All language subtitles for 40.Under.40.2013.1080p.WEBRip.x264.AAC-[YTS.MX]

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Man: I THINK IF YOU ASKED
A PERSON ON THE STREET,

"WHAT IS CRAFT?"

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YTS.MX

THE AUTOMATIC RESPONSE IS
"OH, IT'S SOMETHING HANDMADE."

AND THAT IS ONE ASPECT OF CRAFT.

AND THAT IS ONE ASPECT OF CRAFT.

BUT CRAFT IS MORE THAN THAT.

Man: THERE'S A LOT OF SCIENCE.

Man: THERE'S A LOT OF SCIENCE.

THERE'S A LOT OF MECHANICS.

Man: CRAFT IS A WAY OF
LOOKING AT THE WORLD.

Man: CRAFT IS A WAY OF
LOOKING AT THE WORLD.

IT'S A SET OF IDEAS.

IT'S ABOUT A PHILOSOPHY
FOR LIVING DIFFERENTLY

IT'S ABOUT A PHILOSOPHY
FOR LIVING DIFFERENTLY

IN THE MODERN WORLD.

Man: THERE ARE QUICKER WAYS
TO DO THINGS,

BUT THERE'S SOMETHING BEAUTIFUL

ABOUT CHOOSING TO DO IT
THE HARD WAY.

ABOUT CHOOSING TO DO IT
THE HARD WAY.

♪ FOOTPRINTS IN THE SNOW ♪

♪ I DON'T KNOW WHERE
I'M GONNA GO ♪

♪ I DON'T KNOW WHERE
I'M GONNA GO ♪

Man: IT DIDN'T REALLY STRIKE ME
UNTIL WE PUT THE SHOW TOGETHER

Man: IT DIDN'T REALLY STRIKE ME
UNTIL WE PUT THE SHOW TOGETHER

THAT THIS IS UNLIKE ANYTHING
I'VE EVER SEEN BEFORE.

I'M NICHOLAS BELL.

I'M THE FLEUR AND
CHARLES BRESLER CURATOR

I'M THE FLEUR AND
CHARLES BRESLER CURATOR

OF AMERICAN CRAFT AND DECORATIVE
ART AT THE RENWICK GALLERY

OF THE SMITHSONIAN
AMERICAN ART MUSEUM.

DO YOU KNOW THEY HAD TO
REDESIGN OUR BUSINESS CARDS

DO YOU KNOW THEY HAD TO
REDESIGN OUR BUSINESS CARDS

WHEN I GOT THAT TITLE?

I GOT THIS JOB WHEN I WAS 28,
AND I'M 32.

I GOT THIS JOB WHEN I WAS 28,
AND I'M 32.

IT'S BEEN A WILD RIDE.

THE RENWICK GALLERY
OPENED IN 1972

THE RENWICK GALLERY
OPENED IN 1972

AS THE NATION'S CRAFT MUSEUM.

BECAUSE CRAFT ENTAILS
A LONG-TERM DEDICATION

BECAUSE CRAFT ENTAILS
A LONG-TERM DEDICATION

TO DOING SOMETHING WELL,

IT'S NATURAL FOR PEOPLE THAT ARE
REPRESENTED IN THE RENWICK

IT'S NATURAL FOR PEOPLE THAT ARE
REPRESENTED IN THE RENWICK

TO BE A LITTLE BIT OLDER.

AND THAT'S ALWAYS BEEN
THE CASE HERE.

AND THAT'S ALWAYS BEEN
THE CASE HERE.

THERE NEEDS TO BE AN ACCOUNTING
FOR DIFFERENT GENERATIONS,

FOR THE DIFFERENT PERSPECTIVES
AND DIFFERENT VALUES.

FOR THE DIFFERENT PERSPECTIVES
AND DIFFERENT VALUES.

TWO YEARS AGO I WAS SITTING
AROUND A TABLE

WITH MY DIRECTOR
AND SOME OTHER FOLKS.

AND WE WERE TRYING TO
THINK OF WHAT TO DO

AND WE WERE TRYING TO
THINK OF WHAT TO DO

FOR THE RENWICK'S
40th ANNIVERSARY.

THE OBVIOUS IDEA WAS TO DO
SOME SORT OF RETROSPECTIVE.

THE OBVIOUS IDEA WAS TO DO
SOME SORT OF RETROSPECTIVE.

WE THOUGHT IT MIGHT ALSO
BE GOOD A IDEA

TO GIVE A LOOK TO THE FUTURE.

TO GIVE A LOOK TO THE FUTURE.

THE THINKING WAS THAT IF
WE COULD NOT ONLY SHOW THE WORK

THE THINKING WAS THAT IF
WE COULD NOT ONLY SHOW THE WORK

OF 40 YOUNG ARTISTS, BUT ALSO
ACQUIRE WORKS BY THOSE ARTISTS

FOR THE MUSEUM'S COLLECTION,

WE COULD OFFER
A MUCH BROADER VIEW

WE COULD OFFER
A MUCH BROADER VIEW

OF HOW AMERICAN CRAFT
IS CHANGING.

THIS WAS A VERY SHORT MEETING.

I THINK I SAID, "40 UNDER 40!"

I THINK I SAID, "40 UNDER 40!"

IT'S AN EASY SELL.

YOU KNOW, EVERYBODY KNOWS
WHAT "40 UNDER 40" IS.

YOU KNOW, EVERYBODY KNOWS
WHAT "40 UNDER 40" IS.

ONCE WE REALIZED THAT
WE LOVED THIS IDEA,

CAME THE HARD PART, AND THE HARD
PART WAS FINDING THE 40 ARTISTS.

CAME THE HARD PART, AND THE HARD
PART WAS FINDING THE 40 ARTISTS.

AND FRANKLY, THERE WAS
A MOMENT OF PANIC

WHEN I THOUGHT,
WHAT IF WE CAN'T FIND THEM?

WHAT IF THEY AREN'T OUT THERE?

WHAT IF THEY AREN'T OUT THERE?

WHAT IF THEY'RE NOT
YOUNG ENOUGH?

WHAT IF THEY'RE NOT GOOD ENOUGH?

THE FIRST THING I DID WAS
I DECIDED TO DO IT QUIETLY.

THE FIRST THING I DID WAS
I DECIDED TO DO IT QUIETLY.

SO WE DECIDED INSTEAD OF
ASKING THEM TO COME TO US,

WE'LL GO TO THEM.

Woman: I THINK IT WAS AN EMAIL.

Man: I JUST GOT AN EMAIL.
I HAD NO INKLING.

Woman: I THINK IT WAS AN EMAIL
FROM DEBRAH, MAYBE.

Woman: I THINK IT WAS AN EMAIL
FROM DEBRAH, MAYBE.

Debrah Dunner: BASICALLY,
WHEN HE ASKED ME TO GO OUT

AND FIND ALL THESE PEOPLE
FOR HIM TO REVIEW,

AND FIND ALL THESE PEOPLE
FOR HIM TO REVIEW,

THE POSSIBILITIES OF WHERE
I COULD FIND THEM WERE ENDLESS.

SO THROUGH THE PROCESS

I PROBABLY LOOKED AT
OVER 2,000 ARTISTS.

I PROBABLY LOOKED AT
OVER 2,000 ARTISTS.

OUT OF THAT ROUGH 2,000 PEOPLE,

WE LOOKED AT MAYBE OVER 500.

PART OF THE PROCESS OF
BRINGING ARTISTS TO HIM

PART OF THE PROCESS OF
BRINGING ARTISTS TO HIM

WAS THAT I HAD TO VET WHETHER
OR NOT THEY FIT THE CRITERIA

THAT HE WAS LOOKING FOR.

AND OF COURSE, THAT WAS
THEY HAD TO BE BORN SINCE 1972,

AND OF COURSE, THAT WAS
THEY HAD TO BE BORN SINCE 1972,

THEY HAD TO BE AMERICAN
OR WORKING IN AMERICA.

Man: THEY WERE LIKE,
AND WHEN WERE YOU BORN...AGAIN?

Man: THEY WERE LIKE,
AND WHEN WERE YOU BORN...AGAIN?

LIKE WHAT, AND I WAS LIKE...

Man: YOU WANT TO SEE
MY BIRTH CERTIFICATE?

Nicholas: ONCE I CAME UP
WITH THE LIST OF THE 40,

Nicholas: ONCE I CAME UP
WITH THE LIST OF THE 40,

WHICH TOOK MONTHS,

I EMAILED EACH OF THEM
INDIVIDUALLY

AND I SAID WE'RE GONNA
DO THIS SHOW,

AND I SAID WE'RE GONNA
DO THIS SHOW,

AND WE WANT YOU TO BE A PART
OF IT, WILL YOU JOIN US?

Man: I FELL OFF MY CHAIR.

Woman: I THINK I THOUGHT
IT WAS SPAM AT FIRST.

Woman: I WAS SHOCKED.

Woman: I WAS SHOCKED.

Woman: BLOWN AWAY.

Man: I WAS ACTUALLY OUTSIDE,
LIKE RUNNING AROUND IN MY YARD.

Woman: KIND OF FREAKED OUT,
YOU KNOW, BY THE WHOLE THING.

Woman: KIND OF FREAKED OUT,
YOU KNOW, BY THE WHOLE THING.

Woman: I WOKE UP FEELING
LIKE IT WAS CHRISTMAS

FOR ABOUT TWO WEEKS.

Man: THERE WERE DEFINITELY
SOME HIGH FIVES

AND I THINK A FEW ROUNDS OF
BEERS AFTER WE FOUND OUT.

AND I THINK A FEW ROUNDS OF
BEERS AFTER WE FOUND OUT.

Woman: I SAID,
"AHHH, THE SMITHSONIAN!"

[LAUGHS]

[LAUGHS]

Nicholas: FIVE OF THE ARTISTS
ARE COMING HERE

TO INSTALL THEIR OWN WORK,

BECAUSE THEIR WORK IS
LARGE AND COMPLEX

BECAUSE THEIR WORK IS
LARGE AND COMPLEX

AND THEY KNOW HOW TO DO IT
BETTER THAN ANYBODY ELSE.

SOMETIMES IT MAKES SENSE
JUST TO STEP BACK

SOMETIMES IT MAKES SENSE
JUST TO STEP BACK

AND LET THEM TAKE OVER.

Woman: DO YOU HAVE A TIME FRAME
FOR WHEN OLEK IS ARRIVING?

Nicholas: MONDAY?

Nicholas: MONDAY?

SHE KNOWS THAT WE WORK FROM
LIKE 8:00 SOMETHING TO 5:00,

AND THAT SHE CAN'T STAY
ANY LATER THAN THAT,

AND THAT SHE CAN'T STAY
ANY LATER THAN THAT,

'CAUSE WE HAVE TO SEND
EVERYBODY HOME.

I LOVE GREAT WORK,

I LOVE GREAT WORK,

BUT PART OF BUILDING
AN EXHIBITION

IS A LOT OF HUMAN RELATIONS.

I THINK THE REAL PROBLEM IS

I THINK THE REAL PROBLEM IS

IS SHE GOING TO WANDER IN
AT NOON OR ONE O'CLOCK

AND LOSE HALF OF HER DAY?

AND LOSE HALF OF HER DAY?

IT IS ALWAYS NOT ONLY A DANCE
THAT YOU DO TOGETHER,

BUT IT IS ALSO OFTEN
A COMPROMISE.

BUT IT IS ALSO OFTEN
A COMPROMISE.

Woman: SHE MIGHT NOT BE THAT BAD
ON THE FIRST DAY, THOUGH.

Nicholas: SHE BETTER BE
UP AND AT 'EM

THE SECOND TWO DAYS, THOUGH.

THE SECOND TWO DAYS, THOUGH.

BRINGING SOMETHING WITH THIS
MANY MOVING PARTS TOGETHER

REQUIRES EVERYBODY BE
ON THE SAME TEAM.

