The Arts Page | Program | #101


Uploaded by MPTV1036 on 14.01.2013

Transcript:
>> HELLO, I'M SANDY MAXX, AND
THIS IS "THE ARTS PAGE."
WE HAVE AN EXCITING SHOW FOR YOU
TONIGHT, SO LET'S GET STARTED.
RECENTLY, THE BEL CANTO CHORUS
PERFORMED THEIR CHRISTMAS IN THE
BASILICA CONCERT.
THE BASILICA OF ST. JOSAPHAT'S
GRANDEUR AND OPULENCE IS AN
EXCELLENT EXAMPLE OF THE "POLISH
CATHEDRAL" STYLE OF CHURCH
ARCHITECTURE FOUND IN THE GREAT
LAKES REGION OF NORTH AMERICA,
HERE IN MILWAUKEE.
ITS ACOUSTICS MAKE IT THE
PERFECT PLACE FOR BRINGING THE
MUSIC OF CHRISTMAS TO VIVID,
JOYFUL LIFE.

>> CHRISTMAS HERE IS THE FEAST
OF FEASTS FOR US AND IT HAS TO
DO IN MANY WAYS WITH THE POLISH
HERITAGE OF THE BASILICA.
CHRISTMAS IS SUCH AN IMPORTANT
HOLIDAY IN POLAND AS IT IS
EVERYWHERE, BUT I THINK IT'S
SOMEWHAT MORE SO THERE BECAUSE
OF THEIR TRADITION OF CAROLS,
THEIR NATIVE TRADITION OF POLISH
CAROLS, SO WE'RE EXPECTED,
BECAUSE OF THE HISTORY HERE AT
THE BASILICA, WE'RE EXPECTED TO
PERFORM MANY OF THOSE STANDARD
POLISH CAROLS HERE AT
CHRISTMASTIME, SO WE DO.
WE HAVE TO WORK A LOT ON THOSE
AND PEOPLE COME FROM MILES AWAY
TO HEAR THEM, AND SO CHRISTMAS
BECOMES HERE A REALLY GRAND TIME
FOR US.
>> IT'S ASTONISHING HOW PEOPLE'S
MEMORIES REALLY INFORM WHAT THEY
EXPECT TO HEAR AT CHRISTMAS
SERVICES OR CHRISTMAS CONCERTS.
WHEN WE COME IN HERE AT
CHRISTMAS, YOU KNOW, THE PIECES
THAT I PICK FOR THE CONCERT TRY
TO NOT ONLY REFLECT THE BEAUTY
OF THE SPACE ITSELF AND THE
RELIGIOUS ASPECT OF IT, BUT ALSO
TO REFLECT WELL WITH THE
ACOUSTIC EFFECT THAT THE
BASILICA LENDS TO EVERY
PERFORMANCE.
AND IT'S WONDERFUL.
THE AUDIENCE FEELS LIKE THEY'RE
SURROUNDED BY SOUND.
AND IT CREATES A LISTENING
EXPERIENCE THAT'S NOT LIKE
ANYTHING ELSE IN THE CITY.
>> YOU KNOW, WHEN I FIRST WALKED
IN, I THOUGHT I WAS IN HEAVEN,
BECAUSE FOR THE ORGAN AND SACRED
CHORAL MUSIC IN THE SACRED
CATHOLIC RELIGION, IT IS IDEAL.
IT GIVES US THAT WARMTH AND THAT
RING IN THE SOUND, WHICH DRIER
ROOMS DON'T HAVE, BUT YET, IT'S
NOT TOO MUCH.
>> WHEN YOU COME TO A SACRED
SPACE LIKE THIS, YOU WANT TO BE
ENVELOPED AND TRANSFORMED FROM
WITHIN BY THE BEAUTY AND THE
EXPERIENCE WITHOUT.
AND I THINK THAT'S WHAT THIS
PLACE DOES, AND THE PEOPLE WHO
WORK IN IT AND WE WHO GET TO
COME IN AND RELISH THE PLACE AND
OFFER OUR MUSIC TO A PUBLIC THAT
DOESN'T GET TO COME IN HERE VERY
OFTEN, WE TOO GET TO EXPERIENCE
THE BREATHTAKING SIZE AND THE
SACREDNESS OF THIS SPACE.

