Applause America

S1 E10 | FULL EPISODE

Mark Rothko, TK Records & Rockwell Museum

The colors of painter Mark Rothko rediscovered & the story of legendary Miami disco label TK Records.

AIRED: April 18, 2015 | 0:26:20
ABOUT THE PROGRAM
TRANSCRIPT

ANNOUNCER: "APPLAUSE AMERICA," SHARING ARTS AND CULTURE FROM

COAST TO COAST.

THIS WEEK -- THE COLOR FIELD PAINTINGS OF

ROTHKO, REDISCOVERED >> THE FORMS IN MY PAINTINGS ARE

MEANT TO BE LIKE ACTORS IN A DRAMA.

>> DELVE DEEP INTO THE UNTOLD STORY OF THE MIAMI SOUND

>> INSTEAD OF PLAYING GOLF OR POOL, I LOVED TO MAKE RECORDS.

THAT WAS MY PASSION.

ANNOUNCER: SIT DOWN WITH A HOLLYWOOD SCREENWRITER.

>> WHY DO YOU WRITE?

>> I WRITE BECAUSE IT IS EVERY ART FORM THAT I ADORE.

I WRITE SCREENPLAYS, I WRITE FILMS, BECAUSE IT IS EVERY ART

FORMIT IS POETRY.

ANNOUNCER: AND IMMERSE YOURSELF INTO THE OLD AMERICAN WEST.

>> THE MUSEUM IS DEDICATED TO THE HISTORIC INTERPRETATION OF

THE WEST BUT ALSO THE MODERN, POP SENSIBILITY.

ANNOUNCER: IT'S ALL AHEAD ON THIS EDITION OF "APPLAUSE

AMERICA."

>> SUPPORT FOR APPLAUSE AMERICA IS MADE POSSIBLE BY GRANTS FROM

THE JOHN P MURPHY FOUNDATION, THE OHIO ARTS COUNCIL, THE

DOMINION FOUNDATION, AND FROM CUYAHOGA COUNTY RESIDENTS

THROUGH CUYAHOGA ARTS AND CULTURE.

ANNOUNCER: THIS IS "APPLAUSE AMERICA," SHARING ARTS AND

CULTURE FROM COAST TO COAST.

IT IS NOT UNCOMMON FOR ARTISTS TO BECOME INSPIRED TO CHANGE

DIRECTIONS IN THEIR CRAFT.

IN THE EARLY 1940'S, RENOWNED ARTIST MARK ROTHKO REJECTED

REALISM AND BEGAN A SERIES OF ABSTRACT WORKS MEANT TO EVOKE

CLASSICAL MYTH.

IN THE LATE '40S HE CREATED HIS FIRST COLOR FIELD PAINTINGS, THE

WORKS ON WHICH HIS STATURE AS ONE OF THE MOST FAMOUS AMERICAN

PAINTERS OF THE POST-WAR PERIOD RESTS.

WE HEAD TO THE DENVER ART MUSEUM TO EXPLORE AN EXHIBITION

CELEBRATING THESE WORKS AND OTHER ABSTRACT EXPRESSIONISTS

CALLED "FIGURE TO FIELD: MARK ROTHKO IN THE 1940'S."

GWEN CHANZIT: WE ARE VERY FORTUNATE HERE AT THE DENVER ART

MUSEUM NOT ONLY TO HAVE THIS EXTRAORDINARY GROUP OF ROTHKO

PAINTINGS AND DRAWINGS, BUT ALSO TO HAVE SO MANY OF THE EARLY

WORKS, EARLY WORKS ARE RARELY SEEN.

REPORTER CARRIE SALDO: RUSSIAN-BORN MARK ROTHKO WAS

LARGELY SELF-TAUGHT.

HE GAINED FAME IN THE ART WORLD FOR HIS SO-CALLED COLOR FIELD

PAINTINGS.

DAM'S EXHIBIT INCLUDES SOME OF THOSE WORKS, BUT IT ALSO SHOWS

ANOTHER SIDE OF THE PAINTER THAT MOST ARE PROBABLY UNAWARE OF.

CHANZIT: IT'S REALLY GREAT TO SEE WHERE HE CAME FROM AND OF

COURSE LIKE OTHER ARTISTS OF HIS GENERATION HE STARTED WITH THE

FIGURE, AND HE WAS MUCH INFLUENCED BY MILTON AVERY, BY

MAX WEBER.

