[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:10.21,0:00:14.79,Default,,0000,0000,0000,,[ RACKSTRAW DOWNES ] I was driving across the landscape \Nand there was this endlessness in Texas.
Dialogue: 0,0:00:15.48,0:00:17.96,Default,,0000,0000,0000,,There’s almost nothing. It \Nis deserts and there’s just
Dialogue: 0,0:00:17.96,0:00:21.60,Default,,0000,0000,0000,,a little bit of scrubby vegetation \Nhere and there. Then suddenly in the
Dialogue: 0,0:00:21.60,0:00:26.54,Default,,0000,0000,0000,,middle of all this emptiness were these \Npink mountains around the edge of it.
Dialogue: 0,0:00:29.16,0:00:31.42,Default,,0000,0000,0000,,Every direction there were these hills.
Dialogue: 0,0:00:36.36,0:00:38.92,Default,,0000,0000,0000,,Perched around in this empty landscape were these
Dialogue: 0,0:00:38.92,0:00:43.79,Default,,0000,0000,0000,,tiny little structures made out of \Npipe with corrugated roofs on them.
Dialogue: 0,0:00:44.13,0:00:49.43,Default,,0000,0000,0000,,Because in the desert, shade is the most \Npriceless thing you can get, shade and water.
Dialogue: 0,0:00:50.92,0:00:55.00,Default,,0000,0000,0000,,Took me an hour or so to \Nunderstand that it was a racetrack.
Dialogue: 0,0:00:56.12,0:00:59.92,Default,,0000,0000,0000,,And so these corrugated roofs \Nwere shelters for the horses.
Dialogue: 0,0:01:00.88,0:01:06.31,Default,,0000,0000,0000,,There was a judge’s tower. And then \Nthere were two spectator shelters.
Dialogue: 0,0:01:06.76,0:01:13.35,Default,,0000,0000,0000,,I was fascinated by these lovely little airy \Nstructures which lived so lightly on this earth.
Dialogue: 0,0:01:16.40,0:01:19.90,Default,,0000,0000,0000,,And I ended up making five drawings that really \Ninterested me.
Dialogue: 0,0:01:19.90,0:01:21.65,Default,,0000,0000,0000,,One of them I never painted,
Dialogue: 0,0:01:21.65,0:01:25.94,Default,,0000,0000,0000,,but I made four large paintings that went \Ntogether. They’re all the same height.
Dialogue: 0,0:01:26.22,0:01:28.79,Default,,0000,0000,0000,,Two winters I spent on those four paintings.
Dialogue: 0,0:01:34.76,0:01:39.59,Default,,0000,0000,0000,,I was interested in sparseness \Nand extreme clarity.
Dialogue: 0,0:01:39.59,0:01:45.20,Default,,0000,0000,0000,,Each thing was different. Mountains were pink, the \Nstructures were silvery-white.
Dialogue: 0,0:01:45.20,0:01:50.73,Default,,0000,0000,0000,,The desert floor was a sandy yellow. I actually went \Nout and bought some new tubes of paint.
Dialogue: 0,0:01:56.81,0:02:00.68,Default,,0000,0000,0000,,I first came out to Marfa because of \Nthe mountains.
Dialogue: 0,0:02:01.80,0:02:06.36,Default,,0000,0000,0000,,I had been painting for many years in New Jersey, which \Nis flat.
Dialogue: 0,0:02:06.36,0:02:10.78,Default,,0000,0000,0000,,And the Texas coast near Galveston and High Island and \NBeaumont,
Dialogue: 0,0:02:10.78,0:02:12.72,Default,,0000,0000,0000,,all flat as could be.
Dialogue: 0,0:02:20.19,0:02:23.49,Default,,0000,0000,0000,,I’d been to Utah, I’d been and \Nseen these magnificent mountains.
Dialogue: 0,0:02:23.49,0:02:26.80,Default,,0000,0000,0000,,And these weren’t magnificent \Nand I liked that about them.
