KPBS/Arts

FULL EPISODE

Actors Aiden Turner and Eleanor Tomlinson

The Revolutionary War is once again captivating viewers of the revived 1970's TV series...Poldark. Actors Aiden Turner and Eleanor Tomlinson reveal how they landed the show's starring roles. Then, visit a Kansas City art center that's home to unique artwork from artists around the globe. Next, explore a famous Rock n' Roll collection and lastly, see how building furniture out of wood is done.

AIRED: September 29, 2018 | 0:26:47
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TRANSCRIPT

...

>> male announcer: In this

edition of "KPBS Arts,"

a growing art collection.

>> Evelyn Craft Belger: I

believe it's really important to

provide an opportunity to

experience the creative process.

>> announcer: The forming of a

character.

>> Aiden Turner: There's a lot

in him.

He's a very complex character.

>> announcer: The making of a

photo.

>> Larry Hulst: We walk through

a door and George Harrison was

there.

And I was trying to sell him

that photograph so that I could

get gas money.

>> announcer: And a passion for

wood.

>> Blair Sligar: I looked

through a whole stack of lumber

to kinda find, like, what's

gonna be the right piece for

this door that's gonna have some

kind of visual interest.

>> announcer: It's all ahead in

this episode of "KPBS Arts."

[music]

>> BJ Robinson: Hello, I'm BJ

Robinson and this is "KPBS

Arts."

Located in Kansas City,

Missouri, the Belger Art Center

is home to unique artwork from

artists around the globe.

Take a look at how the museum's

leading team is taking an

educational approach to

displaying contemporary art.

>> Mo Dickens: Boston,

Massachusetts; Melbourne,

Australia; Phoenix, Arizona;

Tijuana, Mexico; Austin, Texas;

Greenville, South Carolina; and

on, and on.

Yeah, the way I remember it was

Dick said, "I've been going to

museums for 30 years and half

the time I get in my car and I

think, "What the--was that all

about?"

He said, "All I want you to do

is hang out and talk to people."

>> Mo: And then we have this

mysterious three-dimensional

box.

>> Mo: And explain to 'em why I

collect what I collect and why

we do the shows we do.

And I found that's been a pretty

successful formula.

>> announcer: Ten years have

passed now since Mo Dickens took

the reigns of the gallery

started by the late Myra Morgan

a few years earlier.

Myra also gets credit for

starting Dick Belger on his art

collecting odyssey a few decades

before that.

Turns out he'd already had some

practice.

>> Dick Belger: I think I've

collected about everything

except bottle caps and baseball

cards.

If you collect, you're learning.

If you're learning, you're still

alive.

If you're not learning, you're

dead.

>> announcer: For a guy who

claims he could barely spell

"art" when he started, Dick

caught on quickly, amassing

works by top-flight

contemporary artists like

William Wiley, Jasper Johns,

Robert Stackhouse, and William

Christenberry, among others,

works which soon began finding

their way onto walls in the

company headquarters.

>> Dick: I have a real

curiosity, and I discovered

later I'm a fan of process.

You know, how do you get from

here to there?

What happens in that?

And that's what those artists

are doing.

They're processing.

They're going through a process

to do that work.

And they're resolving some of

their own issues, some of their

personal issues, and that's

really what got me hooked on

art.

>> announcer: The Belger

Collection runs so deep on

certain artists that Mo and his

staff frequently field calls

from high-profile museums around

the country putting together

exhibitions of their own.

In fact, Evelyn Craft Belger met

her future husband while serving

as executive director of the

arts center in Saint Petersburg,

Florida.

They've been married six years

now.

>> Evelyn: I respect and love

the collection, and I love

Dick's collecting vision.

I would probably buy things in

an undisciplined manner because

I love them.

I love seeing people try new

things, develop new skills,

hopefully grow as an artist.

>> announcer: So far, Evelyn's

biggest impact, aside from

helping Dick dial down his work

week to just six days, can be

found a few blocks further east.

Across the railroad tracks from

the real crane yard, the Belger

Crane Yard Studios at 20th and

Tracy contain a little bit of

everything: an exhibition space,

a new home for Red Star

Ceramics, the Lawrence

Lithography Workshop, and the

metal shop where Asheer Akram

built his acclaimed Pakistani

Cargo Truck.