AND, AS OTHER ARTISTS OF HIS GENERATION, HE MOVED THROUGH

VARIOUS PERIODS.

SO HE WENT THROUGH A PERIOD THAT HE WAS MUCH INFLUENCED BY MYTH

AND OF COURSE BY THE SURREALISTS AND BY JUNG AND BY NIETZSCHE AND

FREUD, AND THEN HE BECOMES VERY INTERESTED IN THE FREEDOM OF

SURREALIST AUTOMATISM.

AUTOMATISM IS MUCH LIKE THOSE WHO DOODLE, IN OTHER WORDS WE'RE

NOT THINKING ABOUT WHAT WE ARE PUTTING ON THE SURFACE, BUT WE

ARE JUST FREELY DRAWING OR PAINTING.

THESE WORKS ARE NOT ABOUT ANY SUBJECT.

THESE ARE WHAT WE WOULD CALL NONOBJECTIVE.

IN OTHER WORDS, THEY ARE JUST ABOUT THEMSELVES AND SO THEY

DON'T REFER TO ANYTHING ELSE.

IT'S PART OF HIS DEVELOPMENT, OF HIS EVOLUTION TOWARDS GREATER

AND GREATER PURITY IN HIS WORK.

SALDO: BUT ACHIEVING THE PURITY FOUND IN THOSE COLOR FIELD

PAINTINGS WAS AN EVOLUTIONARY PROCESS.

CHANZIT: WHAT IS SO INTERESTING ABOUT THE 1940S AND ABOUT THESE

ARTISTS THAT WE NOW KNOW FOR THEIR OWN SIGNATURE WORK,

WHETHER IT'S POLLOCK AND HIS DRIPS OR WHETHER IT'S STILL WITH

HIS WONDERFUL JAGGED WORK, AND ALL OF THESE ARTISTS WERE

GRAPPLING WITH THE SAME THING IN THE 1940S: THE WAR WAS ON.

THEY ARE JUST COMING INTO THEIR OWN.

THEY ARE DEFINITELY TALKING TO EACH OTHER.

THEY ARE THINKING ABOUT THINGS TOGETHER.

THEY ARE ALL GOING TO THIS ISSUE OF HOW TO DEAL WITH THE WORLD AS

IT IS AT THAT POINT.

AND SO WHAT DID PEOPLE DO TO GET THROUGH ALL OF THIS AND ROTHKO

AND HIS CONTEMPORARIES WERE SO INTERESTED IN MYTH, AND IN THE

UNCONSCIOUS, AND THIS WAS A WAY TO KIND OF GRAPPLE WITH YOUR

EVERYDAY LIFE.

BUT AT THIS POINT RIGHT THEN IN THE 1940S THERE IS SUCH A

CORRELATION BETWEEN WHAT THEY WERE DOING.

THEN JUST ABOUT 1950, EACH OF THESE ARTISTS WAS MOVING INTO A

NEW DIRECTION THAT WOULD CHARACTERIZE THE WORK OF THAT

ARTIST.

THEN HE MOVES FROM THOSE SURREALIST AUTOMATIST WORKS WHEN

HE BEGINS TO BRING TOGETHER SOME OF HIS FORMS.

WE'VE GOT A GREAT QUOTE ON THE WALL WHICH SAYS, "THE FORMS IN

MY PAINTINGS ARE MEANT TO BE LIKE THE, THE ACTORS IN A

DRAMA." BUT IN OTHER WORDS HE IS STARTING TO COALESCE SOME OF

THOSE FORMS AND THAT'S THE PRELUDE TO WHAT WE FINALLY GET

IN THE COLOR FIELD WORKS.

AND OF COURSE ROTHKO IS KNOWN AS ONE OF THE MOST IMPORTANT

ARTISTS OF THE SO-CALLED NEW YORK SCHOOL AND THE COLOR FIELD

BRANCH OF THAT IS THE BRANCH IN WHICH HE IS REALLY THE STAR.

AND I THINK THAT WHEN YOU GET TO THE COLOR FIELD WORKS YOU ARE

REALLY SEEING THE CELEBRATION OF THAT ABILITY TO THIN THE PAINT,

TO PAINT OVER AND UNDER, AND HAVE THESE EFFECTS.

