Відео

From one photographer to another: The Chair of the Photography Department, Joe Dojcsak yelled in the halls that I was the “best photographer the department’s had in 25 years.” He said “Your work makes all the other students' work look like shit.” Prof. Dojcsak had a background in journalism and journalists are notoriously vulgar. Though the praise was gratifying, it didn’t win me any friends. My first semester (in Photo 10) my work was chosen and displayed at the L.A. County Fair. I also won second prize in a nation-wide contest sponsored by KODAK. I loved my class so much that I stated my intention of repeating it; Prof. Schuster said “You can’t, you’re getting an A and in order to repeat the class you have to have failed.” I told him to fail me then, which he did, three times; the final time (the third time I took his class in Photo 10) he asked “What do you want, a D or an F?”, I said “An F, it sounds better.” (more dramatic). By this time the administration at LACC stepped in, wanting to know why I was doing so poorly. Professor Dojcsak intervened and I was never required to meet with a counselor and nothing more was said about my grades. In a subsequent color photography class that was quite difficult, I was the only student who received an A on the end-term exam (which had no multiple choice); in fact the Professor hung my exam paper up for display. Around this time Prof. Dojcsak encouraged me to enter the Robert Capa International Center for Photography Photo Contest in NYC; grand prize $20,000 25 years ago. Also at this time a retrospective of the photographer Helen Levitt was on display at LACMA. I was so enthused by the Helen Levitt retrospective that I hung a notice up at LACC Photo Dept. and badgered people, students and teachers, to go see it, (not a single person went). In particular I badgered the Photo Chair, Prof. Dojcsak, and on the Friday before the last weekend of the exhibit, got an assurance from him that he would indeed go see it. Meanwhile my photos failed to win the contest in NYC. When they didn’t send my prints back to me I asked Prof. Dojcsak to give them a call, because I knew he liked sucking up to big shots; thought I’d give him a treat. So Monday rolls around and I excitedly ask Prof. Dojcsak “Did you see it?!” (Helen Levitt). “No” he says, “But let me tell you what I did see.”; and he, just as excitedly told me about having gone to see some very particular pornography at the Kinokuniya bookstore in Little Tokyo. I was disgusted; not because he had gone to see this pornography but because he had given up a once in a lifetime opportunity to see this great Helen Levitt exhibit for something he could see any time. I then had to endure his lascivious account of it “The most bizarre pornography I’ve ever seen.”, “Bondage”, etc. A couple days later he again corners me and just as excited as he had previously been, goes into more detail. We were in the small color lab and another teacher and a student were present so we were whispering about it. And then the dreadful truth came out - this was Kiddie-Porn he was so hyped-up about. I was shocked; I ascertained that it was indeed “hard Core”, “Yeeesss!!!” he hissed. I ascertained their ages “Three to eight years old.” Here I quote Martin Luther King: “My conscience left me no other choice. A time comes when silence is betrayal.” That time came for me in relation to child molestation (# MeToo) so frequently fueled by child pornography. The idea that LACC might be harboring in its photographic bosom, a pedophile, was disturbing. At that point I felt I would be complicit by continuing to whisper and so I said in a normal tone of voice, “You mean to tell me that you saw hard-core child pornography and you didn’t report it to the police?” The other teacher in the room (Keith Nelson) and the student, whipped their heads around while Prof. Dojcsak said nothing in response; he just opened and shut his mouth, over and over, like a fish. A couple days after that I asked Prof. Dojcsak if he had called the International Center for Photography about my missing photographic prints. He said he had and he’d been told that they’d thrown them in the trash. I was indignant and asked for the name of the person he’d spoken to. He said “I don’t know, some WOMAN.” I said “You didn’t get her name?” He said “No, why should I?” I said “This is my career you’re talking about.” and Prof. Dojcsak said “I don’t give a damn about your career.” I was stunned; I thought he was my friend and I was deeply hurt. So I spluttered out “Oh yeah, well Prof. Schuster says you’re not a photographer.” He said “Yeah, yeah, yeah.” (He had heard it before.) I continued to splutter “Oh yeah, well the students say you don’t have anything left to teach.” He said “Yeah, yeah, yeah.” (He had heard it before.) I said “Oh yeah, well you should hear what Prof. Mims (from Pasadena City College) says about you.” Prof. Dojcsak had seen me and Prof. Mims sitting together at a big shindig in L.A. at the KODAK headquarters, so he knew or surmised that along with my other two statements, that this was based on fact. This was to be my parting shot and I delivered it over my shoulder as it were, as I walked away. I didn’t really think it would get any more of a response than my last two comments but it apparently touched a nerve, and as he was already seething over the public chiding I had given him two days earlier over his failure to report child pornography (which of course was why he had been so snotty about my photographs and my career) he charged after me, roaring “You get the hell out of here before I have you thrown out.” His hand was raised and he was actually trembling and red in the face. He shook his finger within a couple inches of my face and again shouted for me to “Get the hell out.” I was certain he was going to strike me and he was a big man and he had grown with his rage. Since I had for the past several years photographed the Mara Salvatrucha, www.behance.net/gallery/52840289/Mara-Salvatrucha “the most dangerous gang in the world” according to National Geographic; had been in a number of drive-bys; threatened with a baseball bat; surrounded by gang guys brandishing large screwdrivers intent on skewering me, I was able to maintain my composure. I didn’t move, but said, in a measured voice “Get your FINGER out of my FACE.” Professor Dojcsak deflated, like a balloon that had been popped. He turned around and stalked off. I was very sad. I thought to myself “I can hardly continue here with the head of the photo department’s evident hatred of me.” So I gathered my things from my locker and was about to exit the photo dept. when four (school) cops burst through the door yelling “Where is she?” They surrounded and commenced to circle me in a crouched position like wrestlers about to tackle one another; arms outspread, the while, ordering me out. It was absolutely humiliating, it looked so ludicrous. I told them if they would get out of my way, it was my intention to “Get out”. Once outside in the hallway, they jacked me up against the wall and otherwise humiliated me as photo students who I had known for years walked by gaping in astonishment. The long and short of it was they told me if I ever set foot on campus again I would be arrested. LACC Pres. Mary Gallagher ignored my pleas for an accounting. Neither did the Board of Trustees care to become involved.