REQUIRES EVERYBODY BE
ON THE SAME TEAM.

EUNICE IS
THE EXHIBIT'S DESIGNER,

AND WE WILL WORK TOGETHER
TO FIGURE OUT

AND WE WILL WORK TOGETHER
TO FIGURE OUT

WHERE THINGS WILL BE
IN THE GALLERIES,

TO FIGURE OUT HOW
TO LAY OUT A SHOW.

Eunice Park Kim:
YOU HAVE TO INSTALL,

Eunice Park Kim:
YOU HAVE TO INSTALL,

PUT THEM INTO THE GLASS--
THE LIGHT BOXES.

Nicholas: OK.

BUT ONCE WE'VE PUT THAT
LAYOUT TOGETHER,

BUT ONCE WE'VE PUT THAT
LAYOUT TOGETHER,

IT'S REALLY EUNICE'S JOB
TO GO FIGURE OUT

HOW, PHYSICALLY, ALL OF THIS
IS GOING TO COME TOGETHER.

HOW, PHYSICALLY, ALL OF THIS
IS GOING TO COME TOGETHER.

I GUESS YOU COULD CALL JUSTIN
LIKE A CAPTAIN,

OR LIKE A FOREMAN.

OR LIKE A FOREMAN.

THERE'S SORT OF A DELICATE DANCE

BETWEEN EUNICE AND JUSTIN
AND MYSELF

OF MAKING SURE EVERYTHING
GOES SMOOTHLY,

OF MAKING SURE EVERYTHING
GOES SMOOTHLY,

MAKING SURE WE GET THROUGH
WHAT WE NEED TO,

AND THERE ARE DAILY CHALLENGES.

AND THERE ARE DAILY CHALLENGES.

Eunice: 'CAUSE IT'S LOPSIDED,

YOU MIGHT HAVE TO
CHANGE IT A LITTLE BIT.

BUT YOU WANT TO BE HERE
FOR THAT.

Nicholas: YEAH.

Nicholas: YEAH.

CAN WE JUST NOT DO THAT
ON TUESDAY?

Eunice: WE CANNOT
DO IT ON TUESDAY.

Debrah: THAT'S ONE OF
THE CHALLENGES THAT I FOUND

Debrah: THAT'S ONE OF
THE CHALLENGES THAT I FOUND

HELPING TO PUT TOGETHER
THIS SHOW,

IS THAT WE HAVE
40 PERSONALITIES--

40 UNIQUE PERSONALITIES.

40 UNIQUE PERSONALITIES.

WHEN OLEK GOT HERE, I MEAN,
IT WAS A LOT OF EXCITEMENT.

WHEN OLEK GOT HERE, I MEAN,
IT WAS A LOT OF EXCITEMENT.

SHE CAME WITH LOTS OF COLOR
AND LOTS OF PERSONALITY.

Olek: I WAS VERY HAPPY
TO BE HERE.

Olek: I WAS VERY HAPPY
TO BE HERE.

I WAS WAITING FOR IT
FOR OVER A YEAR.

IT'S A BEAUTIFUL BUILDING.

I WAS EXPECTING THEY WERE
GOING TO RECREATE MY ROOM

I WAS EXPECTING THEY WERE
GOING TO RECREATE MY ROOM

EXACTLY THE WAY I MADE IT
BEFORE IN NEW YORK.

EXACTLY THE WAY I MADE IT
BEFORE IN NEW YORK.

Nicholas: WE ACTUALLY HAD
THE SHELL OF AN APARTMENT

BUILT FOR OLEK'S INSTALLATION.

BECAUSE THE PIECE HAD BEEN
PREVIOUSLY INSTALLED

BECAUSE THE PIECE HAD BEEN
PREVIOUSLY INSTALLED

IN NEW YORK,
THE CROCHET ALREADY EXISTED.

IT HAD HOLES WHERE
THE WINDOWS WOULD GO,

IT HAD HOLES WHERE
THE WINDOWS WOULD GO,

IT HAD HOLES WHERE THE DOORS
WOULD GO, AND SO ON.

SO SHE JUST NEEDED TO COME IN
AND PUT IT BACK UP.

SO SHE JUST NEEDED TO COME IN
AND PUT IT BACK UP.

UNFORTUNATELY, WE PUT A COUPLE
OF THE WINDOWS

IN THE WRONG PLACE.

Olek: THOSE WINDOWS ARE
IN THE WRONG PLACES.

SO THEY NEED TO BE, LIKE, MOVED.

SO THEY NEED TO BE, LIKE, MOVED.

THIS WINDOW WAS OVER HERE.
THEY WERE NEVER LIKE...

YOU KNOW? VIS-A-VIS.
THEY WERE NEVER LIKE THAT.

YOU KNOW? VIS-A-VIS.
THEY WERE NEVER LIKE THAT.

BECAUSE THAT GOES HERE, AND
SUPPOSED TO GO UP RIGHT HERE.

Justin:
LET ME CALL EUNICE AND...

Justin:
LET ME CALL EUNICE AND...

Olek: YEAH, I'M GONNA GO HAVE
A CIGARETTE, OK, AND YOU TALK.

THIS IS GONNA BE A PROBLEM,
BECAUSE THE THINGS HAVE TO GO

EXACTLY HOW THEY WERE MADE,
YOU KNOW?

EXACTLY HOW THEY WERE MADE,
YOU KNOW?

Justin: I'LL CALL EUNICE AND
SEE WHAT WE CAN WORK OUT.

THERE WAS A COMMUNICATION
PROBLEM THERE.

THERE WAS A COMMUNICATION
PROBLEM THERE.

I WAS NOT PART OF ANY
OF THIS CONVERSATION.

OLEK IS HERE AND WE'RE TALKING
ABOUT THE SPACE,

OLEK IS HERE AND WE'RE TALKING
ABOUT THE SPACE,

AND THERE'S A FEW ISSUES,
SO I NEED TO TALK TO YOU ASAP.

AND THERE'S A FEW ISSUES,
SO I NEED TO TALK TO YOU ASAP.

Woman: THIS PANEL, THAT PANEL,

AND A REALLY LARGE ONE
OVER THERE.

Olek: YEAH, I'M GOING TO HAVE
A CIGARETTE FIRST,

'CAUSE I'M TOO PISSED
TO WORK RIGHT NOW.

'CAUSE I'M TOO PISSED
TO WORK RIGHT NOW.

I GOT HERE,
AND THERE WERE SEVERAL THINGS

THAT ARE NOT BUILT THE WAY
THEY WERE SUPPOSED TO BE BUILT.

THAT ARE NOT BUILT THE WAY
THEY WERE SUPPOSED TO BE BUILT.

THE MEASUREMENTS ARE WRONG.

THE WINDOWS ARE IN
THE WRONG PLACE.

SO I NEED TO SHIFT
THE OBJECTS A LITTLE.

BUT THEN ALSO THE CROCHET PANELS

BUT THEN ALSO THE CROCHET PANELS

THAT GO BETWEEN THE ONE WALL
AND THE WINDOW

ARE SMALLER NOW,
SO I HAVE TO MAKE THEM LONGER.

Eunice: I WAS UNDER
THE UNDERSTANDING

THAT YOUR ROOM WAS FLEXIBLE,
THAT IT COULD HAVE FLEXIBILITY.

THAT YOUR ROOM WAS FLEXIBLE,
THAT IT COULD HAVE FLEXIBILITY.

Olek: FLEXIBILITY IS LIKE
TWO INCHES, THREE INCHES,

BUT YOU'RE TALKING
ABOUT TWO FEET.

Nicholas: AT THE MOMENT, I'M
JUST NOT SURE HOW TO ARTICULATE

Nicholas: AT THE MOMENT, I'M
JUST NOT SURE HOW TO ARTICULATE

WHAT JUST HAPPENED UPSTAIRS

IN A WAY THAT DOESN'T SOUND
HIGHLY NEGATIVE.

Eunice: SO THAT WOULD BE
AN ERROR ON MY SIDE,

Eunice: SO THAT WOULD BE
AN ERROR ON MY SIDE,

BUT I THINK WE'RE
LACKING FLEXIBILITY

TO READJUST THE ROOM.

Olek: AND THIS IS WHY
I AM UPSET,

BECAUSE THAT'S THE WAY
THE INSTALLATION WAS MADE.

BECAUSE THAT'S THE WAY
THE INSTALLATION WAS MADE.

Nicholas: THE TRUTH OF IT IS,
IT SOUNDS LIKE WE MADE MISTAKES

IN DESIGNING THE ROOM FOR HER.

IN DESIGNING THE ROOM FOR HER.

AND THAT HAPPENS.

Justin: WE COULD ACTUALLY MOVE
THE WINDOW IF WE HAD THE TIME.

Justin: WE COULD ACTUALLY MOVE
THE WINDOW IF WE HAD THE TIME.

Olek: I JUST HAVE TO FIX IT,
BECAUSE I DON'T HAVE ENOUGH TIME

FOR THEM TO SPEND A DAY
CUTTING IT AND MOVING IT.

FOR THEM TO SPEND A DAY
CUTTING IT AND MOVING IT.

THERE'S NO TIME FOR THAT.

ALSO, THIS ONE IS
THE WORST PART,

BECAUSE HERE IS WHERE
A CROCHET GOES OVER IT.

BECAUSE HERE IS WHERE
A CROCHET GOES OVER IT.

Justin: RIGHT.

Olek: I CAN SHIFT THINGS AROUND,
YOU KNOW?

WHICH IS OK,
IF THEY'D TOLD ME IN ADVANCE,

IT WOULD HAVE BEEN BETTER,
YOU KNOW.

IT WOULD HAVE BEEN BETTER,
YOU KNOW.

BUT SOMEBODY MADE A MISTAKE, AND
IT'S OK IF YOU MADE A MISTAKE,

JUST COME TO ME
AND THAT HAPPENS.

THAT'S FINE,
I WILL DEAL WITH IT.

THAT'S FINE,
I WILL DEAL WITH IT.

Justin: IS THERE A LOCK ON IT?

Olek: HOW DO YOU OPEN
THIS WINDOW?

DO YOU WANT TO LIVE
IN AN APARTMENT

WHERE THERE'S A FABRIC
IN THE WINDOW?

Nicholas: IT'S AN EXPERIMENT FOR
US TO WORK IN A DIFFERENT WAY.

Nicholas: IT'S AN EXPERIMENT FOR
US TO WORK IN A DIFFERENT WAY.

AND BRINGING IN
SOMEONE LIKE OLEK

TO THROW TOGETHER
A MASSIVE INSTALLATION,

IT'S EXCITING,

IT'S EXCITING,

AND THE ROAD'S NOT ALWAYS
SMOOTH, BUT THAT'S OK.

WE'LL FIX IT.

WE'LL GET TO A PLACE
WHERE EVERYBODY'S HAPPY.

WE'LL GET TO A PLACE
WHERE EVERYBODY'S HAPPY.

DID THEY ALREADY ASK YOU TODAY

IF IT'S OK IF WE LEAVE
THE WINDOW OPEN?

Olek: YES, THAT'S FINE.

Olek: YES, THAT'S FINE.

Nicholas: I THINK PEOPLE
WILL LIKE THAT.

Olek: YEAH.

Nicholas: THEY CAN STICK
THEIR HEADS IN.

I HAVE TO GIVE HER CREDIT.

NOT EVERYBODY GOES
WITH THE FLOW.

NOT EVERYBODY GOES
WITH THE FLOW.

Olek: ONCE WE PUT
THE PANELS ON THE WALLS

I HAVE TO STITCH CROCHET,
EVERY CORNER.

I HAVE TO STITCH CROCHET,
EVERY CORNER.

MAKE IT VERY NICE AND PERFECT.

Nicholas: EVEN IF SHE'S UNHAPPY,

SHE SEEMS TO GET THROUGH IT
AND KEEP ON TRUCKING,

SHE SEEMS TO GET THROUGH IT
AND KEEP ON TRUCKING,

WHEREAS OTHER PEOPLE
JUST GET PISSY.