AND THAT I THINK IS WHAT CAN PROVIDE THIS MEDITATIVE

EXPERIENCE IS THAT IT'S NOT JUST ONE COLOR THERE.

THESE WORKS ARE MEANT TO BE MEDITATED.

WE PUT SEVERAL EXAMPLES IN THE GALLERY WITH SEATING IN THE

MIDDLE IN A WAY THAT PEOPLE CAN SPEND A LITTLE TIME

CONTEMPLATING A SINGLE WORK AND WE HAVE THAT BECAUSE WE HOPE

THAT PEOPLE WILL LOSE THEMSELVES WITHIN A PAINTING.

AND I THINK WHEN WE ASK THE QUESTION WHAT SHOULD ART DO FOR

A PERSON, EVERY PERSON IS DIFFERENT AND I THINK THAT'S

WHAT CAN BE CELEBRATED.

>> FOR MORE GO TO MARK ROTHKO.ORG

ANNOUNCER: AND NOW , HERE'S A LOOK AT WHAT HAPPENED THIS WEEK

IN ARTS HISTORY.

A LEGEND IN THE MUSIC BUSINESS, HENRY STONE CO-FOUNDED INDIE

GIANT "TK RECORDS" IN SOUTH FLORIDA IN 1973, INTRODUCING THE

WORLD TO DISCO AND CHANGING THE MUSIC INDUSTRY FOREVER.

STONE'S OPEN-DOOR POLICY FOR MUSICIANS OF DIVERSE MUSICAL

BACKGROUNDS LAID THE GROUNDWORK FOR AN ICONIC MIAMI SOUND.

LEARN MORE ABOUT STONE'S LIFE AND WORK WITH DOCUMENTARY

FILMMAKERS MITCHELL EGBER AND MARK MOORMAN.

MITCHELL EGBER: THE DOCUMENTARY IS ABOUT A MAN NAMED HENRY STONE

WHO IS NOW 91 WHO CREATED THE FRAMEWORK OF REALLY ALL THE

MUSIC THAT CAME IN MIAMI IN THE LAST, PROBABLY 60-SOME YEARS.

FROM R&B TO BECOMING THE KING OF DISCO, ESTABLISHING THE BIGGEST

INDEPENDENT RECORD LABEL IN THE WORLD, TK RECORDS.

THEN ACTUALLY GOING ON AFTER THE END OF DISCO, OR WHEN THEY SAID

DISCO DIED, TO GETTING INTO FREESTYLE MUSIC, AND EVEN HAD

SIGNIFICANT CONTRIBUTIONS TO MIAMI BASS.

EVEN THOUGH IT'S ABOUT THE MUSIC, IT ISN'T ALL ABOUT THE

MUSIC.

IT'S ABOUT A MAN AND ALL THE ARTISTS THAT HE DISCOVERED AND

NURTURED WHO, MANY OF THEM OVERCOMING OBSTACLESPARTICULARLY

HENRY HIMSELFIN ORDER TO GROW BOTH AS ARTISTS, MUSICIANS, AND

MOST IMPORTANTLY AS PEOPLE.

AND I THINK THAT'S REALLY THE UNIVERSAL MESSAGE OF THE FILM.

OF COURSE IT'S ALSO ABOUT MIAMI AND A STORY THAT'S REALLY NEVER

BEEN TOLD IN TERMS OF THE HISTORY OF MIAMI MUSIC.

LIKE I SAID, A LOT OF PEOPLE DON'T EVEN KNOW IT CAME FROM

MIAMI, AND WE WANT THAT STORY OUT THERE.

MARK MOORMANN: [SCENE 306 TAKE ONE] WE'RE HERE TODAY SHOOTING A

RECORDING SESSION.

AND HENRY STONE IS RECORDING THE SONG "SAINT PETE BLUES" WHICH HE

ORIGINALLY RECORDED WITH RAY CHARLES 60 YEARS AGO, AND TODAY

HE'S DOING IT WITH BENNY LATIMORE.

STEVE ALAIMO IS MANNING THE BOARD AND THERE'S ALSO, IT'S

GOING TO BE A TK REUNION AS WELL.