From one photographer to another: The Chair of the Photography Department, Joe Dojcsak yelled in the halls that I was the “best photographer the department’s had in 25 years.” He said “Your work makes all the other students' work look like shit.” Prof. Dojcsak had a background in journalism and journalists are notoriously vulgar. Though the praise was gratifying, it didn’t win me any friends. My first semester (in Photo 10) my work was chosen and displayed at the L.A. County Fair. I also won second prize in a nation-wide contest sponsored by KODAK. I loved my class so much that I stated my intention of repeating it; Prof. Schuster said “You can’t, you’re getting an A and in order to repeat the class you have to have failed.” I told him to fail me then, which he did, three times; the final time (the third time I took his class in Photo 10) he asked “What do you want, a D or an F?”, I said “An F, it sounds better.” (more dramatic). By this time the administration at LACC stepped in, wanting to know why I was doing so poorly. Professor Dojcsak intervened and I was never required to meet with a counselor and nothing more was said about my grades. In a subsequent color photography class that was quite difficult, I was the only student who received an A on the end-term exam (which had no multiple choice); in fact the Professor hung my exam paper up for display. Around this time Prof. Dojcsak encouraged me to enter the Robert Capa International Center for Photography Photo Contest in NYC; grand prize $20,000 25 years ago. Also at this time a retrospective of the photographer Helen Levitt was on display at LACMA. I was so enthused by the Helen Levitt retrospective that I hung a notice up at LACC Photo Dept. and badgered people, students and teachers, to go see it, (not a single person went). In particular I badgered the Photo Chair, Prof. Dojcsak, and on the Friday before the last weekend of the exhibit, got an assurance from him that he would indeed go see it. Meanwhile my photos failed to win the contest in NYC. When they didn’t send my prints back to me I asked Prof. Dojcsak to give them a call, because I knew he liked sucking up to big shots; thought I’d give him a treat. So Monday rolls around and I excitedly ask Prof. Dojcsak “Did you see it?!” (Helen Levitt). “No” he says, “But let me tell you what I did see.”; and he, just as excitedly told me about having gone to see some very particular pornography at the Kinokuniya bookstore in Little Tokyo. I was disgusted; not because he had gone to see this pornography but because he had given up a once in a lifetime opportunity to see this great Helen Levitt exhibit for something he could see any time. I then had to endure his lascivious account of it “The most bizarre pornography I’ve ever seen.”, “Bondage”, etc. A couple days later he again corners me and just as excited as he had previously been, goes into more detail. We were in the small color lab and another teacher and a student were present so we were whispering about it. And then the dreadful truth came out - this was Kiddie-Porn he was so hyped-up about. I was shocked; I ascertained that it was indeed “hard Core”, “Yeeesss!!!” he hissed. I ascertained their ages “Three to eight years old.” Here I quote Martin Luther King: “My conscience left me no other choice. A time comes when silence is betrayal.” That time came for me in relation to child molestation (# MeToo) so frequently fueled by child pornography. The idea that LACC might be harboring in its photographic bosom, a pedophile, was disturbing. At that point I felt I would be complicit by continuing to whisper and so I said in a normal tone of voice, “You mean to tell me that you saw hard-core child pornography and you didn’t report it to the police?” The other teacher in the room (Keith Nelson) and the student, whipped their heads around while Prof. Dojcsak said nothing in response; he just opened and shut his mouth, over and over, like a fish. A couple days after that I asked Prof. Dojcsak if he had called the International Center for Photography about my missing photographic prints. He said he had and he’d been told that they’d thrown them in the trash. I was indignant and asked for the name of the person he’d spoken to. He said “I don’t know, some WOMAN.” I said “You didn’t get her name?” He said “No, why should I?” I said “This is my career you’re talking about.” and Prof. Dojcsak said “I don’t give a damn about your career.” I was stunned; I thought he was my friend and I was deeply hurt. So I spluttered out “Oh yeah, well Prof. Schuster says you’re not a photographer.” He said “Yeah, yeah, yeah.” (He had heard it before.) I continued to splutter “Oh yeah, well the students say you don’t have anything left to teach.” He said “Yeah, yeah, yeah.” (He had heard it before.) I said “Oh yeah, well you should hear what Prof. Mims (from Pasadena City College) says about you.” Prof. Dojcsak had seen me and Prof. Mims sitting together at a big shindig in L.A. at the KODAK headquarters, so he knew or surmised that along with my other two statements, that this was based on fact. This was to be my parting shot and I delivered it over my shoulder as it were, as I walked away. I didn’t really think it would get any more of a response than my last two comments but it apparently touched a nerve, and as he was already seething over the public chiding I had given him two days earlier over his failure to report child pornography (which of course was why he had been so snotty about my photographs and my career) he charged after me, roaring “You get the hell out of here before I have you thrown out.” His hand was raised and he was actually trembling and red in the face. He shook his finger within a couple inches of my face and again shouted for me to “Get the hell out.” I was certain he was going to strike me and he was a big man and he had grown with his rage. Since I had for the past several years photographed the Mara Salvatrucha, www.behance.net/gallery/52840289/Mara-Salvatrucha “the most dangerous gang in the world” according to National Geographic; had been in a number of drive-bys; threatened with a baseball bat; surrounded by gang guys brandishing large screwdrivers intent on skewering me, I was able to maintain my composure. I didn’t move, but said, in a measured voice “Get your FINGER out of my FACE.” Professor Dojcsak deflated, like a balloon that had been popped. He turned around and stalked off. I was very sad. I thought to myself “I can hardly continue here with the head of the photo department’s evident hatred of me.” So I gathered my things from my locker and was about to exit the photo dept. when four (school) cops burst through the door yelling “Where is she?” They surrounded and commenced to circle me in a crouched position like wrestlers about to tackle one another; arms outspread, the while, ordering me out. It was absolutely humiliating, it looked so ludicrous. I told them if they would get out of my way, it was my intention to “Get out”. Once outside in the hallway, they jacked me up against the wall and otherwise humiliated me as photo students who I had known for years walked by gaping in astonishment. The long and short of it was they told me if I ever set foot on campus again I would be arrested. LACC Pres. Mary Gallagher ignored my pleas for an accounting. Neither did the Board of Trustees care to become involved.

That man is a sicko

ISMAEL'S SOUL IS AS AMAZING AS HIS ART!! GREAT INTERVIEW!!

I love LACC, it helped me get to UCLA and now Williams College. Thank you so much art dept! You are wonderful! Thank you Alex and Dr. Lopez so much.

What’s up?! Great job on the channel! Have you ever considered using SMZeus . c o m to promote your videos!?

such an interesting, expansive lecture! thank you for sharing!

I have the great pleasure of knowing George personally and seeing some of his personal archives, he’s an amazing person and what a great contribution to your class. Hopefully your students grasp the significance and impact George has on our culture!l and art!

ICON!