Dialogue: 0,0:02:28.41,0:02:33.89,Default,,0000,0000,0000,,In the meantime of course I came out here and \Npainted Judd’s buildings instead of the mountains.
Dialogue: 0,0:02:42.86,0:02:48.89,Default,,0000,0000,0000,,Those two buildings there, standing in the \Nprairie like that, without their other ten,
Dialogue: 0,0:02:48.89,0:02:56.58,Default,,0000,0000,0000,,those sites were a little bit like ruins and construction \Nsites both at once, because they were abandoned construction sites.
Dialogue: 0,0:02:58.84,0:03:00.96,Default,,0000,0000,0000,,I was fascinated by those things.
Dialogue: 0,0:03:00.96,0:03:05.16,Default,,0000,0000,0000,,They weren’t shapes our culture teaches us \Nthat buildings should be in.
Dialogue: 0,0:03:17.44,0:03:24.14,Default,,0000,0000,0000,,And then I came down to Presidio and immediately \Nresponded to those sand hills up there.
Dialogue: 0,0:03:24.14,0:03:28.79,Default,,0000,0000,0000,,They’re not classic mountains at all, but very odd.
Dialogue: 0,0:03:28.79,0:03:31.34,Default,,0000,0000,0000,,You’ve got height and you’ve got depth,
Dialogue: 0,0:03:31.34,0:03:35.82,Default,,0000,0000,0000,,looking down and looking up are real ideas \Nin painting.
Dialogue: 0,0:03:35.82,0:03:40.14,Default,,0000,0000,0000,,And they’re very different from painting on the flat-scape or painting on the \Nlevel ground.
Dialogue: 0,0:03:43.54,0:03:49.44,Default,,0000,0000,0000,,I was astonished at the drama of the light as it moved around those forms.
Dialogue: 0,0:03:49.44,0:03:55.15,Default,,0000,0000,0000,,The way those shadows were first on one side \Nand then on the other side of the late afternoon.
Dialogue: 0,0:03:55.15,0:03:56.97,Default,,0000,0000,0000,,Totally different.
Dialogue: 0,0:04:10.08,0:04:16.09,Default,,0000,0000,0000,,It’s not my drama, it’s a drama of the sun \Nmaking this effect on that mountain.
Dialogue: 0,0:04:16.09,0:04:18.67,Default,,0000,0000,0000,,I want to keep my emotions out of it.
Dialogue: 0,0:04:18.67,0:04:22.94,Default,,0000,0000,0000,,My emotions should \Nbe the emotion of respect for that form.
Dialogue: 0,0:04:22.94,0:04:24.79,Default,,0000,0000,0000,,Almost reverence.
Dialogue: 0,0:04:27.05,0:04:30.100,Default,,0000,0000,0000,,I go over that same little shadow \Nover and over again till I get that shape.
Dialogue: 0,0:04:30.100,0:04:37.14,Default,,0000,0000,0000,,It has a character. It has ex...some kind of \Nlittle curlicue there where that rock sticks up.
Dialogue: 0,0:04:37.14,0:04:41.26,Default,,0000,0000,0000,,And you’ve got to get that curlicue \Nand you’re not satisfied till you get it.
Dialogue: 0,0:04:44.11,0:04:50.50,Default,,0000,0000,0000,,There’s a rapport between my image and that real \Nthing out there. They answer to one another.
Dialogue: 0,0:05:03.24,0:05:07.20,Default,,0000,0000,0000,,I get very possessive of my places \Nand I don’t want any other artist
Dialogue: 0,0:05:07.20,0:05:10.04,Default,,0000,0000,0000,,coming around here and messing \Naround and painting my places.
Dialogue: 0,0:05:10.04,0:05:15.00,Default,,0000,0000,0000,,Or photographers or any other kind \Nof image-maker. I want it to myself.
