ARTEFFECTS

FULL EPISODE

ARTEFFECTS Producer's Special

In this special edition of ARTEFFECTS, meet the producers and host of ARTEFFECTS as they discuss the creation of the show, past segments, and so much more.

AIRED: March 06, 2020 | 1:24:26
ABOUT THE PROGRAM
TRANSCRIPT

- Welcome to this special presentation of "ARTEFFECTS"!

Since 2015, PBS Reno has produced more than 150 episodes

of this award-winning local program.

We've shined a light on so many deserving artists

and arts organizations.

And there are many stories to tell.

In the next 90 minutes,

you'll hear from the producers of "ARTEFFECTS"

and learn what goes into making a segment.

You'll also see a variety of pieces

produced over the past year, and hear from artists

who have been featured on the series.

Sit back, relax, and enjoy.

(light upbeat music)

- [Announcer] Funding for "ARTEFFECTS" is made possible by:

the Bently Foundation,

The June S. Wisham Estate,

Kate and Richard Kenny,

The Nell J. Redfield Foundation,

the annual contributions of PBS Reno Members and by.

(bright upbeat music)

(audience clapping)

- [Dave] Thanks everybody for being here.

We are in the studio at PBS Reno

and this is the "ARTEFFECTS" round table,

if you wanna call it that.

It's an opportunity to talk about the "ARTEFFECTS" series,

which is, we just realized, it's having its 4th anniversary

this month, so it's kind of amazing

how quickly we've done so many programs.

How many shows have we done so far you guys?

- Over 50.

- (laughs) Over 50?

- We've done definitely way more than that.

- Many over 50.

- Over 100. - Over 150.

- Yeah. Been a lot of shows in a brief period of time

and what we have here is the "ARTEFFECTS" team.

You know Beth, our host Beth MacMillan,

and then this is, these three are our producers

and we've gotten them some airtime lately,

but I don't know if you've met them all yet.

From right to left, it's Guinevere Clark and Martin ???

And Becks, or Rebecca Cronin.

You go by Becks though, right?

- Mm hm. - Yeah.

So these are the people who make the stories.

- I never knew that. - Yeah, see.

That's what we're here for,

so you can learn the secrets of "ARTEFFECTS".

But really, wanted to just have an opportunity

to talk about the show for anyone who's a fan

and all of the people here today

are supporters of the show.

We think they're all part of the "ARTEFFECTS" team,

so we're really happy you're here.

And we have four of our artists

who've been part of the series here.

We love them.

Thank you for coming out.

It's Zoe Bray and Allie Armstrong

and Tia Flores and Jane Lufkin.

And so, by all means, anybody who has a comment

or a suggestion about the show,

we'd love to hear about it.

But we wanted to just get together

and talk a little bit about it.

Specifically, on the 4th anniversary,

some of the history of it. We started this four years ago.

Martin, you're the only one who's been with it

from the beginning, right?

From the very beginning. - Yeah.

- Even before we got Beth involved,

it was, "Let's do an arts program."

There's a consortium of stations

from the East Coast that started sharing art segments

with other PBS stations and we got to join that.

And one of the deals with that was you could either

collect all the show segments that they offer you

and make shows out of it yourself,

or add your own segments and of course, we love producing

so we wanted to add our own segments.

And then we needed a host

to make those segments come together,

and that's where we searched for someone to be our host.

And who better than Beth MacMillan from "Art Town"?

And we thought well, she's kinda the face

of the arts in this community,

so we came after you and we were already lucky to get you.

Do you remember?

Do you remember when you got started doin' it?

- I do remember.

And I remember I actually had to audition for the part.

(audience laughing)

I had to go down and we were in the midtown in some alley

and had to audition for the part,

so I don't know how many people I beat out to,

(audience laughing)

to get this gig.

- [Dave] 50, 60 people, incredible.

- So yeah, but it was really fascinating

and in the beginning it was,

it was we were on location, we were not in the studio.

Now we pretty much do it in the studio all the time.

But we were on location and I never had a teleprompter

and I had to learn the entire script.

And we did many, many takes

because it's much more difficult,

much more easy to mess up

when you're not reading the teleprompter.

- [Dave] When you're getting these

artists names and locations

and introductions that are written

by people in other parts of the country,

we only write the introductions to our own, right?

- [Together] Yeah. - You guys had to write those?

And then the rest of them, you just take what you get

and Beth had to memorize it.

- [Beth] The whole thing.

(laughter)

- And speak it clearly.

- And then we would be on location

and we'd be on location and we'd be outside

and if a car goes by or a motorcycle, we have to stop.

- Welcome to ARTEFFECTS, I'm your host Beth MacMillan,

contemporary painter, sculpture,

and print maker, Nicob Dollar from Albuquerque, New Mexico,

rides a motorcycle through the desert.

Hello, I'm Beth MacMillan, I'll be your host,

let me try that again.

- [Offscreen] Probably do that again.

- Well that was good.

Three, two, on the next, I hear a truck.

It was a much more lengthy shoot than it is now.

- [Dave] Yeah, I think it was a nice idea.

- It was lovely, I loved it.

I loved it on location.

- We wanted to be a part of the community.

And show this program had roots in this community.

And that we would go to locations

where the arts were alive.

- [Beth] Yeah.

- And to be there and have Beth in these places

but what it turned into was a really challenging situation.

Because well, Martin, you were there from the beginning,

we had lots of stuff going on. - We had a lot of fun.

We learned that if we decided to shoot downtown

at an art gallery near a bus stop,

the police would be arresting people,

(laughter)

out near while we were doing

and our makeup girl, Priscilla,

would go out and tell the police to be quiet.

(laughter)

So we can finish doing our host shoot.

We had some challenges on campus

with some of the students.

We've had saxophone players down by the River walk.

- [Offscreen] Heat.

- Heat.

- Oh and I had to memorize everything

and then speak directly into the sun.

(laughter)

- [Dave] It's true.

And that lasted until a substitute host

did a show, a substitute host who worked at the station,

and had some authority and said,

maybe a teleprompter would be helpful when you're out there.

Because after doing it, you realize

it's hard to memorize these introductions,

it doesn't seem like it's that hard.

But it's pretty challenging.

- [Beth] Yeah, so then I got a teleprompter.

Even when we were out in the field,

I got a teleprompter and that was my best friend.

(laughter)

- [Dave] It's true.

And after a few years, a couple years I think,

we saw it was just hard, it was hard to do.

So it took so many hours.

We said, let's stop making it hard on ourselves

to just introduce the stories and concentrate

on telling the stories and instead go into the studio.

So behind us is the very fancy set.

(light laughter)

- And I think one of the things that makes it really fun

is these incredible producers,

they really put it all together.

You know, people stop me in the grocery store

and go, oh I love ARTEFFECTS. And people assume that I have

so much to do with with and I don't,

I just deliver the words.

But I get to watch the videos of each segment

right before we do the shoot.

So it's really interesting for me to watch the segments

and see all the different choices

that each of these different producers makes

on the segments that they choose to do.

And so it's a really fun,

I really have the best parts of the whole thing.

- [Dave] It's true, it's true.

And everybody's got a different style.

How do you guys describe yourselves

and the way you approach a story?

- Well my style, I feel like I definitely like to focus

more on the artist and art forms

that you wouldn't quite expect to be art.

Like, the really weird ones or the more diverse ones.

That's what I like to do.

Like, I did one about a pipe band,

a Scottish pipe band, which is kind of a weird one

that you wouldn't think of.

Or steam punk mixed with ballet,

kind of like different ideas.