00:27 [Music] 00:42 but while they make sure comes attacking 00:45 each other or blaming each other we can 00:48 all agree that transistors happened but 00:52 now it's decided to be as one engage in 00:56 Italy and come together in the community 00:58 after the election like some of the 01:01 students in my class of one of my 01:02 classes it's like shaking and breaking 01:05 down in tears because of the panic 01:07 that's been it and that's just one 01:09 person's experience and so if we had a 01:11 collective kind of anxiety and so this 01:13 is what happens and it could not happen 01:17 in you know without everybody's help 01:18 especially our amazing student or just 01:21 with 34 here and every time I mean is 01:24 just so know how do you promise what's 01:31 going to happen so I'm here to talk 01:33 about what we're gonna do now and what's 01:36 important now and how do we go on for me 01:40 wall are meant to be painted on not two 01:43 separate not in my concept of what a 01:47 wall is got people who've been here 01:49 since they were Gable and we're now 01:52 being told if you don't like it leave 01:53 this is your country how would I feel if 01:57 my mom or 01:59 my dad would be the port the thing that 02:01 I believe puts up together in 02:03 understanding it's important for all of 02:05 us especially for them to understand 02:08 that you are looking at yourself through 02:11 the eyes of a more dominant majority in 02:14 this case I was looking at myself 02:16 through the eyes of white America for 02:20 each of you what's lost may be different 02:22 it may be a lot of security for yourself 02:25 or family member a lot of social 02:27 standing we might feel a lot of safety 02:31 or lots of what you thought were shared 02:33 values that you didn't know it could be 02:35 lost the California State Legislature 02:37 that just opened up with strongest and 02:40 on immigration environment on a whole 02:43 host of issues and we just didn't have 02:45 that really good voice because we do not 02:47 just like to thank democracy progresses 02:50 now's the time that we also must embrace 02:54 the courage and protect those who cannot 02:57 protect themselves nuts social 02:59 environment as well as one of you have a 03:02 right to education we are here to 03:06 providing the skill system need to go on 03:08 but we're also here to 22 states that 03:12 our college is a safe haven for you the 03:15 college has the utmost respect for 03:17 student privacy rights and your rights 03:20 to keene your records and there was an 03:23 our responsibility to protect those 03:25 rights for long time stage lighting 03:27 local life has been the concern in the 03:30 artisans of the 03:31 now you got the left making those 03:34 arguments them anything to say otherwise 03:35 we asked to go to Larson and frankly 03:37 they're going to actually eat through 03:39 their whole argument now they're being 03:40 ditched by the other side where if 03:42 they're just going to you know try to 03:44 shut them down our fearless 03:51 hardest-working president white penis to 03:54 work day night bombers reference for the 03:57 power person who grew up in East Los 04:02 Angeles who family came from immigrants 04:06 my father's family came from Mexico my 04:09 mother's family was from really from 04:11 Michigan but moved to Arizona and lived 04:14 on board account my mother's family when 04:17 she was one of 10 children and my father 04:19 would want his dick my mother brought 04:21 her family I'm to Hollywood they live 04:24 here and he brought your sisters was one 04:27 of the top three is repeated and my 04:31 father was 16 is like that his mother 04:34 was a stay-at-home mother and my 04:37 grandfather were to skin on the railroad 04:40 but some of the things that I feel that 04:43 I learned throughout my life was there 04:46 were times that he could be your second 04:49 language under the time that you were 04:51 not we learn very early big round ass in 04:55 the house and once introduced legendary 04:58 wrong we are so thrilled to have them 05:01 here and this comes via scandalous and 05:03 yet efficient as a true artist and 05:06 accidents forgetting I don't have the 05:08 answers to the world's problems nor do I 05:10 try solvent in my work I'm just an 05:13 observer of my particular moment in time 05:14 and I want to share those observations 05:17 another large-scale drop it's about a 05:20 border is what we have most like an 05:22 importance on a cup or accompli I knew I 05:27 like the kind of things that are daily 05:29 that most people disregard and think 05:32 unimportant those are the things I 05:34 gravitate who is in order so what 05:35 happens with these drops i ended up 05:38 traveling to to Spain so I labeled each 05:43 one of the crates the Nina the Pinta the 05:46 Santa Maria don't get actually went back 05:50 to its over that part of the set for the 05:54 Opera buy / sell that openness term is 05:57 Western Madrid it went