Dialogue: 0,0:05:17.28,0:05:21.40,Default,,0000,0000,0000,,As you stay there longer you discover more.
Dialogue: 0,0:05:21.64,0:05:24.54,Default,,0000,0000,0000,,You are constantly learning from the site you’ve chosen.
Dialogue: 0,0:05:24.54,0:05:29.48,Default,,0000,0000,0000,,And I often feel that I could go \Non working on a painting almost indefinitely.
Dialogue: 0,0:05:32.36,0:05:37.29,Default,,0000,0000,0000,,Towards the end of a painting you begin to look \Naround and you say, "Now, I wonder why I didn’t stand over there,"
Dialogue: 0,0:05:37.29,0:05:39.95,Default,,0000,0000,0000,,"Why did I stand in Point A \Ninstead of Point B?"
Dialogue: 0,0:05:39.95,0:05:44.38,Default,,0000,0000,0000,,[ laughs ] And you think, "That would have made a terrific one \Ntoo from over here."
Dialogue: 0,0:05:44.38,0:05:48.74,Default,,0000,0000,0000,,"But I’ve kind of, I’m done here. \NI’m finished, I want to move on."
Dialogue: 0,0:06:13.08,0:06:17.73,Default,,0000,0000,0000,,When I left Maine, it was an emotion very much \Nlike that that’s made me do it.
Dialogue: 0,0:06:17.73,0:06:23.99,Default,,0000,0000,0000,,I was painting a line of hills and my hand \Nsaid to me, "Get out of here.
Dialogue: 0,0:06:23.99,0:06:29.18,Default,,0000,0000,0000,,"Don’t do this anymore. You’ve made that line of hills so many times, you need to go somewhere \Nelse.
Dialogue: 0,0:06:30.15,0:06:33.05,Default,,0000,0000,0000,,And I put my house up for sale that day.
Dialogue: 0,0:06:38.46,0:06:46.41,Default,,0000,0000,0000,,One of my favorite writers on painting said that landscape artist \Nseems to have to move to a new location in order to reinvent himself.
Dialogue: 0,0:06:46.41,0:06:48.76,Default,,0000,0000,0000,,And I think there’s some truth there.
Dialogue: 0,0:06:53.80,0:06:56.64,Default,,0000,0000,0000,,I don’t think of myself as being a landscape \Npainter.
Dialogue: 0,0:06:57.00,0:07:01.74,Default,,0000,0000,0000,,In the popular envisioning of that term,
Dialogue: 0,0:07:01.74,0:07:09.51,Default,,0000,0000,0000,,a landscape consists of a painting with a--a field and a pond and a tree and a mountain in the distance, et cetera, et cetera.
Dialogue: 0,0:07:09.64,0:07:11.96,Default,,0000,0000,0000,,It’s a sort of \Nrecipe thing.
Dialogue: 0,0:07:12.11,0:07:19.11,Default,,0000,0000,0000,,I hope very much that my paintings don’t look like recipe paintings, that I’ve gone \Nto other places and seen something different.
Dialogue: 0,0:07:20.57,0:07:24.13,Default,,0000,0000,0000,,I like to say I paint my \Nenvironment, my surroundings.
Dialogue: 0,0:07:25.63,0:07:30.37,Default,,0000,0000,0000,,It gives you the idea that it is a physical \Nthing that surrounds you and it does,
Dialogue: 0,0:07:30.37,0:07:34.20,Default,,0000,0000,0000,,it takes us immediately away from \Nthe flat plain image of the world.
Dialogue: 0,0:07:34.65,0:07:39.64,Default,,0000,0000,0000,,Surroundings implies that the \Nlandscape does really curve around you.
Dialogue: 0,0:07:39.96,0:07:46.37,Default,,0000,0000,0000,,Because I follow the curve that I see the \Ncurve also expressed this way on the canvas.
