[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:09.26,0:00:10.60,Default,,0000,0000,0000,,FRED WILSON:\NEverything I want to say
Dialogue: 0,0:00:10.60,0:00:12.86,Default,,0000,0000,0000,,is said by putting\Nthings together.
Dialogue: 0,0:00:13.08,0:00:15.28,Default,,0000,0000,0000,,In my studio, I was always,\Nlike, arranging things.
Dialogue: 0,0:00:15.28,0:00:16.48,Default,,0000,0000,0000,,You know, this is\Nright out of school.
Dialogue: 0,0:00:16.48,0:00:20.40,Default,,0000,0000,0000,,I was, like, I couldn't sort\Nof say that this was my art.
Dialogue: 0,0:00:20.40,0:00:22.40,Default,,0000,0000,0000,,It wasn't art\Nwith a capital A.
Dialogue: 0,0:00:22.40,0:00:24.42,Default,,0000,0000,0000,,But it was really who I was.
Dialogue: 0,0:00:26.85,0:00:30.28,Default,,0000,0000,0000,,— Um... why don't we switch\Nthis back for that...
Dialogue: 0,0:00:30.28,0:00:32.00,Default,,0000,0000,0000,,that figure,\Nthe original figure?
Dialogue: 0,0:00:32.00,0:00:33.13,Default,,0000,0000,0000,,MAN:\NYeah.
Dialogue: 0,0:00:33.76,0:00:35.72,Default,,0000,0000,0000,,WILSON:\NAnd when you start doing
Dialogue: 0,0:00:35.72,0:00:37.60,Default,,0000,0000,0000,,what you really,\Nreally believe in,
Dialogue: 0,0:00:37.60,0:00:39.76,Default,,0000,0000,0000,,that's when you do\Nyour best work.
Dialogue: 0,0:00:44.60,0:00:47.50,Default,,0000,0000,0000,,I did all these pieces with, uh...
Dialogue: 0,0:00:47.50,0:00:51.73,Default,,0000,0000,0000,,these weird tchotchkes, \Nthese so-called "black collectibles."
Dialogue: 0,0:00:52.00,0:00:53.64,Default,,0000,0000,0000,,This one actually\Nwas given to me,
Dialogue: 0,0:00:53.64,0:00:56.45,Default,,0000,0000,0000,,so now I'm trying to make\None big piece
Dialogue: 0,0:00:57.04,0:00:58.96,Default,,0000,0000,0000,,with as many of them as possible\Nand get them out of my life.
Dialogue: 0,0:00:58.96,0:01:00.80,Default,,0000,0000,0000,,It's just sort of bad juju.
Dialogue: 0,0:01:04.16,0:01:07.96,Default,,0000,0000,0000,,WILSON: I really don't have any desire\Nto make things with my hands,
Dialogue: 0,0:01:07.96,0:01:09.28,Default,,0000,0000,0000,,particularly directly.
Dialogue: 0,0:01:09.28,0:01:11.00,Default,,0000,0000,0000,,I don't know\Nwhen I left that behind,
Dialogue: 0,0:01:11.00,0:01:14.96,Default,,0000,0000,0000,,but I get everything\Nthat satisfies my soul
Dialogue: 0,0:01:14.96,0:01:17.12,Default,,0000,0000,0000,,from bringing objects\Nthat are in the world
Dialogue: 0,0:01:17.12,0:01:18.28,Default,,0000,0000,0000,,and manipulating them,
Dialogue: 0,0:01:18.28,0:01:20.80,Default,,0000,0000,0000,,working with spatial\Nrela... arrangements.
Dialogue: 0,0:01:20.80,0:01:24.83,Default,,0000,0000,0000,,And then having things produced\Nthe way I want to see them.
Dialogue: 0,0:01:25.72,0:01:26.68,Default,,0000,0000,0000,,I love making this stuff.
Dialogue: 0,0:01:26.68,0:01:27.52,Default,,0000,0000,0000,,I love doing it.
