVIEW WITH HIM AND I SAW AN INTERVIEW WITH HIM
RECENTLY WHERE HE SAID DON’T LET RECENTLY WHERE HE SAID DON’T LET
ANYBODY TELL YOU WHAT TO PAINT. ANYBODY TELL YOU WHAT TO PAINT.
PAINT WHAT YOU KNOW. PAINT WHAT YOU KNOW.
THIS IS WHAT HE KNEW. THIS IS WHAT HE KNEW.
THIS IS THE CULTURE HE KNEW. THIS IS THE CULTURE HE KNEW.
AS A MATTER OF FACT, I BELIEVE AS A MATTER OF FACT, I BELIEVE
THIS IS HIS GRANDFATHER THERE. THIS IS HIS GRANDFATHER THERE.
ONE OF GEORGE RODRIGUE’S ONE OF GEORGE RODRIGUE’S
DAUGHTER-IN-LAWS, RELATIVES IS DAUGHTER-IN-LAWS, RELATIVES IS
IN THE PAINTING TOO. IN THE PAINTING TOO.
THESE WERE THE PEOPLE OF HIS THESE WERE THE PEOPLE OF HIS
AREA. AREA.
THIS IS A PAINTING THAT IS THIS IS A PAINTING THAT IS
DEEPLY TIED TO THE CULTURE AND DEEPLY TIED TO THE CULTURE AND
THE TRADITIONS OF A PARTICULAR THE TRADITIONS OF A PARTICULAR
PLACE. PLACE.
AS WE LIKE TO SAY AT THE OGDEN, AS WE LIKE TO SAY AT THE OGDEN,
IT HAS A REALLY STRONG SENSE OF IT HAS A REALLY STRONG SENSE OF
PLACE. PLACE.
I THINK THAT’S WHAT SETS IT I THINK THAT’S WHAT SETS IT
APART FROM MANY PAINTINGS OF APART FROM MANY PAINTINGS OF
THIS PERIOD.>>FEW OF US EVER FORGET THE
FIRST HORROR STORIES WE HEARD. FIRST HORROR STORIES WE HEARD.
THOSE FIRST FRIGHTS STAY WITH THOSE FIRST FRIGHTS STAY WITH
US, AND MAYBE EVEN MADE US US, AND MAYBE EVEN MADE US
BELIEVE IN MAGIC FOR A LITTLE BELIEVE IN MAGIC FOR A LITTLE
WHILE. WHILE.
NOW, ONE ORLANDO, FLORIDA, NOW, ONE ORLANDO, FLORIDA,
THEATER TROUPE IS BRINGING THAT THEATER TROUPE IS BRINGING THAT
DELICIOUS SENSE OF DREAD TO THE DELICIOUS SENSE OF DREAD TO THE
STAGE. STAGE.
HERE’S A LOOK BEHIND THE SCENES HERE’S A LOOK BEHIND THE SCENES
OF “PHANTASMAGORIA.”>>ABOUT SIX YEARS AGO, I SAID,
I NEED TO GET OUT OF MY OWN BOX I NEED TO GET OUT OF MY OWN BOX
AND REDEFINE WHAT A HORROR AND REDEFINE WHAT A HORROR
CIRCUS MEANS TO ME. CIRCUS MEANS TO ME.
WITHIN TWO MONTHS WE HAD A SHOW WITHIN TWO MONTHS WE HAD A SHOW
CALLED “PHANTASMAGORIA.” CALLED “PHANTASMAGORIA.”
COMPLETE WITH THE PUPPETS AND COMPLETE WITH THE PUPPETS AND
THE COSTUMING, AND THE THE COSTUMING, AND THE
PROJECTIONS AND EVERYTHING WE PROJECTIONS AND EVERYTHING WE
WERE DOING. WERE DOING.
>>I THINK WHAT REALLY SETS IT>>I THINK WHAT REALLY SETS IT
APART FROM OTHER THEATER I’VE APART FROM OTHER THEATER I’VE
BEEN TO IS THAT IT’S REALLY KIND BEEN TO IS THAT IT’S REALLY KIND
OF A MULTISENSORY EXPERIENCE. OF A MULTISENSORY EXPERIENCE.
IT’S NOT STRICTLY THEATER. IT’S NOT STRICTLY THEATER.
>>I’VE BEEN ENTRANCED SINCE DAY>>I’VE BEEN ENTRANCED SINCE DAY
ONE. ONE.