Dialogue: 0,0:07:52.19,0:07:57.37,Default,,0000,0000,0000,,And if you’re standing on a high hill and you look at a straight \Nroad down here and the foreground of your painting
Dialogue: 0,0:07:57.37,0:08:03.10,Default,,0000,0000,0000,,down below, it’ll tend to...it’ll curve up like this \Nand the horizon will curve down like this.
Dialogue: 0,0:08:03.10,0:08:08.30,Default,,0000,0000,0000,,So you get this sort of almond shape composition \Nthat does repeat itself in my painting.
Dialogue: 0,0:08:16.22,0:08:20.82,Default,,0000,0000,0000,,That whole idea of the wandering eye \Npopped into my head back then.
Dialogue: 0,0:08:21.18,0:08:25.65,Default,,0000,0000,0000,,That you don’t see an image all at once, \Nyou see it part by part. It unfolds.
Dialogue: 0,0:08:32.44,0:08:35.36,Default,,0000,0000,0000,,The first painting I did like that \Nwas of the Natural History Museum,
Dialogue: 0,0:08:35.36,0:08:37.75,Default,,0000,0000,0000,,before they built the big dome there.
Dialogue: 0,0:08:38.35,0:08:44.92,Default,,0000,0000,0000,,I thought, "If I stand here and paint that marvelous \Nthing there, against the light, you can’t see that
Dialogue: 0,0:08:44.92,0:08:48.70,Default,,0000,0000,0000,,it’s red, really. It just is a darkness. You don’t \Nknow what it is."
Dialogue: 0,0:08:48.89,0:08:57.62,Default,,0000,0000,0000,,And then I look to the left and down the street, 81st Street I think, and then \Ndown the avenue which is, Columbus maybe.
Dialogue: 0,0:08:57.92,0:09:01.38,Default,,0000,0000,0000,,I’m turning my head nearly a 180 degrees.
Dialogue: 0,0:09:02.28,0:09:05.00,Default,,0000,0000,0000,,So that you really have gone a \Nlong way. You’ve gone the whole
Dialogue: 0,0:09:05.00,0:09:08.36,Default,,0000,0000,0000,,way through the building and \Nyou’ve arrived at this vista
Dialogue: 0,0:09:08.36,0:09:12.55,Default,,0000,0000,0000,,and then you’ve arrived at the opposite \Nvista in the other end of the painting.
Dialogue: 0,0:09:17.32,0:09:21.30,Default,,0000,0000,0000,,Perspective is not what I’m interested \Nin, that is for sure.
Dialogue: 0,0:09:21.66,0:09:24.93,Default,,0000,0000,0000,,I went out into the landscape and started working,
Dialogue: 0,0:09:24.93,0:09:27.73,Default,,0000,0000,0000,,boom, just as though I were an abstract painter.
Dialogue: 0,0:09:27.94,0:09:36.43,Default,,0000,0000,0000,,And I didn’t start out with the idea, \Nwell you know your vanishing point is here and then your flanking trees are here and \Nhere.
Dialogue: 0,0:09:36.62,0:09:39.16,Default,,0000,0000,0000,,I didn’t construct it like that at all.
Dialogue: 0,0:09:40.34,0:09:45.72,Default,,0000,0000,0000,,I began to find that things, perspective \Ntold me it didn’t seem to be true to my eyes.
Dialogue: 0,0:09:46.06,0:09:51.72,Default,,0000,0000,0000,,And I’m not sure what is true to my \Neyes, I’m not sure it’s something that I can really ascertain or write down,
Dialogue: 0,0:09:51.87,0:09:56.39,Default,,0000,0000,0000,,but I know that everything changes as you make \Nthe minutest movement in your head,
Dialogue: 0,0:09:56.58,0:09:58.95,Default,,0000,0000,0000,,and still more when you \Nturn your shoulders.
Dialogue: 0,0:10:07.20,0:10:11.58,Default,,0000,0000,0000,,There is no solution to the representation of the \Nworld.
