♪♪

♪♪

♪♪

>> In this edition of

"WLIW Arts Beat"...

A sculpture's remarkable

journey...

>> It's been a long time coming.

This is an exciting, very

exciting moment for the museum.

♪♪

>> Exploring the art of the

edit...

>> When you pull out all the

dull stuff and figure out a way

to put all the dynamic stuff

together, it suddenly pops, and

you can make the audience feel

like they were really there.

>> The magic of making music...

>> I spent a lot of years just

feeling pretty lost.

Something snapped in me, and it

was like, "I think I need to

just do music."

>> And rocking the runway from

day to night...

>> When you think about it,

it's really high-quality.

It's good textures.

Sometimes you use front and

back.

I love upholstery.

>> It's all ahead on this

edition of "WLIW Arts Beat."

Funding for "WLIW Arts Beat" was

made possible by viewers like

you.

Thank you.

♪♪

Welcome to "WLIW Arts Beat."

I'm Diane Masciale.

In our first segment, we visit

the Museum of Fine Arts

in Houston, Texas, which

features a monumental public

sculpture.

It's called "Cloud Column."

And while the sculpture

is quite the sight,

its journey to its new home

is quite the story, as well.

♪♪

>> Well, today is a really

exciting and important day

in the history of our museum,

and I hope in the history

of the city.

>> We're installing

this extraordinary work

by the British and Indian artist

Anish Kapoor, "Cloud Column,"

here at the

Brown Foundation Plaza.

The sculpture has arrived,

and it comes

in its big metal frame.

It actually came on a ship

from England about a year ago,

and we've had it in storage.

For the last week or so,

artisans from Anish Kapoor's

studio have been polishing it

and cleaning it inside of

its cage, its support system.

>> We have 18 all installing

stuff.

We travel all over the world.

We ship, arrange customs

clearance, logistics,

installation.

It's a full turnkey service

from fabrication, construction,

shipping --

everything you can need to move

a work of art from "A" to "B"

anywhere in the world.

We fabricated a steel travel

frame that encompassed the

entire sculpture in the

vertical, and we shipped it from

London down to the port of

Southampton in the U.K. and into

Galveston.

We had a trucking company

pick it up in Galveston and take

it to the storage of the museum

about a year ago, where it sat,

braving the hurricane that came

last year.

And then we came on site.

>> It's been

a long time coming.

This is an exciting,

very exciting moment

for the museum.

Currently it's horizontal.

It's in its travel frame

sideways

on a large flatbed truck.

It's gonna be lifted

and set on the ground

and then inverted upright

so that it's in

its correct position.

We change all the strapping

and the rigging around,

and then we pick it up

in the correct orientation,

and then it flies over to

the spot right behind me.

That's a lot of stainless steel,

and it's a lot of organizing and

getting the ground ready for it,

the plinth that it gets attached

to, getting the cranes

ordered in the right-size crane

because we have to fly

this thing through the air.

We've got to go over a building

and set it down.

And that part of it, that's

the fun part.

That's the glamour shot,

but it's quick.

You don't want it in the air

very long.

♪♪

This had a lot of planning

ahead of it.

As you can imagine,

you're not gonna move this

around a whole lot.

It's going to go to one spot.

You're you gonna pull it down.

That's it.

But all of that had

to be preplanned.

We actually made a very large,

full-scale mock head of it

just so we could see and grasp

and determine

where the best place is for it.

>> So, we work with

Anish Kapoor's studio

very closely.

He looked into where

it's positioned,

how it's positioned,

and even when it's viewed

on certain days.

You have to install it

in its raw state,

and then you have to build

a scaffold around it to polish

it.

>> What is distinctive about

Cloud Column and what really

makes it appealing to me

is that it's hand-hammered.

It has this marvelous

not rippled but wavy surface

applied by the artist,

which breaks up the reflection

into almost like a bee's eye

or an insect's eyes

into multiple reflections.

And you're consciously --

you're always conscious

of the hand of the artist.

It's a very human piece,

very human in its scale.

It relates to the human figure

standing, and it invites you

to participate with it.

You can walk around it,

and you see yourself

and the surroundings reflected

in different ways.

Facing north, this concave

interior grabs the heavens

and brings them down to earth.

It's a true exclamation point

for the Plaza, and I know

this instantly will be

a hub for all things cultural

here in Houston.

♪♪

>> For more information

on the Cloud Column,

go to www.MFAH.org.

♪♪

♪♪

Film editor Paul Barnes

is known for transforming

classic stories

into masterpieces.

