Episode 707

In this episode of ARTEFFECTS: the Reno Chamber Orchestra, creating animal habitats, an environmental artist, and the patinas of artist Pat Wallis.

AIRED: November 07, 2021 | 0:26:46

- In this editionof "Arteffects",the Reno Chamber Orchestra.- Music is interestingbecause you can't see itand you can't touch it, yetyou feel it so intensely.We're thirsty for music.- [Beth] Creatinganimal habitats.- [Samantha] You want it tobe as natural as possible,yet you want it to be an areathat is safe for the animal.- [Beth] Anenvironmental artist.- All of my work hasburning of some kind in it.And I think it does reflectboth sides of creation,creation and destruction.And that's whatnature is all about.- [Beth] And the patinasis artist, Pat Wallis.- It's always a surprisehow it's going to end up.And I like that.I like that process because itmakes me move out of my box.- It's all ahead on thisedition of "Arteffects".(bright upbeat music)- [Announcer] Fundingfor "Arteffects"is made possibleby, Sandy Raffealli,the June S. Wisham Estate,Carol Franc Buck,Merrill and Lebo Newman,Heidimarie Rochlin,Meg and Dillard Myers,the annual contributions ofPBS Reno members, and by;- Hello, I'm Beth McMillanand welcome to "Arteffects".In our featured segment,the Reno Chamber Orchestraopens up its 47th seasonby welcoming a newmusic director.Let's see one oftheir performancesand learn why this specialfestival season is so unique.(bright upbeat music)- The Reno Chamber Orchestrais a wonderfulmusical organizationthat providesintimate, inspiring,classical music performances,through both ourchamber orchestraand our chamber music festival.Our chamber orchestra isabout three dozen people.Our chamber festivalis often two, to five,to eight people ata time per piece.So it's much more intimate,you hear individualvoices much more directly,and there are many peoplevis-a-vis a largesymphony orchestrawho really enjoy gettinginto that connection,feeling that directness,and also getting toknow the personalitiesof the musicians as well.The traditional orchestrawill have a music directoras we did for theentirety of our history.However, we actuallyhad the opportunity,with a chamber festivaland a chamber orchestra,to explore two differentartistic leaderswho could really have specialtyboth in performing chamber musicand presenting festivals,and leading an orchestra anddeveloping an artistic visionfor the chamberorchestra season.- This is a new beginningfor the orchestra,and it's, I think the beginningof an even closer bondbetween the orchestra andthe chamber music festival,and that's veryimportant going forward.- As it turned out, wefound two fantastic leaderswho respectively havedecades of experiencein their roles as a conductoror a chamber musicianrespectively.- My principal role asan artistic directoris to think aboutthe programming,put programs together, andto invite the musicians.And then to think whichpieces would go well together,and then which performerswould be the best advocatesfor those pieces.And of course I'ma player as well,and so I'm oftento be found playingin some of thoseprograms myself.(enchanting music)- My name is Kelly Kuo andI'm the third music directorof the Reno Chamber Orchestra,having just been appointedin July of this year.I love playing piano.I think it keeps mehonest as a conductorbecause as a conductoryou make absolutelyno noise whatsoever.Your job is toinspire other peopleto make beautiful soundson their instruments.So unless I'm yelling orjust being primal screambecause I'm so happy with joy,I shouldn't be makingany sounds whatsoever.And so piano is an outlet for meto be able to make musicwith my colleagues.- We have a widerange of players,some younger, somemore seasoned,all coming together to makebeautiful music together.- This weekend's performancesare my first as music directorof the Reno Chamber Orchestra.In that capacity, I'll beconducting three piecesopening with Quinn Mason's,"Princesa de la Luna",Mozart's pianoconcerto, number 22,with James Wayne, local legend.Followed by Mozart's"Jupiter Symphony",an unbelievable mammoth workto conclude the program.- By selecting twodifferent artistic leaderswe are attempting to havetwo different entities,so to speak,two different specialties,as well as an overarching themewhere we bring chamber musicand chamber orchestra togetherunder one umbrella.So going forward,I think our goalreally is to get Kellyand Clive deeper rootsin our community, adeeper understandingof what makes Reno tick.And in the process I thinkthey will be very helpfulin trying to craft programsand explore reallyinteresting artistic ideasthat are not only basedin classical music,but really relevantand connecting to Renoand Northern Nevada.