to London and 05:59 then that Moscow nobody's here in the 06:03 United States I do think the music as 06:06 well this is what the Germans said about 06:10 people that they were taking away first 06:14 it was evacuate that it was called 06:17 resettlement because the language kept 06:20 on changing and then it was called 06:22 deportation so they change the language 06:25 to accommodate their idea how would I 06:27 feel if someone you trust trust Trump 06:31 and blocks me from entering the 06:34 classroom the place in which I'm 06:36 supposed to be able to build my 06:38 intellect and share my knowledge 06:41 immigration confident the what's in your 06:43 bag and I said well British of both 06:47 magazines my minute 06:50 magazines I minute because I had to take 06:53 all these publications for the host of 06:55 the TV show to go through is ask me 06:57 questions on the talk show so they went 07:01 into another room they come up maybe 07:03 about a half hour later and they say get 07:06 out of here my left hand left i'm there 07:09 waiting for the next great onslaught 07:11 could go back to my studio go ahead go 07:14 to the airport immediately as soon as I 07:16 got back in yes the next place that I go 07:19 to is the museum show and of course 07:22 there's the mayor of the city the 07:24 governor of the city and they're all 07:26 saying to you and all the artists is 07:28 where is the show we really love your 07:30 work in my mind I'm thinking I was 07:34 second class to do just a few hours 07:36 another thing that doesn't disappear 07:39 thank you because of an election is 07:43 culture art doesn't just disappear 07:47 writing doesn't disappear music doesn't 07:51 appear so it will continue long after 07:55 that in fact were the Nazis came to 07:59 France for their occupation of the 08:02 country 1942 1944 who was still there 08:07 was an artist named Picasso still 08:11 creative writers still broke and people 08:15 can post music so for me that's an 08:17 important thing about art now that I 08:20 just got them is lovely constructing a 08:23 dildo Kennedy High audience dollar and 08:25 perfected and he will not collect about 08:28 the dorsal weatherization of Reagan 08:30 social and political 08:32 so ray one is not anything biological 08:36 reasons because that will easily cause 08:39 but it's not biological at all it's 08:41 actually awake thinking that connects 08:45 how you look to what you are expected to 08:50 do in life and becoming racialized as an 08:53 Emirati processes the process that 08:55 combines images along with history but I 09:00 want you to remember something that many 09:03 of us are racist a lot of us denies that 09:06 we are racist because we don't want to 09:09 feel like we're not the people so know 09:11 that were persons of African descent in 09:13 this country in particular between the 09:16 ages of 18 and 24 they have the highest 09:19 unemployment rate and persistently it 09:22 has at the highest unemployment for 09:24 those of you who are in the system or 09:26 people you may know we're already dr. 09:28 recipient I don't see a problem with 09:30 renewing your daughter I really think 09:33 that there will be a an avalanche of 09:35 action legal and otherwise for people 09:39 who have been recipients with this 09:41 program and I think if you just walked 09:42 in and decides to undo all of that I 09:46 think we're going to have action on a 09:48 level that we have not seen yet never 09:51 ever claimed to be a US citizen either 09:54 on an i-9 form or otherwise it is one of 09:57 those the most unforgiving things that 10:00 you know image in immigration law they 10:02 basically disqualified you from getting 10:04 immigration benefits 10:05 years ago they started raising the issue 10:09 as far as people who have been claiming 10:11 to be US citizens not 99 points most 10:15 cases this would not come up but a lot 10:16 of dr. recipients filed tax returns and 10:20 documentation showing that they've been 10:24 employed by large companies large 10:26 companies holds a lot of records so just 10:29 please make sure you never ever place to 10:31 be a US citizen anywhere permanent bars 10:34 permanent bars are again another very 10:37 unforgiving aspect of immigration law it 10:39 applies to people who have after april 10:43 nineteen ninety-seven been in the US for 10:46 over one year left came back illegally 10:50 whether you work is whether they were 10:51 caught enough carbon embarked 10:53 permanently barred from receiving in 10:55 certain most immigration benefits in the 10:57 united states people who after april 9th 11:00 ranked seven were deported and returns 11:01 without lawful as long as you go without 11:04 being inspected again permanently barred 11:07 the stateside waiver and a whole lot of 11:09 all all these other waivers that we 11:11 talked about that could waive the 11:13 unlawful presence would not apply to 11:15 many people unless they stay out of the 11:17 country