>> THIS WAS THE THIRD CHURCH ON
THE NORTH AMERICAN CONTINENT TO
BE ELEVATED TO THE STATUS OF A
BASILICA.
A BASILICA IS A POPE'S CHURCH,
SO IF THE POPE COMES TO
MILWAUKEE, HE WOULD COME HERE.
A LOT OF CHURCHES LIKE THIS,
PARTICULARLY IN EUROPE, WOULD BE
MUSEUMS, AND THIS IS NOT, SO
IT'S EVEN MORE IMPORTANT TO
MILWAUKEE BECAUSE IT'S ALIVE, AN
ACTIVE PARISH.
MASSES ARE HERE EVERY WEEKEND,
AND IT'S ALSO A CULTURAL ASPECT,
A PERFORMANCE VENUE, JUST LIKE
PEOPLE ARE EXPERIENCING
BELCANTO TONIGHT IN THE
BASILICA, WE WELCOME DOZENS OF
PERFORMANCE GROUPS AND THERE'S
NO BETTER PLACE TO EXPERIENCE
MUSIC THAN INSIDE THE BASILICA,
SO IT'S ACTUALLY HOME TO THE
MILWAUKEE SYMPHONY ORCHESTRA AND
BELCANTO EVERY YEAR.
A FEW FACTS ABOUT THE BASILICA.
THE PAINTING THAT YOU SEE
INSIDE, THERE'S-- IT'S ALSO
MARBLE, THERE'S VERY LITTLE REAL
MARBLE.
YOU'LL FIND REAL MARBLE IN THE
BACK HIGH ALTAR AND THE STATIONS
OF THE CROSS OVER THE
CONFESSIONALS, AND THE THREE
RELIEFS OVER THE BACK DOOR.
THE COLUMNS AND ALL THE
DECORATIVE MARBLE LOOKING IS ALL
FAUX PAINTED.
THE DOME IS 80FEET IN DIAMETER
FROM THE FLOOR OF THE BASILICA
TO THE TOP OF THE CENTER OF THE
DOME, IT'S ABOUT 205FEET.
FROM LINCOLN AVENUE TO THE TOP,
IT'S ABOUT 235FEET.
ALL OF THE PAINTINGS ARE ALL
ORIGINAL OILS ON CANVAS.
THE STAINED GLASS WINDOWS ARE
FROM INNSBRUCK AUSTRIA.
THERE WERE A TEAM OF ARTISANS IN
INNSBRUCK, THEIR ONE JOB WAS TO
PAINT THESE WINDOWS, AND THEY
RISE, SEVERAL OF THEM, STORIES,
YOU KNOW, THEY'RE SEVERAL
STORIES HIGH.
THE WAY IT LOOKS TODAY IS MORE
BEAUTIFUL AND MORE HISTORICALLY
ACCURATE AND SIGNIFICANT THAN
EVEN WHAT IT WAS IN 1929.
MORE VISITORS COME AT
CHRISTMASTIME BECAUSE OF THE
BEAUTY OF THE BASILICA, AND IT
REALLY IS A DESTINATION OF
INSPIRATION ALL YEAR-ROUND BUT
AT CHRISTMASTIME, MORE PEOPLE
FIND IT INSPIRING, CONNECTING
WITH THEIR FAITH AND THEIR
BELIEF.
IT'S WHERE FAMILIES COME TO
GATHER, AND AT CHRISTMASTIME,
THE MUSIC IS GLORIOUS IN THE
BASILICA.
THERE'S JUST NO FINER PLACE TO
SPEND THE CHRISTMAS HOLIDAY.
>>
>> WE'D BE REMISS IN OUR DUTIES
IF WE TALKED ABOUT WHAT A FINE
ACOUSTICAL VENUE THE BASILICA IS
AND NOT LET YOU HEAR IT FOR
YOURSELVES.
HERE IS THE BEL CANTO CHORUS
SINGING "WELCOME ALL WONDERS."