AUTOMATICALLY I WAS DRAWN IN TO AUTOMATICALLY I WAS DRAWN IN TO
THEIR PERFORMANCE. THEIR PERFORMANCE.
>>AFTER THAT FIRST LINE, YOU’RE>>AFTER THAT FIRST LINE, YOU’RE
HOOKED. HOOKED.
IT’S HARD TO STOP WATCHING. IT’S HARD TO STOP WATCHING.
TAKE YOUR EYES OFF OF SOMETHING. TAKE YOUR EYES OFF OF SOMETHING.
BECAUSE THEY ALWAYS HAVE THEIR BECAUSE THEY ALWAYS HAVE THEIR
CHARACTERS DOING SOMETHING. CHARACTERS DOING SOMETHING.
>>LOTS OF PEOPLE WHO COME>>LOTS OF PEOPLE WHO COME
ABOARD, THEY ENJOY THE SHOW, ABOARD, THEY ENJOY THE SHOW,
THEY GET PULLED INTO THE WORLD THEY GET PULLED INTO THE WORLD
OF THE SHOW, AND THEY HAVE GREAT OF THE SHOW, AND THEY HAVE GREAT
TALENTS THAT WE CAN USE. TALENTS THAT WE CAN USE.
WHETHER THEY’RE GREAT DANCERS, WHETHER THEY’RE GREAT DANCERS,
OR GREAT STAGE COMBAT PEOPLE, OR OR GREAT STAGE COMBAT PEOPLE, OR
GREAT CIRCUS ARTISTS. GREAT CIRCUS ARTISTS.
>>I WAS INITIALLY JUST AN>>I WAS INITIALLY JUST AN
AUDIENCE MEMBER. AUDIENCE MEMBER.
THERE’S JUST SOMETHING ABOUT THE THERE’S JUST SOMETHING ABOUT THE
WEIRD VICTORIAN STORYTELLING WEIRD VICTORIAN STORYTELLING
WORLD. WORLD.
THE LITTLE SANDBOX THAT WE GET THE LITTLE SANDBOX THAT WE GET
TO PLAY IN THAT I CAN’T STOP. TO PLAY IN THAT I CAN’T STOP.
>>IT’S VICTORIA, DARLING.>>IT’S VICTORIA, DARLING.
IT’S JUST SIMPLY DIVINE, AND TO IT’S JUST SIMPLY DIVINE, AND TO
HAVE THIS GATHIC DARKNESS TO IT, HAVE THIS GATHIC DARKNESS TO IT,
EVEN BETTER. EVEN BETTER.
>>WHEN WE FIRST DESIGNED THESE>>WHEN WE FIRST DESIGNED THESE
COSTUMES, WE HAD NEVER EVEN COSTUMES, WE HAD NEVER EVEN
HEARD THE WORD “STEAMPUNK.” HEARD THE WORD “STEAMPUNK.”
WE WERE DESIGNING VICTORIAN WE WERE DESIGNING VICTORIAN
COSTUMES WITH A TWIST. COSTUMES WITH A TWIST.
AND EVERYBODY STARTED SAYING, AND EVERYBODY STARTED SAYING,
OH, YOU’RE STEAMPUNK. OH, YOU’RE STEAMPUNK.
AND WE WENT, YES, WE ARE! AND WE WENT, YES, WE ARE!
>>IT’S FUN TO SEE THIS LITTLE>>IT’S FUN TO SEE THIS LITTLE
STEAMPUNK FAMILY WE V THEIR STEAMPUNK FAMILY WE V THEIR
COSTUMES ARE SOMETIMES NICER COSTUMES ARE SOMETIMES NICER
THAN OURS. THAN OURS.
>>VERY ECCENTRIC INDIVIDUALS.>>VERY ECCENTRIC INDIVIDUALS.
I HAPPEN TO BE ONE MYSELF, SO WE I HAPPEN TO BE ONE MYSELF, SO WE
SEEM TO MESH PRETTY WELL. SEEM TO MESH PRETTY WELL.
>>I SAW THEIR PERFORMANCE AT>>I SAW THEIR PERFORMANCE AT
GOD’S MONSTERS, THE COMIC BOOK GOD’S MONSTERS, THE COMIC BOOK
SHOP. SHOP.