Olek: I NEED SOME SUGAR!
I NEED SUGAR!

PUT THE STAPLE IN TWO PLACES
AND MAKE IT NICE AND PERFECT.

Woman: SURE!

Woman: SURE!

Nicholas: THEY ARE HEAVILY
INVESTED IN MAKING SURE

Nicholas: THEY ARE HEAVILY
INVESTED IN MAKING SURE

THAT THEIR WORK IS SHOWN
EXACTLY AS THEY WISH,

BECAUSE THAT IS WHAT
THEY'RE ABOUT.

BECAUSE THAT IS WHAT
THEY'RE ABOUT.

AND, OF COURSE,
IT'S ABSOLUTELY UNDERSTANDABLE

THAT WHEN THEY COME ON SITE,

THEY WANT THINGS TO BE PRESENTED
JUST AS THEY ENVISIONED THEM,

THEY WANT THINGS TO BE PRESENTED
JUST AS THEY ENVISIONED THEM,

BECAUSE THAT'S WHAT THEY DO.

Justin: SHE WANTS TO FASTEN THIS
TOP PERMANENTLY TO THE BASE.

Justin: SHE WANTS TO FASTEN THIS
TOP PERMANENTLY TO THE BASE.

Olek: ONCE THEY UNDERSTOOD
THE CONCEPT ABOUT THIS ROOM,

IT WAS VERY EASY,
IT WAS VERY QUICK.

IT WAS VERY EASY,
IT WAS VERY QUICK.

'CAUSE THEY'RE ALSO VERY FAST.

THEY'VE BEEN DOING THIS
FOR A LONG TIME.

SO IT WAS JUST A MATTER
OF MEETING ME,

AND, LIKE, THIS IS MY ROOM,
THIS IS MY WORLD,

AND, LIKE, THIS IS MY ROOM,
THIS IS MY WORLD,

THIS IS HOW IT'S SUPPOSED TO BE,
AND NOW I NEED YOU TO HELP ME.

AND THESE GUYS HERE, YOU KNOW,

THEY REALLY KNOW
WHAT THEY'RE DOING.

THEY REALLY KNOW
WHAT THEY'RE DOING.

THEY'RE LIKE,
THEY'RE REALLY GREAT.

YEAH, IT WAS SO QUICK
LIKE HOW INSTALLED HERE,

LIKE, MOVE HERE HERE,
MOVE HERE THERE, AND PERFECT.

[CHICK-CHICK-CHICK]
DONE.

[CHICK-CHICK-CHICK]
DONE.

THE PUBLIC COMPLETES MY WORK.

I NEED THE PUBLIC, TOO,

I NEED THE PUBLIC, TOO,

SO MY WORK ACTUALLY IS
FINISHED AS A PRODUCT.

I DON'T KNOW IF I THINK
WHAT I EXACTLY WANT,

I DON'T KNOW IF I THINK
WHAT I EXACTLY WANT,

BUT I WANT THEM TO
EXPERIENCE SOMETHING.

BUT WHAT IT IS,
IS NOT SO AS IMPORTANT.

BUT WHAT IT IS,
IS NOT SO AS IMPORTANT.

BUT I DO SAY THAT
IF I GET A DOLLAR

FOR EVERY TIME I SEE A SMILE
ON PEOPLE'S FACE

FOR EVERY TIME I SEE A SMILE
ON PEOPLE'S FACE

WHEN THEY SEE MY WORK, I WOULD
BE A MILLIONAIRE RIGHT NOW.

THE FACE IS CHANGING WHEN THEY
ENTER THE ROOM, IT'S LIKE...

THE FACE IS CHANGING WHEN THEY
ENTER THE ROOM, IT'S LIKE...

YOU DON'T KNOW IF IT'S THE
SHOCK, IT'S LIKE THEY LIKE IT.

AND I THINK IT'S GREAT, I MEAN,
THIS SHOW IS PERFECT RIGHT NOW.

AND I THINK IT'S GREAT, I MEAN,
THIS SHOW IS PERFECT RIGHT NOW.

I MEAN, I WOULDN'T PUT
ONE MORE THING HERE.

MAYBE A COUPLE.

MAYBE A COUPLE.

I'M VIVIAN BEER,
AND I'M AN ARTIST.

I'M MATTHEW SZOSZ.
I'M A GLASS ARTIST.

I'M MATTHEW SZOSZ.
I'M A GLASS ARTIST.

I'M LAUREL ROTH,
AND I'M AN ARTIST.

I AM BOHYUN YOON. I'M ARTIST.

I AM BOHYUN YOON. I'M ARTIST.

MY NAME IS SEBASTIAN VINCENT
MARTORANA, AND I AM A SCULPTOR.

MY NAME IS SEBASTIAN VINCENT
MARTORANA, AND I AM A SCULPTOR.

IF IT CAN BE MADE WITH CHISELS,
I DO IT.

Nicholas: AS SOON AS I LEARNED
WHAT SEBASTIAN'S WORK WAS ABOUT,

I FELL IN LOVE WITH IT.

I FELL IN LOVE WITH IT.

SEBASTIAN WAS TRAINED
AS A STONE CARVER.

SEBASTIAN WAS TRAINED
AS A STONE CARVER.

AND THAT'S SEBASTIAN'S DAY JOB.

THEN AT NIGHT HE'S GOING HOME

AND HE IS RECLAIMING THE CITY
FOR HIS ARTWORK.

AND HE IS RECLAIMING THE CITY
FOR HIS ARTWORK.

BALTIMORE WAS KNOWN
FOR ITS MARBLE STOOPS.

BALTIMORE WAS KNOWN
FOR ITS MARBLE STOOPS.

UNFORTUNATELY,
THOSE TIMES HAVE PASSED

AND THOSE ROW HOUSES
ARE BEING TORN DOWN.

AND THOSE ROW HOUSES
ARE BEING TORN DOWN.

WHEN THEY'RE GONE,
SEBASTIAN GOES ALONG

AND HE ACTUALLY GRABS
THESE STOOPS,

DRAGS THEM BACK TO HIS STUDIO,
HUNDREDS OF POUNDS OF MARBLE,

AND SCULPTS THEM INTO
THESE WONDERFUL OBJECTS.

AND SCULPTS THEM INTO
THESE WONDERFUL OBJECTS.

Sebastian: PIGGY IS
A PROJECT I'M WORKING ON,

PART OF A SERIES
I AM JUST STARTING,

PART OF A SERIES
I AM JUST STARTING,

WHERE I STARTED IT,
I GUESS, WHEN I FOUND OUT

MY WIFE WAS PREGNANT.

MY WIFE WAS PREGNANT.

AS JUST A WAY TO STAY BUSY
I WANTED TO DO A SCULPTURE,

BUT I COULDN'T THINK OF ANYTHING

OTHER THAN WE'RE GOING
TO HAVE A BABY.

OTHER THAN WE'RE GOING
TO HAVE A BABY.

SO IT JUST SEEMED LIKE
THE NEXT LOGICAL THING

TO KIND OF DO THIS SCULPTURE

THAT WAS FOCUSING ON, LIKE, THIS
LIFE THAT'S ABOUT TO HAPPEN.

THAT WAS FOCUSING ON, LIKE, THIS
LIFE THAT'S ABOUT TO HAPPEN.

IT'S WAY MORE INTERESTING
AND EXCITING

TO BE KIND OF THINKING ABOUT AN
EVENT WITH ANXIOUS ANTICIPATION

TO BE KIND OF THINKING ABOUT AN
EVENT WITH ANXIOUS ANTICIPATION

RATHER THAN GOING THROUGH
THE PROCESS WITH A FAMILY

OF WORKING ON A TOMBSTONE
AFTER SOMEONE PASSES.

OF WORKING ON A TOMBSTONE
AFTER SOMEONE PASSES.

I JUST GOT TO THINKING

WHILE WORKING ON
SOME OF THOSE PROJECTS,

LIKE, WHY DON'T WE DO THIS STUFF
WHEN PEOPLE ARE ALIVE?

LIKE, WHY DON'T WE DO THIS STUFF
WHEN PEOPLE ARE ALIVE?

WHY DON'T WE MAKE
THESE BIRTHSTONES

INSTEAD OF THESE TOMBSTONES,

LIKE WHEN WE'RE EXCITED ABOUT
THIS CHILD WE'RE ABOUT TO HAVE

LIKE WHEN WE'RE EXCITED ABOUT
THIS CHILD WE'RE ABOUT TO HAVE

INSTEAD OF WAITING
FOR SOMEONE TO DIE?

MY WIFE'S FATHER DIED OF CANCER

AFTER STRUGGLING WITH IT
FOR YEARS,

AFTER STRUGGLING WITH IT
FOR YEARS,

AND IT'S A HORRIBLE WAY TO DIE.

BUT WE WERE ALL VERY LUCKY TO
BE THERE WITH HIM AT THE END.

BUT WE WERE ALL VERY LUCKY TO
BE THERE WITH HIM AT THE END.

THE LAST THING I REMEMBER
ABOUT JIM AFTER HE PASSED AWAY

THE LAST THING I REMEMBER
ABOUT JIM AFTER HE PASSED AWAY

AND WAS ULTIMATELY TAKEN AWAY
BY, YOU KNOW, THE UNDERTAKER,

AFTER WE CARRIED HIM DOWN...

AFTER WE CARRIED HIM DOWN...

THE LAST THING I SAW...

...WAS THIS PILLOW.

I REALLY WANTED TO GET BACK
TO THE BEDROOM

TO STRIP THE BED BEFORE
HIS WIFE GOT BACK,

TO STRIP THE BED BEFORE
HIS WIFE GOT BACK,

MY MOTHER-IN-LAW,

BECAUSE I JUST DIDN'T WANT HER
TO SEE THIS EMPTY SPACE.

BECAUSE I JUST DIDN'T WANT HER
TO SEE THIS EMPTY SPACE.

AND SO HE HAD THIS ONE PILLOW
THAT WAS LIKE SUPER-SOFT.

AND SO HE HAD THIS ONE PILLOW
THAT WAS LIKE SUPER-SOFT.

AND WHEN I GOT BACK THERE,

AND WHEN I GOT BACK THERE,

THAT PILLOW STILL HAD THIS
IMPRESSION OF HIS HEAD IN IT.

AND IT JUST BURNED
INTO MY BRAIN.

AND IT JUST BURNED
INTO MY BRAIN.

AND I FELT LIKE AFTER THE FACT,

YOU KNOW, DAYS, WEEKS,
MONTHS AFTER,

YOU KNOW, DAYS, WEEKS,
MONTHS AFTER,

THAT SOMEHOW WHEN A PERSON DIES,

YOU'RE LEFT WITH THIS
IMPRESSION OF THEM.

WHAT I REMEMBER IS THIS PILLOW,

AND WHAT I GET NOW
THINKING ABOUT HIM

AND WHAT I GET NOW
THINKING ABOUT HIM

IS I FEEL LIKE WE'RE ALL, WHEN
PEOPLE DIE, WHEN PEOPLE PASS,

WE'RE LEFT WITH
AN IMPRESSION OF THEM

WE'RE LEFT WITH
AN IMPRESSION OF THEM

AND NOT NECESSARILY AN IMAGE.

AND THAT'S KIND OF WHAT I WAS
TRYING TO ILLUSTRATE THERE

AND THAT'S KIND OF WHAT I WAS
TRYING TO ILLUSTRATE THERE

IS JUST MY LAST IMPRESSION
OF JIM.

I'M MIA PEARLMAN,
AND I'M AN ARTIST.

I'M MIA PEARLMAN,
AND I'M AN ARTIST.

I CAME DOWN TO DO A SITE VISIT
AT THE RENWICK LAST MARCH,

I CAME DOWN TO DO A SITE VISIT
AT THE RENWICK LAST MARCH,

AND I WAS ALLOWED TO PICK
WHEREVER I WANTED TO INSTALL

IN THE MUSEUM.