[Music] 00:15 with the idea of a black aesthetic is 00:18 also this idea of like of 00:20 self-determination so so you have to 00:22 marry those two things and marry those 00:25 two things in a structure in an 00:28 environment where you're not undermining 00:33 the aesthetic value of the work while at 00:36 the same time trying to advance an idea 00:38 about a certain kind of cultural 00:40 determinism so how do you do those two 00:43 things simultaneously 00:44 so this I'd be like a black college week 00:48 you hear it all the time you know lucky 00:51 from these own own business you know or 00:54 you need to buy something five laughter 00:56 you shop it like this I mean this these 00:58 things these are things and recurring 01:00 ideas better that a signal to keep 01:03 coming back and they keep coming back 01:04 and serious in which trauma and tragedy 01:10 seem to be at a heightened level of we 01:14 seem to be hyper aware I had a show at 01:16 the Secession Vienna secession and that 01:19 show was called who's afraid of red 01:21 black and green which was based in part 01:26 on the part in Newland paintings if you 01:29 know in our history who was afraid of 01:31 red yellow and blue so that I get three 01:34 paintings 01:35 I'm skipping around here this is 01:38 somewhat from the meditations on black 01:43 aesthetic show and the MCA it's a way 01:48 would you sort of you can take you can 01:49 take cultural ideas that are culturally 01:52 specific and culturally irrelevant and 01:54 you can put them in a formal 01:55 configuration that could explore two 01:58 different dynamics 01:59 previously in the same way that the bet 02:02 black figure in the portion of the art 02:04 said the salikus for myself was also 02:06 about the kind of simultaneity can you 02:08 have presence and absence simultaneously 02:11 you can have those both embodied in a 02:13 single image but as I was saying about 02:18 that from the fray the red black and 02:21 green and the Barnett Newman who's 02:23 afraid the red yellow and blue this 02:24 painting which is in to share with at la 02:28 mocha is one of us it's like a triptych 02:32 and so what I did with the Barnett 02:34 Newman painting so Barnett Newman's 02:36 painting was Who's Afraid of red yellow 02:37 and blue and on each end of the he had a 02:40 big color field painting and on each end 02:42 of the print up there and hanging with a 02:45 blue stripe and a yellow stripe and 02:47 those stripes because it's so but I and 02:52 the effect of color field painting was 02:54 supposed to create this space in which 02:56 you could have an experience that like 02:58 transcendence but I said well it is 03:03 their way of having that same kind of 03:06 experience with the expanse of color in 03:08 a field like that but not have that 03:13 experience point towards transcendence 03:16 but have it reflect back again on the 03:19 kind of political and cultural histories 03:21 so that this is a Texas painting there's 03:24 writing in a red field this ran on red 03:29 it's hard to see here but it's easier to 03:32 see an exam but the text in the painting 03:36 says if they come in the morning and so 03:41 if for anybody who looks crippling that 03:45 one open 03:46 anybody who said in their political 03:49 science you know Angela Davis published 03:51 a collection of letters from political 03:53 prisoners in the United States and the 03:56 title of that book she published was if 03:58 they come in the morning but she took 04:02 the title from an open letter that Jane 04:04 Baldwin wrote to her when she was in 04:06 jail after she had been finally arrested 04:10 when she was on on the run from the FBI 04:11 and he really led to her an open letter 04:15 to her with the quote at the end of the 04:18 saying if they came to you last night my 04:20 sister I'm sure they'll be coming for me 04:21 in the morning but so when I think 04:27 that's of departed opinion I mean since 04:29 my dream was red black green I made 04:31 three painting these things are exactly 04:32 the same size as the bonnet in the 04:34 paintings but each one of my paintings 04:39 privilege is a different color as the 04:40 primary color in the seals and so if 04:43 this is the red one and then this is the 04:46 black room and each one of them did 04:52 different things and then this is green 04:57 so it is all there's a 90 to 85 and 18 05:02 feet so and so but it's the way in which 05:07 you can count you can do you can always 05:10 do two things at once 05:12 which is what I'm always trying to do is 05:18 that so if once be socially engaged 05:24 politically engaged culturally engaged 05:26 but also be aesthetically engaged 05:29 because after all when you're making a 05:32 painting you're making a painting and 05:34 the painting active work as paintings do 05:39 regardless of what's in the painting 05:46 so that's this is one way of dealing 05:50 with history so this is the other with 05:51 art history and with cultural history so 05:55 this is also dealing with with ideas 05:57 about abstraction and representation as 06:00 well so it's logically a tree with some 06:03 leaves the bird and then into the 06:06 building the buildings in the back 06:09 behind the tree a black one and a red 06:12 one so you got red black and green those 06:15 functions in the same way that zips with 06:17 functions in the barn until advanced but 06:22 you can have them do those testing but 06:23 you can add them also refer to a 06:25 represent other things so this is 06:26 actually a kind of book it's a kind of a 06:31 representation of the same two Baldwin's 06:33 book the fire next time I always 06:37 considered myself a history manner and 06:42 in the broadest sense of the term you 06:46 know and getting in the way we 06:50 understand our history history painting 06:54 was the more privileged discipline in 06:57 the history in the way we think about 06:59 our because it was the thing that 07:02 requires the most intellectual 07:04 investment and the highest degree of 07:06 skill in order to realize adequately so 07:12 this is what everybody who was going 07:13 through the Academy who was studying you 07:15 and looking at Leonardo and looking at 07:17 nickel Angela this is what they wanted 07:19 to do they wanted to be able to 07:20 demonstrate their intellectual capacity 07:25 their organizational skills the 07:28 compositional skills they have that is a 07:30 way of managing figures all those things 07:32 all of that stuff is supposed to come 07:34 together in these things called history 07:36 paintings portrait painting was one of 07:39 the lowest levels of performance that 07:41 artists could be invested in they only 07:45 did and they did but that was the only 07:48 way they can really make money like 07:50 artists only really made their living 07:52 really by doing sports 07:55 especially after the period with the 07:57 church was the primary patron for what 08:01 artists did it's all artists so though 08:05 salons in Europe were an opportunity for 08:09 artists do these giant history paintings 08:13 to demonstrate what they can do so that 08:16 people get excited about those works 08:17 that work would be bought by either the 08:20 king or by the state and then the people 08:23 who couldn't buy that work you know the 08:25 Barons and ascension people like that 08:28 they will get their fortune aided by 08:29 that artist because even the hot artist 08:31 for the moment that's how it worked but 08:33 I do 08:35 portraits that are about historical 08:37 figures who have a meaningful presence 08:41 of American history but for whom there 08:43 are no images that represent them and so 08:47 the next four pictures are part of a 08:49 group called the Stono group and we know 08:52 one of the earliest slave rebellions in 08:54 the United States in the 18th century 08:56 before the night chances but in the 18th 08:58 century was a rebellion in jet in North 09:02 Carolina 09:02 millstone River by a group of slaves who 09:05 it very nearly managed to get to sing 09:09 along all the things lured away the 09:11 Spanish that promised that anybody who 09:13 could escape to st. Augustine would be 09:17 made free so they were on their way but 09:22 they made a fatal mistake big mistake 09:25 come inside I am cutting here forth on 09:28 their way so they stop they say this day 09:32 they were feeling good about themselves 09:34 they stopped and saw that the body 09:36 basically 09:39 and that gave people in town enough time 09:44 the reorganized regroup and cut them off 09:47 before they got across the river and 09:48 that was the end of that so of all of 09:51 the leaders well did everybody was 09:54 effectively killed in home but I made a 09:59 group of portraits that the man who is 10:01 the leader group was named Cato or Ginny 10:05 and so all of these images are actually 10:08 of the person who was the leader event 10:10 of the group it was also the Stono 10:12 rebellion also known as Cato's rebellion 10:15 and so I made some impetus of all these 10:18 figures on this is at the dawn with the 10:21 breaking of Dawn on the gallows and you 10:25 see it he's won variations of the name 10:28 Cato or Ginny or jvk dough with came 10:33 with seed over that I was why I mean 10:36 it's up this is very ancient honor but 10:38 these are all representatives of the 10:40 stomach group the Stone Roses and 10:43 through the for painting you see it 10:44 starts out in just that daybreak and it 10:46 is a brightness but they also figures 10:51 like this one the painting of John punch 10:53 with another figure who around whom the 10:57 idea of black people that slaves for 10:59 life was codified and some of these are 11:04 people who have a presence in history 11:06 but a problem there's no representation 11:08 and often it's a representation it's an 11:10 image of somebody that that is the 11:13 catalyst for people looking further into 11:15 the story to find out

