Applause America

S2 E3 | FULL EPISODE

Cartier Jewelry, Wifredo Lam & Karen Heyl

The art of Wifredo Lam on view in Boston; Cincinnati sculptor Karen Heyl & the brilliance of Cartier in Denver.

AIRED: October 17, 2015 | 0:26:13
ABOUT THE PROGRAM
TRANSCRIPT

>> "APPLAUSE AMERICA" -- SHARING ARTS AND CULTURE FROM

COAST TO COAST.

THIS WEEK, AN ARTIST WHOSE WORK IS INSPIRED BY CULTURE AND

TRAVEL.

>> THE CHAMPION, IF YOU WILL THOSE CAUSES TO RAISE THE BLACK

PERSON TO A LEVEL OF DIGNITY THAT ALL MEN HAVE.

>> MEET A SCULPTOR WHO TRANSLATES NATURE INTO STONE.

>> MY DRAWINGS ARE PATHETIC SOMETIMES, BECAUSE I SEE IT BUT

I CAN'T PUT IT ON PAPER.

THAT'S NOT MY MEDIUM.

CHISEL AND STONE IS MY MEDIUM.

>> A LOOK AT ONE OF THE WORLD'S MOST RECOGNIZABLE NAMES IN FINE

JEWELRY.

>> WE WANT TO LOOK AT HOW CARTIER SHAPED SOME OF THE IDEAS

OF STYLE, OF GLAMOUR, AND WE -- GLAMOUR.

>> AND A YOUTH ORCHESTRA INSPIRING THE NEXT GENERATION OF

CLASSICAL MUSICIANS.

>> THE ORCHESTRAS ARE THERE TO MEET THE NEEDS OF EACH STUDENT

DEPENDING ON THEIR ABILITY AND THEIR EXPERIENCE.

>> IT'S ALL AHEAD ON THIS EDITION OF "APPLAUSE AMERICA."

>> SUPPORT FOR "APPLAUSE AMERICA" ON WVIZ PBS IS MADE

POSSIBLE BY GRANTS FROM -- THE JOHN P. MURPHY FOUNDATION,

THE KULAS FOUNDATION, AND BY CUYAHOGA COUNTY

RESIDENTS, THROUGH CUYAHOGA ARTS AND CULTURE.

♪ >> THIS IS "APPLAUSE AMERICA,"

SHARING ARTS AND CULTURE FROM COAST TO COAST.

THE WIFREDO LAM RETROSPECTIVE AT BOSTON COLLEGE'S MCMULLEN MUSEUM

OF ART TAKES VISITORS INSIDE THE MIND OF THIS CUBAN BORN ARTIST,

WHOSE ECLECTIC BODY OF WORK DRAWS INSPIRATION FROM HIS

MULTICULTURAL HERITAGE, WORLD TRAVELS, AND THE ARTISTIC

MOVEMENTS OF HIS TIME.

HERE'S A LOOK.

JARED BOWEN: SIMPLY PUT, IT'S STAGGERING.

FROM BEGINNING TO END, THE CAREER OF CUBAN BORN ARTIST

WIFREDO LAM WAS ROBUST, VIGOROUS, AND WILDLY DISPARATE.

HE TRAVELED THE WORLD, INHALED THE WORKS OF THE GREATS AND

STEEPED HIMSELF IN THE CULTURES THAT MOVED HIM.

ELIZABETH GOIZUETA: HE'S DIFFICULT TO CATEGORIZE.

HE'S A COMPLEX MAN.

JARED BOWEN: WITH AN EQUALLY COMPLEX BEGINNING SAYS CURATOR

ELIZABETH GOIZUETA, WHO SPENT 10 YEARS ASSEMBLING THIS LAM

RETROSPECTIVE AT BOSTON COLLEGE'S MCMULLEN MUSEUM OF

ART.

BORN IN 1902, LAM IMMEDIATELY HAD FOUR CONTINENTS IN HIS

BLOOD.

ELIZABETH GOIZUETA: I DON'T THINK HE COULD -- HE HAD ANY

CHOICE BUT TO REMAIN OPEN AS AN AFRICAN SPANISH CHINESE MAN BORN

IN THE CARIBBEAN.

HIS GODMOTHER WAS A PRIESTESS, HIS MOTHER WAS A DEVOUT ROMAN

CATHOLIC.

THAT WAS HIS NORMALCY AND I THINK THAT HE HAD A QUEST AND A

HUNGER FOR THAT AND CONTINUED TO EXPLORE THAT.

JARED BOWEN: STARTING IN SPAIN WHERE HE STUDIED AT THE PRADO

AND WAS SPELLBOUND BY THE SURREALISTS.