- Music is interestingbecause you can't see itand you can't touch it,yet you feel it so intensely.You can feel itat a rock concert,you can feel it whenyou go to the opera,you feel it when youturn a CD on at home,or playing in the car.You might go to a concert andmake friends with somebodythat you didn't knowwas gonna be there,and you become friends for life.That's happened to me before.Because you're brought togetherfor such important reasons.We're thirsty for music.- I think, especially inthis moment in the worldwhere there are alot of divisionsand a lot of views of thingsthat are very polarizing,I think music and the arts,and classical music especially,has an amazing abilityto bring people togetheron a really neutral anda joyous middle groundwhere people can,from all perspectives,share and enjoy thisexperience together.So I think it's reallyimportant now more than ever,and getting to see peopleback after this period of timeduring the pandemic,it just reinforceshow important this isas part of our community.(audience applauds)- To learn more, next segment wasproduced by studentsat St. Petersburg Collegein partnership with WEDU Tampa.At Owls Nest Sanctuary forWildlife in Odessa, Florida,founder and director, KrisPorter and volunteers,work closely with sickand injured animals.Find out why theyconsider rehabilitationto be an art form.(bright music)- I'm the Director and Founderof Owl's Nest Sanctuary.I'm actually aretired zoologist.I've worked with animalspretty much my whole life,since I was eight years old.One way or another went tocollege, got a zoology degree,interned for Bush Gardenswhen the pandas were hereand pretty muchnever looked back.I left college and went to themand worked 11 yearsin the animal nursery.But left because my firstdaughter was born premature.She was an emergency C-sectionand it was either gonna bethe little four pound munchkinor my career, so I did leave.And 14 years later,I got conned into oneof my zoo keeper friendstelling me I waswasting my talent,come raise some babysquirrels and bunnies.And within three months,Owl's Nest was founded.I had all the permits thatyou need to do to start this.So that was six years ago now.- So there's an art toeverything, I believe, in life.And when you're treatingan injured animal,when you're looking at themand you're evaluating them,and you're having to getcreative in some instances,where you have to figure outif there's a piece of a puzzlethat you can put togetherto actually determinewhat their initial injury is.It's almost likecreating a piece of art,where you're doingall of your triaging,you're evaluatingthe entire animal,and then you're putting thepuzzle pieces back together.It's just likepainting a picture.- Yeah, this is ared-shouldered hawkthat came in yesterday.I've got a large patchof blood on the chest,which usually signifies thatsomebody possibly shot him.We have a huge rash ofpeople shooting birds lately.Not lately, eversince I've done this,but in the last couple of monthsit has definitely ramped up.- Medicine in general is an art.When doctors aregoing to school, it'sthe art of medicine.And when we have to do it,it's the same conceptwith the wildlife.It is the art of the medicine.And ultimately it's themedicine that's healing them.- So he'll get all this. Idon't need to wrap the wing.It's pretty decent inwhat it looks like.It doesn't look like...So I don't needto wrap anything.You know, you're gonnabite something bite that.Thank you.When I talk about peopleor they talk about me,you have to have atouch with animals.In other words, youcan't be a nervous wreck.You can't be moving quick.People that raiseand do animals,they have a way about them.And while I could neverbe like my husbandin the computer, AV world, Icould never do what he does,he could never do what I do.So, you know, obviouslyI use syringesand there's so many things,bottles and things like that.But I think the mostimportant thing that I useis my background and my know-howof what an animalneeds by looking at it.Come on.