Dialogue: 0,0:01:27.52,0:01:29.28,Default,,0000,0000,0000,,And it's not easy\Nin that it's simple,
Dialogue: 0,0:01:29.28,0:01:31.78,Default,,0000,0000,0000,,but it's easy\Nin that it just flows out of me.
Dialogue: 0,0:01:32.28,0:01:34.50,Default,,0000,0000,0000,,— This is... that's\Njust the worst one.
Dialogue: 0,0:01:46.17,0:01:47.32,Default,,0000,0000,0000,,WILSON:\NI'm totally inspired
Dialogue: 0,0:01:47.32,0:01:48.52,Default,,0000,0000,0000,,by things around me.
Dialogue: 0,0:01:48.52,0:01:51.56,Default,,0000,0000,0000,,I look at things and wonder\Nwhat they are and why they are.
Dialogue: 0,0:01:54.53,0:01:55.48,Default,,0000,0000,0000,,Everything interests me.
Dialogue: 0,0:01:55.48,0:01:57.20,Default,,0000,0000,0000,,You know, a gum wrapper\Ncould interest me
Dialogue: 0,0:01:57.20,0:01:59.84,Default,,0000,0000,0000,,as much as something,\Nyou know, at The Met.
Dialogue: 0,0:02:00.88,0:02:04.00,Default,,0000,0000,0000,,As I get older,\NI realize that your identity
Dialogue: 0,0:02:04.00,0:02:06.52,Default,,0000,0000,0000,,is really tied largely\Nto your experiences
Dialogue: 0,0:02:06.52,0:02:08.44,Default,,0000,0000,0000,,and that time period\Nthat you grew up.
Dialogue: 0,0:02:09.12,0:02:10.52,Default,,0000,0000,0000,,I was born in the '50s.
Dialogue: 0,0:02:10.52,0:02:12.08,Default,,0000,0000,0000,,I grew up in the suburbs.
Dialogue: 0,0:02:12.08,0:02:13.48,Default,,0000,0000,0000,,When I was\Nelementary school age,
Dialogue: 0,0:02:13.48,0:02:17.12,Default,,0000,0000,0000,,I was the only black child\Nin the entire school
Dialogue: 0,0:02:17.12,0:02:21.03,Default,,0000,0000,0000,,and I was shunned\Nbecause I was different.
Dialogue: 0,0:02:22.72,0:02:24.88,Default,,0000,0000,0000,,My world was not...\Neven though it seemed
Dialogue: 0,0:02:24.88,0:02:27.58,Default,,0000,0000,0000,,like everything was nice,\NI didn't have any friends.
Dialogue: 0,0:02:28.64,0:02:31.16,Default,,0000,0000,0000,,My connection\Nto the black community
Dialogue: 0,0:02:31.16,0:02:33.90,Default,,0000,0000,0000,,was tangential\Nfor those formative years.
Dialogue: 0,0:02:34.24,0:02:36.64,Default,,0000,0000,0000,,So a lot of my project\Nis trying to understand
Dialogue: 0,0:02:36.64,0:02:38.92,Default,,0000,0000,0000,,the visual world around me\Nwhich really affects me.
Dialogue: 0,0:02:38.92,0:02:40.80,Default,,0000,0000,0000,,— Hold it--\Nyeah, that's about right.
Dialogue: 0,0:02:41.76,0:02:44.36,Default,,0000,0000,0000,,WILSON: For me, that's the basis\Nfor a lot of what I do,
Dialogue: 0,0:02:44.36,0:02:46.57,Default,,0000,0000,0000,,is really where\Nthat pain comes from.
Dialogue: 0,0:02:48.28,0:02:50.57,Default,,0000,0000,0000,,My mother married\Nan African-American man.
Dialogue: 0,0:02:50.84,0:02:55.44,Default,,0000,0000,0000,,Her sister married a man from,\Num... from the West Indies
Dialogue: 0,0:02:55.44,0:02:57.11,Default,,0000,0000,0000,,and then a man from Belgium.