IN THE MUSEUM.

AND AS SOON AS I WALKED INTO
THE PALM COURT,

I HAD THIS IDEA TO DO
TWO INSTALLATIONS,

ONE IN EACH NICHE THAT WOULD
FACE EACH OTHER.

ONE IN EACH NICHE THAT WOULD
FACE EACH OTHER.

AND ONE WOULD BE VERY DARK AND
HEAVY COMING DOWN INTO THE ROOM,

AND THE OTHER ONE WOULD BE
VERY LIGHT AND EPHEMERAL.

AND THE OTHER ONE WOULD BE
VERY LIGHT AND EPHEMERAL.

THIS PIECE IS IN EVERY WAY
A STEP FORWARD FOR ME,

THIS PIECE IS IN EVERY WAY
A STEP FORWARD FOR ME,

IN TERMS OF THE CONTENT,
IN TERMS OF THE FORMS,

THE CONSTRUCTION,
THE SIZE, EVERYTHING.

THE CONSTRUCTION,
THE SIZE, EVERYTHING.

IT'S ALWAYS EXHILARATING TO SEE
THE WORK OUT THERE IN REALITY,

IT'S ALWAYS EXHILARATING TO SEE
THE WORK OUT THERE IN REALITY,

BECAUSE MY WORK DOESN'T EXIST
UNTIL THE INSTALLATION.

THE STUFF I DO IN MY STUDIO,
CUTTING ALL THESE PIECES,

THE STUFF I DO IN MY STUDIO,
CUTTING ALL THESE PIECES,

IT'S NOT REALLY ART UNTIL
I GET HERE AND I MAKE IT.

SO LET'S GO ALL THE WAY
TO THE LEFT AGAIN.

OK, CAN YOU COME DOWN TO
THE LEFT MAYBE LIKE FOUR INCHES?

IT TOOK ME A LONG TIME
TO GET TO THE PLACE

WHERE I REALLY BELIEVED
THIS IS ALL I COULD DO.

WHERE I REALLY BELIEVED
THIS IS ALL I COULD DO.

SHAKE OUT THE BOTTOM
A LITTLE BIT MORE.

SHAKE OUT THE BOTTOM
A LITTLE BIT MORE.

FOR ME, I THINK THE HARDEST PART
WAS, WHO CARES?

FOR ME, I THINK THE HARDEST PART
WAS, WHO CARES?

YOU KNOW, I'M MAKING THIS, GO IN
A ROOM BY MYSELF ALL DAY ALONE.

I MAKE THIS STUFF.

DOES ANYBODY OUT THERE CARE?
IS ANYONE LOOKING?

DOES ANYBODY OUT THERE CARE?
IS ANYONE LOOKING?

LIKE, WHAT'S THE POINT,
YOU KNOW?

AND THAT SORT OF BUILDING
A FAITH IN ONE'S SELF, YOU KNOW,

AND THAT SORT OF BUILDING
A FAITH IN ONE'S SELF, YOU KNOW,

THE KIND OF, IN THE PROCESS OF
THE MAKING OF THE WORK

AND ALSO IN THE PURPOSE
OF THE MAKING OF THE WORK

AND ALSO IN THE PURPOSE
OF THE MAKING OF THE WORK

THAT TAKES A WHILE.

BUT ACTUALLY IN THE LAST, YOU
KNOW, PROBABLY FIVE OR SO YEARS,

BUT ACTUALLY IN THE LAST, YOU
KNOW, PROBABLY FIVE OR SO YEARS,

I'VE COME TO REALLY UNDERSTAND
THAT THIS IS THE ONLY THING

THAT COULD SATISFY
EVERYTHING FOR ME,

THAT COULD SATISFY
EVERYTHING FOR ME,

EVERY PART OF MY PERSONALITY,
MY SKILLS.

TRY THIS ONE.

I REALLY AM NOT A TEAM PLAYER,

AND NOBODY WANTS ME
TO WORK FOR THEM.

AND NOBODY WANTS ME
TO WORK FOR THEM.

I REALLY NEED TO
WORK FOR MYSELF.

MAKING ART IS A WAY
TO SHOW OTHER PEOPLE

MY PERSONAL EXPERIENCE OF WHAT
IT IS TO BE HUMAN, YOU KNOW,

MY PERSONAL EXPERIENCE OF WHAT
IT IS TO BE HUMAN, YOU KNOW,

WHAT IT IS TO BE ALIVE
AND HOW I SEE THE WORLD,

AND THAT'S AN INCREDIBLY
TANTALIZING, YOU KNOW,

AND THAT'S AN INCREDIBLY
TANTALIZING, YOU KNOW,

WAY OF COMMUNICATING.

IF I CAN DO SOMETHING
WHERE EVEN FOR A MOMENT

IF I CAN DO SOMETHING
WHERE EVEN FOR A MOMENT

SOMEONE ELSE SEES
MY VISION OF THE WORLD,

OR WE CONNECT IN THAT WAY,
THAT'S VERY EXCITING TO ME.

OR WE CONNECT IN THAT WAY,
THAT'S VERY EXCITING TO ME.

I'M DANIEL MICHALIK,
AND I'M A FURNITURE DESIGNER.

I'M DANIEL MICHALIK,
AND I'M A FURNITURE DESIGNER.

I'M CAT MAZZA,
AND I'M AN ARTIST.

MY NAME IS ANDY PAIKO,
AND I'M A GLASSMAKER.

MY NAME IS ANDY PAIKO,
AND I'M A GLASSMAKER.

I'M LJ ROBERTS, AND
I'M AN ARTWORKER AND A CRAFTER.

I'M LJ ROBERTS, AND
I'M AN ARTWORKER AND A CRAFTER.

BORN IN AMERICA,
MADE IN CHINA.

BORN IN AMERICA,
MADE IN CHINA.

THIS PORCELAIN IS
FROM SOUTHERN CHINA.

Nicholas:
IT'S FROM JINGDEZHEN, RIGHT?

Joey: YEAH,
IT'S OUTSIDE JINGDEZHEN.

Joey: YEAH,
IT'S OUTSIDE JINGDEZHEN.

Nicholas: IT'S GORGEOUS.

Joey: I'VE BEEN IN CHINA
SEVEN YEARS.

Joey: I'VE BEEN IN CHINA
SEVEN YEARS.

I MOVED THERE WHEN I WAS 20.

I MEAN, IT WAS THE TIME
I WAS QUESTIONING THINGS.

AND THEN I LEARNED ABOUT OBJECTS
AND LIFE IN ANOTHER LANGUAGE.

AND THEN I LEARNED ABOUT OBJECTS
AND LIFE IN ANOTHER LANGUAGE.

SO I FOUND ANOTHER PERSON
IN MYSELF, AND I LOVE THAT.

SO I FOUND ANOTHER PERSON
IN MYSELF, AND I LOVE THAT.

YOU KNOW, I FEEL LIKE
I HAVE TWO LIVES NOW,

ONE IN CHINESE, ONE IN ENGLISH.

Nicholas:
I HAD NEVER HEARD OF HIM.

Nicholas:
I HAD NEVER HEARD OF HIM.

I HAD NO IDEA WHO HE WAS.

IN FACT, I DON'T KNOW IF MANY
PEOPLE IN THE UNITED STATES

HAVE HEARD OF HIM
BECAUSE HE WAS WORKING IN CHINA.

HAVE HEARD OF HIM
BECAUSE HE WAS WORKING IN CHINA.

ONE DAY I CAME ACROSS
HIS WEBSITE.

I STARTED LOOKING AT IMAGES,

AND HIS CHINA TREE
JUST BLEW ME AWAY.

AND HIS CHINA TREE
JUST BLEW ME AWAY.

Joey: I WAS ASKED BY
SOMEONE IN BEIJING

TO MAKE THIS CHRISTMAS TREE.

TO MAKE THIS CHRISTMAS TREE.

AND I WASN'T GOING TO MAKE
A CHRISTMAS TREE IN CHINA.

AND THEN I WAS LIKE, WELL, I'LL
MAKE IT ACTUALLY OUT OF CHINA.

AND THEN I WAS LIKE, WELL, I'LL
MAKE IT ACTUALLY OUT OF CHINA.

BASICALLY,
CHINESE COOKING IS MADE UP

OF THE SWEET AND THE SOUR, OK?

OF THE SWEET AND THE SOUR, OK?

SO THESE ARE SOO
AND THESE ARE JA, OK?

SOO IS VINEGAR,
JA IS LIKE SOY SAUCE.

SOO IS VINEGAR,
JA IS LIKE SOY SAUCE.

Nicholas: HE GOES ON
ALL DAY LIKE THIS.

Joey: WHAT?

Joey: WHAT?

Nicholas: I SAID YOU JUST GO.

I ASK YOU ONE QUESTION,
AND WE GET STORIES.

Joey: I FOUND THESE WOMEN
IN THE LOCAL MARKET

WITHIN FIVE MINUTES
FROM MY HOUSE.

WITHIN FIVE MINUTES
FROM MY HOUSE.

WHAT I LIKED ABOUT THEM IS THAT
THEY ALL HAD THIS RELATION

TO THIS SOY SAUCE
AND VINEGAR POT.

TO THIS SOY SAUCE
AND VINEGAR POT.

AND THEY CAME TO MY STUDIO,

AND THERE WAS LIKE
THOUSANDS OF POTS.

AND THEY'RE LIKE,
WHAT ARE YOU DOING?

AND, YOU KNOW, I ASKED THEM
TO TIE STRING ON IT.

AND, YOU KNOW, I ASKED THEM
TO TIE STRING ON IT.

THEY'RE LIKE, WHAT,
ARE YOU DOING EVEN MORE?

THIS IS CRAZY, THIS IS INSANE.
AREN'T YOU JUST GOING TO COOK?

AND IT WAS THIS INCREDIBLE
TRANSFORMATION

AND IT WAS THIS INCREDIBLE
TRANSFORMATION

OF THEIR UNDERSTANDING OF
JUST THIS SIMPLE OBJECT

THAT EVERYONE HAS IN CHINA.

THAT EVERYONE HAS IN CHINA.

AND AT THE END, YOU KNOW,
THEY FINALLY GOT IT.

IT WAS JUST LIKE [SNAPS] THAT.

AND THEN THEY LOVED IT.

I MEAN, OK,
IT'S A GLORIFIED CHANDELIER,

BUT THERE'S BEAUTY BEHIND IT.

BUT THERE'S BEAUTY BEHIND IT.

AND I'VE LAYERED IT
WITH MORE OF A STORY

THAN, YOU KNOW, ANYTHING ELSE.

AND, YOU KNOW, IT'S THAT PROCESS
THAT DICTATES THAT DESIGN,

AND, YOU KNOW, IT'S THAT PROCESS
THAT DICTATES THAT DESIGN,

AND IT'S THE PROCESS THAT
DICTATES THE MEANING.

AND IT'S THE PROCESS THAT
DICTATES THE MEANING.

AND, YOU KNOW, AT THE END,
THEY TOOK OUT THEIR CELL PHONES

AND STARTED TAKING PICTURES
NEXT TO IT, YOU KNOW.

AND STARTED TAKING PICTURES
NEXT TO IT, YOU KNOW.

AND I THOUGHT, OH, SUCCESS.

I'M GABRIEL CRAIG,

AND I'M A METALSMITH, WRITER
AND CRAFT ACTIVIST.

AND I'M A METALSMITH, WRITER
AND CRAFT ACTIVIST.

I'M LAUREN KALMAN,
AND I'M AN ARTIST.

I'M MATT MOULTHROP,
AND I'M AN ARTIST.

I'M MATT MOULTHROP,
AND I'M AN ARTIST.

I'M SABRINA GSCHWANDTNER,
AND I'M AN ARTIST.

I'M SABRINA GSCHWANDTNER,
AND I'M AN ARTIST.