- So the habitat is all Kris.She does a fantastic job in thatbased on her past experiencein knowing the animalsand the types of environmentsthat they need to be in.Enrichment is actuallyvery important,even for wildlifethat you're rehabbing.You want it to be as muchas the natural settingas it can be,for the animal to causethe least amount of stress.And when Krisenvisions the habitat,she thinks back to the daysof when she actuallycared for these animalsprior to starting the sanctuary.You want it to be asnatural as possibleyet you want it to be an areathat is safe for the animalwhere they won't cause anyadditional harm to themselves.(bright upbeat music) Jack and Diane madetheir first debut On 82s, American fool You made yoursalmost 30 years later But this time I was the fool It was a small spot,you had your walls up So from the startwe'd never fit But I thought you'dfinally give in And let me in - Slow down yourlife to look aroundbecause, you know, arthonestly is all around you.There is nothing moreinspiring than nature, truly.(bright upbeat music)- The main thingthat I'd like to tryto spread the message about,and this is why I dothe community outreach,is to help educate,is the human impact and whathappens to our wildlife.A lot of it is caused by humans.A lot of it is causedby trash, car hits,and when that happensit breaks our heartsbecause a lot of timessome of those injuriesare nonrecoverablefor these animals.So the big message is, you know,everybody please takecare of our environment.We only have one,and we only have so manyof these precious animals.- Tolearnmorevisit,Now let's take a lookat this week's art quiz;Which 18th century artist,an early member of theRoyal Academy of Arts,had to make a choice betweenart and music as a career?Is the answer, A,Angelica Kauffman,B, Pablo Picasso,C, Joshua Reynolds, or D, Monet?Stay tuned for the answer.For four decades, ecofeminist artists, Mira Lehrhas been renderingabstract artworksthat reflect on natureand our environment.Through mediums such aspainting, sculpture, and video,she conveys hermessage to the world.We visit the artist inFlorida to find out more.(enchanting music)- The beauty is veryimportant to me,but I have to take thebloom off the rose.I'm Mira Lehr, I'm an artist.All of my work has burningof some kind in it.And I think it does reflectboth sides of creation,creation and destruction,and that's whatnature is all about.It's always relatedto the environment.I always drew whenI was a little kid,I never really knew I wouldbe a professional artist.As I grew older,I decided I was going tostudy art history in college.I was so lucky becauseat the time I graduated,the abstract expressionistswere holding forth in New Yorkand it was a major movement.So I was right in the middleof this really wonderful scene.So from then on, I did artand I was not really intothe environment as muchin the beginning.I just did nature, alot of nature studies,but eventually I heardof Buckminster Fuller,a man who was verymuch about the planet.And I saw an opportunityto work with him in 1969.I went to New Yorkand I worked with himon something called"The World Game".And that was about howto make the world workin the most efficient way,and doing more with less.So from then on I was hooked.I'm feeling two urgencies;One, I'm getting older,that's an urgency.You know, how manyyears do I have left?And the other urgencyis how many yearsdoes the planet have left?So we've converged.Every day I get up(indistinct) to go.In the Orlando exhibit, itwas called "High Water Mark"because that's where we're at,and that's where theyfelt my career was at.So that show had very, verylarge sculptures of mangroves.And you could walkthrough the mangrovesand feel you were encased inthe roots, the root system.There's something aboutbeing enclosed in the spacethat makes the viewervery much more attentiveto what's happening.And so I watched peoplewalking through the mangrovesand they were all moved by it.So that's really thefirst time I've donethat kind of largescale sculpture.I love doing it.The smaller I getand the older I get,the bigger the workbecomes, it seems to me.And so now I'mback in the studioand I'm turning to somethingI'm calling planetary visions,because I'm doingimages of earth masses.I've also added writing,which some of it is from BuckyFuller, about the planet.Some of it is justpoetry about nature.I've always felt abstractionis the highest form,even though I likerepresentation.But to me abstractionsgets the essence,the essence of everything.And you can take itand go on with it.And it's more spiritual to me.I think like Cezanneat the end of his life,his paintings