HE'S SOMEBODY WHO REALLY DESERVES TO HAVE HIS STORY TOLD,

AND HE HELPED OUT A LOT OF PEOPLE AND REALLY, YOU KNOW, IS

THE GODFATHER OF THE MIAMI SOUND.

AND WE REALLY FELT LIKE WE WANTED TO MAKE THIS FILM.

AND SO WE SHOT GEORGE MCCRAE THIS WEEK WHO HAD MADE THE

FAMOUS "ROCK YOUR BABY," THE FIRST DISCO SONG EVER.

KENNY THOMAS, CLARENCE REID IS IN THE HOUSE TODAY.

SO WE'RE MAKING THIS FILM, AND THESE PEOPLE CAME OUT TO SHOW

THEIR SUPPORT FOR HENRY.

AND WE'VE GOT A CREW OF MY GUYS HERE TODAY, WE'VE GOT 3 CAMERAS,

GOT A COUPLE OF REDS AND A COUPLE OF 5D'S, AND YOU KNOW,

WE'RE JUST TRYING TO MAKE THIS THING GREAT.

BECAUSE THAT'S ALWAYS MY PHILOSOPHY WHEN MAKING A FILM.

YOU MAKE SOMETHING GREAT, AND EVERYTHING WILL TAKE CARE OF

ITSELF.

SO THAT'S WHAT WE'RE TRYING TO DO.

HENRY STONE: THEY KNOW ME BY TK RECORDS OR TK PRODUCTIONS.

IN THE 70S WE ENDED UP BEING THE LARGEST DISCO COMPANY IN THE

WORLD.

WITH KC HAVING CONSECUTIVE NUMBER ONE HIT RECORDS AND HIT

NUMBER ONE ON THE BILLBOARD CHARTS, AND BECAUSE WE HAD A

COMBINATION OF MUSICIANS THAT PUT THEIR SOUNDS TOGETHER, ALONG

WITH A GOOD BASE SOUND, AND PUT THAT ALL TOGETHER AND THAT

BECAME MIAMI SOUND.

AT THIS POINT IN MY LIFE I THINK THIS HAS TO BE MADE.

THE STORY HAS TO BE TOLD ABOUT THE MIAMI SOUND AND HOW IT WAS

CREATED, AND HOW IT INFLUENCED THE WORLD OF MUSIC AROUND THE

WORLD.

INSTEAD OF PLAYING GOLF OR POOL, I LOVE TO MAKE RECORDS.

THAT WAS MY PASSION.

AND MY PASSION ENDED UP BEING TK RECORDS IN THE 70S WHERE WE

BECAME THE NUMBER ONE DISCO COMPANY AROUND THE WORLD.

FOR MORE ON THE FILM, CHECK OUT ROCKYOURBABYMOVIE.COM.

HAKIM BELLAMY SITS DOWN WITH MATTHEW MCDUFFIE, SCREENWRITER

OF THE FILM, "THE FACE OF LOVE" STARRING ANNETTE BENING.

MCDUFFIE SHARES THE IMPORTANCE OF STORIES AND WHAT IT'S LIKE TO

BE A FULL TIME STORYTELLER, PROVIDING SOME TIPS ALONG THE

WAY.

HAKIM BELLAMY: WHY IS STORY IMPORTANT?

MATT MCDUFFIE: BECAUSE IT'S EVERYTHING, BECAUSE EVERYONE HAS

ONE.

AS MY SON SAYS, "STORIES, THEY'RE EVERYWHERE".

AND IT'S INTERESTING BECAUSE I'M, MY MOTHER HAD THIS GIFT

WHERE SHE COULD SEE LIKE, A COUPLE ON THE STREET AND SHE

WOULD MAKE UP A STORY ABOUT THEM.

SHE WOULD GO SOMETHING LIKE "OH IT'S SO TRAGIC" AND YOU'D BE

GOING "WHAT'S THAT MOM?" AND "WELL SHE'S IN LOVE WITH HIM.."

AND SHE WOULD GO ON AND IT SORT OF MADE ME REALIZE THAT

EVERYBODY EVERYWHERE HAS AN INFINITE STORY TO TELL.

IT'S WHAT MAKES US HUMAN AND IT'S WHAT MAKES US LOVE EACH

OTHER.