>> Evelyn: I believe it's really

important to provide an

opportunity to as many people as

possible to experience the

creative process.

If you're in a museum

environment, you have so many

other restrictions.

When you are in an art center

environment like ours, which is

a private gallery, we can take a

lot more chances, because what

we're doing is trying to educate

about the creative process, and

that includes mistakes and that

includes opportunities for

people to soar, you know, that

they wouldn't have had before.

[music]

>> Mike Sims: When I still had

the shop in Lawrence, some of

the artists that he was

collecting, like Stackhouse, and

Wiley, and those guys, they were

sending over to me to print

with, and he wanted the idea of

a shop here in this area instead

of just on the east or west

coast.

>> announcer: After spending

some time in Texas, Mike Sims

brought his print-making prowess

back to town.

In 2001, Lawrence Lithography

became the first, and for many

years only, occupant of this

formidable old building that

once housed and wax paper plant.

>> Mike: I like, personally,

that we're not right down in the

Crossroads District.

I like that this has it's own

little niche.

The view out these windows every

single day is stimulating.

When the weather changes, the

show out the window is great.

Now the Red Star is downstairs,

and with the metal shop, all of

this is now becoming an arts

destination point, so we're all

feeding off each other this way.

We're getting a critical mass

here that's really bringing

people out.

>> Asheer Akram: There are

facilities that strive to do

similar things in town, like

there's the Hobbs Building,

there was the Arts Incubator,

but I think the way they're

approaching setting everything

up and letting it kind of

organically define itself is

unique here and it's working

very well.

>> announcer: Nothing as

ambitious as the cargo truck has

passed through here lately, but

plenty of metal fabrication

continues.

In fact, Asheer showed some

large-scale pieces upstairs last

winter.

And in the spirit of things,

he's also been playing more

frequently with ceramics.

Which brings us to Crane Yard

Clay, a wholesale operation

housed in the east end of the

complex.

Selling art supplies for pottery

making has deepened the revenue

stream here and that's by

design.

>> Evelyn: My background is in

business first, and then it was

the arts, and even though it was

the business out of the arts

later on, I think you've gotta

have both elements.

It can't be all wishful

thinking.

There's a lot of hard work into

any career in the arts.

>> Dick: That creative process

not only works in the arts, it

also works in the business

because you have to be quick on

your feet and be able to adapt

to new ways of thinking in the

business world to be successful.

And that's one good influence

that the arts have on me is my

feet aren't quite planted so

deep in cement.

You know, I can move a little

bit quicker.

>> announcer: As unusual as this

mix might seem, consider this:

the heavy-hauling industry moves

things from point A to point B,

not unlike the artistic process

that Dick Belger finds so

fascinating.

>> Mike: I think his biggest

contribution to this city, and

he makes a whole lot of

incredible contributions to the

city, but it's the backing he

gives the arts at the ground

level, building up.

>> Evelyn: I won't say we're

reclusive, but we're pretty

private people.

The only reason to put our name

on anything is to say that it's

important that everybody give

whatever level that you can do

something that opens another

person's eyes to the arts or

creative process, that's really

important.

>> Mo: So, this is very early

and this is kind of funny to me

'cause I found--

>> Mo: Students from the Art

Institute frequently come down

here and they say, "How do I get

a job like yours, Mo?"

And I, you know, learned pretty

early on, the correct answer

was, "I don't think there is a

job like mine.

If I ever hear of one, I'll let

you know."

>> Mo: Come here, I gotta show

you where Peregrine signed this

thing.

>> BJ: You can find out more by

visiting belgerartscenter.org.

And now, here's a look at some

of the arts events happening

this week in our community.

>> BJ: The Revolutionary War is

once again captivating viewers

of the revived 1970s TV series,

"Poldark."

The show, which is based on

Winston Graham's 1945 novels, is

currently filming its fourth

season.

Actors Aiden Turner and Eleanor

Tomlinson reveal how they landed

the show's starring roles.

>> male: There's nothing for you

here, boy.

>> male: The rewards could be

considerable.

So are the risks.