ELIZABETH GOIZUETA: I DON'T THINK HE HAD AN AGENDA PER SE.

I THINK HE BECAME INVOLVED EMOTIONALLY AND INTELLECTUALLY

WITH DIFFERENT MOVEMENTS AND FROM THAT EMOTION HE PAINTED.

JARED BOWEN: THE SPANISH CIVIL WAR FORCED LAM TO PARIS IN THE

1930'S, PUTTING HIM IN CLOSE PROXIMITY TO THE ARTIST HE HELD

ABOVE ALL OTHERS.

ELIZABETH GOIZUETA: IN AN INTERVIEW HE SAYS, "SEEING

PICASSO'S WORK WAS MUCH LIKE A PERVASION OF THE SPIRIT," IT

JUST KIND OF INFUSED HIM WITH INSPIRATION.

JARED BOWEN: BY THE LATE 1930'S, LAM HAD WHAT HE'D YEARNED FOR --

A LETTER OF INTRODUCTION TO PICASSO.

ELIZABETH GOIZUETA: AND PICASSO PUTS HIS ARM AROUND HIM AND SAYS

"YOU REMIND ME OF SOMEBODY I KNEW LONG AGO -- ME."

SO IT'S CLASSIC, QUINTESSENTIAL PICASSO, BUT I THINK THAT THE

ENDORSEMENT GAVE LAM THE ABILITY AND THE POWER TO CONTINUE TO

EXPLORE THESE MOTIFS THAT HE WAS VERY INTERESTED IN EXPLORING.

AND AS A BLACK MAN, IT GAVE HIM MORE CREDIBILITY EVEN THAN

PICASSO.

JARED BOWEN: DID HE STRUGGLE WITH RACE OR HIS OWN IDENTITY?

ELIZABETH GOIZUETA: BEFORE 1941, HE NEVER EXPERIENCED RACISM,

EITHER IN SPAIN OR FRANCE.

IT WAS UPON HIS RETURN TO CUBA THAT HE BECAME VERY FAMILIAR

WITH THE NEGRITUDE MOVEMENT AND THE CHAMPION, IF YOU WILL, OF

THOSE CAUSES TO RAISE THE BLACK PERSON TO A LEVEL OF DIGNITY

THAT ALL MEN HAVE.

JARED BOWEN: IT WAS WORLD WAR II WHICH HAD FORCED LAM BACK TO

CUBA AND THEN ON TO NEW YORK WHERE HE TOOK UP WITH THE

ABSTRACT EXPRESSIONISTS.

HE WAS, GOUIZUETA SAYS, A SPONGE.

ELIZABETH GOIZUETA: WHAT IS SO EXTRAORDINARY ABOUT HIS WORK IS

THAT HE DOESN'T GET STAGNATED IN ONE PARTICULAR PERIOD, BUT YET

HE IS ALWAYS COMPELLED TO MOVE FORWARD AND TO LOOK AT THE NEXT

PERIOD.

JARED BOWEN: FOR THE NEXT 40 YEARS, UNTIL HIS DEATH IN 1982,

LAM CONTINUED TO PUSH HIMSELF, TO EXPLORE.

BUT AS MUCH AS HE THIRSTED FOR ARTIST CIRCLES, MORE THAN

ANYTHING, LAM IDENTIFIED WITH POETS.

ELIZABETH GOIZUETA: HE SAYS THAT HIMSELF THAT HE WOULD'VE LIKED

TO BE A POET, BUT HE SAYS HE THINKS PAINTING CAN BE JUST AS

ELOQUENT.

IT'S MORE AS IF YOU WOULD APPROACH POETRY WITH A VERY OPEN

MIND AND TRY TO ABSORB WHAT HE'S TRYING TO TELL THE VIEWER.

JARED BOWEN: PERHAPS FOR HIS INSATIABLE QUEST FOR THE NEW,

LAM HAS LONG BEEN BEYOND THE FULL GRASP OF CRITICS.

BUT THANKS TO THE MCMULLEN SHOW AND UPCOMING EUROPEAN ONES, THAT

IS ALL ABOUT TO CHANGE.

ELIZABETH GOIZUETA: THERE IS A SHIFT.

LAM HAS IN THE PAST BEEN MAYBE PIGEON-HOLED AS A SURREALIST OR

LATIN-AMERICANIST.

BUT I THINK NOW HE IS TRULY STAKING HIS CLAIM AS ONE OF THE

GREAT MODERNISTS OF THE 20TH CENTURY.

JARED BOWEN: AS YOU SEE HERE.

>> FOR MORE, VISIT WIFREDOLAM.NET.