Nicholas: THERE ARE MANY
EXAMPLES IN THIS EXHIBITION

OF HOW ARTISTS JUMP FROM
ONE FIELD TO THE NEXT,

OF HOW ARTISTS JUMP FROM
ONE FIELD TO THE NEXT,

THAT IF YOU ARE A FILMMAKER,
LIKE SABRINA, FOR EXAMPLE,

YOU DON'T HAVE TO HAVE TO
JUST BE A FILMMAKER.

YOU DON'T HAVE TO HAVE TO
JUST BE A FILMMAKER.

SHE HAS TAKEN 16-MILLIMETER FILM
THAT WAS BEING THROWN OUT

BY THE FASHION INSTITUTE
OF TECHNOLOGY IN NEW YORK,

BY THE FASHION INSTITUTE
OF TECHNOLOGY IN NEW YORK,

AND SHE'S USING
HER FILMMAKER BACKGROUND

TO DO SOMETHING
COMPLETELY UNEXPECTED.

TO DO SOMETHING
COMPLETELY UNEXPECTED.

Sabrina: I WATCHED THE FILMS,
I'VE WATCHED THEM ALL,

I WATCHED THEM, YOU KNOW,
AND REWATCHED THEM.

I WATCHED THEM, YOU KNOW,
AND REWATCHED THEM.

ONE OF THE EARLIEST FILMS I HAVE
IS FROM THE '50s,

AND IT'S ABOUT WHY WOMEN
SHOULD WEAR DRESSES.

AND THEN ONE OF THE LATEST FILMS
THAT I HAVE IS FROM THE '80s,

AND THEN ONE OF THE LATEST FILMS
THAT I HAVE IS FROM THE '80s,

AND IT'S PORTRAITS OF FEMALE
QUILTERS AND WHAT THEY DO,

AND IN THEIR OWN WORDS
DESCRIBING WHY THEY DO IT

AND IN THEIR OWN WORDS
DESCRIBING WHY THEY DO IT

AND WHY IT'S IMPORTANT TO THEM.

AND WHY IT'S IMPORTANT TO THEM.

SO I HAD DONE ALL THIS RESEARCH
ABOUT THE HISTORY OF FILM

AND HOW IT PARALLELS
THE HISTORY OF HOME SEWING.

AND HOW IT PARALLELS
THE HISTORY OF HOME SEWING.

AND SO WHEN
I LOOKED AT THE FILM,

THAT KIND OF CAME
FLOODING BACK TO ME.

BECAUSE I WAS HOLDING IT
UP TO THE LIGHT,

BECAUSE I WAS HOLDING IT
UP TO THE LIGHT,

AND AS I WAS HOLDING IT UP,
I WAS THINKING,

THIS REALLY DOES LOOK
LIKE A TEXTILE,

BECAUSE IT'S THIS REPEATED
PATTERNING.

BECAUSE IT'S THIS REPEATED
PATTERNING.

AND IT REMINDED ME
OF STRING QUILTS.

AND I THOUGHT, WELL,
I SHOULD SEW THEM TOGETHER.

AND I THOUGHT, WELL,
I SHOULD SEW THEM TOGETHER.

SO WHEN THE SMITHSONIAN CHOSE
TWO PIECES FOR THEIR EXHIBITION,

SO WHEN THE SMITHSONIAN CHOSE
TWO PIECES FOR THEIR EXHIBITION,

THEY SAID THAT THEY WOULD PREFER
IF THEY WERE UNFRAMED.

THEY SAID THAT THEY WOULD PREFER
IF THEY WERE UNFRAMED.

I EXPLAINED THAT I USUALLY PUT
THE LEDs IN MYSELF.

I HAVE A FRAMER
WHO MAKES THE FRAMES.

I HAVE A FRAMER
WHO MAKES THE FRAMES.

I PUT IN THE LEDs, AND AN LED
FRAME IS SOMEWHAT COMPLICATED.

Nicholas:
HELEN IS A CONSERVATOR.

Nicholas:
HELEN IS A CONSERVATOR.

SO IT'S HER JOB
TO LOOK AT THINGS

THAT ARE IN OUR COLLECTION

AND MAKE SURE THAT THEY ARE
BEING HANDLED IN A WAY,

TREATED IN A WAY THAT IS
THE BEST POSSIBLE APPROACH

TREATED IN A WAY THAT IS
THE BEST POSSIBLE APPROACH

FOR THAT PARTICULAR OBJECT.

Justin: THERE IT IS.

Justin: THERE IT IS.

Man: I THINK WE NAILED IT.
IT'S AMAZING.

Helen: YEAH!

Nicholas: WE SENT SABRINA
SOME CASUAL SNAPSHOTS

OF THE LIGHT BOXES
AS THEY'VE BEEN BUILT,

OF THE LIGHT BOXES
AS THEY'VE BEEN BUILT,

AND SHE HAD SOME CONCERNS
ABOUT THAT.

SHE DECIDED TO POP DOWN
FROM NEW YORK FOR THE DAY.

Nicholas: I ALREADY THINK IT
LOOKS BETTER THAN THE LAST TIME

Nicholas: I ALREADY THINK IT
LOOKS BETTER THAN THE LAST TIME

FROM THE PHOTOS THAT YOU SAW.

IF THERE'S GOING TO BE A...

YOU CAN TELL US WHERE
YOU'D PREFER IT BE.

YOU CAN TELL US WHERE
YOU'D PREFER IT BE.

Sabrina: RIGHT.

Nicholas: CERTAINLY.

Sabrina: SO WHEN I WENT
TO DC TO LOOK AT THE FRAME,

Sabrina: SO WHEN I WENT
TO DC TO LOOK AT THE FRAME,

I WAS ACTUALLY QUITE NERVOUS

ABOUT THE WAY THAT
THE PIECES MIGHT LOOK,

BECAUSE I HAD SEEN
LOW-RES PICTURES.

BECAUSE I HAD SEEN
LOW-RES PICTURES.

AND I DECIDED ON MY WAY THERE

THAT I WOULD JUST PRETEND
THAT I WAS DEAD,

THAT I WOULD JUST PRETEND
THAT I WAS DEAD,

AND THAT THAT WOULD BE
MY OUTLOOK ON THIS.

BECAUSE I THOUGHT, YOU KNOW,

AFTER I'M DEAD I CAN'T CONTROL
HOW PEOPLE FRAME THESE WORKS.

AFTER I'M DEAD I CAN'T CONTROL
HOW PEOPLE FRAME THESE WORKS.

THEY CAN DO WHATEVER
THEY WANT WITH THEM.

TELL ME IF I'M CORRECT.

THESE LEDs ARE SOMEHOW MORE
CONSERVATION-FRIENDLY

THESE LEDs ARE SOMEHOW MORE
CONSERVATION-FRIENDLY

THAN THE OTHER LEDs?

Justin: IT'S NOT EVERY DAY
WE MAKE LIGHT BOXES.

Justin: IT'S NOT EVERY DAY
WE MAKE LIGHT BOXES.

WE HAVE BEFORE.

Sabrina: SO THIS IS
THE ONLY PART

THAT'S ACTUALLY
TOUCHING THE PLEXI?

Nicholas: CORRECT.

Nicholas: CORRECT.

Sabrina: OK.

IT WAS REALLY INTERESTING

TO MEET WITH THE CONSERVATION
PEOPLE AT THE SMITHSONIAN,

TO MEET WITH THE CONSERVATION
PEOPLE AT THE SMITHSONIAN,

BECAUSE THEY HAD DONE
TESTS ON MY WORK

THAT I WOULD NEVER
HAVE BEEN ABLE TO DO.

CAN YOU EXPLAIN?

CAN YOU EXPLAIN?

Helen: IT'S MY EXPERIENCE

AND MY INSTINCTUAL PREDICTION

AND MY INSTINCTUAL PREDICTION

THAT THESE HOLES,

WHETHER THEY'RE THE ONES
THAT YOU'VE PUNCHED

OR THE SPROCKET HOLES,

OR THE SPROCKET HOLES,

ALL HAVE STRESSES AT THE EDGES
OF THOSE BREAKS,

AND THEY'RE JUST DYING
TO PROPAGATE.

AND THEY'RE JUST DYING
TO PROPAGATE.

Sabrina: AND THEY CAME UP
WITH THIS ACRYLIC BAR

WITH A PIECE OF MYLAR
WRAPPED AROUND IT

THAT HOLDS THE QUILT IN PLACE.

THAT HOLDS THE QUILT IN PLACE.

AND THEY DETERMINED THAT
THAT WILL PUT LESS STRESS

AND THEY DETERMINED THAT
THAT WILL PUT LESS STRESS

ON THE PIECE OVER TIME
THAN MY SEWING METHOD.

AND SO IN THE END, THE FRAMES, I
THINK, IN TERMS OF CONSERVATION

ARE MUCH BETTER ACTUALLY
THAN WHAT I'VE BEEN DOING.

ARE MUCH BETTER ACTUALLY
THAN WHAT I'VE BEEN DOING.

Helen: SO WHAT YOU'RE
GOING TO END UP WITH

IS SOME HOLES ARE GOING TO BE
TIGHTER THAN OTHERS,

IS SOME HOLES ARE GOING TO BE
TIGHTER THAN OTHERS,

AND THOSE ARE THE ONES
THAT ARE GOING TO RIP OUT.

Nicholas: SO HELEN'S JOB
IS TO COME IN AND SAY

HERE'S HOW WE MAKE SURE THAT 100
YEARS OR EVEN 200 YEARS FROM NOW

HERE'S HOW WE MAKE SURE THAT 100
YEARS OR EVEN 200 YEARS FROM NOW

THESE QUILTS EXIST

AND ARE IN A STATE IN WHICH
WE CAN ENJOY THEM.

AND ARE IN A STATE IN WHICH
WE CAN ENJOY THEM.

I'M LAURA KNUTSON,
AND I'M AN ARTIST.

I'M LAURA KNUTSON,
AND I'M AN ARTIST.

I'M SEAN SMITH,
AND I'M A SCULPTOR.

I'M STEPHANIE LINER,
AND I'M AN ARTIST.

I'M STEPHANIE LINER,
AND I'M AN ARTIST.

I'M JEFFREY CLAN...
[LAUGHS]

I'M JEFFREY CLANCY,
AND I MAKE THINGS.

I'M JEFFREY CLANCY,
AND I MAKE THINGS.

I'M MELANIE BILENKER.
I'M A CRAFTSMAN AND AN ARTISAN.

THERE IS THE TRADITION
IN THE VICTORIAN ERA

OF PORTRAIT MINIATURES
AS WELL AS HAIR WORK,

OF PORTRAIT MINIATURES
AS WELL AS HAIR WORK,

AND THAT REALLY SPOKE TO ME,

PARTLY BECAUSE I'D WORKED A LOT
WITH RECYCLED MATERIALS,

PARTLY BECAUSE I'D WORKED A LOT
WITH RECYCLED MATERIALS,

THINGS THAT HAD
HAD A PREVIOUS LIFE--

OLD PIANO KEYS, BUTTONS.

OLD PIANO KEYS, BUTTONS.

SO I STARTED THINKING ABOUT
USING HAIR AS LINE,

SO I STARTED THINKING ABOUT
USING HAIR AS LINE,

AND THAT'S WHAT LED ME TO
THIS SPECIFIC BODY OF WORK.

I START WITH PHOTOGRAPHS,

AND I'LL JUST HAVE
MY TRIPOD READY

AND SNAP PICTURES
THROUGHOUT THE DAY.

AND SNAP PICTURES
THROUGHOUT THE DAY.

AND THEN I'LL MAKE UP
LINE DRAWINGS SIMPLIFYING THOSE,

AND THEN I'LL TAKE HAIR
AND I'LL ORGANIZE IT

AND THEN I'LL TAKE HAIR
AND I'LL ORGANIZE IT

BASED ON, YOU KNOW,
THICKNESS AND COLOR.