♪WELCOME ALL WONDERS♪
♪WELCOME, WELCOME ALL WONDERS♪
♪WELCOME, WELCOME, WELCOME ALL
WONDERS♪
♪WELCOME♪
♪WELCOME ALL WONDERS IN ONE
TIME♪

♪HEAVEN AND EARTH♪
♪HEAVEN AND EARTH♪
♪WELCOME ALL WONDERS IN ONE
TIME♪
♪HEAVEN AND EARTH♪




[APPLAUSE]
>> TO LEARN MORE ABOUT THE BEL
CANTO CHORUS AND THEIR UPCOMING
CONCERTS, CHECK OUT THEIR
WEBSITE AT BELCANTO.ORG.
FANS OF THE HIT SERIES "DOWNTON
ABBEY" MIGHT THINK THEY KNOW ALL
OF THE CHARACTERS AS IF THEY
WERE REAL, BUT IN HER NEW
OFFICIAL COMPANION BOOK TO THE
SERIES, "THE CHRONICLES OF
DOWNTON ABBEY," AUTHOR JESSICA
FELLOWES TAKES READERS EVEN
FURTHER INTO THE STORY,
HIGHLIGHTING THE CHARACTERS AND
THE BEHIND-THE-SCENES DRAMA AS
DOWNTON ABBEY ENTERS THE 1920S.
HERE'S A LOOK.
>> DOWNTON ABBEY, THE CONCEPT,
THE OFFICIAL TIE-IN BOOK FOR THE
DOWNTON ABBEY AND IT'S THE
SECOND BOOK WE'VE DONE WITH THE
SHOW AND THIS ONE IS VERY
CHARACTER-LED, SO EACH CHAPTER
IS HEADED UP BY ONE OR TWO
CHARACTERS.
AND THIS ONE IS VERY CHARACTER
LED, SO EACH CHAPTER IS HEADED
UP BY ONE OR TWO CHARACTERS, AND
WE TOOK A TRIPLE-LED APPROACH TO
IT, SO THERE'S A LOOK AT THE
SHOW ITSELF, THE SERIES AS IF IT
WERE A LIVE AND PRESENT THING,
WHICH IS HOW IT FEELS WHEN IT
COMES INTO OUR TVS ON SUNDAY
NIGHTS.
AND THEN WE LOOK AT HOW THE
PRODUCTION BROUGHT ALL OF THAT
TOGETHER, SO JULIAN'S SCRIPTS,
THE ACTORS AND WHAT THEY THINK
ABOUT THEIR OWN BACK STORIES,
THE ART DEPARTMENT, THE HAIR AND
COSTUMES AND ALL THE, YOU KNOW,
PROPS AND ALL THE REST OF IT.
AND THEN THE THIRD LAYER IS THE
SOCIAL HISTORIES, THE CONTEXT IN
WHICH THE THING IS SET, WHICH
DEMONSTRATES THE AUTHENTICITY OF
THE SHOW.
WHAT IS QUITE INTERESTING IS, I
THINK THERE'S A DIFFERENT
ATMOSPHERE ON THE SETS. THE
HIGHCLERE CASTLE, WHICH WAS THE
SETTING FOR THE HOUSE AND ALL
THE ABOVE-STARS SCENES.
I MEAN IT IS A REAL, WORKING
HOUSE, YOU KNOW.
IT'S BEEN SITTING THERE LIKE
THAT FOR THE LAST 400, 500 YEARS
OR WHATEVER, AND THERE'S THAT
REAL SENSE OF ITS PRESENCE AS
YOU ARRIVE.
AND I THINK IT MAKES ALL THE
ACTORS, I MEAN, I CAN FEEL
MYSELF SITTING UP STRAIGHTER
JUST TALKING ABOUT IT.
YOU KNOW, YOU KIND OF HAVE TO
HAVE THAT PRESENCE IN A ROOM AND
YOU TALK IN A DIFFERENT KIND OF
WAY AND YOU HAVE TO HAVE RESPECT
FOR THE HOUSE.
IT'S A LOT OF VALUABLES THERE.
I MEAN, THE ART DEPARTMENT
DOESN'T PUT VERY MUCH IN THERE
APART FROM A FEW POTTED PALMS.
I MEAN, ALL THOSE THINGS LIKE
COSTUMES, THEY REALLY HELP.