Dialogue: 0,0:10:11.84,0:10:20.78,Default,,0000,0000,0000,,As soon as you take a three-dimensional world in which there is movement and \Nplace it on a two-dimensional surface,
Dialogue: 0,0:10:20.78,0:10:23.50,Default,,0000,0000,0000,,you move into the world of \Nmetaphor, inevitably.
Dialogue: 0,0:10:23.50,0:10:29.60,Default,,0000,0000,0000,,And perspective is an attempt to standardize \Nthe metaphor of the depiction of space.
Dialogue: 0,0:10:36.72,0:10:40.16,Default,,0000,0000,0000,,The fact that you have these problems though \Nare of course the reason that makes you
Dialogue: 0,0:10:40.16,0:10:41.73,Default,,0000,0000,0000,,want to go out and do it again.
Dialogue: 0,0:10:41.73,0:10:43.69,Default,,0000,0000,0000,,It’s always alive.
Dialogue: 0,0:10:43.69,0:10:47.83,Default,,0000,0000,0000,,And I don’t want solutions, that would not be interesting to me.
Dialogue: 0,0:10:47.83,0:10:52.84,Default,,0000,0000,0000,,The process itself is an unsolved problem and always will be.
Dialogue: 0,0:10:52.84,0:10:54.44,Default,,0000,0000,0000,,[ chuckles ]
Dialogue: 0,0:11:11.72,0:11:17.83,Default,,0000,0000,0000,,My first trip down here, I passed a little \Ngroup of beehives.
Dialogue: 0,0:11:17.83,0:11:21.38,Default,,0000,0000,0000,,And I liked the way they were grouped in this big empty landscape.
Dialogue: 0,0:11:26.37,0:11:34.32,Default,,0000,0000,0000,,I just put those beehives in the back of my head and I was down on the Rio Grande, \Ndrawing a water gauge measuring station
Dialogue: 0,0:11:34.32,0:11:38.61,Default,,0000,0000,0000,,and the man came up and stood behind me \Nand watched me draw for a little bit.
Dialogue: 0,0:11:38.61,0:11:41.60,Default,,0000,0000,0000,,I turned around and I said, "Excuse me, but
Dialogue: 0,0:11:41.60,0:11:47.45,Default,,0000,0000,0000,,"you don’t happen to know who owns those beehives up the \NCasa Piedra Road, do you by any chance?" He said, "Yes, I do."
Dialogue: 0,0:11:49.80,0:11:55.11,Default,,0000,0000,0000,,When the snow starts to fly up in Colorado, he brings those bees down here to the Rio \NGrande
Dialogue: 0,0:11:55.11,0:11:57.78,Default,,0000,0000,0000,,and sets them up in these small groups.
Dialogue: 0,0:11:59.36,0:12:03.18,Default,,0000,0000,0000,,And had about six drawings of beehives \NI made all in one day.
Dialogue: 0,0:12:03.18,0:12:07.63,Default,,0000,0000,0000,,And I looked at them and I thought, "You know, \Nthey are kind of fun, they really are."
Dialogue: 0,0:12:07.63,0:12:13.20,Default,,0000,0000,0000,,And I started coming back down in November so that I would \Nhave a longer time with the beehives still there.
Dialogue: 0,0:12:13.82,0:12:18.24,Default,,0000,0000,0000,,He got here late one year. He put them all in \Nthese enormous yards.
Dialogue: 0,0:12:18.24,0:12:24.82,Default,,0000,0000,0000,,One in front of a little mountain on the side of the Rio Grande and one out \Nin the middle of the plain towards Candelaria.
Dialogue: 0,0:12:24.82,0:12:27.95,Default,,0000,0000,0000,,So I said, "All right, I’m going to work with these \Ntwo sides."