Also I like doing mine, so I feel like my style

is very outside of your typical fine art.

And with fun music, I like to choose really fun

and upbeat music to end my segments.

So it's the reoccurring thing that you'll see in mine.

(light upbeat music)

(bagpipes)

- [Sean] The first word that pops in my head is mesmerizing.

There's something about the drone in the background

and the melody floating around that seems

to sync up with genetic memory.

When the pipes are in tune and singing,

it's like I'm kinda a part of it.

I'm not creating, the pipes are really the ones to sing.

Sierra Highlanders Pipe Band

is a Scottish regimental style pipe band.

- We play for all kinds of events, functions, parades.

We completed in the world bagpipe championships

in Glasgow, Scotland, three times.

- [John] The pipe band has been functioning

in Reno since 1961, so we're coming close on 60 years.

It's made up of several pipers,

but but the drum corps has more variety.

It's made up of these drums here,

which they're referred to as side drums or snare drums.

And then there's a big bass drum that you see

in a lot of marching bands.

And then there's different size intermediate drums

that we call tenor drums.

- [Reay] A bagpipe isn't a mouth blown woodwind instrument.

- [Sean] Comprised of a bag,

which is, acts as an air reservoir

and then a number of pipes stuck into that.

One is what we call a blow stick

and that's where you blow air into the bag.

And then, in the Scottish Highland bagpipe,

we have three drones that sit on our shoulders

and each one of those has a reed in it.

And that's sounding a constant tone.

- [Reay] Notes are played on what's called a chanter.

There's nine notes.

Each note on the chanter makes a chord

and that's where the melody comes from.

- [Sean] The blowing into the bag

is actually kinda fascinating.

It's not in sync with the tune at all.

When I'm blowing into the bag,

I'm thinking of trying to keep that bag

as full as I can and then when I need to take a breath,

I'll squeeze a little harder with my arm.

And the challenge is to get that air flow constant,

so it's not wavering.

We'll generally sit down with the sheet music

and what we call a chanter and pad session,

where the pipers will use what's called a practice chanter

and the drummers will play on rubber pads.

And we'll go over the tune sometimes with metronomes

to establish tempos and we'll work over rough spots.

And then everybody will take the music home

and work on it and commit the tunes to memory.

- [Reay] There's no way to hook the music onto the bagpipes.

I know about 300 tunes.

I probably don't know the names of em, but.

- [Sean] How the two different instruments mix together,

it's a really exciting musical expression.

The pipes are what's called a legato instrument,

so once we start the tune,

there's no stopping in the middle, it's just constant sound.

That's accented by the drum corps.

The bass drum is like the heartbeat

and he sets the tempo for the tunes.

And the tenor drums add to some of the tunes

and they're also fun to watch

because they'll spin their sticks.

(bagpipe music)

Pretty much every kilt that you see

is woven in a pattern called a tartan.

- [Reay] Every family in Scotland has their own tartan.

Our particular tartan is the ancient Mackay

and we wear it because of the Comstock Lode

and the Mackay School of Mines here in Reno.

- [Sean] And also it's a tip of the hat

to the pipe major and pipe sergeant who are both Mackays.

- The music itself, it's very difficult.

It's not really a bicycle.

You can't just kinda lay off for a few months and come back.

You have to maintain it.

- [Reay] It takes about seven years

to get it down really good.

It takes a lot of lonely Saturday nights

and a lot of dedication.

I started when I was 11 years old.

I've been playing for about 35 years.

(bagpipe music)

- [John] When the band is playing with

that high level of unison and precision, it's a rush.

It feels like, we describe it as,

when it's not quite in sync, we're playing the music.

And when it's in sync, the music is playing us.

It's like magic, you know.

You feel like you have this mighty power.

It's quite a unique feeling.

- [Sean] This is a really great crew.

We all get along really well together and enjoy playing.

And everybody's really committed

about playing well and sounding good.

- Favorite part about playing bagpipes

is the look on people's faces,

the expression when I get when they see that instrument

that has such a powerful sound.

I don't think anybody believes that

that's gonna come out of it.

- [Sean] Not many people see bagpipes live and in person.

And they don't even have to have

Scottish blood or Irish blood necessarily,

but there's something about a drone instrument

that is so evocative, it really touches people.

(light upbeat music)

- [Ananda] Well Midsummer Night's Dream is

a classically complicated story.

Like it's one of Shakespeare's plays that people always say,

I get confused about this.

- But we have interpreted it in a different way

to add a steampunk element and an ethereal element as well.

- [Rosine] Midsummer Night's Dream

has three little sections.

There's a story about a couple,

a girl whose father is very,

how can we say, male chauvinistic.

He wants her to marry the person he wants her to marry.

But she doesn't wanna marry that person.

She's in love with somebody else

and she tells her best friend Helena

about the fact that she wants to be with this other person.

Now Helena loves the person her father wants her to marry

so it becomes a little complicated there.

Now they run away, the two people who wanna get married,

to the forest where the other plot happens.

Because it's a story about the queen of the fairies,

and her husband who have a strange relationship,

they have a good marriage

but they're always trying to better themselves,

like in other words, if one has a strong character,

the other one wants to be stronger.

- [Ananda] When you start seeing everybody's name,

it gets really confusing

and that's why I think when we watch the action only,

it can actually be more clear.

- [Alex] Ananda spent a lot of times with

the actual script of Midsummer Night's Dream,

so Ananda is very familiar with the dialogue

which is very helpful when you're trying

to translate something without words.

So we were able to go through the scenes

and break down what needed to happen in each scene.

And it's great as a choreographer to have somebody

who knows the dramaturgy like that

because this is a director interpretation from Shakespeare.

So it's very important to be able to go back and be like,

did we hit the marks we needed to in that scene?

Yes, we did, let's move on.

- [Ananada] We did the choreography with

all of the action from the play.

Having to change certain things, you know,

because the dialogue about stuff that happens off-stage

doesn't work in ballet so it has to happen in front of you.

But basically, we did the whole

Shakespeare play as a ballet.

- For us to translate from words to movement

is not that difficult.

We use a lot of mime.

- So we will use, like for example you and I and love.

And so, we have hand gestures and pantomime

that we rely on but you can also interpret that in the body.

So if somebody is uncomfortable,

their body language will change

to be able to keep continuing that story on.

- [Jenny] One of the goals of our ballet was to help people

understand Shakespeare's work

a little bit better, a little bit easier.

And I think with the costuming,

that was one of the elements we wanted to bring in,

was that the fairies are fairies,

the villagers are villagers,

and then the couples are specific couples

that do go together.

- [Alex] Ananda had the great idea that all of the humans

in this story are all from the steampunk world.

And so, when you see any of the lovers or the royalty,

they're all part of this world

that we've built that steampunk.

- [Ananda] And because it has that

sort of the Victorian style,

even though it's outlandish and amazing and whimsical,

it still gives us a feeling more of the everyday

and then versus the magical.

- [Jenny] The town's people, we actually kept

to a pretty strict palate of more muted tones.

And the reason why is we wanted to give the audience

the impression that the villagers are kind of boxed in.

They don't see the colors, they don't see

the other worldliness that's going on.

And so the fairies, you'll notice,

are dressed very boldly in bright colors,

they're all body painted to give it another worldly effect

so that the audience would recognize

these are not the same people, they don't belong together.

Each individual costume has individual elements to it.

What we tried to do was,

try to imagine what a street child in Victorian times

would have worn but then add pieces

that they would have looked for to be steampunk.