AND NOW, HERE'S A LOOK AT WHAT HAPPENED THIS WEEK IN ARTS

HISTORY -- >> STONE SCULPTOR KAREN HEYL

FOUND A NEW CAREER AND A LATE CALLING WHEN SHE PICKED UP HER

FIRST CHISEL IN HER 30'S.

NOW YEARS LATER, YOU CAN FIND HER WORK IN BUILDINGS, PARKS,

AND CITYSCAPES THROUGHOUT THE UNITED STATES.

AND TODAY, SHE'S EXPLORING NEW MEDIUMS AND FRESH FORMS, SHOWING

THAT PASSION ISN'T ALWAYS SET IN STONE.

KAREN: I NEVER SAW MYSELF AS A STONE SCULPTOR OR ANY KIND OF A

SCULPTOR.

SO, WHEN MY KIDS WENT TO SCHOOL, I DECIDED TO GO TO THE ART

ACADEMY HERE IN CINCINNATI.

AND IT WAS THERE THAT I WAS INTRODUCED TO STONE SCULPTURE

AND I WAS IN MY 30'S AT THAT POINT.

I THINK WHAT ATTRACTED ME TO STONE CARVING AND WHAT I SAW IN

IT WAS THAT NOT ONLY WAS IT A CHALLENGE MENTALLY, BUT

PHYSICALLY.

I WENT HOME TIRED, AND I STILL DO GO HOME TIRED FROM THE

PHYSICALITY OF DOING STONE SCULPTURE.

MOST OF WHAT I DO, IN BAS RELIEF STONE CARVING IS COMMISSIONED

WORK.

IT'S FROM EITHER CORPORATE AMERICA, HOSPITALS, OR PEOPLE'S

PRIVATE HOMES.

MY GREATEST JOY COMES FROM WHEN THEY JUST SAY DO WHAT YOU DO.

AND THEN I CAN GIVE THEM A NARRATIVE ABOUT WHAT THEY'RE

TALKING ABOUT BASED ON NATURAL FORMS THAT I GATHER FROM NATURE

-- FLOWERS, LEAVES, EVEN ANIMALS, BIRDS.

NARRATOR: TO BEGIN THE PROCESS, KAREN SEES THE PIECE IN HER MIND

AND THEN MUST PUT IT ON PAPER FOR HER CLIENTS.

KAREN: MY DRAWINGS ARE PATHETIC SOMETIMES BECAUSE I SEE IT BUT I

CAN'T PUT IT ON PAPER.

THAT'S NOT MY MEDIUM.

CHISEL AND STONE IS MY MEDIUM.

ONCE I HAVE THE DRAWING, I GRID THE DRAWING.

IT'S A SCALED DRAWING TO MATCH THE SIZE OF THE STONE AND I

TRANSFER THAT DRAWING TO THE STONE.

AND THEN I BEGIN CARVING.

I JUST TAKE THE EDGE OF THE CHISEL AND I START OUTLINING THE

FORM.

SAY IT'S A BIRD.

IT WILL BE LIKE A SCRATCH IN THE SURFACE WHERE I OUTLINE THAT

FORM.

THAT'S GONNA POP FORWARD.

THAT'S THE PART THAT'S GONNA STICK OUT, SO EVERYTHING

SURROUNDING THAT BIRD HAS TO COME OFF.

THEN THERE'S A LEAF AND I HAVE TO TAKE EVERYTHING AROUND THAT

LEAF OFF WITHOUT LOSING THE OTHER LEAVES, THIS IS THINKING

THREE DIMENSIONALLY.

SO YOU HAVE TO KNOW WHICH THINGS ARE COMING FORWARD AND WHICH

THINGS ARE STAYING BACK.

WHEN I MAKE A MISTAKE, NOBODY KNOWS IT BECAUSE A LEAF CAN BE

JUST ABOUT ANY KIND OF SHAPE YOU WANT TO MAKE IT.

THE TOOLS THAT I USE NOW ARE ALL PNEUMATIC.

BUT WHEN I BEGAN CARVING, IT WAS ALL HAMMER AND CHISEL LIKE THEY

DID IN THE OLDEN DAYS, BUT IT TAKES FOREVER TO GET A PIECE

FINISHED.

AND, SO I WAS INTRODUCED INTO PNEUMATIC TOOLS WITH A SPECIAL

HAMMER THAT'S A VERY SMALL VERSION OF A JACKHAMMER IN A

STREET.

SO, ONLY THE CHISEL DOESN'T LOCK IN.

YOU HANDHOLD BOTH PIECES AND YOU GUIDE IT.