Up next we get

an inside look at the art

and style of film editing.

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

>> What do you love

about editing?

>> I love taking

the raw material

that was shot and figuring out

how to put it together

to make it dramatic and dynamic

or comic or, you know,

to make this raw footage

that when you look at it

often seems very dull,

but then by the judicious

editing of it, you can suddenly

bring it to life.

I get into this funny kind of

Zen headspace in a way,

where the world disappears,

and honestly all I can think of

is what's on the screen.

And I am totally

absorbed in that.

And it's like how do

I make this work?

What's the next shot

I should go to?

What's the best piece of music?

Do I need a sound effect here

to punch something in?

Should I put in the close-up

here?

Is that the right image?

And the wheels of my head

are going like crazy.

But there's something

about the creativity of all

that, that

it's very satisfying to me.

And when you see the end

product, when you finish a

scene, and it's working well,

and you've taken all the things

that weren't working out,

and all of a sudden the

director's intention was coming

through, the actor's intention

was coming through, the story

intention was coming through,

it's very gratifying.

It really is.

>> How can the art and style of

editing change certain stories?

>> First of all, you know,

the script is like a blueprint,

and then the dailies

are like raw material.

They're not finished works in

and of themselves.

In a documentary,

it's all in the editing.

Everything is so raw.

[ Laughs ]

I mean, if you watch some of

the raw footage of Vietnam,

it's like some of the sequences

where they were shooting,

you know, in a in a battle area,

there's a lot of dull stuff

where the cameraman

was hiding behind a tree

and following some troops,

but nothing was happening.

There's some distant shooting,

and then every once in a while

there'd be a little scuffle,

a little skirmish.

When you pull out all

the dull stuff and figure out a

way to put all the dynamic stuff

together, it suddenly pops,

and you can make the audience

feel like they were really there

by the way in which you cut it.

>> One of the things

that I learned in the war

is that we're not

the top species on the planet

because we're nice.

We are a very aggressive

species.

It is in us.

And people talk a lot about

how well the military turns kids

into killing machines and stuff.

And I'll always argue

that it's just finishing school.

>> When's a time that you

felt editing has helped

tell the story

in a more impactful way?

>> For example, to go back

to "The Civil War,"

which was the second film I

worked on with Ken.

Gettysburg is

an important pivot in the war.

And we had to rely on paintings,

which is a difficult

thing to do.

But there are some very famous

Gettysburg paintings.

There's the Gettysburg diorama

that is preserved

at the park now.

And we went there and shot

and shot a lot of close-ups

of different actions

from the battle.

And I think the combination

of the voices that related

a part of the battle

with the strong narrative

that Geoff wrote,

but in conjunction

with the battle sound effects

and then the quick cutting of

even the painting images,

it brought the battle to life

in an incredibly

interesting way.

And Ken and I were both

thinking it's

so hard to make paintings work.

We were really scared.

We thought, "We're not going to

be able to do the Battle

of Gettysburg really well."

It worked like gangbusters.

[ Cannon fires ]

>> Suddenly the Union artillery

on Cemetery Ridge

in Little Round Top opened fire,

and a great moan went up

from the Confederate line.

"We could not help hitting them

at every shot,"

a federal officer recalled.

As many as ten men

at a time were destroyed

by a single bursting shell.

[ Horse neighs, cannon fires ]

>> You have for many years

brought the human experience

to these films and projects.

How important is it to tell

these stories?

>> Oh, it's hugely important,

I think.

What Ken does that I love

is, and as he describes it,

he calls it "emotional

archaeology."

It's like if you want people to

learn history, make them feel

it.

So, it's not just tell

the facts and figures,

but it's explore the underlying

emotions of what was happening

at the time with the individual

characters, with the events.

And if you can bring

the feeling out,

then it really hits an audience.

And so that, you know, the

experience of FDR having polio,

I think you really feel that

in the Roosevelt series.

There are tons of moments

in "Vietnam" that you're going

to feel like gangbusters

because you feel like you're

in the battle of Ia Drang,

or you feel like you're

on the street photographing

the girl who got hit by napalm.

You're in the moment when

that Vietnamese police officer

shot the man in the street.

All of those moments

just come alive

and hit you in the gut

and hit you in the heart.

And when you affect the audience

emotionally

and bringing history alive

like that, then it means more.

And people think about it more.

They remember it more,

and it becomes more a part

of their consciousness.

And I think they carry that

with them into events

that are happening now

and what's going on

in the world now.

So, I think it's vital

to be telling these stories.