So for a lot of the children's costumes,

we added bustles or petticoats under their skirts,

but then also added leather corsetry

or leather waist pieces,

things of that nature to kind of give it that

industrial element but also really stick

to that Victorian theme.

- [Alex] When you build a ballet like this,

you want it to all be one cohesive piece

and you want it to all make sense.

So that takes a lot of planning with the designers,

with the people building the costumes,

and then actually trying to take the costumes that you built

and make sure they work for the production.

It takes a city, it takes a lot of people

to put on a production like this and luckily,

we have a wonderful community here

that helps support us on that.

- [Ananda] The extraordinary thing is when

they first asked me to do Midsummer, like last year,

and I started thinking about it

and I came up with this idea,

I've had this vision in my head and watching this ballet

and seeing that it looks exactly like that vision

has been so amazing.

I'm like, I can't believe it, it's real.

That was in my head and now it's real.

And I'm watching these talented people do all this stuff,

you know, and all of this amazing visuals

that I hoped we would have that we do have

and then the most extraordinary thing for me

has been listening to the audience's laughter,

not in my scenes but in the other scenes.

So I can just be there and see the action

and hear the guffawing laughter.

One audience member told me, she said,

"I laughed so hard I snorted."

And I was like, that's perfect.

That's exactly what we wanted to happen

is that people watch the ballet,

and they just like lose it in their seats.

- And I would say, I like to search out artists

who have different art forms that impact our community

or our world in different ways.

Allie Armstrong was an example,

how she paints endangered species

and donates some of her proceeds to conservation efforts

to help those species.

Artist's who introduce our audience

to different cultural forms of art,

such as Tia Flores with her gourd carving.

And Zoe Bray who paints Basque portraiture

and brings that around the world, looked great.

And I also to show artists who kind of highlight our area.

Where we have Jane Lufkin here

who paints beautiful landscapes of the Truckee, Tahoe area.

In the leaves and really brings

a sense of nostalgia with it.

Those are definitely the fun types of stories

and that'll allow me to show kind of

a visual journey for a viewer.

Because the art's just cool to look at

aside from everything else that it represents

and the messaging behind it.

It's just fun to look at and that's, I think, fun to film.

(light upbeat music)

- [Jane] We all choose different ways

to express our creativity.

And this just happens to be mine.

Through my life, whenever I've got involved

with any type of creative work, I was just on fire with it.

As the years went on and I went from being

a landscape architect to then transitioning into an artist.

There was always that creative thread

that came through everything.

When I look at a painting,

and when I look at a landscape architectural project,

I'm composing it.

I think about a person's experience when they enter a place.

What they are going to see,

the colors that are going to greet them let's say.

And in a painting, I can direct a person's eye.

So that there's enough going on

that catches their attention at a distance.

But then it's fun for them then to step closer

to become engaged with the details,

become engaged with the brush strokes,

and the movement of the painting.

I have these feelings about painting

and it is the greatest challenge

I have ever come up against.

I went to college.

I became a landscape architect.

I did my apprenticeship.

I worked for people.

I did that for 20, 25 years.

And yeah, there were moments that were tough.

But there is nothing as personally challenging

as standing in front of a blank canvas,

with a brush in your hand, and piles of paint.

That you then have to express what's deep down inside.

I'm drawn to the artists that I see

that have really clean, intense colors.

That vibrate.

That are uplifting.

That make you happy when you look at the painting.

A lot of light, a lot of levity.

The inspiration I get from living here in Truckee,

you know, has to do with the texture of the forest.

The blue, the incredible turquoise blue, of Lake Tahoe,

of the mountains, the summits, the snow,

I mean there's a lot of color in the natural landscape.

And the beauty is overwhelming.

I just walk out my door and I get

hit in the head with beauty.

Everyday I'm out seeing what's out in the landscape.

And I always have a camera with me.

That's number one, and I usually

always have a sketchbook with me, that's number two.

I'll go to scene, I'll shoot it,

and then I might sketch certain things, that I'm drawn to.

There's usually got to be something that's triggering you,

that's calling to you.

And I could not help myself but paint it.

It's all about composition.

If everything were symmetrical and straightforward,

and perfectly balanced, there would be no place

for the person to go.

Where as if we have a weaving path,

and we have a larger mass

slightly to one side than the other.

But then maybe some brightness

or a focal point back on the horizon.

That gives a person a journey, in the painting.

I'd like it to fill them, with what they need.

Whether that's hope.

Whether that's happiness, joy, or it sparks a feeling,

it sparks a memory, an experience that maybe they've had.

And so then there's a connection that's made.

And that's a beautiful thing.

(light upbeat music)

- My name is Tia flores I do pyro graphic gourd sculptures

or calabasas sculptures.

Calabasa art is actually it's a fancy name for gourd.

I use gourds as my canvas and from that

I do wood burning on it which is known as pyrography.

Pyrography is an ancient art form

of drawing or writing with fire.

And there are different types of hot tools that you can use

to burn on a particular surface.

And because the hard shell gourd

is very much like the surface of a wood,

it takes really, really well

to wood burning or the pyrography.

The gourd is one of those natural organic units

that's been found on nearly

every continent around the world.

Used by every culture in the world.

In fact, it predates pottery.

In some countries it was used for ceremonial purposes.

That's what the Native American's use it for.

I started working with gourds in the 90's, the late 90s.

I was going through sort of a transition in my life,

a career transition, trying to figure out

what I want to do with my life.

And I also wanted to get in touch with my heritage.

The pieces that I create and design,

they're a reflection of my family history.

I'm fourth generation Nevadan.

And so from my mom's side of the family

they were settlers that came across very stoic,

hard Nevadans worked in the mines and stuff.

And then on my dad's side of the family,

that's the Aztec and Navajo.

And my grandma was a healer.

So a lot of my work reflects either side of the family.

They're either, it's Navajo teachings on that

or Aztec Symbolism or something that's reflective

of the Nevada Desert or the Great Basin.

Growing up in Nevada,

I've always been drawn to the creatures

and the animals and the habitat.

And I love the symbolism and the vast beauty of the desert

and I try to reflect that in a lot of my pieces.

I've always been fascinated with snakes

and the pattern and the texture

and just the beauty of that snake.

Navajo, the butterfly represents transformation

that we're always growing and evolving

into something more beautiful.

If you take a look at the tortoise,

the tortoise shell represents the birth of earth

and it represents mother nature.

So you're putting beautiful images on there

but at the same time you're able to tell a story

and a meaning behind it.

I like to surround myself with the gourds in my studio.

Let's say I find the perfect gourd

sometimes I'll look at it,

and I'll see something come out of it,

there's an image that needs to be put on it.

And I clean it and it has a nice smooth, smooth surface

that's conducive to the wood burning on it.

And I sketch my designs on it.

And once I sketch it, then I start to burn it,

and just lightly burn it, just to give it a light touch

and to see how it goes.

When I'm making my art,

there's nothing that separates me from the gourd

because I have to hold it and I have to cradle it,

the whole time I'm working on it.

There's just this nice connection.

You almost go into a different state.

As you're burning it,

the smell almost reminds you of sitting around a campfire.

It's very meditative and very relaxing.

Your mind can go off into different corners

especially when you're sitting around,

you're embracing the gourd and

there's just that earthy connection

that I just love to work with.

- In regarding my style, I really like to focus on artists

who are have gone through a lot in their lives

to get to the point to where they are.

Whether it's a comic book artist

who didn't pick up his craft and his style,

Brian Crane, the artist of Pickles,

he didn't start doing that until he was in his 40's.

And so that gave me inspiration, well his story is,

it's never to late to start something new.

You don't have to have life figured out

in the earliest parts of your life.