00:01 [Music] 00:16 this is not my work but it has something 00:21 to do with things that I do 00:22 I took a children's literature class 00:24 with the professor that MIT is calm hope 00:26 that this is over four years ago that I 00:29 had no idea where mrs. couples in the 00:31 weatherman's couples are still living or 00:33 not these drawing our drawings that were 00:35 done by mr. Campos his father who had a 00:38 syndicated comic strip that ran in the 00:40 newspapers and at the end of the 00:43 semester of class I had with her she 00:45 asked me to come there often and visit 00:46 with her because he had something she 00:47 wanted to give me and these were the 00:48 things she wanted to give these original 00:52 drawings for comic strips that her 00:53 father had made and so it says something 00:57 about the kind of investment that people 00:59 who are teaching here at LACC having 01:01 students who are part of their classes 01:03 that when the understood interested 01:06 something that really work loud if they 01:08 had anything to offer that was of any 01:10 value and that could help then they were 01:13 more than willing and happy to give and 01:15 that was the thing I think I learned 01:17 about being in LA CC that that 01:20 subsequently you seems to be seem to be 01:24 different in other places legally they 01:27 seem to care people who are really good 01:30 in the arts where there's being a good 01:32 singer a good dancer a good draftsman 01:36 this painter that all of those things 01:38 depended on talent and there were some 01:42 people who were boiled with the talent 01:43 and there were other people who were not 01:45 and for the people who were not there 01:47 was nothing you could do for them there 01:51 was no way they could get in and 01:53 participate in the game at the highest 01:55 level well I was fortunate enough never 01:58 to believe that because what I came to 02:01 believe was that it was knowledge was 02:04 better than hell 02:05 that the more you knew the more you are 02:07 able to do and that the more you do the 02:12 more you were able to then decide where 02:14 you want to fit in and how you want to 02:16 fit in 02:17 so you become the arbiter of how you 02:20 participate rather than waiting on the 02:23 sidelines for somebody to recognize 02:24 something of value they think they see 02:26 in you 02:27and then if your chance bioscience 02:29 promoters because I'm all about 02:31 self-determination you have to know what 02:34 you want and then you have to develop a 02:37 strategy for how to get it and the fact 02:39 that you make a decision about one thing 02:41 at a given time has no bearing on 02:44 whether or not you can change your mind 02:46 later on but it's important at some 02:49 point to name the thing that you want to 02:51 set it down on papers to see what it 02:53 looks like as an object and then look at 02:56 it from a lot of different sides and 02:57 then decide how you want to handle it 03:00 clarity is more important than anything 03:02 else there's nothing worse than being 03:04 really vague about we're trying to get 03:06 it so in my work you'll see that there's 03:10 a certain kind of clarity and work in 03:12 everything that I do but there's a lot 03:15 of variety in the things that I do as 03:17 well I'm going backwards in time in a 03:20 way although this is not the last thing 03:22 I did as a fan of you paint so what's 03:25 the board about this painting for me not 03:28 in its singularity per se but this 03:31 painting is now hitting the mountain not 03:34 in New York so in the collection there 03:37 if so since one of my early ambitions 03:40 from that first field trip we took the 03:42 LA County Art Museum for 49th Street 03:44 school one of my additions was to be in 03:46 that museum they have a work in there 03:48 they would sit alongside all the other 03:49 work that was in that museum that was my 03:51 goal and I understand out what it what 03:54 was it going to take for me in order for 03:55 me to be a better cheese act and so my 03:58 approach to what I do has everything to 03:59 do with that is and 04:01 in the same sense that that if you look 04:05at the pantheon of museums around the 04:07 world at the top of the list of your 04:10 museums like the Museum of Modern Art 04:11 like the Metropolitan Museum like the 04:14 Whitney Museum like a Louvre like I mean 04:16 they're all these idiots around the 04:18 world in bed on some level helped design 04:22 all of our ideas our notions and our 04:26 expectations of what good things in work 04:30 for important things in art work on so 04:33 this is where people go to find out 04:36 [Music] 04:40 paetynn epub and advance my but it's an 04:44 early Colossus 04:46 this is a clause from around that period 04:47 when when I was in 1978 1979 1980 when I 04:53 was starting to show at Coppin so this 04:59 is fairly fans three two or three years 05:03 old an interesting story about this 05:05 picture so at my studio in Chicago I am 05:09 my yard man's and mr. Barnes who cut my 05:13 grass eating with his team of people cut 05:16 my grass and mr. Barnes from Mississippi 05:19 so he retired last year so now I don't 05:22 have anybody expiry to cut my graduates 05:25 up somebody who kind of comes by 05:26 randomly but Mr Bond I could count on 05:28 but mr. Boozman 71 years 17 years old 05:31 if 71 years old he's been cutting grass 05:32 outfit for my studio for about six seven 05:34 years and then his wife had a stroke and 05:37 he wanted to move down to back down to 05:39 George and it'd be nearer to his family 05:41 and so but so I was having to show it 05:45 was weren't a gallery in London and but 05:48 so before the work went out the studio I 05:51 put the barns and the crew want to come 05:53 in and see everything forward left so I 05:57 hadn't come in and look around at all 05:59 the work and mr. Bartlett says that 06:00 painting he says she's so cute 06:05 she talking to me in the debate with the 06:19 barn respond to his words in it and was 06:25 perfect was perfect 06:28 now that's that should the show in 06:30 London I had it David's word a gallery 06:33 Daisy the other was to come by but we 06:36 were we reckon leaving for the airport 06:38 so that's that show I did that David or 06:43 the galleries would had a title a 06:44 thematic and look-see and it said 06:47 something about if a part of my mission 06:50 was to establish a present for a black 06:55 figure the ideas like this with Benedict 06:57 and his museum world and within it 06:59 within the circle the art historical 07:01 canon this is how I sort of structure 07:04 the way I approach the work that I do 07:05 even if I don't always have a dream but 07:08 often I have a theme announcement and 07:10 eyes they're often ideas I want to 07:12 project and when I trying to project an 07:15 idea like when I'm looking at all of the 07:17 different ways in which that idea might 07:19 be represented might be configured and 07:23 so and since in art the idea of 07:28 aesthetics have always been connected 07:30 with notions of beauty this is one of 07:32 the functions that are performed is to 07:35 help establish some paradigms so what we 07:37 understand to beads up beautiful as an 07:39 idea and so I do that with the work that 07:43 I do as well 07:45 and people always wonder what this is 07:48 the crown on the head on the head of 07:50 this figure what that represent and I 07:53 was telling whether internet that crown 07:55 is accident was modeled after the crown 07:59 this is glorious myth there was the 08:01 second Miss black America in 1968 that 08:07 we know there was only a Miss black 08:09 America pageant 08:10 they wouldn't like like women 08:11 participate in the Miss America passion 08:13 and the idea that Miss black America 08:16 pattern as a tire was that it was 08:18 supposed to happen the day after the 08:20 Miss America pageant took place on the 08:23 same stage in the same venue and part of 08:28 that was to make the point about the way 08:33 in which black women were excluded from 08:35 notions of beauty and the participation 08:37 that a pageant that were simply caught 08:39 aside what the beautiful law now is that 08:42 a portion of the arts or that shadows is 08:47 for myself and so and it's so the 08:53 function this painting it special things 08:55 that are going to come up activists that 08:57 are key to the reason why this painting 08:59 could exist and how they're painting so 09:01 this launched me into the way of 09:07 thinking and the the period in which all 09:10 of them flex because that you saw 09:12 earlier developed they all come from 09:14 this they all come from this painting 09:17 and this painting comes in part from a 09:21 way in which the idea in which this 09:24 notion of dealing with issues of 09:26 visibility and invisibility has been 09:29 structured within American culture and 09:31 in part was influenced by a reading of 09:33 Ralph Ellison's book Invisible Man in 09:36 which he outlines how the condition of 09:40 invisibility has nothing to do with the 09:42 kind of rational capacity of people to 09:44 see or not see but it had to do a lot 09:46 with psychological way in which black 09:49 people would never desire to be seen I 09:52 started making this painting based on 09:54 this with a black figure that was 09:55 against the black background where you 09:59 could all go to be see and then not see 10:01 the figure well in these cases the one 10:03 thing that was always going to be 10:05 present with the white teeth and then 10:08 white of the eye and those things has to 10:10 do with folklore and with Jonas 10:14 you know in my life and an experience 10:17 that sort of really made that vivid 10:19 because she's an actor and a director of 10:24 the play that she was working on was 10:26 insensitive 10:27 Cheryl would you smile so we can figure 10:29 out where you are and with light gravity 10:31 so here we

