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

"WHAT IS CRAFT?"

Official YIFY movies site: 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.