So I also thought it would be fun to be a comic book artist,

so I like to pick up,

(light laughter)

so I guess not in a selfish way.

But if I think it's interesting

to learn how a person develops a comic strip,

hopefully some viewers out there would to.

(light hearted music)

- Pickles is a comic strip about Earl and Opal Pickles.

It also involves their grandson, Nelson,

a daughter named Sylvia, and a dog and a cat.

It's about family, and looking at

the funny side of family relationships.

I kind of grew up in what I think of as

the golden age of comic strips

when everyone took a newspaper

and everybody read the comic strips.

One of my favorite cartoon characters is Popeye.

I used to watch his cartoons when I was a kid,

and I started collecting a lot of

Popeye memorabilia over the years.

Just brings back good childhood memories.

I never took any art classes in high school or anything,

but I always drew.

That's where it all started was

just scribbling on my school papers.

When I went to college, I majored in art with the idea

of going into commercial illustration and things like that,

because I didn't think I had a chance

of becoming a cartoonist.

When I was in my late thirties,

I started thinking of my childhood dream

of doing a comic strip.

So I decided to think of an idea for a strip

and spent a lot of time drawing different characters

in a sketchbook until I finally came up

with this elderly couple that gave me all kinds of ideas,

and the word pickles kind of reminded me

of the term getting into a pickle,

which is kind of like the situations that they get into.

Pickles is syndicated in about

close to 1000 papers around the world.

Been doing it for about 28 years now.

In the morning when I sit down to the drawing board,

I go through a file of things

I've written down over the past few weeks.

I just look for situations that happen in real life

that I can place my characters into.

Once I get the idea, then I draw the panel.

I usually work with four boxes.

I just rough out the first panel with pencil

and I'll go over it with a pen.

I still use the old fashioned pen

that you dip in a bottle of ink.

I just enjoy the process of holding a pen in my hand,

dipping it in the ink, and scratching it on the paper.

There's a very tactile sense of that that I enjoy.

In my mind I've broken down the idea into four sequences.

A little story with a beginning, a middle,

and then a punchline at the end

and hopefully that's the payoff

where someone will chuckle and see themselves in it

or something like that.

I scan them on a scanner and email them to my daughter,

Emily, who colors them on Photoshop.

From that point, when I've done a week's worth of those

I send them into my editor at the Washington Post,

and she checks them over for any grammatical errors.

Occasionally a retired schoolteacher somewhere in America

will find a misspelled word or something

and will let me know about it.

My wife is always my best editor.

She can tell if something's funny or not.

I really do agonize over each strip,

you know trying to come up with an idea.

Most of the ideas I get I don't use

because I don't think they're good enough

so I'm my own harshest critic I think.

I'm very seldom, when I see my strip in the paper

do I think I really nailed it.

I usually just think oh, I could've done this better.

I could've worded that better

or I could have drawn that better.

So I'm always critical of my efforts,

but I think that's a good character

for an artist to be critical of their work

and not just think anything they do is wonderful.

I love making people laugh.

The big payoff for me is when I hear people who say

that my cartoon makes their morning,

or it reminds them of someone they love

or something like that that makes me feel like

I'm contributing something to people's happiness

and it's so much easier now to write my strip

because when I began I was a 39 year old

writing about old people,

and now I'm an old person writing about myself.

- I think it's really fun to spend

all this time with artists,

that the amount of time that we do

whether it's including phone calls

and interviewing them and then

spending time with all the footage,

it's really fun to capture all the time that we spent

meeting wonderful artists and try to encapsulate it

into a four-minute story.

And hopefully convey, like the same experiences,

and the same lessons we picked up on as producers

and share that with our viewers.

And the video of the process is always fun to capture.

I know with our painters,

we'll have to ask them sometimes to,

can you have three paintings ready to go for us to shoot,

in different stages of completion

because that's one method of being able to show viewers

how a person can really capture

or how we can capture their process,

because some processes take years.

It's like, how do you convey that in a three-minute story

or a tube shoot.

We have to go through some steps like that

to make that happen but it's wonderful

to be able to share what they've gone through.

That share it with our viewers too.

- Yeah to talk about that,

that's where some of the challenge lay with this.

Because we get so much good footage,

so many good sound bytes.

Sometimes it's a challenge for us

to pick out which ones we want to fit into this segment.

And it kind of comes full circle

because we ask our artist's what kind of challenges,

it's one of the things I like to ask.

What challenges do you face creating your art?

How have you gotten to where you are today?

How do you learn?

How do you evolve?

And it's just like the show, we're constantly evolving,

we're constantly learning.

And sometimes I'm learning at the same time.

- [Beth] I have a question for each of you

that I've never actually asked you.

So I know for me, this is just a really great relationship

between PBS Reno and Art town

and really exploring all these different artists,

not only regionally but throughout the country

and what people are doing in different communities.

But how, I mean, I live in the world of the arts,

so that's where I come from.

So how's your journey, your own arts journey been,

doing all this material because you don't necessarily come

from the world of the arts?

So how has that evolved for you and your opinion

of the arts and all of that?

- Well I've gained a lot of respect

for what these artists do and

the amount of work they put in to it.

Learning different terminologies,

words to use and which words

I've been using wrong the whole time.

(light laughter)

In terms of iams and the backgrounds

and that part's really interesting.

And as far as our town here, city of Reno goes,

learning how people are really connected.

There is a thread that goes among

all of the artists in this community and organizations.

And we're kind of connecting with all of that now.

The more art stories we do, the more we see

that there is this web going out

that is just really amazing to know that it exists.

- I think for me and Gwen had mentioned this the other day

when we were speaking about it.

It's really gratifying to be more aware

of the arts in the community and recognize artists in town.

Like oh, that's a Jane Lufkin piece

or that's a Josie Rock mural.

And it's kind of like,

- [Beth] Wow.

- I feel refined and I know what I'm talking about now.

(laughter)

But not necessarily refined but it's a privilege to know

to have met the people who have made

this art in our community.

And not only are we witnessing it,

but we got to experience and spend time

with these people and learn who they are.

And it's a really special relationship

and then just to be able, again,

to convey that in the show, it's really enjoyable.

- And I know for me too, every segment I work on,

I think I should become a sculptor, I could do that.

(laughter)

I could definitely do that, yeah.

Or like, ballerina, that's what my real calling is.

Every single segment, it's like I just go into that art form

and just indulge in it and then I'm like so inspired

by the artists and the art form to start making that art,

even though I'm definitely not a sculptor at all.

- And one other, isn't it a compliment,

to the artists that you feel that way

because they make it look easy.

- [Offscreen] Mm hm. - Right, yeah.

- And so you come away thinking, I could do that.

No you can't, not easily anyway.

(laughter)

and that so you know, to you artists,

it's a compliment to you that you're as good as you are

and it's fun to share your work with the community,

it's really cool.

And it's exciting to know that these stories

are being shared with other stations across the country.

We've had like 43 now of the stories

distributed to other stations through that consortium.

And it's really exciting to think

that all of your stories are being seen elsewhere.

And I'm hoping that you get contact

from somebody from other parts of the country,

who say, hey I saw this and I wanted to contact you

and talk about maybe you doing some work for us.

That would be the dream.

So we hope that we have that kind of reach

across the country and maybe across the world.

Zoe I know you took the video

from the story that Martin did with you

on a trip, right?

Could you tell us about that?

- [Offscreen] You'll have to come to the microphone.

- Could you just come up for a second

and just tell us about that experience?

- So yeah, that was absolutely amazing.

And I can't thank you enough for allowing me to do this.