SO THAT'S WHY IT'S SO IMPORTANT.

BELLAMY: WHEN YOU ARE CREATING CHARACTERS, IS THAT PART OF THE

PROCESS?

MCDUFFIE: I JUST STEAL BELLAMY: YOU JUST STEAL

[LAUGHTER] MCDUFFIE: ACTUALLY EVERYTHING

THAT I WRITE SORT OF STARTS WITH SOME SORT OF AUTOBIOGRAPHICAL

KERNEL.

STORY IS REALLY KIND OF LIKE EMOTIONAL MATHEMATICS IN THAT

YOU'RE CREATING AN ALGORITHM THAT CREATES THE RESPONSE THAT

YOU'RE LOOKING FOR, I KNOW THAT SOUNDS COLD-HEARTED BUT IT

REALLY IS PUZZLE-MAKING.

WELL PARTICULARLY FILM WRITING.

I MEAN NOT ALL WRITING CAN BE ABOUT OBSERVATION AND CERTAINLY

FILM IS, BUT, YOU WANT TO HAVE AN EMOTIONAL RESPONSE FROM THE

AUDIENCE AND THAT MEANS SETTING THINGS UP IN A PARTICULAR WAY SO

WHEN A REVEAL IS PLACED IN FRONT OF THE AUDIENCE OR IN FRONT OF

THE CHARACTERS, THEY CAN'T HELP BUT REACT IN THE WAY THAT YOU

HOPE.

BELLAMY: WHEN YOU'RE PUTTING TOGETHER A SCREENPLAY, WHAT IS

THE DRAMATIC STRUCTURE THAT YOU'RE LOOKING FOR, AND HOW DO

YOU CREATE IT, AND WHY IS IT IMPORTANT?

MCDUFFIE: IT'S IMPORTANT BECAUSE THAT'S HOW YOU GET THE REACTION

THAT YOU'RE LOOKING FOR.

THE FIRST THING TO ESTABLISH IS A PROBLEM FOR THE CHARACTER, A

REASON FOR THE STORY TO EXIST, SOMETHING THAT MEANS A LOT TO

THAT CHARACTER.

AND THEN YOU SORT OF ESTABLISH WHAT ARE THEY GONNA DO ABOUT IT?

BECAUSE THAT'S REALLY WHERE CONFLICT AND STORY COMES FROM IS

SOMEBODY WANTING SOMETHING AND NOT BEING ABLE TO GET IT.

SO THAT SORT OF DRIVES THE STORY, THAT'S WHAT CREATES THE

SCENES FOR YOU, IS THIS NEED AND OBSTACLE THAT PREVENTS THE NEED

AND THEN BEING A GOOD DRAMATIST IS SORT OF LIKE BEING A BIT OF A

SADIST IN THAT YOU WANT TO TAKE THEM AS FAR FROM WHATEVER THEY

WANT AS POSSIBLE.

BELLAMY: TORTUROUS.

MCDUFFIE: EXACTLY! YOU WANNA TORTURE THEM.

AND IT DOESN'T MATTER IF IT'S A COMEDY OR A TRAGEDY, YOU TRY TO

TAKE THEM AS FAR AWAY FROM WHAT THEY WANT AS POSSIBLE TO CREATE

THAT EMOTIONAL THING, AND THAT'S SORT OF LIKE THAT'S THE CRISIS

OF THE WHOLE PIECE, AND THEN IT'S LIKE, OKAY, THAT ACTS AS

LIKE A MOUSETRAP IN TERMS OF THE FINAL CONFRONTATION OF WHATEVER

THE FORCES THAT YOU'VE DEVELOPED IN THE BEGINNING OF THE STORY

THAT THEY'RE GOING TO HAVE TO FACE AT THE END.

AND THERE'S THIS "PURGATION" I GUESS.

BELLAMY: AND THAT'S OUR CONNECTION TO IT AS AN AUDIENCE

OR AS VIEWERS BECAUSE IT'S SUCH A NATURAL PART OF THE HUMAN

CONDITION.

MCDUFFIE: AND I THINK EVERYTHING HAS THAT STRUCTURE IF YOU REALLY

THINK ABOUT THAT.