Dialogue: 0,0:02:57.72,0:03:00.08,Default,,0000,0000,0000,,And when her other sister\Nmarried a man from India
Dialogue: 0,0:03:00.08,0:03:02.16,Default,,0000,0000,0000,,and her cousin married\Na man from China,
Dialogue: 0,0:03:02.16,0:03:04.60,Default,,0000,0000,0000,,it's difficult for me to not\Nlook at people in the world
Dialogue: 0,0:03:04.60,0:03:06.08,Default,,0000,0000,0000,,and see everyone as a relative.
Dialogue: 0,0:03:06.08,0:03:07.72,Default,,0000,0000,0000,,To me, they're familiar--
Dialogue: 0,0:03:07.72,0:03:10.64,Default,,0000,0000,0000,,familiar in the root\Nof the word: family, familiar.
Dialogue: 0,0:03:10.64,0:03:12.90,Default,,0000,0000,0000,,I feel comfortable with people,
Dialogue: 0,0:03:14.76,0:03:17.56,Default,,0000,0000,0000,,but that comfort is, uh,\Ntempered by the fact
Dialogue: 0,0:03:17.56,0:03:19.70,Default,,0000,0000,0000,,that people may not feel\Nthat way about me.
Dialogue: 0,0:03:23.10,0:03:24.20,Default,,0000,0000,0000,,When I watch glassblowing,
Dialogue: 0,0:03:24.20,0:03:27.08,Default,,0000,0000,0000,,it's like the creation\Nof a planet or something.
Dialogue: 0,0:03:27.08,0:03:30.10,Default,,0000,0000,0000,,You get seduced by the material,\Nby the process.
Dialogue: 0,0:03:32.92,0:03:35.42,Default,,0000,0000,0000,,[ hammer banging ]
Dialogue: 0,0:03:37.68,0:03:41.32,Default,,0000,0000,0000,,And then you almost don't care\Nwhat it looks like afterwards.
Dialogue: 0,0:03:42.27,0:03:44.72,Default,,0000,0000,0000,,— You know what? I'm going to stand right here,\Nbecause this way
Dialogue: 0,0:03:44.72,0:03:47.62,Default,,0000,0000,0000,,I get the same angle\Nas the slide.
Dialogue: 0,0:03:49.53,0:03:50.92,Default,,0000,0000,0000,,WILSON:\NGlass is always a liquid.
Dialogue: 0,0:03:50.92,0:03:53.48,Default,,0000,0000,0000,,It never completely solidifies.
Dialogue: 0,0:03:53.48,0:03:55.56,Default,,0000,0000,0000,,Even though it looks\Nlike it's solid,
Dialogue: 0,0:03:55.56,0:03:57.13,Default,,0000,0000,0000,,it actually is still moving.
Dialogue: 0,0:03:57.49,0:03:59.96,Default,,0000,0000,0000,,[ hammer banging ]
Dialogue: 0,0:03:59.96,0:04:02.64,Default,,0000,0000,0000,,And so making it\Ninto these drip forms
Dialogue: 0,0:04:02.64,0:04:05.00,Default,,0000,0000,0000,,makes inherent sense\Nfor the material.
Dialogue: 0,0:04:06.44,0:04:10.60,Default,,0000,0000,0000,,And I wanted to use black glass\Nbecause it represents ink.
Dialogue: 0,0:04:10.60,0:04:13.88,Default,,0000,0000,0000,,It represents oil;\Nit represents tar.
Dialogue: 0,0:04:15.48,0:04:17.40,Default,,0000,0000,0000,,Some of them have eyes on them.
Dialogue: 0,0:04:17.40,0:04:22.08,Default,,0000,0000,0000,,For me, these, uh, cartoon eyes,\Nbecause of 1930s cartoons,
Dialogue: 0,0:04:22.08,0:04:24.96,Default,,0000,0000,0000,,which were recycled\Nin my childhood in the '60s,
Dialogue: 0,0:04:24.96,0:04:27.48,Default,,0000,0000,0000,,were representing\NAfrican Americans
Dialogue: 0,0:04:27.48,0:04:29.33,Default,,0000,0000,0000,,in a very derogatory way.
Dialogue: 0,0:04:32.44,0:04:34.96,Default,,0000,0000,0000,,I sort of view them\Nas black tears.