Dialogue: 0,0:12:27.95,0:12:30.83,Default,,0000,0000,0000,,And all these hundreds of beehives, and I got going on them,
Dialogue: 0,0:12:30.83,0:12:35.54,Default,,0000,0000,0000,,and I got the stretchers built and everything. I said, \N"I’ll never finish this before he moves them away,"
Dialogue: 0,0:12:35.54,0:12:40.82,Default,,0000,0000,0000,,"So I’m going to take these sketches," which were \Noil sketches, for the big canvases,
Dialogue: 0,0:12:40.82,0:12:44.48,Default,,0000,0000,0000,,finish the sketches up \Nlike highly finished paintings.
Dialogue: 0,0:12:44.91,0:12:50.81,Default,,0000,0000,0000,,So I ended up with those two rather small paintings \Nwith many, many, many, many beehives.
Dialogue: 0,0:12:59.25,0:13:03.20,Default,,0000,0000,0000,,I painted a power plant generating station \Nin the middle of the prairie and
Dialogue: 0,0:13:03.20,0:13:10.28,Default,,0000,0000,0000,,I struck by this enormous lump sitting in this enormous \Nflat-scape in which nothing happened.
Dialogue: 0,0:13:10.28,0:13:13.91,Default,,0000,0000,0000,,It was absolutely miles and miles and miles of nothing.
Dialogue: 0,0:13:14.36,0:13:16.75,Default,,0000,0000,0000,,[ laughs ] \NAnd I thought it was wonderful.
Dialogue: 0,0:13:16.75,0:13:24.40,Default,,0000,0000,0000,,Now that was a structural juxtaposition of two disparate things \Nand sitting there and that could make a painting.
Dialogue: 0,0:13:29.68,0:13:34.52,Default,,0000,0000,0000,,As I worked on that thing, a lot of detail \Nof that power plant and fence lines and
Dialogue: 0,0:13:34.52,0:13:37.19,Default,,0000,0000,0000,,ditches and roads \Ncame into the painting,
Dialogue: 0,0:13:37.19,0:13:39.24,Default,,0000,0000,0000,,but very minutely.
Dialogue: 0,0:13:39.24,0:13:45.81,Default,,0000,0000,0000,,The main impact of that painting is this huge lump \Nsitting on this empty tabletop of prairie.
Dialogue: 0,0:13:55.74,0:14:01.26,Default,,0000,0000,0000,,As you paint you’re exploring. "What is \Nthe structure? What is the interest here?"
Dialogue: 0,0:14:01.63,0:14:06.35,Default,,0000,0000,0000,,You go to a place and you are attracted \Nto it for reason "A,"
Dialogue: 0,0:14:06.65,0:14:10.24,Default,,0000,0000,0000,,but once you start painting, \Nreason "A" disappears.
Dialogue: 0,0:14:12.00,0:14:16.58,Default,,0000,0000,0000,,Some factory workers are out having \Na good time in the evening playing softball.
Dialogue: 0,0:14:16.58,0:14:22.44,Default,,0000,0000,0000,,It’s the girl’s team tonight. And you say, "This is kind of nice. This is good \Nthat these people are getting out and having a good time."
Dialogue: 0,0:14:24.00,0:14:27.46,Default,,0000,0000,0000,,That’s the reason you start. And then \Neverything else becomes important.
Dialogue: 0,0:14:27.46,0:14:30.92,Default,,0000,0000,0000,,How long should the shadows be of this tree \Nin the late afternoon?
Dialogue: 0,0:14:30.92,0:14:36.61,Default,,0000,0000,0000,,How do you get the scale of these buildings around \Nhere to work with the scale and the figures?
Dialogue: 0,0:14:36.87,0:14:45.22,Default,,0000,0000,0000,,Blah, blah, blah. All these other considerations come in \Nand that initial idea is completely lost and forgotten.