>> As an editor, you spend

all this time

with other people's stories

and looking back at history --

people's stories now, people's

stories in the past.

What has that taught you

about yourself and about being

a human being?

>> To be able

to really study the ins and outs

of these people's personalities,

the complexity

of these historical decisions

and the fraught politics in

so many periods of our history.

It's time and again

you get inspired by the story

of these great American men

and women, who really

have helped to develop

and create the democracy that

we have and the kind of country

that we have.

It's incredibly inspiring.

And I think it's made me

a better human being

across the board.

I'm much more compassionate.

I'm much more empathetic.

I'm much more willing to look

at the gray areas of things

and not immediately go

to the white or black of any

issue, to want to see what

the other side's point of view

is, to figure out a compromise.

I think all those things history

can can teach you.

And so, yeah, it's been

a great journey in that regard.

So, you know, I do feel like

it's made me a better person.

>> It was so nice to talk

with you about editing and your

process and your career.

Thank you so much for being

here today.

>> Oh, it's my pleasure.

Thank you so much for having me.

>> For more about Paul Barnes,

visit PBS.org/kenburns/

about-the-filmmakers.

♪♪

And now here's a look

at an "Arts Fun Fact."

♪♪

♪♪

♪♪

A lifelong journey

of discovery has led artist

Sunny Gicz to her true passion,

making music.

Now she's finding her way

in the Virginia music scene

with a little help

from a friend,

and we have a listen.

♪♪

>> ♪ Is there anybody

going to listen to my story? ♪

♪ All about a girl

who came to stay ♪

I've not really ever had

any motivation or ambition

or anything like that

until the past few years.

The biggest thing music

has taught me about myself

is that I am passionate.

It's really the only thing

I've been passionate

about in my life.

♪ Oh, gi-i-rl

♪ Gi-i-rl

I got to experience a little

bit of my parents doing music.

They would kind of do it

on their spare time.

I wasn't really pressed

into it from my parents.

You know, what influenced me

the most from them

was their records --

all the record players,

they had tape players,

a big mixer, all the speakers.

It was always around me.

I went after it on my own.

Yeah, didn't really want it

to become too important,

I don't think.

[ Laughs ]

They hate the music business.

♪ Oh-oh

♪ Taken its toll

In middle school, it was all

covers.

In high school,

it was covers and some

original music that wasn't mine.

I was a bass player.

It wasn't like a creative thing

for me.

And then after high school

I just kind of -- I took

my guitar with me to college and

stuff like that, but I didn't

really play anymore.

I spent a lot of years

just feeling pretty lost.

Something snapped in me, and

it was like, "I think I need to

just do music."

I was doing, like, cover songs,

YouTube videos,

and I had a friend tell me,

"You know, it's cool,

but you should maybe write

your own songs."

And I was like...

[ Gasps ]

"Ouch. Oh, well..."

And then I think within a month

I had written a song

and came to a realization

that I wanted

to do something really different

than what I was kind of

creating on my own.

Yeah, I mean, long story short

I found Gabe.

♪♪

♪♪

>> Well, the writing process is

pretty much

as if we were cooking.

I'll pop the top off of ragu

Alfredo any second.

>> [ Laughs ]

>> She's like, "We got to make

our own Alfredo sauce.

It's easy."

So, you know, it's like

a good mixture because

sometimes we help each other

cook.

>> Gabe and I met each other

Cinco de Mayo,

I think, at Lola's, and I think

he was deejaying or something.

Within a few months, sent me

an e-mail with some drums

on one of my songs

that I had on SoundCloud.

I was, like, defensive

immediately, because

I was like,

"What did you -- I didn't say

you could do this" or something.

And then I finally -- that

feeling only lasted a second.

I would have never thought of

that, like, what he put on the

song.

>> When I heard her stuff,

it was just like,

"Oh, man, she's dope.

I can't believe this is her

voice."

I thought she had, like, a band

and, like, you know,

producer, boyfriend,

and all this stuff

to get involved with.

When I hit her up

and I found out that she was --

>> I'm like, "I'm all alone!

Please!"

>> She was like, "I'm all alone.

I did it myself."

I was like, "Oh!"

>> So, with me and Gabe, it's

definitely a true collaboration.

I'm not just singing.

I'm also doing music, too, and

he is also writing melodies

sometimes.

So, he's definitely

somebody I trust.

He's almost like

a pair of ears for me

because he's kind of opposite

for me and thinks about things

a different way.

>> I think it's good, the clip.

>> With the bass?