AND THAT'S WHY, THAT'S PARTLY
WHY IT'S SO IMPORTANT THAT
EVERYTHING IS AUTHENTIC IN THE
WAY THAT IT IS, NOT JUST THAT IT
LOOKS RIGHT FOR US, BUT IT HELPS
THE ACTORS TO SIT PROPERLY.
I MEAN, THE STARCHED COLLARS
PARTICULARLY FOR THE MEN, I
GATHER, ARE PRETTY HORRIBLE,
RUBBING THEIR NECKS QUITE RAW.
THE WOMEN OBVIOUSLY HAVE THE
CORSETS, HAVE BEGUN TO GET A
LITTLE BIT EASIER NOW FOR THE
THIRD SEASON, THEY'RE NOT QUITE
AS CONSTRICTING AND SORT OF,
THEY HAVE THIS SORT OF S-BEND
SHAPE ALMOST IN THE FIRST
SEASON.
NOW IT'S MORE ABOUT FLATTENING
THE FIGURE OUT.
NEVERTHELESS, THEY ALL HAVE TO
WEAR THEM AND LIVE WITH THAT.
BUT THAT DOES MAKE THEM SIT IN
THE RIGHT WAY AND WALK IN THE
RIGHT WAY.
AND I THINK ALSO THEY'VE PICKED
IT UP AS THEY GO.
ROB COLLIER, WHO PLAYS THOMAS,
SAYS THAT HE DOESN'T REALLY LIKE
WATCHING SCENES FROM THE FIRST
SEASON BECAUSE HE THINKS HE WAS
WALKING THE WRONG WAY, BECAUSE
THEY LEARN YOU'RE NOT SUPPOSED
TO PUT YOUR HANDS IN YOUR
POCKETS AND HAVING TO SIT UP AND
SIT DOWN AND STAND UP.
YOU KNOW, THEY HAD TO RESHOOT A
SCENE WHEN THE HISTORICAL
ADVISER WAS AWAY THAT DAY, AND
MATTHEW CRAWLEY DIDN'T STAND UP
WHEN THE DOWAGER COUNTESS CAME
INTO THE ROOM.
HE SAID THERE'S ABSOLUTELY NO
WAY THAT COULD EVER HAVE
HAPPENED.
YOU COULDN'T POSSIBLY AIR A
SCENE LIKE THAT.
SO THEY HAD TO REDO IT.
JULIAN SAID THAT HE ALWAYS
BEGINS WITH THE FUNDAMENTAL
BELIEF THAT EVERYBODY IS GOOD.
THEY START GOOD AND THEN
SOMETHING MAY TAKE THEM OFF THAT
PATH ALONG THE WAY.
AND I THINK THAT'S WHAT IS
REALLY INTERESTING ABOUT THE
CHARACTERS IS THAT THEY'RE NOT
BLACK OR WHITE, THEY'RE NOT
GOODIES OR BADDIES.
WE CAN SEE SHADES OF GRAY IN ALL
OF THEM.
I MEAN, EVEN O'BRIEN, WHO'S
PROBABLY THE MOST EVIL SCHEMER
OF ALL, AND EVEN JULIAN WILL
ADMIT THAT, THERE ARE STILL
TIMES WHEN YOU SEE HER AND YOU
THINK, THERE ARE SOME SOFT SPOTS
IN THAT HEART.
NOW WE WOULD PROBABLY CALL HER
DAMAGED AND SEND HER TO THERAPY
AND THINGS, BUT THEN SHE JUST
HAD TO LIVE HER WAY THROUGH IT.
I ALWAYS GET ASKED WHAT'S MY
FAVORITE CHARACTER, AND IT'S
SLIGHTLY LIKE SELECTING YOUR
CHILDREN OUT.
I'VE GOT TO KNOW THEM ALL SO
WELL NOW, I FEEL LIKE I'VE SEEN
THEM DEVELOP OVER THREE SEASONS,
AND TALK TO THE ACTORS AND TALK
TO THE PRODUCTION AND, YOU KNOW,
ALL THESE SORT OF DETAILS ABOUT
THEM.
I KIND OF LOVE THEM ALL IN THEIR
OWN SPECIAL WAY.
>> "THE CHRONICLES OF DOWNTON
ABBEY" IS ON BOOKSHELVES NOW,
AND SEASON THREE OF "DOWNTON
ABBEY" IS AIRING RIGHT HERE ON
MPTV.