I brought, I did some subtitles in Basque

and brought the segment to France and Spain

and it was shown on both sides of the Bask country,

on the French side and on the Spanish side.

In this exhibition, which is what I was preparing for

when my team came over to see me in my studio.

I was preparing these portraits of local Basque people

and I brought them over to France and Spain

to be shown there in different places.

So the portraits toured with the artifacts segment.

And they really brought a whole

other dimension to my exhibition.

People could see the artwork but then also the process.

And again, that's what I want to just sing your praises

just how sensitive you make artifacts.

It's so didactic, you go along with the artist

and follow their process.

And that's what was shown in my exhibit.

People got to see how I produce these portraits.

They got to witness the process

and that was absolutely fantastic.

(light upbeat music)

- I'm an artist and an anthropologist

and therefore as an artist, a lot of my interests

and what I paint and just create is related to people.

People in their environment, so that's the social,

political, and natural environments

of how do people make sense of who they are

and create their identity and relate to their surroundings.

As an artist, I'm classically trained in a sense

that I've undergone a training

with an old style atelier painter,

and it was always with a live model

so there was absolutely no drawing

or painting or sculpting from photographs.

It was really, you had to have the real thing

in front of you and feel it.

And this also resonated with my work as an anthropologist,

I studied anthropology at the University of Edinburgh

and then did my PhD at a European institute in Italy,

in Florence.

And as an anthropologist,

this is pretty much also what you do,

what your research is about, people with people.

My Basque heritage is just something

that I'm constantly rediscovering.

And right now I have this exhibition

on Nevadan Basques with oil painting

and charcoal drawings exhibiting at the City Haul of Reno.

I was interested in painting people

who have some kind of connection with Basque culture,

usually who have Basque lineage but not necessarily,

I mean, that's also what interested me.

Is what is identity today?

How do we identify ourselves?

Is it our lineage, our background,

or is it what we choose ourselves

to be right now in the present?

So painting from life is for me extremely important.

When I couldn't go into more depth into a painting

or into a portrait, then I would go use the oils.

And the oils, again, it's I use very simple colors,

and just with these four, you can actually mix them up

and get all the nuances, all the subtleties,

all the different tones that you find in nature.

If I have to define myself into what kind of painter I am,

I'd say I'm a naturalist rather than a realist,

I mean when people see my work, they say wow,

that's so realist.

And, the term realist, it can be understood

in many different ways, I would agree,

I am a realist but as more of a naturalist realist

in that I'm interested in understanding how we see things

in as natural a way as possible.

So for instance, when I'm looking at somebody,

when I'm painting somebody, I'm interested in focusing

mainly on the eyes because when we communicate,

we look at each other in the eyes.

And then I put everything else is out of focus

so it's deliberate that to others parts of the portrait

are not so specific, so detailed, so defined.

But then I want the viewer to have their eyes

wondering around the painting

and notice how they hold their hands,

or what are they wearing,

how significant is that to the identity of the person.

So I will try and draw these things out.

There has to be some kind of a journey

for the viewer to embark on.

Every portrait is a new adventure.

- I'm Jake Lufkin, I was one of the artists

that have been interviewed for ARTEFFECTS.

And when I was with Martin and he was interviewing me,

I was really impressed at how he was able to

kind of get me to open up.

Not only and be comfortable in front of camera

not only about the practicalities of what I do

and the nuts and bolts.

But just kind of emotionally,

talk about what's meaningful to me.

I mean, we had quite an experience together

and that was really wonderful.

And so, my question is,

is I know it's probably important

when you interview your artists

that you get the most of what you can out of your interview.

And get them to share and how do you do that?

Are there specific things that you think about

and try to aim towards when you're doing your interviews?

And how do you get these people

to really open up and share with you.

Because art comes from the heart, it truly does.

And what we do is really an emotional expression

beyond the physical of what you're seeing.

So that's my question.

- [Dave] That's a good question,

yeah how do you guys do that?

(light laughter)

- I can start.

I would say one of the things that I learned in film school

was you start to understand the dynamic of the camera

and how it changes the power dynamic between people.

Once the camera's on you, you become nervous

and when you're behind the camera interviewing someone

you empathize with them and know that.

And you kind of learn to talk

and relate on a personal level.

Like for me, I will try to joke around a little bit.

I try not to use too much profanity,

but sometimes I do use it and it works.

(laughter)

- Just enough.

- Yeah, just enough will really loosen somebody up.

So you know it's not a 60-minute news piece.

This is not something hard, we're having fun,

we're gonna be casual, we're gonna relate to each other.

I'll talk about myself in my own.

I'll open up to all of you.

And let you know that I'm a person too

and even though this camera's here,

let's kind of get into the flow of the process

and it always starts out a little cold.

But after we start working know a little bit

everything kind of warms up and things get better.

And as you get more comfortable in front of the camera,

I get more comfortable behind the camera.

Because I'm starting to learn you and talk a little bit

and kind, that's how it goes.

- [Offscreen] Interesting.

- Yeah and definitely too,

I always have, all of us always have

a huge list of questions that we come in with

that we're going to ask.

And we have those ones that were like,

that's gonna be the meat of the story.

But sometimes that's not it.

Sometimes you're talking with the artist during the process.

And a question that you didn't really think much about

they actually respond to so passionately

and they're like personality comes through

and that's where all the emotions,

like this changed to whole story now.

This is what it's about.

And just getting, that's why we have

a huge variety of questions that we ask so many.

Of just trying to get to see

what exactly the artist feels the most about

and is the most passionate about.

Because when that passion comes through

that's when you know that you got

a really good interview, when you can see their face,

like light up and they're excited to talk about their craft.

And that sort of stuff.

And I really like including that in segments too.

Anytime they like even giggle or anything like that,

including that piece of personality in the segment.

- [Dave] So engaging when a person is real

and shows their personality.

You get that relatable moment, right?

That's what you're after, you're good at that.

- [Becks] For me, we do those lists of questions

primarily to make sure we don't miss anything.

Because getting caught up in the moment

with talking with the people,

making sure we have equipment, do we have the mics,

you know, that can all get into the way

and threaten your line up of questions.

So those questions are really great

in helping making sure that we get everything covered.

You know, what is your name, what do you do?

Because we'll often use that little byte.

You know, I'm Jane Lufkin, I create this.

Sometimes we don't use that little piece,

you guys might have noticed.

But we make that list of questions

to make sure that we have everything covered

and we also try to envision what the process will be like.

And in the pre interviews, we often talk about

what the process will be like and

that will refine our set of questions

so what your answers will end up being,

will support the video we're about to shoot,

so it matches really nicely.

And then for me, I try to find anything emotional.

If someone mentions, oh yeah I learned it from my grandma.

Tell me about your grandma.

I learned it from my son or anything random.

Like if we're out of someones home,

I try to look for little things

that will let their personality shine in a way.

Where you might now, their answer might not result

in anything at all useful for the story per say.

But a lot of the great answers that we get

often come from the questions that are ad-libbed

and are not pre-produced.

Like they come from the natural flow of a question

and we love getting those little emotional pieces.

Like I don't know what I would be doing

if I weren't creating this artwork,

this just means the world to me.

Because we would never ask the question

or we may not ask the question,

what would you be doing if you weren't an artist?

We won't probably ask you that.

But that little piece, that little nugget

like when Martin has mentioned will come

from that kind of emotional question.

We've all experienced it, when an artist says something

and it sounds so glorious and the bells go off in your head,

it's really, it's really cool.

- [Beth] And I've also noticed,

that when we are shooting each episode

and I'm working with whichever producer

produced that particular episode.