SO, YOU'RE WORKING BOTH HANDS, BOTH ARMS, AT THE SAME TIME AND

YOU CONTROL THE AMOUNT OF PRESSURE THAT COMES THROUGH THAT

AIR HOSE SO YOU DON'T TAKE OFF TOO MUCH OR YOU CAN TAKE OFF

MORE BY HAVING MORE PRESSURE COMING THROUGH.

MY STONE THAT I USE MOSTLY AT THIS POINT IN MY LIFE IS INDIANA

LIMESTONE.

MOST OF IT COMES FROM BEDFORD, INDIANA.

I CHOOSE LIMESTONE, NUMBER ONE, BECAUSE IT'S AVAILABLE.

NUMBER TWO, BECAUSE IT'S SOFT.

NUMBER THREE, IT WEARS WELL OUTDOORS AND NUMBER FOUR, IT

FORCES ME TO PUT A REALLY GOOD DESIGN IN IT.

NARRATOR: SD1, NORTHERN KENTUCKY'S WASTEWATER AND STORM

WATER UTILITY IS USING ART TO EDUCATE PEOPLE ABOUT OUR

PRECIOUS RESOURCE, WATER.

THEY COMMISSIONED KAREN TO CREATE THREE SCULPTURES --

WATER, GIFT OF THE EARTH, WATER, SOURCE OF LIFE, AND WATER,

SCULPTURE OF THE LAND.

KAREN: I ACTUALLY WENT DOWN TO THE QUARRIES AND I FOUND THESE

HUGE CORES OF STONE THAT ARE PROBABLY 36 INCHES ACROSS.

AND I THOUGHT, WOW, WHAT ARE THESE?

AND THEY SAID, OH, THAT'S JUST GARBAGE.

THOSE WERE CORE SAMPLES.

THEY WERE EACH 5' TALL, SO WE CUT 'EM IN HALF, SO WE HAD THESE

FOUR PIECES AND THEN THERE WAS GONNA BE A FOUNTAIN, SO WE HAD

TO CORE THE CENTER'S OUT.

SO, THE TITLE COMES FROM WATER: SCULPTURE OF THE LAND, WHICH THE

WATER CUTS THROUGH THE EARTH AND REVEALS THE FOSSILS, WHICH TELLS

THE HISTORY OF THE LAND -- HOW MANY MILLIONS OF YEARS AGO.

AND THE FOSSILS SOME OF 'EM ARE CARVED, SOME OF 'EM ARE MADE OUT

OF TERRACOTTA CLAY, AND THAT WAS UH, A PROJECT I WORKED IN

COLLABORATION WITH ALLAN NAIRN, WHO IS A CINCINNATI POTTER NOW

WORKING AT THE ROOKWOOD POTTERY.

NARRATOR: HAVING WORKING WITH STONE FOR YEARS, KAREN HAS TAKEN

ON A NEW MEDIUM -- CLAY.

KAREN: I HAD NO IDEA WHAT I WAS DOING IN CLAY.

SO, I THOUGHT HOW CAN I MAKE CLAY MORE A PART OF ME AND ME A

PART OF THE CLAY?

SO, ALL OF A SUDDEN ONE DAY IT JUST CAME TO ME, WHY NOT CARVE

THE CLAY?

AND THEN I FOUND OUT, TOO, BECAUSE I HAVE ESSENTIAL TREMOR,

THAT I CAN'T THROW AND PULL CLAY.

I CAN'T THROW CLAY, BECAUSE MY HAND SHAKES THE WHOLE WAY UP.

SO, I HIRE SOMEBODY TO THROW A BASIC VESSEL FOR ME.

AND THEN, I EMBELLISHED IT.

I ADD THE HANDLES, THE DECORATIVE HANDLES TO IT.

I ADD THE STUFF THAT MAKE THE BEAK.

I FOCUSED ON PITCHERS.

AND THEN THE PITCHERS REMINDED ME OF BIRDS.

SO NOW, ALL I DO ARE THESE VESSELS IN CLAY THAT ARE BIRDS.

AND, ONCE I FIGURED THAT OUT AND I LIKED THAT I HAD THIS CARVED

CLAY VESSEL, THEN I THOUGHT -- SOMETHING'S NOT RIGHT.

SO THEN I DECIDED I'LL CARVE A BASE FOR IT OUT OF LIMESTONE.

SO THEN, I BROUGHT MY STONE CARVING BACK IN TO IT.

SO, I'M NOW I'M CONFLICTED BETWEEN UM, CARVING AND MAKING

CLAY.

BUT, I FOUND A WAY TO KEEP THE CARVING -- THE STONE CARVING

INTO MY LIFE BY CREATING THESE VESSELS, SO THAT'S HOW THAT ALL

GOT STARTED.