became kindof dissolved in light,like light entities.At the end ofRembrandt's life also,his work became less literaland more, alsodissolved in light.So light is very important,and that to me isthe height of it.If you have a lightentity in your work,I think it's profoundand meaningful.The light on the big sculpture.Yeah, those are special lightsthat grow curlsin the laboratory.And the sculpture,it's a shape of a waveand it's mesmerizing.You know, if the world pullsapart and people are concernedjust with their littleeveryday existence,I don't see a great future.But I'm hopingthere's still time,the clock is definitely ticking.And I'm not a politicianand I'm not a scientist,the way I can expressit is through my art.And that's what I'm trying to doalong with having a wonderfulexperience making it.- See more let's reviewthis week's art quiz.Which 18th century artist,an early member of theRoyal Academy of Arts,had to make a choice betweenart and music as a career?Is the answer, A,Angelica Kauffman,B, Pablo Picasso,C, Joshua Reynolds,or D, Monet?And the answer is A,Angelica Kauffman.In our final segmentwe go into the studioof artist, Pat Wallis,who captures the sceneryof the Lake Tahoe Basinin her artwork.See how she uses uniqueblends of acids and metals,to create beautiful patinasto illuminate her landscapes.- I'm Pat Wallis, and I workmainly in oils and patinas.I started out as aplain air painterdoing mainly landscapeson canvas and board.And over the last,probably 15 years,I have switched to workingalmost exclusively on copper.And I have gone intopatinas on the copper.Patina is acid on copper,and when you put theacids on the copper,it changes it to another color.I think we all knowhow copper will turnverde green naturally,from the rain and the sun.Well, I use artist chemicalsto produce a patina.And my chemicals comein different colorsthat will ultimately changethe color of my copper.The acid forms thebackground for my painting.I take the sheet of copperthat I've sanded lightly,and I add acids to it.And I'll usually do one,sometimes two different acids,put it on the copper.It's very liquid,it's just like water.And it's clear.So I'm not really surewhat's going to happen.I have an idea where thecolor is going to be,but it's never quite the sameanytime that you putit on the copper.So I put it on the copperand let it patina the copper.I try to expose a littlebit of the copper,so you can see that glowand the illuminationthat the coppergives the painting.There's a lot ofmovement in the patina.As it's dryingit's just forming alldifferent shapes and forms.And again, it's somethingthat I'm not really sure ofand always surprised whenI see the final product,and it doesn't always turn out.So there is a little moreof that element of surprisewhen it comes to the acids.But I love when I havethe finished productand I look at it and it'sexciting because it's abstract,but then it looks likewater, it looks like rocks,and it has all thedifferent movement in it.For awhile I wasunsure what to dowith the acids on the copper.And the patinas reminded meof what we have here in Nevada,the blues, the sky color here,the color of thewater at Lake Tahoe.And I wanted to beable to use themin some aspect of my work.I went out to Taylor Creekand saw the kokanee salmonfrom Lake Tahoe thatspawn up Taylor Creek.And when I saw the salmon,I thought, that's it,that's my subject matter.I'm gonna paint the salmon ontop of the acids on copper.(bright upbeat music)What I'm lookingfor with the fishis an undulation of movement,then I start applying oilpaint on top of the acid,working with the darks first,and then that building upthe color for the salmon.It's always a surprisehow it's going to end up.And I like that.I like that process becauseit makes me move out of my boxto come up with somethingnew, an exciting look,or go in a new direction.I hope to conveywhat inspires me,and hopefullyinspires other peopleto appreciate whatwe have around us.- To learn more about Pat'swork, visit that wraps it upfor this editionof "Arteffects".For more arts and culture,and to watch past episodes,visit next week,I'm Beth Macmillan.Thanks for watching.- [Announcer] Fundingfor "Arteffects" ismade possible by,Sandy Raffealli,the June S. Wisham Estate,Carol Franc Buck,Merrill and Lebo Newman,Heidimarie Rochlin,Meg and Dillard Myers,the annual contributions ofPBS Reno members, and by;(bright upbeat music)


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