>> Yeah.

Because when I'm mixing it,

it's just going

to be a fuller sound.

>> There's definitely

progression

with the relationship

between me and Gabe.

I used to freak out

after every single show,

whether it was good or bad.

It was just too much

to handle getting off the stage.

It was like the adrenaline.

>> She's so passionate.

I understand when she gets

upset.

Like, she loves getting it

right.

So, whenever it doesn't,

it's a real big issue to her.

>> He's always been good with,

"Don't worry about it."

♪ I can't help it

if I put you down ♪

♪ Oh, downtown, baby

♪ Down where the stoned folks

get around, baby ♪

♪ She said she knows you

>> ♪ You wrote your name

>> ♪ I get around

>> ♪ I saw your name in...

>> ♪ I get around

Anything that's been hard

for me was hard for a reason.

So, when I had the feeling

that I wanted to do music,

had I not been through

some hard stuff,

I would have probably

just been comfortable and okay

with doing somebody I didn't

really care about doing.

Kind of gave me

a different perspective.

I'm not going to do anything

I don't really want to do.

I'm just not.

Life's too short.

♪♪

♪ You make me want to scream

Aah!

♪ Playing like you've got

a place to hide ♪

♪ Thinking that you got

a better ride ♪

♪♪

>> If you want to hear more,

Head to Facebook.com/SunnyNGabe.

♪♪

♪♪

♪♪

From daytime to nighttime

wear, fashion designer

Voszi Douglas

is rocking the runway

with her versatile designs.

We go behind the scenes

of her annual fashion show

for a glimpse

of her latest collection.

♪♪

♪♪

>> Even when I was a child,

before I went to school,

I would draw fashion.

I wanted to be a fashion

designer.

I didn't think I'd have to sew.

I thought I would just create

these outfits

and somebody would sew them

because I'd be so fabulous.

I didn't start sewing

till I was 25.

So, that's one thing.

So, when I first start

sewing, the drawings

that I was doing were

looking like Vogue patterns.

So, of course,

I'm buying Vogue patterns,

and they're kind of hard to do

because you got to buy

the pattern, then you got

to cut out the pattern,

and you got to pin it

to the fabric, and you got to

cut that out.

Then you got to follow --

it makes my head hurt.

It evolved over years.

I didn't do great right off,

that's for sure, but...

What inspires me is fabric

and color and texture, and I

just get oh, excited about all

that.

That's exciting to me.

I do hats, jewelry, jackets.

One my favorite things to do

are jackets.

I do jackets out of upholstery

fabric.

And I think

that's what I'm best known for.

When you think about it,

it's really high-quality.

It's good textures.

Sometimes you use front and

back.

I love upholstery.

♪♪

♪♪

Now the show

that I'm doing next month

is once a year since 1982.

I do a fashion show where

preview my new collection.

And so this is a 34th year

of doing that.

And I will be sewing

and making jewelry and purses

and hats up until they take

the sewing machine and say,

"Okay, the models are here

to try their clothes on."

I have two lines.

I have Voszi Designs,

which is maybe like what I have

on, kind of maybe everyday-wear

type of things more.

Then I have the

Alvoyce Collection, which is my

higher-end collection.

This show is gonna be a whole

show of the Alvoyce Collection.

That's something I've never done

before.

So, it's exciting and scary.

But it'll be probably a

hundred-and-some pieces.

Yeah, I have, like, 18 models.

♪♪

♪♪

♪♪

♪♪

I like colors, and I

like putting things

together that are unusual.

I think a lot of people, if

they lose a little weight

or gain a little weight, they

can still fit in my outfits,

and they're changeable because

you wear them frontwards,

backwards, sometimes

upside down

because they're not structured.

I like outfits when you walk

in a room, you might love them,

you might not love them,

but you're gonna notice them

because

they're going to be different.

I love people.

I love fashion.

I like color, and I just want

to leave something, a legacy

when I leave, that people loved

my clothes.

They were easy to wear.

I want to also be a nice

and a spiritual person.

♪♪

>> You can browse more designs

at Facebook.com/Voszi.Douglas.

♪♪

That wraps it up for this

edition of "WLIW Arts Beat."

We'd like to hear

what you think.

So, like us on Facebook,

join the conversation

on Twitter,

And visit our web page

for features and

to watch episodes of the show.

We hope to see you next time.

I'm Diane Masciale.

Thank you for watching

"WLIW Arts Beat."

Funding for "WLIW Arts Beat"

was made possible

by viewers like you.

Thank you.

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