00:00 [Music] 00:14 thank you everybody 00:16 everybody's improved here and the 00:19 audience there's AI devastates you make 00:21 a play from who provided a good time 00:25 resources they need to help students to 00:27 feel whenever they ambitions not so I 00:29 appreciate what you appreciate what you 00:32 all do for being here now a lot of 00:35 people in the audience I'm starting to 00:37 pick out now with this new Canadian who 00:39 mare from the old days for me I think 00:42 Marty Kaplan sitting right back there 00:45 third row now body cosmetic this is the 00:48 gallery where she bought that painting 00:51 the fortress W art said the shadow of 00:53 his former self 00:54 that painting wasn't in a show it was in 00:57 the back rooms if you know anything 01:00 about how gallery should start up with 01:03 artists you know they take a lot of 01:04 stuff in and put it in the back room and 01:07 it show it to people or people ask about 01:09 it then they try to get a kind of sense 01:11 of whether or not you might have a 01:12 little bit of something because if you 01:17 don't if nobody asked about it if nobody 01:20 seems interested you don't get a chance 01:22 to be in that gallery in a show bed sort 01:26 of the reality of housing out how the 01:27 art world work but that picture was the 01:29 first picture I drew you Marty Kaplan it 01:31 was the first and literally the first 01:33 the day after she put it in the gallery 01:35 that first day I got a call from her the 01:37 next day that somebody was interested in 01:38 it now that painting was actually a 01:41 pivotal painting for me for a lot of 01:43 reasons I'm going to get to that later 01:45 but before I get to all of that I think 01:47 there's a lot of stuff to talk about 01:49 just about being back here at LACC for 01:53 me in a lot of ways you're second to 01:55 Odin the oldest Art Institute where I 01:57 ultimately went to school and which was 01:59 one of the reasons I came to LA CC 02:01 because when you start at school and 02:02 openness you only started school in ODIs 02:04 as a junior so you have to do your two 02:07 years of general education somewhere 02:09 else and then you train 02:10 Angeles and I came to LA CC to do my two 02:14 years of study partly because it was a 02:16 legendary place I mean I was never down 02:19 on 48th Street between McKinley and 02:21 Avila south central that's rifle if I 02:23 went 49th Street school and with the 02:25 congregation I'm with the Jefferson High 02:27 School it really but and so coming to 02:31 LSE see women is like this is the big 02:33 lead because I had already decided that 02:35 when I was in grade school that I wanted 02:38 to go to school at Otis and part of the 02:40 reason I wanted to go to school and Otis 02:42 was called Charles white and he should 02:43 name and I had encounter child life 02:48 early on in my life in about the third 02:51 or fourth grade there was a book called 02:52 great Negroes past and present but I 02:56 took out of the library bill that's when 02:58 they take you in third grade to the 02:59 library - chomps use the car catalog in 03:02 the Dewey Decimal System they don't have 03:03 any Annette they show you how to do that 03:07 then we went on a field trip to the 03:08 public library from school where they 03:10 tell Jeff come down to get a library 03:12 card of your home and when you start 03:14 taking books out of the library that was 03:16 one of my introduction to what art was 03:18 and the whole idea of what was 03:20 meaningful about art started to develop 03:22 because instead so of course you can 03:25 take the card catalog you can look for 03:27 motive autumn look at but the better way 03:30 to do it to me and I think the better 03:33 approach to learning about anything 03:34 they're simply they go in your library 03:36 and look at every single book that's 03:37 ending and so I went through the art 03:39 section I look at every single book that 03:42 was on the Shelf in the art section of 03:44 the library the reason why that's an 03:46 important thing to do is cut you have no 03:48 idea what it is you really need to see 03:50 or what impact the things you see you're 03:52 going to have on you later on in your 03:55 life so to have some idea that you got 03:57 to only pick out the books that you're 03:58 really interested in and go to those 04:00 things first where that's the best thing 04:02 I mean there's the idea to get into 04:04 knowledge stream and then accepted to 04:06 get to become comfortable with and used 04:08 to and determined to be in the stream 04:11 where every 04:11 you look at it an opportunity to learn 04:13 something you didn't know about before 04:15 and so that's how my interested in in 04:18 the art world got started now but when I 04:22 came to LACC I have a lot of great 04:24 experiences some of my oldest friends I 04:27 met here at almond City College and some 04:29 of them Athenians are teaching here as 04:30 well and then we end up at school at 04:32 OSHA Kevin Louie Serrano is one of my 04:35 oldest friends we met when we were both 04:36 19 years old and he and his wife Allison 04:39 Ronald Louis Leterrier the art 04:41 department we met we became friends we 04:43 are still friends and he's when I come 04:44 to LA sometimes it is the only person I 04:47 will be interested in seeing when I come 04:48 into the city after over 40 years of 04:52 knowing but I also had experiences 04:54 there's been an old teacher of mine 04:56 she's not over but she was a teacher of 04:58 mine in in the sense that when I was 05:00 here at LSE season top perfect and came 05:02 loose with Kaitlyn I saw out in the 05:04 hallway there she is right there 05:05 Kaitlyn's top printmaking here I said 05:08 print making plans we came and we became 05:10 friends almost instantly to the people 05:13 that I'm in marketing field is my green 05:15 so when Marcus the directors out in 05:16 watch towers Art Center after John 05:18 Oliver is retired from there the mark 05:20 was one of the artists who was shown in 05:22 LA he and markers a little older than I 05:24 am just a little 05:28 but one of those people that you look up 05:31 to and admire I mean we were all people 05:33 who came through Brockman gallery back 05:35 in the day you know when lots of things 05:38 and Dale Davis brothers rockin gallery 05:40 over it on Destin both line we're all 05:42 people who came in when the first shows 05:45 that I was in was a show that was cooked 05:47 against by operation bootstraps 05:50 they used to have art contests and when 05:53 I was in school and Jeff I had a piece 05:56 in in our content they want a second 05:58 prize and the show they had so that show 06:00 was at Brockman gallery and second prize 06:03 would along with that second prize came 06:05 in a scholarship to take drawing classes 06:08 at Art Center College of Design but I 06:10 didn't want to go to Art Center because I 06:13 had found out about Otis and I've been 06:15 bitten by the fine art bug and I thought 06:17 I said it was like a commercial article 06:19 William decided to illustration the 06:20 graphic design and stuff like that I 06:22 wouldn't have a none of that I was 06:26 because I had already been introduced 06:28 not only through those books I was 06:30 looking at in library but through field 06:31 trips to the LA County Art Museum 06:33 there was something about the status of 06:35 artworks that were in the LA County 06:36 occupancy and that had a special class 06:38 and I wanted to be a part of that class 06:40 and so when I came to LACC those are my 06:43 ambitions over my goals and I got even 06:46 never some of the best teachers you 06:47 could have been encountered teaching here 06:49 and they did so much to help me really 06:54 consolidate my understanding of what it 06:57 really meant to make things to be 07:00 productive and to not only be productive 07:03 but also being knowledgeable about the 07:04 things that you produce 07:06 [Music]