The emotion of them working on the segment

that we're recording that day definitely comes through.

I feel like you creating these relationships

with these artists in our community.

That is a deep-bonded friendship,

it really comes through and we just talk about each episode

as we're filming it.

- [Dave] And I think that, tell me if I'm wrong

but I think that there's a sense of obligation

to that story to represent it properly.

You're here because you were happy

with the result of that show.

(light laughter)

That it represented you fairly, right?

I mean that matters to everybody.

We don't want to come back and say well,

I'm just gonna tell the story not the way I want.

I want to make sure that this is really the artists opinion

or the artist approach to what they do

and their reflection on their work

and the world that they live in.

And if it comes across properly then you're happy

and you feel like you were well represented.

I think that's the goal, am I right?

- [Offscreen] Yeah. - Hey can I ask a question?

- Of course.

- Do the artist get to see the segment before it's aired

and get any say so?

- [Dave] No.

- We don't want to do that because once we were to,

of course we want to as friends right,

we want to be like, well let us know what you think.

And I think the concern of getting it wrong

is really never there.

We're professional enough, we're confident

and of course the only that would come out of that

is excitement to share it with them

before give them a sneak peak.

But we can't open up that door

because if we were able to do it

to our four favorite people or whatever,

we have to do it for everybody.

And it just opens up too many cooks in the kitchen.

- [Dave] The minute somebody gets to see it first and says,

oh, could you just change that one picture there

and put it here.

(laughter)

And then, well then what about

the next change they want to make,

you can't do it, we have to trust ourselves.

And I mean, you can tell.

- Instead we do the group stuff.

- [Martin] Yeah.

- We do it internally actually.

- [Martin] Yeah, that's one of the things

that you guys should know.

Is we, it's not just one of us making a segment.

When we produce a segment, we come out with a rough draft

and we send it out to the team.

- [Beth] Okay.

- And then each one of us kind of adds in, edits

and our feedback and then we refine it

and it gets refined again.

And then when we feel it's polished enough as a group,

collectively, then we will set it out for broadcast.

- [Dave] Yeah, I think one of the hardest things

is to be critical of each other.

Because this is a close group.

They all sit in one big room,

(light laughter)

three different corners and do their work.

You know, it's a group of friends and co-workers.

So you don't ever want to say,

eh, I didn't really like that part.

But you need to because it helps make it better.

And if you just don't say it in a rude way,

you make a suggestion. Hey what do you think about this?

Or I have an idea.

What do you think if we did it this way?

And then you get feedback and sometimes a suggestion works

and sometimes you end up not using the suggestion.

But at least you get some feedback from an audience

that's not yourself.

- [Martin] That's the interesting part

about the creative license that we have.

So we have creative license to tell the stories that we do

that we've developed with the artist

that we are working with.

So we kind of get to know the artist,

we know how they work, we know their personality.

And we kind of choose how we're gonna tell their story.

Based on what we've discussed with them

and what we've filmed with them.

And yet at the same time,

when we send out a draft for review

you also have to be able to take criticisms

or suggestions and understand that

once we're in a story ourselves for putting a week

into putting the story together,

our minds are locked into it.

So it's good to have an outside perspective

from someone on the team to say,

hey, you know because your mind

is so enveloped in the story.

As a first-time viewer here's what I'm seeing or not seeing

or not hearing and you know, maybe try this.

So we'll do that and it makes it so much better.

- [Beth] How long does it take

to go from starting the filming

or whenever the process is to the completion of a segment?

- [Martin] It depends.

- Yeah it really varies.

- We could do it in a week or less.

The thing is we all have our hands

in some form of ARTEFFECTS at different levels.

Each of us, maybe five episodes all at once.

Whether it's the beginning process

of calling Allie Armstrong.

Or it's in the shooting the host shoot

that will support that episode

for the episode featuring Jane.

Or we're ordering captions

for the episode that will feature Zoe.

So each of us, the episodes we're in charge of individually

five episodes give or take.

So we could finish each one

if we didn't have to do anything for it.

It's probably about 40 hours.

If we didn't have to do anything else

and we got to do one artist, one episode,

one host shoot, one ordering of captions,

the whole finalization, we could do it,

it's probably 40 hours per episode I would say.

- [Guinivere] But that being said, we do have those stories

where we start filming them like months in advance.

Like we hear about a story,

we're like well we're get footage for it now.

We don't know when it's gonna air.

But we'll start it now.

And that episode could actually be put together

like three, four months ahead.

So it really depends upon segment to segment.

- [Becks] Each one's different.

- Yeah each one's unique.

- One example we just did the stairwell,

the graffiti stairwell in Church Fine Arts building,

I don't know if you're familiar with it.

It's the students and not only the art students

but students come through there and paint over it

with new work all the time.

And it's sort of this living hallway

or this living stairwell.

And so we knew we wanted to do the story

but we didn't know when we would do it.

So a couple of times over the past year

I would just be over in that building

and so I'm gonna run over there and get some footage

of what it looks like today.

Because in six months it's gonna look different

and so maybe we have an opportunity

to just show some of the different iterations

of that stairwell to give a sense

of it's sort of living status.

And it helps us to better tell that story if possible.

And that kind of story is a unique one

but that's an example of how we can do it.

- Another thing I want to throw in there.

We're a small team here, we're a small production.

So we're producing stories but we're also filming

as camera for each other.

We all do, we wear many hats.

Like, I'll produce a story and then I'll go film for Gwen

or I'll go film for Becks and vice versa.

And doing edits or audio or grip or whatever it takes.

It's kind of how it goes.

I heard someone use the term predator,

which is kind of scary but we're producers

and editors and filmers.

(laughter)

we kind of constantly wearing many hats, so.

- [Becks] That's our new title.

(laughter)

- [Martin] Yeah.

- [Dave] Sounds very intimidating.

- Sounds intimidating.

- Sounds awesome.

- Maybe I shouldn't have said that.

(laughter)

- So as one of the artists on the receiving end,

thank you very much.

It's been wonderful to be a part of this wonderful program.

But also I'm interested in a lot of artists,

especially visual artists, they see their space

as a very sacred space and also their process

as a very sacred space.

So I'm curious how you, in that introduction,

maybe that phone call that you have or that email

how you approach them to make them feel comfortable

in letting you come into that sacred space.

And then the second part of that,

has there been an episode or an encounter that you've had

that has stayed with you long after

the filming has wrapped up on that?

Thank you.

- Um, okay.

- Processing, processing.

- Processing, so there's some layers to that one.

The initial introduction

usually will, I'll speak for myself

but the rest of, we kind of lay out

how the show works to the artist

and what we're gonna be doing, so they have an idea.

We're gonna film your creative processes,

we're gonna ask you about,

I usually say we'll talk about what makes you tick?

What kind of things do you experience

while you're creating your art?

And are you comfortable with doing the story?

I usually use the word participate.

Would you like to participate in the show?

There have been artists who said no.

There's, so as you said, there's some who hold that space.

We had one over last summer

where it was in the works and then they changed their minds.

So we had to shift gears.

And that definitely happens.

But once you get over that initial cold call,

we're great at cold calling now or sending out cold emails.

(light laughter)

Telemarketers beware.

You do that and then you just talk about who you are

and a lot of it is, I think one of the big bonuses,

is we say we're with PBS.

And that opens doors.

Once they understand that, they know that we're gonna be

telling stories that are beneficial to the community.

And educational and we're non-commercial

and we're not gonna abuse their creative license

in any way so to speak.

- It also helps now that we've done so many of these,

we're like halfway through our fifth season.