BECAUSE EVEN IN
ONE HEAD OF HAIR,

BECAUSE EVEN IN
ONE HEAD OF HAIR,

YOU'LL HAVE DARKER, THICKER HAIR
AT THE FOREHEAD,

AND YOU KNOW, THINNER,
FINER HAIRS AT THE TEMPLES.

AND YOU KNOW, THINNER,
FINER HAIRS AT THE TEMPLES.

SO YOU CAN KIND OF ORGANIZE IT

BASED ON WHAT SORT OF
LINE WEIGHT YOU'D WANT.

BASED ON WHAT SORT OF
LINE WEIGHT YOU'D WANT.

AND THEN I CLEANSE THEM ALL,

AND THEN I GO ABOUT JUST
AFFIXING THEM ALL IN PLACE,

AND THEN I GO ABOUT JUST
AFFIXING THEM ALL IN PLACE,

GLUING THEM ALL IN PLACE.

Man: THAT'S FOUR AND A QUARTER.

Man: THAT'S FOUR AND A QUARTER.

AND THIS IS FOUR AND A HALF.

Eunice: FOUR AND A HALF,
FOUR AND A QUARTER?

Man: YEP, THAT'S WHAT IT IS.

Eunice: THAT'S FINE.

Eunice: THAT'S FINE.

Melanie: WHENEVER YOU'RE
WORKING IN A FASHION

THAT'S SO FOCUSED AND
SO TIME-CONSUMING AND DELICATE,

THAT'S SO FOCUSED AND
SO TIME-CONSUMING AND DELICATE,

YOU WANT PEOPLE TO REALLY
PAY ATTENTION TO IT.

AND I GUESS THAT'S THE INTERPLAY
THAT I LIKE,

IS THAT IT'S SOMETHING
THAT'S SO COMMON, YOU KNOW,

IS THAT IT'S SOMETHING
THAT'S SO COMMON, YOU KNOW,

IT MIGHT BE AN IMAGE
THAT'S SO UNIVERSAL--

YOU KNOW, POURING A GLASS OF
MILK OR WHAT HAVE YOU--

THAT TO SPEND THAT MUCH TIME
AND CONCENTRATION ON IT,

THAT TO SPEND THAT MUCH TIME
AND CONCENTRATION ON IT,

TO MAKE SOMEBODY REALLY
FOCUS IN ON IT,

I THINK GIVES THEM SOME SENSE
OF HOW I SEE IT.

I THINK GIVES THEM SOME SENSE
OF HOW I SEE IT.

GENERALLY SPEAKING,
ON ANY GIVEN DAY,

NOTHING MOMENTOUS HAS HAPPENED.

NOTHING MOMENTOUS HAS HAPPENED.

YOU KNOW, YOU HAVE ALL OF THESE
LITTLE, YOU MAKE BREAKFAST,

YOU MAY GO FOR A WALK,
GET SOME WORK DONE,

YOU MAY GO FOR A WALK,
GET SOME WORK DONE,

AND THAT'S KIND OF WHAT
BUILDS UP TO MAKE OUR LIVES.

AND SO THAT'S MY FOCUS.

AND SO THAT'S MY FOCUS.

MY NAME IS BRIAN DETTMER,
AND I'M A BOOK SCULPTOR.

I'M JENNIFER CRUPI.

I'M JENNIFER CRUPI.

I'M A CRAFT ARTIST WORKING
MAINLY IN THE MATERIAL OF METAL.

I'M ERIK DEMAINE, AND I'M BOTH
AN ARTIST AND A SCIENTIST.

I'M ERIK DEMAINE, AND I'M BOTH
AN ARTIST AND A SCIENTIST.

I'M STACEY LEE WEBBER,
AND I'M AN ARTIST.

WE HAD ALWAYS WANTED
A LIVE/WORK ENVIRONMENT

EVER SINCE WE MOVED
TO PHILADELPHIA.

EVER SINCE WE MOVED
TO PHILADELPHIA.

YOU SEE PROSTITUTES,
YOU SEE DRUG TRADE.

IT'S HERE.

IT'S HERE.

IT'S IN OUR BLOCK,
AND IT BECOMES REALLY REAL.

IT BECOMES MORE OF LIKE
A PROTECT YOURSELF,

IT BECOMES MORE OF LIKE
A PROTECT YOURSELF,

KEEP YOUR EYES DOWN,
YOU'RE IN AND OUT,

AND YOU THINK ABOUT ALL
OF THOSE STEPS IN BETWEEN.

AND YOU THINK ABOUT ALL
OF THOSE STEPS IN BETWEEN.

AND SO, IT JUST IS REALLY REAL.

WE TREAT IT, THIS BUILDING, AS
THE COMPOUND, WE ALWAYS CALL IT.

WE TREAT IT, THIS BUILDING, AS
THE COMPOUND, WE ALWAYS CALL IT.

IT'S AN OLD FACTORY.

IT'S A WHOLE CITY BLOCK,

IT'S A WHOLE CITY BLOCK,

SO THE AMOUNT OF SPACE
IS JUST, LIKE, INSANE.

LIKE, THE INSPIRATION IS EASY,

LIKE, THE INSPIRATION IS EASY,

AND THAT'S THE GREAT PART
ABOUT LIVING IN THE BUILDING.

AND THAT'S THE GREAT PART
ABOUT LIVING IN THE BUILDING.

IT INFLUENCES THE WORK.

THE BEGINNING STARTED
JUST DIRECTLY WITH TOOLS,

THINKING OF LABOR AND
CONSTRUCTION LABOR,

THINKING OF LABOR AND
CONSTRUCTION LABOR,

AND, LIKE, BLUE COLLAR WORK.

MY FAMILY, WHO'S, LIKE,
MIDDLE CLASS,

HAS DONE REALLY WELL
IN THEIR LIFE.

IT'S INTERESTING,
'CAUSE MY DAD ALWAYS SAYS

HE COULDN'T DRAW
A STRAIGHT LINE,

BUT HE ALWAYS HAD THESE BASIC
TOOLS THAT HIS DAD GAVE HIM.

BUT HE ALWAYS HAD THESE BASIC
TOOLS THAT HIS DAD GAVE HIM.

SO THAT'S HOW IT STARTED, JUST
MAKING THE TOOLS OUT OF PENNIES

SO THAT'S HOW IT STARTED, JUST
MAKING THE TOOLS OUT OF PENNIES

TO TALK ABOUT SORT OF
THE VALUELESSNESS OF HAND LABOR.

TO TALK ABOUT SORT OF
THE VALUELESSNESS OF HAND LABOR.

Nicholas: THERE ARE DIFFERENT
WAYS TO THINK ABOUT CRAFT

AS A POLITICAL RESPONSE.

YOU CAN LOOK AT STACEY LEE
WEBBER'S WORK WITH COINS,

YOU CAN LOOK AT STACEY LEE
WEBBER'S WORK WITH COINS,

HOW SHE'S MAKING ALL OF
THESE TOOLS OUT OF PENNIES

AND ADDING A GREAT COMMENTARY
ON LABOR IN THE PROCESS.

AND ADDING A GREAT COMMENTARY
ON LABOR IN THE PROCESS.

Stacey Lee: YOU KNOW,
PEOPLE PASS THEM BY,

AND THEY DON'T KNOW
THAT THEY ARE PENNIES,

AND THEY DON'T KNOW
THAT THEY ARE PENNIES,

AND THAT THEY'RE ALL
HOLLOW UNDERNEATH,

AND IT TOOK ALL THIS TIME.

AND IT TOOK ALL THIS TIME.

IT'S LIKE A SORT OF RESPECT
FOR HOW IT WAS MADE ISSUE,

AND THEY JUST LIKE,
THEIR EYES OPEN UP,

LIKE, OH! YOU KNOW,
IT JUST HITS THEM.

LIKE, OH! YOU KNOW,
IT JUST HITS THEM.

[BELLS CHIMING]

[BELLS CHIMING]

Nick Dong: FOR THE PEOPLE
WHO ACTUALLY ACCIDENTALLY

OR INTENTIONALLY JUST WALKING
INTO THE ROOM,

OR INTENTIONALLY JUST WALKING
INTO THE ROOM,

I WANT THEM JUST FORGET
ABOUT THEIR OBSERVING,

FORGET ABOUT THEY'RE SUPPOSED
TO GET SOMETHING OUT OF THIS.

FORGET ABOUT THEY'RE SUPPOSED
TO GET SOMETHING OUT OF THIS.

WHAT'S THE MEANING OF THIS?
WHAT'S THE STORY BEHIND IT?

THERE'S NONE.

IT'S THE MEANING OF
YOUR OWN EXPERIENCE,

IT'S THE MEANING OF
YOUR OWN EXPERIENCE,

HOW YOU VIEW THE LIFE BEFORE
YOU ENTER THE ROOM,

HOW DO YOU VIEW THIS MOMENT
WHILE IN THE ROOM?

HOW DO YOU VIEW THIS MOMENT
WHILE IN THE ROOM?

HOW DO YOU VIEW YOURSELF?

HOW DO YOU VIEW YOURSELF?

I GREW UP IN A PRETTY RELIGIOUS
ENVIRONMENT.

I GREW UP IN A PRETTY RELIGIOUS
ENVIRONMENT.

MY FATHER IS A VERY PRACTICED
BUDDHIST.

SO I DECIDED TO CREATE A ROOM
YOU CAN JUST COME IN

AND GET YOUR ENLIGHTENMENT.

AND GET YOUR ENLIGHTENMENT.

SO IT STARTED UP
AS SORT OF A JOKE.

SO IT STARTED UP
AS SORT OF A JOKE.

BUT THIS JOKE TOOK ME
A LONG TIME TO CREATE.

BUT THIS JOKE TOOK ME
A LONG TIME TO CREATE.

IT'S ABOUT SIX MONTHS OF
HAND-MAKING CERAMIC TILES,

IT'S ABOUT SIX MONTHS OF
HAND-MAKING CERAMIC TILES,

TO CREATE ABOUT 10,000
HANDMADE TILES IN THIS ROOM.

I WAS ABLE TO MAKE 200 A DAY.

I WAS ABLE TO MAKE 200 A DAY.

THE CEILING AND THE FLOOR
ARE ALL REFLECTIVE.

THE CEILING AND THE FLOOR
ARE ALL REFLECTIVE.

IT CREATES THIS
INFINITE REFLECTION,

SO EVEN THOUGH THE WHOLE ROOM
IS ONLY EIGHT FEET TALL,

SO EVEN THOUGH THE WHOLE ROOM
IS ONLY EIGHT FEET TALL,

YOU FEEL LIKE YOU'RE STEPPING
INTO ENDLESS DEPTH

AND AN ENDLESS HEIGHT.

AND AN ENDLESS HEIGHT.

ALTOGETHER, IT BECOME
A VERY SINCERE JOKE.

ALTOGETHER, IT BECOME
A VERY SINCERE JOKE.

SO I WANT TO DEDICATE
THIS PIECE TO MY FATHER,

SO I WANT TO DEDICATE
THIS PIECE TO MY FATHER,

EVEN THOUGH HE HASN'T
SEEN IT YET.

BUT HE WILL TOMORROW.

HI, I'M CHRISTY OATES,
AND I'M AN ARTIST.

HI, I'M CHRISTY OATES,
AND I'M AN ARTIST.

MY NAME IS MARK MAIORANA,
AND I AM AN IRONWORKER.

I'M JENNY HART,
AND I'M AN ARTIST.

I'M JENNY HART,
AND I'M AN ARTIST.

MY NAME IS JAMIN UTICONE,
AND I'M A BASKET WEAVER.

JEFF GARNER,
I'M A FASHION DESIGNER.

JEFF GARNER,
I'M A FASHION DESIGNER.

I STARTED WHEN I WAS YOUNG.

I STOLE MY SISTER'S
BARBIE SKETCH PAD

AND STARTED DESIGNING,
SKETCHING AWAY,

AND STARTED DESIGNING,
SKETCHING AWAY,

AND STARTED TAKING APART
DIFFERENT CLOTHES THAT I HAD

AND PIECING THEM BACK TOGETHER.