Dialogue: 0,0:14:45.22,0:14:50.96,Default,,0000,0000,0000,,And you’re involved with other things. \NYou’re involved with the softness of light on the tall grass and the way it changes
Dialogue: 0,0:14:50.96,0:14:53.67,Default,,0000,0000,0000,,when it gets to the mown \Narea of the grass.
Dialogue: 0,0:14:55.04,0:14:59.09,Default,,0000,0000,0000,,Why is it doing that and how do you \Nexpress that in the, in the movement of your brush?
Dialogue: 0,0:14:59.09,0:15:01.76,Default,,0000,0000,0000,,All these other things \Nbecome important to you.
Dialogue: 0,0:15:02.04,0:15:07.51,Default,,0000,0000,0000,,And that old theme, that literary theme that first \Nattracted you is finished. It’s gone.
Dialogue: 0,0:15:15.93,0:15:19.68,Default,,0000,0000,0000,,I’m interested in big open spaces which are empty.
Dialogue: 0,0:15:22.15,0:15:28.45,Default,,0000,0000,0000,,Emptiness, like the emptiness of the racetrack \Narea there with those sparse scatter of buildings.
Dialogue: 0,0:15:30.32,0:15:34.08,Default,,0000,0000,0000,,And then the marvelous markings \Non the floor in the arena that
Dialogue: 0,0:15:34.08,0:15:38.52,Default,,0000,0000,0000,,Judd discovered, that’s like \Nthe tracks on the racetrack.
Dialogue: 0,0:15:40.52,0:15:44.05,Default,,0000,0000,0000,,I had first got interested in those \Nmarkings on the floor in the World Trade Center.
Dialogue: 0,0:15:44.28,0:15:48.64,Default,,0000,0000,0000,,When I painted, that flooring had all \Nbe ripped up 'cause they were vacated spaces.
Dialogue: 0,0:15:50.23,0:15:55.64,Default,,0000,0000,0000,,On that floor you saw all these wonderful \Nscratches and markings and stains.
Dialogue: 0,0:15:55.64,0:16:00.45,Default,,0000,0000,0000,,The history of that floor is just written very richly \Nall over there. And I like that history.
Dialogue: 0,0:16:01.52,0:16:04.66,Default,,0000,0000,0000,,That’s what I mean by saying "reverence" for things \Nout there.
Dialogue: 0,0:16:04.66,0:16:13.10,Default,,0000,0000,0000,,Something as anonymous and minute in a sense and inconsequential as \Na scratch is something. It’s a real thing.
Dialogue: 0,0:16:14.28,0:16:18.11,Default,,0000,0000,0000,,It’s like you and I, it’s a personality. \N[ chuckles ]
Dialogue: 0,0:16:18.56,0:16:21.93,Default,,0000,0000,0000,,It looks empty, but it really, I, I see fullness there.
Dialogue: 0,0:16:22.19,0:16:27.22,Default,,0000,0000,0000,,Yes. And I’d like \Nyou to see that fullness too in my painting.
Dialogue: 0,0:16:46.64,0:16:49.90,Default,,0000,0000,0000,,[ ANNOUNCER ] To learn more about \N"Art in the Twenty-First Century"
Dialogue: 0,0:16:49.90,0:16:51.90,Default,,0000,0000,0000,,and its educational resources,
Dialogue: 0,0:16:51.90,0:16:56.76,Default,,0000,0000,0000,,please visit us online at: \NPBS.org/Art21
Dialogue: 0,0:17:00.09,0:17:03.91,Default,,0000,0000,0000,,“Art in the Twenty-First Century” is available on DVD.
Dialogue: 0,0:17:04.05,0:17:06.70,Default,,0000,0000,0000,,The companion book is also available.
Dialogue: 0,0:17:06.70,0:17:10.55,Default,,0000,0000,0000,,To order, visit us online at: shopPBS.org
Dialogue: 0,0:17:10.55,0:17:15.19,Default,,0000,0000,0000,,or call PBS Home Video at: \N1-800-PLAY-PBS