AND RIGHT NOW THE CLAY VESSELS ARE JUST OCCUPYING ALL MY TIME.

I CAN'T IMAGINE NOT DOING THIS.

I MEAN, THE ONLY WAY I WON'T DO THIS IS IF I'M DEAD.

BECAUSE THIS IS WHAT I FEEL LIKE I WAS BORN TO DO.

IT IS MY PASSION.

AND I THINK THAT'S WHAT MY LEGACY IS TO JUST FULFILL YOUR

DREAMS BY DOING YOUR PASSION.

FOLLOW YOUR BLISS.

>> FOR MORE OF KAREN HEYL'S STONE SCULPTURES, VISIT

KARENHEYL.COM.

>> AS ONE OF THE WORLD'S MOST RECOGNIZABLE NAMES IN FASHION,

CARTIER CONTINUES TO INNOVATE THE WORLD OF FINE JEWELERY.

AN EXHIBIT AT THE DENVER ART MUSEUM IN COLORADO FOCUSES ON

THE CRAFTSMANSHIP THAT THE COMPANY BECAME KNOWN FOR IN ITS

FIRST 75 YEARS AND HOW ARTFUL ATTENTION TO DETAIL HELPED

CARTIER BECOME CARTIER.

>> THE GALLERY HAS BEEN TRANSFORMED INTO A WONDERFUL AND

COLORFUL JEWELRY BOX.

THIS SELECTION INCLUDES ITEMS WHICH HAVE PROBABLY NEVER BEEN

SHOWN TO THE PUBLIC BEFORE DENVER.

>> IT'S MAGIC.

I THINK BRILLIANT IS A STEP TO LOOK CLOSER, LOOK DEEPER, AT

20TH CENTURY DESIGN TO SEE HOW DESIGN CAN SHAPE OUR HISTORY.

>> THIS EXHIBITION IS ABOUT CARTIER, A FAMILY FIRM FOUNDED

IN THE 19TH CENTURY AND CONTINUES TO TODAY.

THE CARTIER BROTHERS WERE LOUIS, PIERRE, AND JACQUES CARTIER AND

THEY WERE ACTUALLY THE 3RD GENERATION OF THEIR FAMILY TO

WORK IN THIS FIRM.

THE FIRM WAS FOUNDED BY THEIR GRANDFATHER AND WAS CONTINUED BY

THEIR FATHER AND THEN THE 3 BROTHERS TOOK OVER BEGINNING IN

THE END OF THE 19TH CENTURY.

EACH OF THE 3 CARTIER BROTHERS HAD SOME FAMILIARITY WITH DESIGN

AND SOME PROFICIENCY BUT THEY WERE REALLY NOT THE DESIGNERS,

PER SE.

THEY WERE THE ONES WHO SET THE LOOK FOR THE COMPANY'S PRODUCT

AND THEN APPROVED THE DESIGNS THAT WERE CREATED BY SPECIALIZED

DESIGNERS IN PARIS, LONDON, AND NEW YORK.

♪ >> OUR FOCUS IS ON JEWELRY AND

DECORATIVE OBJECTS MADE BETWEEN 1900 AND 1975.

THE EXHIBITION HAS BEEN DESIGNED TO EVOKE THE DIFFERENT ERAS IN

THE 20TH CENTURY.

SO IN ADDITION TO SHOWING YOU THE DEVELOPMENT OF THE CARTIER

STYLE AND ITS PROGRESSION THROUGH TIME, THE EXHIBITION

ALSO TRIES TO TAKE YOU THROUGH THE HISTORY OF THE 20TH CENTURY

THROUGH THE LENS OF CARTIER'S JEWELRY AND OBJECTS SO YOU

REALLY LEARN SOMETHING ABOUT THE MANY, MANY CHANGES THAT TOOK

PLACE IN THE COURSE OF THE 20TH CENTURY, CHANGES IN CULTURE AND

FINANCE AND TECHNOLOGY AS WELL.

DR. CHRISTOPH HEINRICH: WE WANT TO LOOK AT HOW CARTIER SHAPED

SOME OF THE IDEAS OF STYLE, OF GLAMOUR, AND WE WANT TO LOOK AT

CRAFTSMANSHIP.

THERE IS ALWAYS THIS ASPECT OF HOW IS SOMETHING MADE.

IT'S SO SMALL, SO METICULOUS, AND IT'S SO GORGEOUSLY DONE.

MELORA MCDERMOTT-LEWIS: ABOUT 2/3 OF THE WAY THROUGH THE

EXHIBITION, YOU ARE GOING TO FIND OUR WORK SHOP AREA.