>> Aiden: One morning, I was

sent--I got a phone call from my

agent to say that Mammoth

Screen, who co-produced with

BBC, were sending me two of

Winston Graham's novels and six

of the scripts.

And until that point, I hadn't

heard of Graham at all, or

"Poldark," or anything, so it

was complete news to me.

So, yeah, it was a great place

to start too, not knowing

anything, 'cause you're starting

from scratch, and yeah, you're

not sort of--you're not being

pulled in different directions

of how to seen--I haven't seen

the original "Poldark."

I know that's kind of--that's

criminal to some people, but I

just--I felt like I didn't--I

wanted to find Ross myself.

I wanted to--I didn't want to be

sort of swayed in different

directions.

And sometimes as an actor, I

guess, you can be influenced by

certain things and inspired by

certain things, but you know,

subconsciously, you know,

I didn't wanna kind of emulate

or imitate Robin's amazing

performance.

So, I steered clear of the

series, but I felt like I didn't

necessarily need it.

>> male: Are the rumors true, do

you think?

>> male: He's a damn fool if

they're not.

>> male: Confess what sin there

is twixt you and Poldark.

>> Eleanor Tomlinson: The role

of Demelza just jumped out at

me.

I just thought it was the most

incredible role, like the

Scarlett O'Hara role.

They just don't come along, you

know.

And I auditioned for it, and

then I did a chemistry read with

Aiden, and yeah, eventually I

got it and it's amazing.

So, after getting the role, I

did lots of research into it.

I watched a tiny little bit of

the original series, because I

wanted to see how Angharad Rees

managed to capture the heart of

the public in the way that she

did.

The pressure has been quite

high, you know, especially with

such a successful previous

series and for the actress who

played it before you.

Angharad Rees, you know, she

just gave them most amazing

performance people

loved her in it.

So, I think you know, I really

hope the fans like it.

It's a very different series.

You know, it's a different

adaptation.

It's closer to the books than

the original was.

So, yeah, I think bearing in

mind that it is different, it's

amazingly exciting.

>> female: A great many girls

would be glad to acquire the

name of Poldark.

>> male: Mining, 'tis in the

blood, your father'd say.

>> Poldark: If you like a wager,

then I'd sooner gamble on a vein

of copper and the sweat of fifty

men than on the turn of a card.

>> Aiden: There's a lot in him.

He's a very complex character,

quite layered, you know?

It's not just one thing or the

other.

I mean, he's a man of principle,

I think, and of moral code.

He's fair, and he's honest, and

he's got a real sense of

integrity about him.

But at the same time, he's not

this sort of benevolent, sort of

saintly character, you know?

He's quite lawless, and he's a

bit of a rebel, and you know, a

bit of a renegade, and he

doesn't like authority or being

told what to do, and he's kind

of moody, and there's a flip to

him all the time.

There's almost like a Jekyll and

Hyde to him sometimes, you know?

And he sort of slips--it's kinda

the seamlessly from the working

class, from his fellow miners,

and friends, and that part of

society, straight up to, you

know, the gentrified classes and

the aristocracy, and he does it

with such ease.

And he's quite cool that way and

people really respect him, I

think, you know?

And he's a hard worker, you

know?

He's confused by love, and he's

kind of emotionally incapable of

anything, really, in that.

I think he's way more

comfortable on the battlefields

of Virginia, you know, with a

musket in his hand than he would

be telling Demelza that he loves

her or anything like that.

I mean, he's a real man's man in

that sense.

I don't know, he's just

interesting.

He's the type of character that

when I read from the very

first--from the first few

scripts and the first couple of

books, I thought, like, there's

just a lot in him.

I could keep going with this and

keep finding stuff with this

character.

>> Eleanor: Working with Aiden

is great.

He's a brilliant actor and he

brings something new to the

scene each time, you know?

So you're constantly on your

toes, which is great.

But yeah, it's very romantic.

It's certainly very exciting in

that respect.

>> Aiden: It just sort of

happened.

I finished high school and I

didn't know what I wanted to do,

and it just seemed like fun.

And I did an acting class in

Dublin, and it was terrifying,

and I liked it.

It was just exhilarating.