AND PIECING THEM BACK TOGETHER.

AND THAT'S HOW IT BEGAN.

Nicholas: JEFF GARNER IS
A WONDERFUL EXAMPLE

Nicholas: JEFF GARNER IS
A WONDERFUL EXAMPLE

OF HOW ONE PERSON
CAN CHANGE A FIELD.

HERE'S SOMEBODY WHO CAME UP
IN THE L.A. FASHION BUSINESS,

HERE'S SOMEBODY WHO CAME UP
IN THE L.A. FASHION BUSINESS,

WHO WAS DOING
ALL THE REGULAR THINGS,

UNTIL ONE DAY HE TELLS ME
HE SAW ONE OF HIS FRIENDS

UNTIL ONE DAY HE TELLS ME
HE SAW ONE OF HIS FRIENDS

GET SICK FROM WORKING
WITH TOXIC DYES.

AND IT MADE HIM STOP AND THINK

AND IT MADE HIM STOP AND THINK

ABOUT THE STATE OF THE FASHION
INDUSTRY IN THIS COUNTRY.

HE MOVED BACK TO HIS HOMETOWN
IN TENNESSEE,

STARTED HIS OWN LABEL
CALLED PROPHETIK,

STARTED HIS OWN LABEL
CALLED PROPHETIK,

AND HAS DEDICATED HIMSELF
OVER THE LAST SEVERAL YEARS

TO SUSTAINABLE FASHION,

THE IDEA THAT YOU CAN
MAKE GREAT CLOTHING

THE IDEA THAT YOU CAN
MAKE GREAT CLOTHING

WITHOUT HARMING THE ENVIRONMENT.

Jeff: I JUST STARTED
ASKING QUESTIONS.

Jeff: I JUST STARTED
ASKING QUESTIONS.

'CAUSE WHEN I FOUND OUT MORE
ABOUT THE SYNTHETIC DYES

THAT ARE MADE OF COAL AND OIL

AND WHAT IT DOES TO
THE ENVIRONMENT, IT OFF-GASES.

AND WHAT IT DOES TO
THE ENVIRONMENT, IT OFF-GASES.

THE MAJORITY OF FABRICS
ARE BLEACHED OUT.

SO BLEACH IS DEFINITELY
GOING RIGHT TO YOUR SKIN.

SO BLEACH IS DEFINITELY
GOING RIGHT TO YOUR SKIN.

I THINK I'M GONNA
DO THIS ONE RED,

SO WE USE RED MADDER ROOT.

WE BOILED IT IN VINEGAR
FOR ABOUT AN HOUR.

WE BOILED IT IN VINEGAR
FOR ABOUT AN HOUR.

SO, YOU KNOW,
I JUST STARTED DOING

ALL THIS BACKGROUND RESEARCH
AND EVERYTHING,

AND I WAS LIKE, WOW,

THERE'S GOT TO BE
A DIFFERENT WAY.

THERE'S GOT TO BE
A DIFFERENT WAY.

AND BASICALLY WHAT I FOUND WAS
THAT PLANT, EARTH-BASED DYES--

AND BASICALLY WHAT I FOUND WAS
THAT PLANT, EARTH-BASED DYES--

AND A LOT OF PEOPLE SAY, WELL,

YOU HAVE TO USE WATER
TO GROW THE PLANTS,

AND DAH, DAH, DAH,
AND THEY TRY TO KNOCK IT--

AND I'M LIKE, IT DOESN'T EVEN
COMPARE TO THE SYNTHETIC DYES

AND I'M LIKE, IT DOESN'T EVEN
COMPARE TO THE SYNTHETIC DYES

AND THE POLLUTANTS IT AFFECTS
AND THE HEALTH IT AFFECTS.

AND THE BEAUTY ABOUT
PLANT, EARTH-BASED DYES

AND THE BEAUTY ABOUT
PLANT, EARTH-BASED DYES

IS THAT WHEN THEY FADE OUT

THEY TURN A COUPLE TONES LIGHTER
THAN THE ORIGINAL.

THEY TURN A COUPLE TONES LIGHTER
THAN THE ORIGINAL.

SO I THINK PEOPLE ARE ADDICTED

TO THIS KIND OF FAST FASHION,
CHEAP FASHION.

TO THIS KIND OF FAST FASHION,
CHEAP FASHION.

IT'S ALL ABOUT THE PRICE POINT.

EVERYONE THINKS SUSTAINABLE
FASHION, ECO-FASHION

IS GOING TO BE
FOUR TIMES THE AMOUNT.

IS GOING TO BE
FOUR TIMES THE AMOUNT.

BUT IT'S NOT.

I USE REALLY GOOD
ZIPPERS, SNAPS,

I USE REALLY GOOD
ZIPPERS, SNAPS,

THINGS THAT WILL NOT BREAK.

SO THE QUALITY IS THERE.

SO I'M GOING TO FOCUS ON
DOING CATWALK,

DOING FASHION WEEKS,
SHOW OFF AS MUCH AS I CAN

TO GET THIS CONVERSATION GOING,
TO GET PEOPLE TO PAY ATTENTION.

TO GET THIS CONVERSATION GOING,
TO GET PEOPLE TO PAY ATTENTION.

Nicholas: ONE OF THE MOST
EXTRAORDINARY CHANGES TO CRAFT

Nicholas: ONE OF THE MOST
EXTRAORDINARY CHANGES TO CRAFT

THAT I'VE WITNESSED

IS THE REEMERGENCE OF WHAT
WE CALL PRODUCTION WORK,

IS THE REEMERGENCE OF WHAT
WE CALL PRODUCTION WORK,

WHICH IS WORK THAT
IS NOT MEANT TO BE

NECESSARILY LIVING IN
AN ART GALLERY ON A PEDESTAL,

BUT WORK THAT YOU WOULD GO BUY
AND USE IN YOUR HOME.

BUT WORK THAT YOU WOULD GO BUY
AND USE IN YOUR HOME.

YOU SEE CORK PLATES BY
DANIEL MICHALIK OR CORK CHAIRS.

YOU SEE CORK PLATES BY
DANIEL MICHALIK OR CORK CHAIRS.

YOU SEE THIS GREAT FURNITURE
BY UHURU.

AND THESE THINGS ARE REALLY
MEANT TO JOIN OUR ECONOMY

AND THESE THINGS ARE REALLY
MEANT TO JOIN OUR ECONOMY

AS THINGS THAT YOU WOULD FIND
IN THE MARKETPLACE.

Bill: HEY! COME ON IN.

Jason: WELCOME TO
THE UHURU SHOWROOM, COME ON IN.

Jason: WELCOME TO
THE UHURU SHOWROOM, COME ON IN.

Bill: THIS IS OUR STOOL END.

IT'S ALL MADE OUT OF SCRAP WOOD.

Jason: IT'S AN AWESOME LAMP
OUT OF AN OLD, RECLAIMED BUOY.

Jason: IT'S AN AWESOME LAMP
OUT OF AN OLD, RECLAIMED BUOY.

THIS CHAIR IS MADE OUT OF
RECLAIMED BOURBON BARRELS

FROM KENTUCKY.

FROM KENTUCKY.

Bill: THE ENTIRE FRAME IS
MADE OUT OF SPRINGS

FROM NEW YORK CITY
FIRE TRUCKS,

FROM LOOSE SPRINGS
FROM THE SUSPENSION.

FROM LOOSE SPRINGS
FROM THE SUSPENSION.

Nicholas:
UHURU'S CYCLONE LOUNGER

JUST ARRIVED FROM BROOKLYN,

AND WE ARE UNWRAPPING IT
FOR THE FIRST TIME.

AND WE ARE UNWRAPPING IT
FOR THE FIRST TIME.

I AM REALLY EXCITED TO SEE IT

AND SEE THIS CONEY ISLAND
BOARDWALK THAT THEY USED

IN THIS PIECE FOR THE SEAT.

IN THIS PIECE FOR THE SEAT.

WE'RE ALL FAMILIAR
WITH THE TERM RECYCLING.

BUT NOT EVERYBODY'S FAMILIAR
WITH THE TERM UPCYCLING.

BUT NOT EVERYBODY'S FAMILIAR
WITH THE TERM UPCYCLING.

AND THIS IS AN IDEA THAT
CAME UP IN THE '90s

AS A WAY OF DESCRIBING RECYCLING

AS A WAY OF DESCRIBING RECYCLING

THAT ACTUALLY ADDS VALUE TO
THE MATERIALS BEING USED.

YOU'RE TALKING ABOUT TAKING
MATERIALS THAT HAVE BEEN WASTED,

YOU'RE TALKING ABOUT TAKING
MATERIALS THAT HAVE BEEN WASTED,

OR ARE POTENTIALLY BEING WASTED,

AND TURNING THEM DIRECTLY INTO
SOMETHING THAT CAN BE USED

AND TURNING THEM DIRECTLY INTO
SOMETHING THAT CAN BE USED

WITHOUT ALL OF THE PROCESS
IN BETWEEN.

Bill: AT THE BEGINNING THERE WAS
A LOT OF DRIVING AROUND

IN OUR LITTLE PICKUP TRUCK

IN OUR LITTLE PICKUP TRUCK

AND SEARCHING OUT
WHAT WE COULD FIND

ON BUILDING SITES,
ON THE STREET,

YOU KNOW, DEMOLITION OF
OLD BUILDINGS,

YOU KNOW, DEMOLITION OF
OLD BUILDINGS,

YOU KNOW, JUST ROUT THROUGH
CONSTRUCTION DUMPSTERS.

Jason: THE REALLY SUCCESSFUL
THINGS HAVE BEEN LIKE,

YOU KNOW, THEM DUMPSTERING
THAT CONEY ISLAND BOARDWALK.

LIKE, WHEN WE FIRST GOT IT,

LIKE, WHEN WE FIRST GOT IT,

LITERALLY THEY WERE THROWING IT
IN THE DUMPSTER.

THE IDEA OF THE PIECE

WAS STANDING AT THE BOTTOM
OF THE COASTER,

LIKE LOOKING THROUGH ALL THE
WOODEN TRUSSES IN THE STRUCTURE.

LIKE LOOKING THROUGH ALL THE
WOODEN TRUSSES IN THE STRUCTURE.

SO IT'S ALMOST LIKE A SILHOUETTE

OF LOOKING THROUGH
THAT STRUCTURE.

OF LOOKING THROUGH
THAT STRUCTURE.

Bill: I THINK THE FIRST THING IS
WE WANT PEOPLE

TO BE STRUCK BY THE FORMS,
YOU KNOW,

TO BE STRUCK BY THE FORMS,
YOU KNOW,

TO BE ATTRACTED
TO IT IMMEDIATELY.

BECAUSE IF YOU'RE NOT INTERESTED
IN LOOKING AT IT,

BECAUSE IF YOU'RE NOT INTERESTED
IN LOOKING AT IT,

THEN IT DOESN'T MATTER WHAT
THE STORY IS ABOUT IT,

OR HOW WELL IT'S MADE.

OR HOW WELL IT'S MADE.

BUT WE WANT THINGS
TO KIND OF UNFOLD,

SO AS PEOPLE SEE SOMETHING AND
THEY LEARN ABOUT THE MATERIAL,

AND WHAT DREW US TO
CREATE THAT PIECE.

I THINK THAT'S LIKE
THE MOST IMPORTANT PART.

Jason: BASICALLY, WE WANT TO DO

Jason: BASICALLY, WE WANT TO DO

WELL-BUILT,
SUSTAINABLE FURNITURE

THAT CAN BE PASSED ON
FROM GENERATION TO GENERATION.

THAT CAN BE PASSED ON
FROM GENERATION TO GENERATION.