THIS WILL GIVE YOU A SENSE FOR THE ARTISTRY, THE ARTISANRY

BEHIND THE FABULOUS JEWELRY, TO HELP YOU GET WHAT IT TAKES TO

TRANSLATE A WATER COLOR DRAWING INTO AN ACTUAL WORK.

THE FINESSE THAT'S INVOLVED IN CREATING SETTINGS FOR EACH

INDIVIDUALLY SHAPED STONE, THE RISK OF ONE WRONG TAP SPLITTING

A JEWEL.

DR. MARGARET YOUNG-SANCHEZ: THE SECRET TO CARTIER'S SUCCESS IS

THEIR ABILITY TO ADAPT AND ALSO THEIR ABILITY TO LOOK AHEAD.

THEY WERE PUTTING THEMSELVES IN FORE FRONT, SO THEY WERE ALWAYS

LEADERS AS THE STYLES CHANGED.

INTERESTINGLY, IT WAS CARTIER THAT INFLUENCED AND HELPED

CREATE ART DECO AND THAT HAPPENED WELL BEFORE THE 1920'S,

WHICH IS THE PERIOD THAT WE ALL ASSOCIATE WITH THE ART DECO

STYLE.

AFTER ABOUT 1905, THEY WERE ALREADY BEGINNING A LESS

ORNAMENTAL, STRIPPED DOWN STYLE THAT WAS MORE EMPHASIS ON COLOR,

MORE EMPHASIS ON GEOMETRY SO ART DECO WAS WELL UNDER WAY AT

CARTIER BEFORE THE FIRST WORLD WAR.

AFTER THE WAR, IT ALL BURST FORTH IN WHAT WE THINK OF AS THE

FULL BLOWN ART DECO STYLE.

THE DETERMINING FACTOR IN A JEWELER'S SUCCESS WAS THEIR

REPUTATION FOR DESIGN AND THE INFLUENCE OF THEIR CLIENTELE.

SO IN THE EARLY DAYS, CARTIER VERY CAREFULLY CULTIVATED SOME

INFLUENTIAL PEOPLE SUCH AS EDWARD VII OF ENGLAND AND HIS

WIFE, ALEXANDRA.

BY THE MIDDLE OF THE 20TH CENTURY, CARTIER ALREADY HAD SO

MUCH PRESTIGE THAT THEY DIDN'T HAVE TO MAKE GREAT EFFORTS TO

ATTRACT MOVIE STARS.

PIERRE RAINERO: BEHIND JEWELRY, OR BEYOND JEWELRY, THERE WAS

ANOTHER DIMENSION, WHICH WAS A HUMAN DIMENSION, A SOCIAL

DIMENSION, A HISTORICAL DIMENSION.

EVERY PIECE OF JEWELRY HAS BEEN CONCEIVED TO SHOW WHAT YOU WANT

TO STATE ABOUT YOU BUT ALSO IT'S A MARK OF IMPORTANT MOMENTS IN

YOUR LIFE.

AND THAT'S A LINK BETWEEN HUMANS AND JEWELRY AND HOW JEWELRY AT

EACH TIME SHOWS A KIND OF BEHAVIOR, A KIND OF CULTURE THAT

WAS PRESENT AT THE TIME THE JEWELRY WAS CREATED AND WORN.

ART SAYS A LOT ABOUT A CULTURE A -- CULTURE, A CIVILIZATION, A

PEOPLE -- IT REFLECTS THE TIME OF ITS CREATION BUT IT STILL

KEEPS ITS VALUE FOR THE FOLLOWING YEARS AND HOPEFULLY

FOREVER.

DR. MARGARET YOUNG-SANCHEZ: ONE OF THE THINGS THAT I WOULD LIKE

PEOPLE TO TAKE AWAY FROM THIS EXHIBITION IS AN AWARENESS OF

THE REAL BREADTH OF CARTIER'S PRODUCTION IN THE 20TH CENTURY.

PEOPLE MAY BE AWARE THAT CARTIER MADE BEAUTIFUL WOMEN'S JEWELRY

MAYBE THEY DON'T REALIZE THE RANGE OF DECORATIVE ARTS

OBJECTS.

PIERRE RAINERO: THIS EXHIBITION'S ABOUT BEAUTY BUT

ALSO FULL OF INFORMATION SO AT THE END NOT ONLY ARE YOU PLEASED

WITH WHAT YOU SAW, BUT YOU ARE ENRICHED WITH A LOT OF NEW

INFORMATION ABOUT WHAT JEWELRY IS ABOUT.