FAITH RINGGOLD GREW UP IN HARLEM
AT A TIME WHEN IT WAS A HOTBED
OF ARTS AND CULTURE.
AS HER ART CAREER DEVELOPED, SHE
HELD ONTO THE MEMORIES AND
INSPIRATIONS THAT WERE
CULTIVATED THERE.
NOW RINGGOLD HAS BROUGHT THOSE
IMAGES BACK TO HER NEIGHBORHOOD
IN A MOSAIC THAT DECORATES THE
WALLS OF A HARLEM SUBWAY
STATION.
>> SO I SAID, OH, BOY, I WANT TO
DO 125TH STREET, BECAUSE 125
STREET IS WHERE ALL THE PEOPLE
ARE, THAT'S THE, CENTER AND I
WENT IN THERE AND GOT IT.
IT WORKED FOR ME.
THESE ARE PEOPLE WHO I ASSOCIATE
WITH MY LIFE GROWING UP IN
HARLEM-- THE MUSICIANS, THE
ARTISTS, THE POLITICIANS, ALL OF
THESE TRULY GREAT PEOPLE WHO
INFLUENCED MY LIFE AND MADE ME
KNOW THAT I COULD DO ANYTHING I
WANTED BECAUSE THEY'RE DOING IT.
125TH STREET WAS JUST THE CENTER
OF CULTURE IN THOSE DAYS.
AND I SAW THEM ALL AND WE ALL
LIVED TOGETHER.
YOU KNOW, LIKE WEB DUBOIS LIVED
RIGHT UP THE STREET FROM ME.
AND THURGOOD MARSHALL.
OH, MY GOODNESS, WE USED TO SEE
THOSE PEOPLE ALL THE TIME.
YOU KNOW, THOSE PEOPLE WERE JUST
NEIGHBORHOOD PEOPLE.
WE USED TO WAIT UNTIL THREE IN
THE MORNING AND THEN WE WOULD GO
UP TO 155TH STREET AND CATCH
DUKE ELLINGTON COMING OUT OF THE
155 STREET SUBWAY, AND HE WOULD
STOP AT THE LITTLE DINER RIGHT
THERE ON THE CORNER AND WE WOULD
BE IN THERE WAITING FOR HIM.
AND HE WOULD COME IN AND ORDER A
PINT OF ICE CREAM TO GO AND WE
WOULD SIT THERE AND DROOL OVER
HIM.
BUT YOU COULDN'T RUN UP TO THESE
PEOPLE, START YELLING ABOUT
WOULD YOU GIVE ME AN AUTOGRAPH.
NO, THEY DON'T DO THAT.
JUST, YOU KNOW, BE COOL, AND WE
DID.
BUT WE ALSO GOT THERE TO SEE
HIM.
HE WAS SO WONDERFUL.
THERE'S NO LAW SAYING YOU CAN'T
GET RID OF PERSPECTIVE.
THERE'S NO LAW SAYING YOU CAN'T
GET RID OF CHIAROSCURO.
IF YOU WANT THINGS TO BE FLAT,
AND I DO, I WANT TO USE THE
COLORS, I WANT THEM SEEN.
I DON'T WANT THE LIGHT IN THE
SHADE.
I LEVITATE ALL OF THEM.
WELL, IT IS A CERTAIN KIND OF
FREEDOM, WHICH I THINK IS JUST
THE MOST IMPORTANT THING IN THE
WORLD.
IT'S ALSO AN INTERESTING WAY TO
USE THE SPACE-- INJECT THE
PEOPLE IN THE SPACE, HAVE THEM
MOVING THROUGH IT.
I HAVE, MYSELF, FLYING SOMETIMES
SOMEWHERE.
PLEASE, I DON'T LEAVE MYSELF OUT
OF ANYTHING.
THAT'S AN IDEA.
I SHOULD HAVE DONE THAT.
I SHOULD HAVE PUT MYSELF OVER
THERE WITH THE ARTISTS.
DIDN'T GIVE IT A THOUGHT.
>> RINGGOLD'S SUBWAY ART IS OPEN
AND FREE TO THE PUBLIC, OTHER
THAN THE $2 FOR THE SUBWAY
TICKET.