Is also helps to share an old one

and feel like, here's an example

of something that we might do.

So they kind of just get an idea beforehand,

that's really helpful.

I've also had the comment made to me several times,

when I tell them that we like

to do this in their creative space,

I have the comment of like,

oh but it's so messy.

(light laughter)

I'm like, no that's what we want, that's perfect.

You see it as messy,

we see it just another form of your art.

So yeah, that helps a lot too.

- It's true, your world is fascinating

to those who are not artists.

So you want to show that reality

and it's really interesting.

- I was just curious, how do you find your artists?

And how far out geographically do you go

to look for the artists for your segments?

- [Dave] That's a good question,

I'll let you guys take that.

- I think in the beginning, we were,

Martin was really, really good at actually

going to artists art events

and anything that would be featuring the artist.

So he made first-hand connections.

As the show has evolved, of course we'll go to news sites

just to see what's happening in town

so we're not totally closed off

to what is happening in our community.

We'll even look for human-interest stories

that it might be buried in a lead

that this person happens to be an artist.

As the show has evolved, it's become word of mouth.

Like Tia Flores, I know a really great musician,

here's his name and you should contact him.

Turned out to be a great segment.

And we do a story with that person.

Hey, you should talk to this person.

And we usually acknowledge their thoughts

because their thoughts are important.

And we don't promise anything of course.

We'll say, we'll look into that person.

And a lot of times it turns into a wonderful story.

So it's a lot of word of mouth at this point.

Martin's great at going to

exhibits and events as I mentioned

as is Gwen and again, it's just a really nice collaboration

where we so many stories we want to tell.

We're never looking for stories at this point.

In the beginning there was a little bit

of getting our feet in the sand,

trying to get that momentum going.

But now it's like, I hope we can continue to keep going

to be able to tell all of these stories.

We'll never run out I don't think

because the community is so great.

- We have a long list in a digital document

of suggestions, some of which come to us,

some of which the producers have found themselves.

Some of which I've found.

And we'll take suggestions from anybody

so if you've got any today, write them down.

(laughter) And we will keep them in our list

and we will look into it.

Because it can come from anywhere.

Allie came from an article I've got

in I forget, a magazine about Truckee area

or something and I kept bringing it in to the meetings

and say, what about this person?

What about this person?

We should look into her.

Yeah, yeah we will, we will and even we did.

And it became a really good segment.

But that's how it happens sometimes

is just when the time comes and it feels right

then we pursue it.

And then in other times,

it just walks in the door sometimes.

- Right.

- It's kind of fascinating how it happens.

- [Martin] Yeah and in terms of how far can we go.

We would like to go into the stretches

of all the rural communities.

That's our goal and we talk about it.

And we've done some traveling, we've gone to Winnemucca.

We did the shooting the west out there,

that was really fun.

We'd like to go even further.

You know we'd like to get out to Tuscarora.

We'd like to get to those, some of those far destinations

because our broadcast goes from

you know halfway down the state

to the top of the Oregon border up there.

And we are looking into doing that

and some of that is travel budget.

Do we have travel budget with the funding to get out there?

So we are definitely have those stories in the works

and we're looking forward to those.

- [Dave] As you look at a broadcast map of PBS Reno,

it's a big area.

And from the beginning of this series,

the idea was let's tell stories from anywhere in that area.

We don't want it to just be close to where we are

because that's easy.

True, most of them come from relatively close by area

but we want to get out

and tell every story that's worth telling.

So that's the hope.

- Real quick, Tia you also asked earlier

if there are any stories that like stayed with us.

And I actually have one.

I did last, oh I don't remember when.

But I did a story about Hello Hollywood Hello,

that Beth was a part of.

If you don't know what Hello Hollywood Hello was,

I highly suggest you look into it.

(light laughter)

Because it was a show at the MGM Grand

back when the GSR was the MGM Grand.

And it really was fundamental to bringing arts to Reno.

And I did a segment about it

and learned so much about that.

And got a whole new respect for the arts in this area

and how it came to be and all the talent

that came in because of it.

Especially with the dance in this area.

So that was one that I did,

that with all the research I did and all the interviews,

it really stuck with me.

It gave me an entirely new perspective

on the arts in this area.

And we all have segments like that where it's,

it really does stick with you

and you have a new respect for an art form or an artist.

(light upbeat music)

(Broadway style music)

- [Karen] In 1978, when Donn Arden's MGM,

Hello Hollywood Hello opened in Reno,

it was billed as the biggest show in the world,

on the biggest stage in the world,

in the biggest little city in the world,

which, of course, is Reno.

It was a big deal, and that wasn't just hyperbole.

That was fact.

- [Tracy] Onstage was an acre big.

It had state of the art elevators,

it had a living curtain that came down full of dancers,

it had a passerelle that went from one side of the stage

to the other, high up in the air.

I mean, it was groundbreaking, back in the day.

♪ So best beware

- [Michael] I went to Las Vegas thinking I was signing up

for a personal audition with the producer of this show.

I walked in to one of the biggest

cattle calls I had ever seen,

and the producer called me down and he says,

we'd like you to come sing for us in Reno?

And I said, great, are you offering a contract?

He says, yes, we are,

and he shoved a contract across the table.

It looked great, so I signed that contract,

I said, by the way, where is Reno?

- [Beth] I mean, when I flew in here and I saw

this desert landscape with neon

and one really tall building called the MGM Grand.

Everything else was this desert landscape,

and look at it now.

Look what we've got in downtown.

Hello Hollywood Hello was a very important work of art,

really, and it ran for 11 years, twice nightly.

That's huge for a small town like Reno,

and it was really part of the evolution

of the arts industry in Reno.

- [Karen] Just all the phenomenal talent

that was brought to this area and who stayed here,

'cause this was what was wonderful.

So many people said, this is a great area.

So many of the dance studios, and the technicians,

and wardrobe people, and musicians,

they stayed in this area.

- [Beth] Some of them became dance teachers,

some of them became directors of Artown.

There's so many professions that the cast went into.

- [Karen] This will be my 22nd anniversary

of purchasing the Hello Hollywood Hello costumes,

and so that's my passion, now that I lecture at schools,

and Truckee Meadows Community College, and universities.

Again, of these costumes telling

the history of arts, culture, and entertainment.

- It definitely changed the culture

of the arts scene in Reno,

because of the quality of these performers

from all over the world that settled here in Reno.

- [Michael] We took advantage of the fact that

we had imported wonderful talent

from all edges of the globe,

and that can't help but change the community a little bit.

- [Tracy] I don't think Reno would've been exposed

to quite as much art if it wasn't for Hello Hollywood.

We had a big 40th reunion.

On the last day, we had the Mayor of Reno come

and she proclaimed that June 24th

was gonna be Hello Hollywood Day.

- [Beth] Do you know what was so special for her

was that her mother was one of the photography girls

in the show when she was a little girl,

so really, Hello Hollywood Hello

affected everybody's life in Reno.

Hello Hollywood Hello was this micro-international

community of dancers that was dropped I

into the Reno community, and we became a family.

- [Tracy] When we all came over here, we were young.

We were from all over the world.

We didn't have a family, so we formed our own family.

- [Beth] And even now, my Christmases, and Thanksgiving,

and New Years are spent with my friends/family

from Hello Hollywood Hello.

Our children are like cousins.

- [Michael] We all know that the show deeply affected us.

You don't feel the full impact of that

until you go through a 40th anniversary

and you have all these people come back together,

and we're still family.

Every last one of us feels the same way.