ANNOUNCER: ON THE NEXT ADDITION OF "APPLAUSE AMERICA" --

>> THE CLASSIC TIMELINESS OF HER CLOTHES.

>> IT PREPARES A CHILD FOR ANY CAREER AS THEY PURSUE.

>> LIKE A PAINTING OR SOMETHING HANGING FROM A WALL.

ANNOUNCER: COMING UP ON THE NEXT EDITION OF "APPLAUSE AMERICA."

>> THE TAMPA METROPOLITAN YOUTH ORCHESTRA IN FLORIDA CELEBRATES

THE IMPORTANCE OF THE ARTS BY PROVIDING STUDENTS WITH A

QUALITY MUSICAL EDUCATION.

TAKE A LOOK AT THIS ORCHESTRA THAT COMBINES HARD WORK AND FUN

TO INSPIRE FUTURE GENERATIONS OF CLASSICAL MUSICIANS.

>> VOCAL OR INSTRUMENT SOUNDS COMBINED IN SUCH A WAY AS TO

PRODUCE BEAUTY OF FORM, HARMONY, AND EXPRESSION OF EMOTION.

DR. WILLIAM WIEDRICH: TO ENROLL IN TMYO IS FIRST AND FOREMOST A

LOT OF FUN.

THE WAY WE MAKE MUSIC AT TMYO, FUN COMES FROM REALLY WORKING

VERY HARD TO ACCOMPLISH THE HIGHEST STANDARD WE POSSIBLY

CAN.

WE LOVE TO HAVE A GOOD TIME.

WE LOVE TO LAUGH, BUT MORE IMPORTANTLY, WE LOVE TO MAKE

MUSIC TOGETHER, AND THAT IS A VERY INTENSIVE EXPERIENCE.

THE ORCHESTRAS ARE HELD AT A VERY HIGH STANDARD AT THEIR

LEVEL.

JESSICA CALANDRA: TMYO IS A YOUTH ORCHESTRA TRAINING PROGRAM

THAT OFFERS ORCHESTRA TRAINING TO STUDENTS AGE 6 THROUGH 21.

THEY ARE INVITED TO AUDITION EACH YEAR, AND WE PLACE THEM IN

AN ORCHESTRA BASED ON THEIR ABILITY AND THEIR EXPERIENCE.

SO WE HAVE FOUR ORCHESTRAS.

THE ORCHESTRAS ARE THERE TO MEET THE NEEDS OF EACH STUDENT

DEPENDING ON THEIR ABILITY AND THEIR EXPERIENCE.

WE ALSO TRAIN STUDENTS IN CHAMBER MUSIC.

WE WORK WITH STUDENTS ON THEIR AUDITION SKILLS.

BASICALLY, THEY'RE LEARNING HOW TO BECOME CLASSICAL MUSICIANS.

DR. WIEDRICH, OUR ARTISTIC DIRECTOR, IS HIGHLY RECOGNIZED

AS AN ORCHESTRAL CONDUCTOR AND CLINICIAN ALL OVER THE COUNTRY.

DR. WILLIAM WIEDRICH: AND WE'RE BLESSED WITH GREAT CONDUCTORS.

MY CONDUCTING STAFF IS SUPERB IN EVERY WAY.

THEY ARE RECOGNIZED AS SUCH.

THEY ARE WONDERFUL PEOPLE WHO CARE.

WHEN SOMEONE COMES INTO THE PROGRAM, THEY CAN EXPECT NOT

ONLY TO HAVE A LOT OF FUN, BUT TO GROW, TO GROW AS PEOPLE, TO

GROW AS MUSICIANS, AND MORE IMPORTANTLY, TO TAKE SOMETHING

VALUABLE, THAT MEMORY OR AN EXPERIENCE, INTO LATER LIFE THAT

I GUARANTEE WILL INSPIRE THEM BECAUSE I HEAR IT FROM ALUMNI

ALL THE TIME.

JESSICA CALANDRA: WE'VE GOT WONDERFUL FACILITIES.

LIKE THE ONE WE'RE IN RIGHT HERE, WE ARE ACTUALLY IN THE USF

CONCERT HALL.

WE HAVE ACCESS TO INSTRUMENTAL REHEARSAL HALLS AND OTHER ROOMS

FOR SECTIONAL COACHING AND CHAMBER MUSIC.

DR. WILLIAM WIEDRICH: WHAT MAKES TMYO REALLY SPECIAL IS EVERY KID

BRINGS IN THEIR OWN UNIQUE EXPERIENCE.