It was just--getting up on stage

in front of a bunch of people

that I didn't know and making a

complete fool of myself just

seemed to kind of work for me

for some reason.

>> Eleanor: I guess I almost

fell into it, but I don't know.

Like, I remember going to see my

mum on stage as a kid and going

on set with my dad and just

loving that camaraderie, you

know, that chemistry, that

creativity that happens around,

you know, people doing their

jobs.

It was just--it was immediately

kind of inspiring and I just

wanted to do it.

>> Poldark: You're to leave here

or die here!

>> Aiden: It was kind of cool

to, you know, have my first

meeting knowing that there was

an offer on the table.

That's something I hadn't

experienced before.

I could get used to that.

It's quite a nice feeling.

>> BJ: To watch more of

"Poldark," head to

pbs.org/show/poldark.

And now, here's a look at some

of the arts events taking place

around San Diego.

>> BJ: Thanks to photographer

Larry Hulst, fans got an up

close look at the 20th century

rock 'n' roll movement.

Today, Hulst's iconic photos are

just as recognizable as the

stars themselves.

[music]

>> female announcer: If you look

up the Grateful Dead in the

Encyclopedia Britannica, the

photograph you'll see was taken

by Larry Hulst.

The San Diego native and former

Vietnam medic has called

Colorado Springs home since

1993.

He says it's a spectacular

feeling to know that moments

he's captured live on.

>> Larry: I've seen my

photographs in Grammy Awards,

Rock 'N' Roll Hall of Fame

induction ceremonies, so it's

pretty exciting.

I never know where they're gonna

come up, where they're gonna be

next.

The first magazine that I went

to was "Rolling Stone" magazine

in '70--it was '73 and it was a

picture of Muddy Waters.

And I took the photograph when

he was opening for Hot Tuna at

Winterland.

I first started selling 'em at

Winterland.

I made a photograph of Jerry

Garcia, and I figured if I could

sell it for a dollar and if I

could sell four or five of 'em,

then I could buy admission into

the show and maybe a beer.

>> announcer: What started as a

way to make a few dollars and to

see great music blossomed into a

career.

Larry became a front row witness

to rock 'n' roll history, often

discovering bands at the cusp of

a breakthrough, like the

Ramones, who he first saw at a

hamburger joint.

>> Larry: I think that's when

music changed for me.

It was kind of melodic until you

heard Joey Ramone sing 15 songs

in 25 minutes, and every one of

'em was a good one and every one

of 'em was faster

than the last one.

[music]

>> Larry: This is my main

breadwinner right here.

If you bought a box set of the

re-issue of "Houses of the

Holy," it's in that book.

From Kezar Stadium on June 2,

1973 in San Francisco.

[music]

>> Larry: When I was starting

out, my cameras were about $100

with a couple of lenses and

shooting film.

I wouldn't go back to film for

myself.

It doesn't meet the deadlines.

>> announcer: Access

restrictions are also much

different for today's concert

photographer.

>> Larry: From about '82 on is

when the restrictions really

came in strong, which works

completely against publicity for

an artist.

>> announcer: Shopping photos to

publishers before the digital

age was a slow process.

To fill the time, Larry sold his

photos to passerby outside Tower

Records in San Francisco.

He was a sidewalk staple there

for 18 years.

Sometimes fate aligned.

Once, approaching A&M Records in

Los Angeles in hopes of a staff

photography position, Larry

flashed a George Harrison photo

to the receptionist.

>> Larry: They took me down a

hallway to a door, and we walked

through a door, and George

Harrison was there.

And I talked to him for about 10

minutes, and I was trying to

sell him that photograph so that

I could get gas money to come

back to Sacramento.

That was the highlight of my

life.

I do believe George Harrison was

the best Beatle.

>> announcer: Larry says his

world changed when he was signed

to the Michael Oakes stock photo

agency in 1979.

Getty Images then bought the

agency in the 1980s.

Since then, Larry's photographs

have become as ubiquitous as the

stars they shined a light on.

Larry is still an active

concert-goer and photographer.

>> Larry: Bringing back

something that's personal to me,

that's not a $35 or a $40

t-shirt, that when I can show

somebody, I say, "This is mine."