TO SEE MORE OF RINGGOLD'S WORK,
VISIT FAITHRINGGOLDCOM.
AND NOW, A MAN WHO MAKES A
LIVING FROM TURNING THE ORDINARY
INTO THE EXTRAORDINARY.
DAVID KNOPP TAKES BASIC SHEETS
OF PLYWOOD AND SHAPES THEM INTO
SMOOTH, SLOPING WORKS OF ART
THAT ACTUALLY DOUBLE AS
FURNITURE.
>> WHEN PEOPLE FIRST SEE MY
WORK, I'M NOT SURE IF THEY LOOK
AT IT AND GO, "OH, THAT'S A
PIECE OF FURNITURE."
I DO PAUSE SOMETIMES WHEN PEOPLE
ASK ME, "WHAT EXACTLY DO YOU
DO?"
I DON'T KNOW WHY, BUT I GOT INTO
SHOOTING PHOTOGRAPHS OF TREES IN
THE WINTERTIME.
BARE LEAVES.
YOU CAN SEE THE CONTOURS AND THE
SURFACES.
I TRY TO KEEP THE MOVEMENT GOING
ON IN MY SCULPTURE.
I ICE NO 3D SOFTWARE TO DESIGN
THIS.
IT'S USUALLY AN INTUITIVE
PROCESS.
I'LL TAKE A 4 BY 8 PIECE OF
PLYWOOD AND CUT A TEMPLATE FOR A
STARTING PLATE, MAYBE A NICE
CURVE AND JUST BUILD OFF OF THAT
ONE PIECE AT A TIME AND COME UP
WITH A ROUGH BASIC SHAPE OF THE
PIECE ITSELF.
MY WOOD IN ITSELF IS NOT A VERY
EXCITING MATERIAL.
YOU KNOW, IT'S BASICALLY A
CONSTRUCTION PRODUCT.
IT WORKS WELL FOR ME BECAUSE I'M
INTERESTED IN THE END GRAINS OF
THE PLYWOOD, BECAUSE AS I CAR OF
IT, THE STRATA WHICH ACTS AS
LINES, YOU CAN EXPRESS ALL KINDS
OF MOVEMENT.
ACTUALLY BECOMES THE LINES THAT
YOUR EYES FOLLOW.
>> THE PROCESS TO ME IS MY WAY
OF KIND OF ESCAPING.
WHEN I'M IN MY STUDIO WORKING,
IT'S SOME OF THE BEST TIME THAT
I HAVE.
I TRY TO LET THE WORK FLOW, AND
I JUST KIND OF FOLLOW ALONG WITH
IT.
IN MY WORK, I'M ALWAYS TRYING TO
FIND MY OWN VOICE AND THE WORK
ITSELF HAS ITS OWN VOICE.
YOU CAN CONTROL THAT MORE AND
MORE WITH YOUR TOOL ITSELF.
IT'S LIKE A PENCIL WHEN YOU'RE
DRAWING, YOU KNOW, OR A PIECE OF
CHARCOAL.
>> WELL, THERE WAS AN OLD
STATEMENT AT ONE TIME, IN ORDER
TO CREATE, YOU MUST DESTROY.
UNFORTUNATELY, TO CREATE
PLYWOOD, YOU ARE DESTROYING
TREES.
IT'S NICE TO BE ABLE TO REVERSE
THIS AND TAKE THIS MANMADE
PRODUCT WHICH IS NOTHING BUT A
BUNCH OF VENEERS GLUED TOGETHER
AND TURN THAT INTO SOMETHING
THAT'S WORTHWHILE LOOKING AT.
>> TO SEE MORE OF KNOPP'S WORK,
VISIT HIS WEB SITE, DAVID KNOPP
ART.COM.
THAT'S IT FOR THIS EDITION OF
"THE ARTS PAGE," NEXT WEEK WE
HAVE AN INTERVIEW WITH THE
ACTRESS, GLORIA REUBENS, AN
ACTRESS CURRENTLY IN THE FILM
"LINCOLN" AND A PERFORMANCE
PIECE BY POET ED LEE BOK AND
MUCH MORE.
UNTIL THEN, I'M SANDY MAXX.