SOME HAVE PLAYED IN ALL STATES SINCE THEY WERE IN 7TH GRADE,

AND SOME ARE COMING FOR THEIR FIRST EXPERIENCE AS AN

ORCHESTRAL MUSICIAN.

EVERYBODY IS EQUAL.

WHAT HAPPENS IS THERE ACTUALLY IS A KIND OF FAMILY ATMOSPHERE.

IT GROWS TOGETHER.

RAYNE DEBLASIO: TMYO HAS DEVELOPED ME AS A MUSICIAN IN

WAYS THAT I COULD NEVER HAVE EXPECTED BECAUSE I HAVE BEEN SO

FORTUNATE TO WORK WITH INCREDIBLE DIRECTORS, SUCH AS

DR. WIEDRICH HIMSELF AND I'VE LEARNED SO MUCH FROM HIM.

I GO BACK TO MY ORCHESTRA AT SCHOOL, AND I TELL THEM

EVERYTHING THAT I LEARNED HERE.

DR. WILLIAM WIEDRICH: IT'S VERY IMPORTANT THAT PEOPLE REMEMBER,

WHETHER THEY BE MUSICIANS OR NOT, THAT WE CANNOT GET ALONG

WITHOUT DOCTORS.

IN THE MEDICAL FIELD, WE RELY ON DOCTORS FOR OUR PHYSICAL

WELL-BEING.

WE RELY ON THEM FOR ADVICE AND FOR TREATMENT.

WELL, WHAT DOCTORS AND MEDICINE DO FOR THE BODY, MUSIC AND ART

DOES FOR THE SOUL.

AND THE SOUL IS JUST AS IMPORTANT, JUST MORE INTANGIBLE.

WHEN WE DEDICATE OURSELVES TO MAKING GREAT MUSIC, WE ARE

ACTUALLY NURTURING THE SOUL OF THE HUMAN BEING, VERY MUCH LIKE

A DOCTOR WOULD NURTURE THE BODY OF A HUMAN BEING.

I THINK THAT'S VERY, VERY IMPORTANT THAT PEOPLE UNDERSTAND

THAT BOTH ARE EQUALLY VALUABLE AND NECESSARY FOR SOCIETY TO

SURVIVE IN IN A MEANINGFUL WAY.

IT'S VERY CLEAR THAT ACROSS THE COUNTRY COMMONLY, UNIVERSITIES,

LET'S SAY, WITH VERY STRONG MEDICAL SCHOOLS HAVE VERY STRONG

ART PROGRAMS.

AND I THINK THEY GO HAND IN HAND.

THE PHYSICAL BENEFITS AS WELL AS THE AESTHETIC BENEFITS TO A KID

THAT PARTICIPATES IN ART BENEFITS THEM IN NOT ONLY AN

INTELLECTUAL WAY, BUT IN A SPIRITUAL WAY.

WHAT WE DO ON A DAILY BASIS WILL RESONATE AS AN EXAMPLE,

EVENTUALLY, FOR OTHER YOUTH ORCHESTRA PROGRAMS ACROSS THE

COUNTRY TO EMULATE AND FOLLOW.

THAT'S OUR GOAL, BUT IT ALL COMES FIRST AND FOREMOST, AS I

SAID, FROM THE BENEFITS THAT THE KIDS WOULD RECEIVE BY BEING

GIVEN A GREAT MUSICAL EDUCATION EVERY DAY.

>> YOU CAN FIND MORE ABOUT THE TAMPA METROPOLITAN YOUTH

ORCHESTRA AT TMYO.ORG.

FOR MORE ARTS AND CULTURE, VISIT APPLAUSE.IDEASTREAM.ORG.

ALSO, TUNE IN THURSDAY NIGHTS AT 7:30 FOR THE LATEST ABOUT THE

NORTHEAST OHIO ARTS SCENE, ON WVIZ'S EMMY AWARD-WINNNING

PROGRAM "APPLAUSE."

AND, EACH MONDAY THROUGH THURSDAY AT 2:00 AND 10:00 P.M.,

LISTEN FOR THE LATEST ARTS AND CULTURE STORIES FROM OUR AREA,

ON THE "SOUND OF APPLAUSE" ON 90.3, WCPN, IDEASTREAM.

THAT WRAPS IT UP FOR THIS EDITION OF "APPLAUSE AMERICA."

THANKS FOR WATCHING.

>> SUPPORT FOR "APPLAUSE AMERICA" ON WVIZ PBS IS MADE

POSSIBLE BY GRANTS FROM -- THE JOHN P. MURPHY FOUNDATION,

THE KULAS FOUNDATION, AND BY CUYAHOGA COUNTY

RESIDENTS, THROUGH CUYAHOGA ARTS AND CULTURE.

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