>> BJ: See more rock 'n' roll

memories at

larryhulstphotography.weebly.com

[music]

>> BJ: Designer Blair Sligar has

a career doing what he loves,

building wood furniture.

Based in Winter Park, Florida,

Sligar uses an abstract process

to create everyday items.

Check it out.

>> Blair: Hog Eat Hog is a

custom furniture shop.

We were--I was trying to come up

with a name.

I didn't want it to have

anything to do with woodworking,

because I wanted the work to

kind of speak for itself and I

wanted to give myself some room

to be kind of absurd.

I started this trying to be very

much like, "I want to do the

things--that I want to create

the things that I want to do

because I think they are special

and need to be created."

I started, though,

professionally, the week my

daughter was born, so almost six

years ago.

But at that time, I just had a

Honda Accord, and so I had all

my tools in the back of that

Honda Accord, and I would, you

know, kind of go from place to

place and I was building

furniture out in driveways.

So, pretty humble beginnings to

very extravagant ends, clearly.

>> Jorge Burgos: I've always

been into the arts and creating

stuff with any kind of forms.

And I met Blair, it's just been

great after--you know, ever

since.

He will design it, and then it

comes to me, and then I have to

put it together.

So, I have to kind of, like,

expand it in my mind and put it

back together, and everybody

collaborates and tries to make

it the best possible.

You know, but overall, it's

mostly his vision 'cause I

believe in his designs and I

want it to come to life.

>> Brett Watson: Blair's

speciality is the creative and

the abstract, and the much more

artistic side of the company.

And me handling what he probably

views as mundane, you know, that

frees him up to just be

creative, and just be designing,

and just be working on what he's

good at.

>> Blair: I like to create.

I like to make things, so--and I

kind of always have, so this is

really more of a discipline in

the sense of, you know, it's

wood.

You know, it's systematic.

You do it in steps.

It's a lot of planning.

Like anything else, you can kind

of see, you know, when you open

this board up and you see what

there is, and you're constantly

making choices.

If I throw this through the

planer one more time, am I gonna

lose this patina that I like

that I see right now that's been

revealed, you know?

So, you're kinda constantly,

like, slicing off layers of it.

It's a small pleasure, but it is

a pleasure, you know, that every

time you pass a board through

the planer, it looks different

than it did before, and so

you're kind of--to me, that's

interesting, seeing how you kind

of see this history of how the

tree grew.

I looked through a whole stack

of lumber to kind of find, like,

what's gonna be the right piece

for this door that's gonna have

some kind of visual interest?

So, when they get put together,

and I'll have to shape 'em out

to where they fit together, but

they'll be really pretty.

And then they have these, you

know, beautiful light sapwood

streaks in there that'll

contrast with the dark.

I really like these, like, wild

grain patterns that this has and

this kind of crazy live edge

with these knots.

And you can see, like, little

places where branches have

started or successfully become

branches.

Clients aren't really interested

in, you know, what you think

about when you make something.

They're more interested in do

they like the finished, you

know, product.

So, I guess the thing that I'm

starting to be more interested

in is doing something for

someone that, for whatever

reason, they appreciate and get

a kick out of.

And that's--like, that's enough.

This is just kind of a weird

idea that I have that I'm

pursuing, you know, and people

have responded to it.

But I think it's interesting

that somebody can have an idea

that doesn't maybe necessarily

have a model, or a place, or

like, an established path, and

just sort of do it, and it

starts to come together.

>> BJ: You can see more of Blair

Sligar's furniture by visiting

facebook.com/hogeathog.

And that wraps it up for this

edition of "KPBS Arts."

For more arts and culture, visit

KPBS.org/arts, where you'll find

featured videos, blogs, and

information on upcoming arts

events.

Until next time,

I'm BJ Robinson.

Thanks for watching.

[music]

♪ I was born

♪ the devil's son.

♪ Yes, my dad,

♪ he gave my name.

♪ Now my mama keeps

♪ saying, "Run to the desert.

♪ You will be all that

♪ you need to be.

♪ Run to the desert.

♪ You will see all that

♪ you need to see." ♪

[music]

>> announcer: Support for this

program comes from the KPBS

Explore Local Content fund,

supporting new ideas and

programs for San Diego.

...

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