IT'S THE STRUCTURE AND YOU KNOW POETRY PROBABLY HAS IT AS WELL,

IN THAT IT'S LIKE THE STRUCTURE OF A WAVE ON A BEACH.

AND THERE ARE LOTS OF DIFFERENT TYPES OF WAVES, RIGHT? BIG

CRASHING WAVES OR GENTLE WAVES THAT SORT OF LAP UPON THE SHORE,

BUT THEY ALL SORT OF RISE TO A PLACE OF ABSOLUTE TENSION BEFORE

THEY COME TUMBLING DOWN TO THE SAND OR THE ROCKS OR WHATEVER IT

IS.

BELLAMY: SO CAN YOU GIVE US AN EXAMPLE FROM YOUR LATEST WORK OF

THIS MOMENT WE'VE JUST DISCUSSED?

MCDUFFIE: OH GOOD GOD.

"IN THE FACE OF LOVE," THE FILM THAT CAME OUT WITH ANNETTE

BENING AND ED HARRIS, THERE IS A MOMENT WHERE ANNETTE BENING'S

CHARACTER IS HOLDING A SECRET, AND SHE'S HOLDING IT FROM HER

DAUGHTER, SO, AND I'M NOT RUINING ANYTHING IF I TELL YOU

THIS, HER HUSBAND HAS DIED FIVE YEARS AGO AND SHE FINDS A MAN

WHO LOOKS JUST LIKE HIM.

SO IT'S LIKE A HITCHCOCK KIND OF ROMANCE, SO SHE FALLS IN LOVE

WITH HIS DOUBLE AND PURSUES HIM RATHER RECKLESSLY AND IS KEEPING

IT A SECRET FROM HER FRIENDS AND NEIGHBORS AND HER DAUGHTER, AND

SO THERE MUST, AND I KNEW AS SOON AS THIS SORT OF STORY CAME

FROM, IT ACTUALLY CAME FROM THE DIRECTOR AS SOMETHING HIS MOTHER

HAD EXPERIENCED, I KNEW THAT THAT DAUGHTER HAD TO COME INTO

THE STORY.

THAT THAT WOULD BE THE CRISIS OF THIS ENTIRE PIECE, THAT WOULD

BE, YOU KNOW, THE MOMENT WHERE THERE WAS THE MOST TENSION IN IT

AND THAT THE MOTHER WOULD HAVE TO CHOOSE THE LOVER OVER THE

DAUGHTER AND IT WAS THE EMOTIONAL HIGH-POINT OF THE

ENTIRE PIECE.

BELLAMY: WHY DO YOU WRITE?

MCDUFFIE: I WRITE BECAUSE IT IS EVERY ART FORM THAT I ADORE.

I WRITE SCREENPLAYS, I WRITE FILMS BECAUSE IT'S EVERY ART

FORM.

IT IS POETRY.

AND WHEN YOU'RE COMPOSING IT, IT'S POETRY.

BELLAMY: SO TELL US ABOUT THE LIFE OF A SCREENWRITER.

MCDUFFIE: I DON'T MEAN THIS IN A PREROGATIVE SENSE BUT IT IS A

SOLITARY EXISTENCE.

IT'S SOMETHING, YOU HAVE TO LIVE IN YOUR HEAD.

AND YOU HAVE WORLDS IN YOUR HEAD THAT YOU'RE DEVISING, THAT YOU

SORT OF HAVE TO UNIVERSES THAT ARE CONSTANTLY SORT OF SPINNING

AND YOU'RE SORT OF PULLING THEM DOWN, OUT OF THE FIRMAMENT ONTO

AN ELECTRONIC PAGE, SO THERE IS THAT, THAT YOU SORT OF FEEL, I

WANT TO SAY, SEPARATE FROM THE REST OF THE WORLD BECAUSE YOU

SORT OF FEEL LIKE YOU'RE AN OBSERVER AND BECAUSE YOU'RE,

WELL, YOU'RE CONSTANTLY SHOPPING FOR LITTLE BITS OF HUMANITY TO

PUT IN YOUR CART.

EVERY MOMENT OF THE DAY.

SO YOUR EXISTENCE, YOUR VERY EXISTENCE IS YOUR MATERIAL.