AND, I MEAN,
IF THAT'S THE FOCUS,

LIKE THAT'S THE THING
WE WANT TO DO BETTER

THAN ANYONE ELSE
DOES IT RIGHT NOW,

AND THAT'S KIND OF BEEN
OUR FOCUS.

AND THAT'S KIND OF BEEN
OUR FOCUS.

MY NAME IS ANNA VON MERTENS,
AND I'M AND ARTIST.

MY NAME IS SERGEY JIVETIN,
AND I'M AN ARTIST.

MY NAME IS SERGEY JIVETIN,
AND I'M AN ARTIST.

I'M CHRISTINA CORDOVA,
AND I'M A CERAMIC SCULPTOR.

JEN STARK,
AND I'M AN ARTIST.

JEN STARK,
AND I'M AN ARTIST.

I'M DAVE COLE, I'M A SCULPTOR.

Nicholas: ONE TREND WE ARE
SEEING WITH THIS GENERATION

THAT I FIND
INCREDIBLY REFRESHING

IS THE EMBRACE OF TECHNOLOGY.

IS THE EMBRACE OF TECHNOLOGY.

WHAT'S GREAT ABOUT
THESE YOUNG ARTISTS

IS THAT THEY'RE TAKING ALL
OF THOSE NEW TECHNIQUES,

IS THAT THEY'RE TAKING ALL
OF THOSE NEW TECHNIQUES,

ALL OF THOSE NEW TECHNOLOGIES,

AND PUTTING THEM INTO
THEIR TOOL CHEST

AND SAYING EVERYTHING IS
AVAILABLE FOR ME TO USE.

AND SAYING EVERYTHING IS
AVAILABLE FOR ME TO USE.

THERE'S NOTHING THAT CANNOT
BE A PART OF CRAFT.

JOSHUA DEMONTE'S WORK IS, ON THE
FACE OF IT, JUST PLAIN AWESOME.

AS SOON AS I UNDERSTOOD
WHAT HE WAS DOING,

THAT HE WAS ACTUALLY 3D PRINTING
THESE OBJECTS,

I WAS EVEN MORE INTRIGUED,
BECAUSE DIGITAL FABRICATION

I WAS EVEN MORE INTRIGUED,
BECAUSE DIGITAL FABRICATION

IS AN INCREDIBLY IMPORTANT
TECHNOLOGY

THAT HAS EMERGED ONLY IN
THE LAST COUPLE OF DECADES.

THAT HAS EMERGED ONLY IN
THE LAST COUPLE OF DECADES.

Joshua DeMonte:
THE JEWELRY-MAKING CAME FIRST.

Joshua DeMonte:
THE JEWELRY-MAKING CAME FIRST.

THE DIGITAL CAME LATER

WHEN I WAS TOLD I HAD TO
TAKE A COMPUTER CLASS.

AND ONE OF THE FIRST
THINGS THAT I DID

WAS I STARTED COPYING BUILDINGS
OR MAKING BUILDINGS.

AND THEN THE SOLUTION WAS
I'D PUNCH A BIG HOLE IN IT,

AND THEN THE SOLUTION WAS
I'D PUNCH A BIG HOLE IN IT,

AND IT WOULD BE A BRACELET.

[LAUGHS]

SO THIS IS OUR MAKERBOT.

SO THIS IS OUR MAKERBOT.

THESE TWO LINES HERE ARE
ACTUALLY FEEDING A SPOOL

OF A.B.S. PLASTIC.

OF A.B.S. PLASTIC.

IT'S GOING TO JUST CONTINUE
TO MOVE AROUND

EXTRUDING A THREAD OF
THIS SEMILIQUID A.B.S.

EXTRUDING A THREAD OF
THIS SEMILIQUID A.B.S.

AND WILL SLOWLY,
LAYER ON TOP OF LAYER,

BUILD UP
A THREE-DIMENSIONAL OBJECT.

BUILD UP
A THREE-DIMENSIONAL OBJECT.

Nicholas: JOSHUA IS DESIGNING
THESE PIECES IN 3D SOFTWARE

AND THEN FEEDING THOSE PLANS
DIRECTLY TO THE PRINTER.

AND THEN FEEDING THOSE PLANS
DIRECTLY TO THE PRINTER.

SO, IN ONE SENSE, HIS HANDS
AREN'T DIRECTLY INVOLVED

IN THE PRODUCTION OF THE PIECE.

IN THE PRODUCTION OF THE PIECE.

THE PRINTER IS MAKING
THE ENTIRE THING.

BUT OBVIOUSLY, YOU HAVE TO HAVE
A CERTAIN LEVEL OF SKILL

BUT OBVIOUSLY, YOU HAVE TO HAVE
A CERTAIN LEVEL OF SKILL

AND OF KNOWLEDGE TO DESIGN
SOMETHING THAT WAY

AND TO CONCEIVE OF ITS PROBLEMS
AND TO WORK IT OUT.

AND TO CONCEIVE OF ITS PROBLEMS
AND TO WORK IT OUT.

ISN'T THAT CRAFT?

Joshua: WE DON'T EXIST IN
AN ECONOMY RIGHT NOW

WHERE THE METALSMITH IS
PARTICULARLY VALUABLE.

WHERE THE METALSMITH IS
PARTICULARLY VALUABLE.

AND SO, HERE WE'RE TRYING TO SEE
IF WE CAN SEW TOGETHER

LIKE THE 21st CENTURY MAKER.

LIKE THE 21st CENTURY MAKER.

SO ULTIMATELY THERE'S KIND OF
A NEW TYPE OF MAKER.

Justin: DOWN.

UP.

UP.

DOWN JUST A...

UP. RIGHT THERE. THAT'S GOOD!

UP. RIGHT THERE. THAT'S GOOD!

Debrah: 10:00 A.M.
ON THURSDAY,

AND WE'RE OPENING UP THE SHOW
"40 UNDER 40 CRAFT FUTURES"

AND WE'RE OPENING UP THE SHOW
"40 UNDER 40 CRAFT FUTURES"

FOR THE FIRST TIME
TO THE PUBLIC.

Nicholas: IS THIS A NEW MIRROR?

Debrah: YES.

THIS IS THE NEW MIRROR, IT WAS
DELIVERED THIS MORNING AT 7:30.

Nicholas: GREAT!

Nicholas: GREAT!

Debrah: I AM VERY EXCITED.

I'VE BEEN WAITING FOR THIS DAY
FOR A REALLY LONG TIME.

Nicholas: I AM EXHAUSTED.

Nicholas: I AM EXHAUSTED.

[LAUGHS]

FROM WHEN WE FIRST STARTED
TALKING ABOUT "40 UNDER 40,"

FROM WHEN WE FIRST STARTED
TALKING ABOUT "40 UNDER 40,"

TO PICKING THE ARTISTS,
TO FINDING OBJECTS,

TO ACTUALLY DESIGNING THE SHOW,
TO WRITING THE BOOK,

IT'S BEEN A TWO-YEAR PROCESS,
AND IT ALL COMES DOWN TO TODAY.

IT'S BEEN A TWO-YEAR PROCESS,
AND IT ALL COMES DOWN TO TODAY.

Debrah: ALL THE ARTISTS
ARE ARRIVING

FROM BASICALLY
ALL OVER THE WORLD.

Nicholas: WE REALLY WANTED
THE ARTISTS TO BE HERE,

BECAUSE YOU'RE GOING TO HAVE
A LOT OF QUESTIONS,

BECAUSE YOU'RE GOING TO HAVE
A LOT OF QUESTIONS,

AND THERE'S NO POINT
IN HAVING A MIDDLEMAN

WHEN YOU CAN TALK TO THE SOURCE.

SO, PLEASE, ENJOY, WALK AROUND,

SO, PLEASE, ENJOY, WALK AROUND,

TALK TO THE PEOPLE WITH
BUTTONS ON, WE'RE HERE FOR YOU.

AND I'M ALWAYS LOOKING AT IT,
AND I'M LIKE,

IS IT GONNA TOUCH?
IS IT GONNA TOUCH?

IS IT GONNA TOUCH?
IS IT GONNA TOUCH?

I DON'T THINK IT EVER DOES.

Woman: DO YOU EVER GET TO
A POINT WHERE YOU WANT

TO SORT OF BREAK THE CURVE?

Erik: WE'VE DONE A LITTLE BIT
OF EXPERIMENTS WITH THAT

Erik: WE'VE DONE A LITTLE BIT
OF EXPERIMENTS WITH THAT

WHERE WE'LL HAVE
TWO CURVES MEETING

AT, LIKE, RIGHT ANGLES,
SO THERE'S A KINK.

Nicholas: YOU LOOK GREAT.

Laurel: THE SHOW LOOKS AMAZING,
THE SPACE IS AMAZING,

AND IT'S A TRUE HONOR TO
NOT ONLY BE IN THIS GALLERY,

AND IT'S A TRUE HONOR TO
NOT ONLY BE IN THIS GALLERY,

BUT SURROUNDED WITH
SO MUCH OTHER GREAT WORK.

Sabrina: I FEEL GREAT!

Sabrina: I FEEL GREAT!

IT'S EXCITING, IT'S EXCITING.

Olek: THANK YOU,
THANK YOU VERY MUCH.

Christina: A LOT OF US
SPEND MOST OF OUR HOURS

Christina: A LOT OF US
SPEND MOST OF OUR HOURS

IN THE STUDIO OR IN OUR HEADS,

AND THIS IS JUST SUCH
A GREAT WAY TO STEP OUT.

Nick: MY PARENTS JUST FLEW IN
FROM TAIWAN LAST NIGHT,

Nick: MY PARENTS JUST FLEW IN
FROM TAIWAN LAST NIGHT,

AND THEY HAVE NEVER BEEN TO
MY WORK, THE ENLIGHTENMENT ROOM.

AND THEY HAVE NEVER BEEN TO
MY WORK, THE ENLIGHTENMENT ROOM.

Joey: IT'S AMAZING TO SEE
MY WORK IN AMERICA.

AND ACTUALLY,
THIS IS THE FIRST TIME

MY MOTHER IS SEEING THE PIECE,
TODAY, LIKE EVER SEEN MY WORK.

MY MOTHER IS SEEING THE PIECE,
TODAY, LIKE EVER SEEN MY WORK.

Jenny: MOM, THIS IS NICHOLAS.

HE'S THE CURATOR
OF THE EXHIBITION.

Nicholas: IT'S WONDERFUL
TO MEET YOU.

Nicholas: IT'S WONDERFUL
TO MEET YOU.

Joey's Mom: HE'S ALWAYS BEEN
KIND OF OUTSIDE OF THE BOX.

Joey's Mom: HE'S ALWAYS BEEN
KIND OF OUTSIDE OF THE BOX.

HE DIDN'T TALK TILL HE WAS FIVE.

Nicholas: WOW.

Nicholas: WOW.

I THINK THIS IS THE BIGGEST
CROWD WE'VE EVER HAD

AT THE RENWICK.

SO WHAT DO YOU THINK
ABOUT THE FUTURE?

[CHEERING]

[CHEERING]

WHAT I FIND FASCINATING ABOUT
THE ARTISTS IN THIS EXHIBITION

WHAT I FIND FASCINATING ABOUT
THE ARTISTS IN THIS EXHIBITION

IS THAT THAT THEY ARE CHOOSING
TO MAKE WORK THAT IS POWERFUL

AND THAT IS ABOUT OUR CULTURE
AND THAT SPEAKS TO OUR CULTURE

AND THAT IS ABOUT OUR CULTURE
AND THAT SPEAKS TO OUR CULTURE

AT A TIME WHEN IT'S EXTREMELY
DIFFICULT TO BE AN ARTIST.

AT A TIME WHEN IT'S EXTREMELY
DIFFICULT TO BE AN ARTIST.

THEY ARE RE-ADDRESSING THE IDEA

THAT THINGS CAN BE MADE
IN THIS COUNTRY

NOT ONLY WELL, BUT BEAUTIFULLY.

NOT ONLY WELL, BUT BEAUTIFULLY.