I THINK ALL THE COS PLAYERS I THINK ALL THE COS PLAYERS
THERE INITIALLY THOUGHT, WHO ARE THERE INITIALLY THOUGHT, WHO ARE
THESE PEOPLE? THESE PEOPLE?
BECAUSE THEY DON’T KNOW THE BECAUSE THEY DON’T KNOW THE
CHARACTERS THEY PLAY IN THE CHARACTERS THEY PLAY IN THE
SHOW. SHOW.
SO THEY WERE A LITTLE SKEPTICAL, SO THEY WERE A LITTLE SKEPTICAL,
BUT ONCE THEY SAW THAT BUT ONCE THEY SAW THAT
PERFORMANCE, I THINK THEY HAD PERFORMANCE, I THINK THEY HAD
THEM HOOKED.>>IF YOU LOOK AT WHAT
“PHANTASMAGORIA” FEATURES, IT’S “PHANTASMAGORIA” FEATURES, IT’S
FOLKLORE, AND IT’S LITERATURE OF FOLKLORE, AND IT’S LITERATURE OF
FANTASY AND HORROR. FANTASY AND HORROR.
WE WERE JUST KIND OF A WE WERE JUST KIND OF A
CONTINUATION OF THAT TRADITION CONTINUATION OF THAT TRADITION
OF DREAMERS, I THINK. OF DREAMERS, I THINK.
>>WE’VE GOT SO MANY DIFFERENT>>WE’VE GOT SO MANY DIFFERENT
LAYERS AND SO MANY DIFFERENT LAYERS AND SO MANY DIFFERENT
PARTS AND PIECES THAT CREATE US PARTS AND PIECES THAT CREATE US
AS A WHOLE. AS A WHOLE.
I REALLY THINK HE’D BE HARD I REALLY THINK HE’D BE HARD
PRESSED TO FIND SOMEBODY THAT WE PRESSED TO FIND SOMEBODY THAT WE
CAN’T RELATE TO. CAN’T RELATE TO.
AND THAT’S WHAT WE STRIVE FOR. AND THAT’S WHAT WE STRIVE FOR.
>>THESE ARE PEOPLE WHO ARE>>THESE ARE PEOPLE WHO ARE
REALLY SPECIAL TO US. REALLY SPECIAL TO US.
AND THEY TREAT US WONDERFULLY AND THEY TREAT US WONDERFULLY
AND SUPPORT US, LET’S DO THE AND SUPPORT US, LET’S DO THE
SAME WITH THEM. SAME WITH THEM.
THAT’S WHAT I THINK A LOT OF THAT’S WHAT I THINK A LOT OF
PEOPLE CAN LEARN ABOUT QUOTE PEOPLE CAN LEARN ABOUT QUOTE
UNQUOTE FANDOM, OR THE PEOPLE UNQUOTE FANDOM, OR THE PEOPLE
THAT FOLLOW YOU. THAT FOLLOW YOU.
THEY HAVE A STAKE IN THIS TOO. THEY HAVE A STAKE IN THIS TOO.
>>WE’RE TRYING TO BASH CUTE>>WE’RE TRYING TO BASH CUTE
AUDIENCE! AUDIENCE!
[LAUGHTER] [LAUGHTER]
>>PEOPLE STARTED SAYING TO US,>>PEOPLE STARTED SAYING TO US,
YOU GUYS ARE LIKE A GRAPHIC YOU GUYS ARE LIKE A GRAPHIC
NOVEL COME TO LIFE. NOVEL COME TO LIFE.
YOU’RE LIKE A LIVING COMIC BOOK, YOU’RE LIKE A LIVING COMIC BOOK,
AND WE’RE GOING, OKAY, LET’S USE AND WE’RE GOING, OKAY, LET’S USE
THAT. THAT.
>>WITHIN THE WORLD OF COMIC>>WITHIN THE WORLD OF COMIC
BOOK STORY, WE CAN TAKE A PAUSE BOOK STORY, WE CAN TAKE A PAUSE
FROM IT BEING A THEATRICAL FROM IT BEING A THEATRICAL
PRESENTATION OF LITERARY WORK, PRESENTATION OF LITERARY WORK,
AND WE CAN REALLY TAKE THE TIME AND WE CAN REALLY TAKE THE TIME
TO DIVE INTO THE RELATIONSHIPS TO DIVE INTO THE RELATIONSHIPS
BETWEEN THESE CHARACTERS. BETWEEN THESE CHARACTERS.