AND IF YOU THINK ABOUT THAT, THERE'S NEVER GOING, OR SHOULD

NEVER BE A MOMENT WHEN YOU DON'T HAVE SOMETHING TO WRITE ABOUT.

IT'S WHAT YOU'RE CHOOSING TO WRITE ABOUT.

THAT'S THE DIFFICULT PART.

BELLAMY: IS THAT THE BURDEN OF THE WRITER? TO MAKE THOSE

DECISIONS AND THEN ALWAYS HAVE THE DECISION AFTER THE DECISION

YOU JUST MADE?

MCDUFFIE: YEAH.

BURDEN SLASH LUXURY BECAUSE THERE ARE SUCH HEAVIER BURDENS

IN THE WORLD THAN TRYING TO DECIDE WHAT TO COMPOSE, BUT THE

AGONY IS QUITE REAL BECAUSE, AND I THINK IT'S IN RELATION TO THE

DESIRE THAT ONE HAS TO PUT IT OUT THERE.

THAT'S THAT COMPULSION TO CREATE I THINK IS SO, SO PROFOUND THAT

WHEN YOU ARE NOT IN THAT PROCESS THAT IT'S, IT IS TORTUROUS CAUSE

YOU FEEL LIKE YOU'RE LETTING NOT JUST YOURSELF DOWN, BUT YOU'RE

LETTING YOUR POTENTIAL DOWN, YOU'RE LETTING YOUR SPECIES

DOWN, YOU'RE LETTING THE UNIVERSE DOWN.

I GUESS THAT'S THE BURDEN, BECAUSE YOU FEEL LIKE I HAVE

SOMETHING TO SAY AND I'M NOT GETTING IT OUT THERE, I'M NOT

LETTING PEOPLE KNOW WHAT IT'S LIKE.

AND I THINK THAT'S REALLYBECAUSE IT'S A RESPONSIBILITY TO BE A

STORYTELLER.

ISN'T IT?

I MEAN IT'S SORT OF LIKE, "ARE YOU ALONE?

ARE WE ALONE?

WHAT'S OUR CONNECTIVE TISSUE HERE?"

SO I THINK THAT'S REALLY WHERE THE MASOCHISTIC ASPECT OF IT IS,

YOU JUST DON'T FEEL LIKE YOU'RE LIVING UP TO YOUR POTENTIAL.

THE ROCKWELL MUSEUM, LOCATED IN CORNING NY, HOLDS ONE OF THE

LARGEST COLLECTIONS OF WESTERN AMERICAN AND NATIVE AMERICAN ART

IN THE EASTERN PART OF THE UNITED STATES.

IN OUR LAST SEGMENT, WE TAKE A LOOK AT THE VAST HISTORY AND

SOME OF THE SIGNIFICANT GALLERIES IN THE MUSEUM.

KRISTIN SWAIN: THE ROCKWELL MUSEUM IS LOCATED IN WHAT WE

CALL OLD CITY HALL.

IT OPENED IN 1893 AS THE MUNICIPAL OFFICES FOR THE CITY

OF CORNING.

IT HOUSED THE POLICE DEPARTMENT, THE FIRE DEPARTMENT, THE MAYOR'S

OFFICE, JAIL CELLS FOR BOTH MEN AND WOMEN AND SERVED IN THAT

CAPACITY UNTIL 1974 WHEN IT CLOSED AND THE CITY MOVED TO A

NEW CITY LOCATION.

THE BUILDING WAS RENOVATED IN 1981 BY CORNING GLASSWORKS AT

THE TIME, AND THE MUSEUM MOVED HERE AND OPENED IN 1982.

AND WE'VE BEEN HERE EVER SINCE AND WE HOUSE ONE OF THE LARGEST

COLLECTIONS OF WESTERN AMERICAN AND NATIVE AMERICAN ART IN THE

EASTERN PART OF THE UNITED STATES.

ARTIMUS IS OUR BUFFALO THAT HANGS ON THE FACADE OF THE

MUSEUM BUILDING.

HE WAS MADE BY LOCAL ARTIST TOM GARDNER.

TOM RECEIVED A GRANT FROM THE NEW YORK STATE COUNCIL ON THE

ARTS IN 1999 AND TOM AND THE MUSEUM STAFF DECIDED ON THE

BUFFALO AS THE IMAGE THAT HE WOULD SCULPT FOR THE BUILDING.