- [Beth] Reno may just seem like

the biggest little city in the world,

but it's really history like this

and people like us who have stayed,

and we've really been a key part

of the vibrant arts scene that you see today.

- We do develop relationships with you.

We talk for awhile, we get to know each other,

we speak on the phone, we speak in person,

we speak afterwards.

One of the things that happens to me

that I always kind of laugh at is,

I developed this para social relationship

and get star struck.

Because when I see you, I get star struck in my eyes

because I spend so much time looking at you on my monitors.

(laughter)

Editing and getting your nuances down

and then seeing it broadcast.

And I see in person, I'm like Oh my God,

there's Jane, there's Tia, there's Allie and Zoe's here.

(laughter)

It just happens.

It's always fun, it's interesting.

- And then for me, oh sorry Zoe.

One more thing.

An episode or a segment that I did that stuck with me

was interviewing Tina Drakulich

of the David J. Drakulich Art Foundation.

I mean, it's a very sad subject

in terms of remembering our fallen soldiers.

But I thought her process of the combat paper

in Nevada segment and how they shred military uniforms

and repurpose it into paper

that is then used for art purposes.

And so it was really interesting exploring

how that destruction is not necessarily destruction at all.

How it's more of a transformative process.

It truly helped this mother.

Because I thought, I've lost friends

not necessarily in the military

but I always was drawn to their moms

and trying to make sure they were okay.

I guess for me, it was really nice to be able

to form a relationship with her

and learn how she as mom was able to heal through art.

And it was really, really, it always stuck with me

and how much art can really heal a person

and how it can be there for you

when you're going through the worst moments of your life.

So that always stuck with me.

(light upbeat music)

- [Tina] I remember when I first started

to cut David's uniform, I had this shock of can you do this?

Should you do this?

You can't uncut it.

I can remember feeling, I was shaky

and my mouth was kind of dry, and I went ahead and cut.

And then it went into the beater,

and I remember watching these little pieces

flow through the water,

and there was something renewing about that.

Just watching the little pieces,

just getting sifted and crushed,

and the fibers being liberated,

and then when I made the sheets of paper,

that fear and everything just sort of

turned into something new that was good,

'cause at that time I was pretty depressed.

I am co-founder of the David J. Drakulich Foundation

for Freedom of Expression, and our vision statement

is Art Heals War Wounds.

We started working as a foundation as early as 2009,

after our son was killed in 2008.

We were able to establish the Combat Paper Nevada Project.

We cut up uniforms, or any kind of cloth,

cut them into postage-stamp size pieces

and put them in the beater.

- This is part of uniforms that we cut up and we shred.

And we add this to the beater and we beat it.

It's a metal wheel, and it just beats it.

It beats the fibers, that way we don't cut the fibers

and the fibers sit back in together and they form paper.

And it is very loud.

- [Tina] The fiber becomes so small

and kind of forms a slurry with the water

that it's mixed with, and we pour that into a vat

and sift it out with a mold and deckle,

and form the sheet by cushing them onto a pellon,

and then drying them.

- [Corporal Peterson] That's what it looks like.

We do big papers, big flags,

colorful flags, cranes, origami.

As a veteran, Combat Paper has opened up friendship doors.

- [Tina] To be able to start to express my personal feelings

and views about what I had lived through was so empowering.

I realized I had gone through this uniform

is a symbol of pain and loss and grief,

and stuff I don't really agree with sometimes,

and this whole out-of-control thing

where all I can do is look at this thing

and feel like crying, to where I overcame

that by cutting it up and overpowering it,

I turned it into something I wanted.

And that was a huge turning point

for me and my healing process.

- Isn't that the point of the title of the show ARTEFFECTS.

We actually had a wall of title possibilities

way back when we were starting this.

And the idea was that this title

would suggest that art can have such an effect

on your life and on the world.

So that's a great example of how it lives up to that title.

Zoe, you were gonna say something.

We have a few minutes to go here.

- Yeah that was precisely what I was thinking

just how the name is just fantastic.

You know, ARTEFFECTS transmits this idea

of art effecting and having an effect on people.

And it's really affectation and effect.

And I have to say, since I discovered ARTEFFECTS,

I confess I'm hooked.

(laughter)

I don't have television at home.

But I watch you online, thankfully you're online.

So often whilst I'm painting I listen to you.

I just have the computer on the side.

And really various reason why I think you're just so great

is first of all, you showcase

such an amazing diversity of artists

and of cultural goings on in the community.

Secondly, you should your close, you know,

you're sensitive to the artists,

you let them speak, you know you talk with them.

And so you show the process of how they work.

And thirdly, you just make art approachable

and accessible to the whole community.

So really you are a community,

it's absolutely amazing.

You just provide this strong and vibrant

together with Artown, just a strong and vibrant culture

in arts in the community, so you make the community.

And so I'm curious to hear form you

how given Reno and its surroundings.

Northern Nevada is growing so much in terms of population,

there are new challenges ahead

and so I'm curious to know from you

what you think your role is or will be in the future.

Perhaps better said, what do you think the challenges are

ahead in terms of this providing for the community

and making sure the community is cohesive

and that there's participation and the arts

and culture remain vibrant.

- That's a great question.

And of course we have about

one minute to answer it unfortunately.

(laughter) so, does anybody want to take a stab at that one?

- For one, just making sure we are

crossing enough different forms of art

and we're not missing anybody.

We don't want anyone to be left out

and that's not the intention.

We know, we cast a wide net.

So hopefully we can still reach all of those

different artists that are out there is one challenge.

- And making sure we do it diverse,

different mediums as well.

Because it's not all just what everyone probably thinks of,

which is painting.

It's like everything with dance

and just making sure that we keep that variety

in there as well, definitely.

- And the word of mouth is very important

because we're also always on the hunt

for artists who don't have potentially access to a gallery

or even a website or even a Facebook page.

We're also always looking for the artists

who may never be discovered to the public

unless it were for the show.

So we're always looking for those people too

who we're hoping to uncover those people.

And give everybody a voice in the community.

- Very nice and well done succinctly.

We're running out of time.

I want to thank everybody who came here today

and thank you to our artists for participating in this.

You are the reason that this show exists.

And I really appreciate that you've come

to be a part of sort of celebrating it.

And hopefully, we can continue for many more years.

Those of you who are watching who support the show.

Thank you for supporting it.

My late uncle told me once,

that he thought I was an artist

because of the way I was making television programs

and I think that you all are artists

in this way as well.

- Absolutely.

- And I want to say thank you for all the work you put in.

Because it's made for a great series

and I hope everybody continues to watch

and enjoy it and support it, so thank you all.

(applause)

- I hope you've enjoyed this

special presentation of Arteffects.

Hearing from the show's producers

is a really great way to see how the show comes to life.

ARTEFFECTS is among our proudest accomplishments

here at PBS Reno, and we're thrilled

for the support we get for the show.

We're almost finished with Season 5,

and we need your help to produce season six.

Help us make more episodes of ARTEFFECTS

and continue to shine a light on our vibrant arts scene

here in northern Nevada.

Call 784-1900 or go online to pbsreno.org.

Make sure to tell us that you want more episodes

of ARTEFFECTS with your generous gift.

We can't produce local shows without your support,

so make sure to call and donate to PBS Reno

in the amount that works for you.

Thank you for supporting ARTEFFECTS and PBS Reno.

- [Announcer] Funding for ARTEFFECTS is made possible by

the Bently Foundation,

the June S. Wisham Estate,

Kate and Richard Kenny,

the Nell J. Redfield Foundation,

the annual contributions of PBS Reno members, and by.

(light upbeat music)

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