>>WE’RE IN THE MIDST OF>>WE’RE IN THE MIDST OF
PREPRODUCTION. PREPRODUCTION.
THE VERY FIRST ISSUE, WHICH IS THE VERY FIRST ISSUE, WHICH IS
CALLED ISSUE ZERO, IT’S KIND OF CALLED ISSUE ZERO, IT’S KIND OF
AN INTRODUCTION TO THE TROUPE. AN INTRODUCTION TO THE TROUPE.
AT THIS POINT IT’S REALLY AT THIS POINT IT’S REALLY
WONDERFUL TO WATCH HOW THE WONDERFUL TO WATCH HOW THE
STORYBOARDS HAVE BUILT OFF THE STORYBOARDS HAVE BUILT OFF THE
STORY, AND THEN WE’VE GONE INTO STORY, AND THEN WE’VE GONE INTO
THE STUDIO AND BUILT VISUAL THE STUDIO AND BUILT VISUAL
STORYBOARDS WITH PHOTOGRAPHY. STORYBOARDS WITH PHOTOGRAPHY.
>>WHAT OTHER SORTS OF>>WHAT OTHER SORTS OF
SHENANIGANS AND ADVENTURES HAVE SHENANIGANS AND ADVENTURES HAVE
THEY BEEN GETTING INTO WHEN THEY BEEN GETTING INTO WHEN
THEY’RE NOT PRESENTING A SHOW THEY’RE NOT PRESENTING A SHOW
FOR AN AUDIENCE? FOR AN AUDIENCE?
WHAT GOES ON BETWEEN THE SHOWS? WHAT GOES ON BETWEEN THE SHOWS?
>>BARRY KERSH WAS OUR>>BARRY KERSH WAS OUR
PHOTOGRAPHER WHO WALKED IN THE PHOTOGRAPHER WHO WALKED IN THE
DOOR ONE DAY AND JUST SAID, I DOOR ONE DAY AND JUST SAID, I
REALLY LIKE WHAT YOU GUYS WANT REALLY LIKE WHAT YOU GUYS WANT
TO DO. TO DO.
WHAT I LIKE ABOUT IT IS THE WAY WHAT I LIKE ABOUT IT IS THE WAY
YOU’VE BUILT A FAMILY, AND YOU’VE BUILT A FAMILY, AND
YOU’RE LIVING THAT FAMILY. YOU’RE LIVING THAT FAMILY.
IT TRULY HAS BECOME THAT WEIRD IT TRULY HAS BECOME THAT WEIRD
ARTISTIC SWITCH WHERE THE ACTORS ARTISTIC SWITCH WHERE THE ACTORS
PLAYING THE TROUPE HAVE BECOME PLAYING THE TROUPE HAVE BECOME
THE TROUPE. THE TROUPE.
WE HAVE “PHANTASMAGORIA.” WE HAVE “PHANTASMAGORIA.”
AND THAT’S KIND OF BEAUTIFUL. AND THAT’S KIND OF BEAUTIFUL.
WE LOVE IT.>>AND THAT’S GOING TO DO IT FOR
THIS EDITION OF “ART ROCKS.” THIS EDITION OF “ART ROCKS.”
BUT REMEMBER, YOU CAN ALWAYS BUT REMEMBER, YOU CAN ALWAYS
WATCH EPISODES OF THE SHOW AT WATCH EPISODES OF THE SHOW AT
LPB.ORG/ARTROCKS. LPB.ORG/ARTROCKS.
IF YOU WANT MORE, “COUNTRY IF YOU WANT MORE, “COUNTRY
ROADS” MAGAZINE IS A GREAT ROADS” MAGAZINE IS A GREAT
RESOURCE FOR LEARNING ALL ABOUT RESOURCE FOR LEARNING ALL ABOUT
WHAT’S GOING ON IN THE STATE’S WHAT’S GOING ON IN THE STATE’S
VIBRANT ARTS AND CULTURE, CLOSE VIBRANT ARTS AND CULTURE, CLOSE
TO HOME AND ALL AROUND TO HOME AND ALL AROUND
LOUISIANA. LOUISIANA.
UNTIL NEXT WEEK I’VE BEEN JAMES UNTIL NEXT WEEK I’VE BEEN JAMES
FOX-SMITH. FOX-SMITH.
AND THANKS FOR WATCHING.Captioning Performed
By
LNS Captioning
www.LNScaptioning.com

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