AND AFTER ARTEMUS WENT UP THE MUSEUM HELD A CONTEST TO NAME

HIM AND THE WINNING NAME WAS ARTEMUS WHICH STANDS FOR ART IS

A MUST.

JAMES PECK: THE ROOM THAT WE ARE IN RIGHT NOW IS CALLED THE

REMINGTON AND RUSSELL LODGE, IT FEATURES A VARIETY OF WORKS BY

CHARLIE RUSSELL AND FREDERICK REMINGTON, THE TWO TITANS OF

WESTERN ART FROM THE LATE 19TH AND EARLY 20TH CENTURIES.

THROUGHOUT THIS GALLERY YOU SEE MANY DIFFERENT DEPICTIONS OF

COWBOYS AND INDIANS AND ANIMALS OF THE WEST AND IT'S A REALLY

NICE WAY TO IMMERSE YOURSELF INTO THE WEST AND THAT'S SORT OF

THE THEME OF THIS GALLERY, THE WEST THAT WAS, THE OLD WEST.

RIGHT NOW WE ARE LOOKING AT MOUNT WHITNEY, WHICH IS THIS

MASSIVE PAINTING BEHIND ME.

IT WAS PAINTED BY ALBERT BIERSTADT IN 1880 AND IT'S THE

REAL HIGHLIGHT OF OUR COLLECTION FOR SEVERAL REASONS.

FIRST YOU CAN SEE THAT IT'S RATHER LARGE, IT'S 6 FOOT BY 10

FOOT.

THIS WAS ONE OF HIS GREAT PAINTINGS THAT HE PAINTED AND

TOURED AROUND THE COUNTRY AND IF YOU CAN BELIEVE IT, PEOPLE WOULD

ACTUALLY PAY A NICKEL TO SEE SOME OF THESE PAINTINGS AND IT

WOULD BE BEHIND A CURTAIN.

THAT'S HOW TREMENDOUS IT WAS, IT WAS A TIME BEFORE TV AND

INTERNET SO SEEING SOMETHING LIKE THIS WAS QUITE STRIKING.

THE MUSEUM IS COMMITTED TO BOTH THE HISTORIC INTERPRETATION OF

THE WEST BUT ALSO A MODERN POP SENSIBILITY, THE HORSE IS A

SYMBOL OF THE AMERICAN WEST.

DEBRA BUTTERFIELD MAKES ALL OF HER SCULPTURES OUT OF FOUND

OBJECTS, IN THIS CASE DRIFTWOOD.

SO WHILE THIS IS A BRONZE SCULPTURE SHE MADE THE ORIGINAL

DESIGN ENTIRELY OUT OF DRIFTWOOD AND THEN THE DRIFTWOOD WAS,

THROUGH A PROCESS, MADE INTO A BRONZE SCULPTURE.

ONE OF THE THINGS THAT'S VERY VALUED IN TRADITIONAL WESTERN

ART IS FIDELITY TO NATURE.

WHAT WE SEE HERE IS A PICTURE OF INDIANS HUNTING BUFFALO.

THERE IS A BEAUTIFUL ROMANCE TO IT, RIGHT, YOU HAVE THE YOUNG

INDIAN BRAVE HERE ABOUT TO SHOOT THE ARROW.

WHILE NOT TERRIBLY ACCURATE AS FAR AS HISTORY OR ETHNOGRAPHY,

LEE WAS GREATLY BELOVED AS A PAINTER BECAUSE HE GOT

EVERYTHING ELSE RIGHT.

SWAIN: THE UNIQUENESS COMES FROM THE COLLECTION, SO WE HAVE A

HISTORIC COLLECTION OF WESTERN AMERICAN ART AND NATIVE AMERICAN

ART IN UPSTATE NY.

SO MOST OF OUR PARTNER MUSEUMS THAT ALSO DEAL WITH THIS GENRE

ARE LOCATED IN THE WEST.

SO OUR UNIQUENESS IS HAVING THE COLLECTION HERE IN NEW YORK

STATE.

>> TO LEARN MORE, VISIT ROCKWELLMUSEUM.ORG.

ANNOUNCER: 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.

ANDEACH MONDAY THROUGH THURSDAY AT 2 AND 10PM, 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.

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