UA-cam Transcript: 00:00 [Music] 00:23 yeah 00:26 you are 00:29 [Music] 00:56 [Music] 01:02 as deliberate what you realize that a 01:05 human body summer in every configuration 01:06 every kind of change before the name you 01:08 can either believe you don't have to go 01:11 and find a particular body you can make 01:14 the values that you want and because I'm 01:16 what I don't what I don't do is true how 01:20 about making my figures black boy there 01:22 I don't take somebody I don't take 01:24 somebody and then make them black that 01:27 would be kind of like a kind of a black 01:29 face to make that thing I don't do that 01:30 I create things that a mythical black 01:32 from the moment they were born until the 01:35 figures you bases and on your ideal oh 01:41 yeah for example that person that 01:43 movement that was mine 01:45 okay old defending that they all 01:48 everyone is but they're all right 01:50 because you're emitting everything you 01:52 do the whole idea of making artwork in 01:55 general and presenting a kind of an 01:57 idealized of the body 02:00 that's what and if you take that 02:03 figurative work some figurative 02:04 representation is the foundation of art 02:10 you can go so we started that foundation 02:13 right then you have to figure out a 02:15 reason to be a reason to be a stress 02:18 [Music] 02:54 [Music] 02:58 I still love you even though I don't see 03:37 you all right let me dry off a little 04:08 bit 04:15 [Music] 04:18 I are the and if I was able to color a 04:26 black yeah people are not always as black 04:35 is there a reason because they're black 04:38 people could have excuse words you think 04:41 about so why I might not so in a very in 04:46 a rare from great they're flashing their 04:49 white icicle not white like your dress 04:53 but you know you don't ask people to 04:55 paint that's not an issue but 04:59 rhetorically speaking this is how we 05:00 identify yourself out there when you 05:02 identify yourself rhetorically you 05:04 identify yourself in a way where you 05:05 gather the most power and you have the 05:08 most impact 05:09 so black power is more powerful than 05:12 gray power I think a brown power caramel 05:16 color power you dig around going through 05:20 slightly off to hell in a brown of a pan 05:23 heaven itself is like our is the attacks 05:27 and that's a rhetorical device so 05:29 blackness is rhetoric so in a pictures 05:31 so paintings are built around for 05:33 terrible language to so the language to 05:36 make the paintings of rhetoric hey you 05:39 got a whole pack 05:49 touch do something for somewhere I mean 05:53 I think as I mean everything I say maybe 05:55 like ever you really have to write you 05:58 have to do it I mean there's nothing and 06:01 you can't be stopped you can't 06:06 I can only tell them by their whole name 06:14 shortman you can get people short they 06:26 can't learn there's nothing that I 06:30 worked on project all over their way get 06:43 involved yeah but you can write you 06:53 can't let doubt be the determining 06:56 factor you because you will be unsure of 06:59 yourself sometimes too but you got it 07:01 it's just I mean the thing that I think 07:05 is really important if it really matters 07:07 to you a lot then when you teach this 07:09 you have to do it even when you don't 07:11 feel know it because it's like whether 07:13 you do it or not the genetics whether 07:16 you feel good about you had a given time 07:18 about that change in place 07:21 now so who cares who cares where they 07:27 excited what do you expect I mean 07:30 literally answers what you expect and 07:32 whether so you have four C's 07:39 by not being so it doesn't might be in 07:44 there by showing up the dynamics of the 07:47 system like welcome to things like I'm 07:50 not over I don't I'm not over that see 07:55 my eyeballs have regression which are 07:58 very inspiring like addiction profile to 08:01 be there and I'm not 08:24 I don't 08:29 [Music] 08:30 there tomorrow job today 08:40 so if you think about in this moment in 08:43 this time this period so if you look at 08:47 the Whitney moment but Guggenheim commit 08:53 like all you can go around the crust 08:55 around the people who is gone is working 08:59 in there whether those people I know 09:01 baby 09:03 what are they paused they decide how 09:05 they help how they define what they 09:07 think is valuable and worked as they 09:11 made the woman listen to what people who 09:17 are artists touring the new critics and 09:18 who are philosophers listen to where 09:19 they say about the eggs and address 09:21 those questions that's really it so if 09:25 you you look at what's what gets shown 09:27 as the Whitney but curators do there 09:29 look at where you find out what they 09:30 believe and you can address the things 09:33 you're going to dress that believe 09:34 because their believes are something 09:36 about the status of artworks no not 09:38 about individual I'm going to say fun 09:40 status of artworks in general or and 09:42 that's what you write and so important 09:44 you want to you want to get into that 09:45 best conversation one game and you want 09:49 to get into it at the point at which 09:51 decisions about what happens next one 09:54 are going to be the ones that you have 09:57 but you've got to have some sense of 09:59 what the old forward and was currently 10:03 showing to the museum itself yeah in 10:06 around an epidemic going because that's 10:08 that's the discipline that's like if you 10:11 want to get a Nobel Prize what kind of 10:13 research do you have to do in order to 10:14 be eligible for Nobel Prize do that 10:17 research okay control and chef yeah or 10:20 that research okay okay right now what 10:30 I'm working with 10:34 we have on campus that are moving around 10:35 two million from being response of 10:39 exiting notation but you see the nature 10:43 of the inquiry in MLA all my life 10:48 but as can you could you could you take 10:52 what you just said could you describe 10:55 what it is and what effect the thing 10:59 that results from that activity he 11:01 prescribed Keaney can you identify what 11:04 effective that close there's going to be 11:06 honest yep 11:08 right now okay write it out because you 11:11 need to then check it again writing that 11:13 your head okay and then swing if they 11:16 need see we're using music as Canada as 11:22 a source of reference and as a catapult 11:27 something a can fold into the activity 11:31 you look at how a record it made so 11:35 gifted seeing the sound engineering 11:37 sound board and next comes 11:40 you look at secretary they're just mean 11:51 a level of each one of those one at a 11:53 time one increment of the time because 11:55 they're trying to hit what they think is 11:58 the kind of magical sound can you make 12:02 art works better calibrate it like that 12:04 when you can notice those same hands of 12:05 incremental adjustments to make 12:08 same-same more vibrate more the more 12:13 resin can you can make artwork that you 12:15 can adjust like that to innovate I mean 12:19 but but being in the beat in the work 12:21 and knowing what it's doing how its 12:23 performing enough to be able to make a 12:25 slight adjustment that makes all the 12:27 difference ago okay I see what you're 12:29 saying yeah I mean that system it takes 12:32 that kind of awareness of what you're 12:34 actually doing and then what the effects 12:36 ever possible so yep I think you have to 12:39 be able to calibrate things I like to a 12:41 degree it is alright we're waiting let 12:51 me just this place I get the photos one 12:56 okay oh you're hiding that perler 13:14 [Music] 13:29 when 13:31 [Music] 13:40 you 13:42 [Music]

Thanks for this opportunity and ongoing support.

Amazing Job!!!!!!! Now is the time for everyone to speak up about their rights as Americans and what being an American means to them and if it means to do so Via art then do so. Make your voice heard in any way. Let your art be the voice and be seen by all.

Great job!! Thanks for taking the time to inform us all of all the issues that our community is facing and helping out to make it a better place. Thanks to Elizabeth Lopez, Kidogo, Marlos, President Martinez, Gronk the artist that I have yet to meet. and everyone else that participated in this. Thank you!