Dialogue: 0,0:04:34.96,0:04:38.98,Default,,0000,0000,0000,,So that to me is ultimately\Na sad commentary.
Dialogue: 0,0:04:44.84,0:04:48.60,Default,,0000,0000,0000,,Working with printmaking is very\Nsimilar to working with glass
Dialogue: 0,0:04:48.60,0:04:51.64,Default,,0000,0000,0000,,in that it's outside\Nof what I do.
Dialogue: 0,0:04:56.31,0:04:59.28,Default,,0000,0000,0000,,In printmaking\NI realized that if I...
Dialogue: 0,0:04:59.28,0:05:03.00,Default,,0000,0000,0000,,I could just drop acid...\N[ laughs ]
Dialogue: 0,0:05:03.00,0:05:04.76,Default,,0000,0000,0000,,with this stuff called Spitbite,
Dialogue: 0,0:05:04.76,0:05:08.84,Default,,0000,0000,0000,,just pour it onto a plate\Nand it would eat onto the plate
Dialogue: 0,0:05:08.84,0:05:11.44,Default,,0000,0000,0000,,and it would, you know, kind\Nof make a spot or a splash
Dialogue: 0,0:05:12.10,0:05:15.48,Default,,0000,0000,0000,,and filling it with black ink,
Dialogue: 0,0:05:15.48,0:05:17.52,Default,,0000,0000,0000,,it sort of retains\Nthis spot quality,
Dialogue: 0,0:05:17.52,0:05:19.48,Default,,0000,0000,0000,,and it also has kind of\Na three-dimensional quality
Dialogue: 0,0:05:19.48,0:05:20.48,Default,,0000,0000,0000,,which doesn't happen
Dialogue: 0,0:05:20.48,0:05:22.93,Default,,0000,0000,0000,,when you use ink\Non a piece of paper.
Dialogue: 0,0:05:22.93,0:05:25.82,Default,,0000,0000,0000,,[ acid dripping ]
Dialogue: 0,0:05:25.82,0:05:28.28,Default,,0000,0000,0000,,The directness of that\Nreally thrilled me,
Dialogue: 0,0:05:28.28,0:05:29.52,Default,,0000,0000,0000,,and the fact that that's\Nwhat I'm interested in--
Dialogue: 0,0:05:29.52,0:05:33.64,Default,,0000,0000,0000,,these drips and drops--\Nuh, really worked for me.
Dialogue: 0,0:05:39.32,0:05:40.77,Default,,0000,0000,0000,,— Yeah, that's\Ndoing fine.
Dialogue: 0,0:05:59.14,0:06:01.36,Default,,0000,0000,0000,,WILSON:\NEven before I did the drips,
Dialogue: 0,0:06:01.36,0:06:02.12,Default,,0000,0000,0000,,uh, in glass,
Dialogue: 0,0:06:02.12,0:06:03.84,Default,,0000,0000,0000,,I'd been thinking about spots
Dialogue: 0,0:06:03.84,0:06:07.68,Default,,0000,0000,0000,,and just this, uh,\Nreduction of blackness
Dialogue: 0,0:06:07.68,0:06:09.96,Default,,0000,0000,0000,,to this kind\Nof ridiculous degree.
Dialogue: 0,0:06:09.96,0:06:11.60,Default,,0000,0000,0000,,You know, I think it's\Ninteresting, I think it's funny,
Dialogue: 0,0:06:11.60,0:06:13.44,Default,,0000,0000,0000,,I think it's\Nultimately really sad.
Dialogue: 0,0:06:14.52,0:06:17.84,Default,,0000,0000,0000,,All these representations\Nthat I grew up with
Dialogue: 0,0:06:17.84,0:06:21.14,Default,,0000,0000,0000,,are telling me who I am\Nwhether I realize it or not.
Dialogue: 0,0:06:22.24,0:06:25.28,Default,,0000,0000,0000,,And so by pulling them all out\Nand have them talk to each other
Dialogue: 0,0:06:25.28,0:06:27.40,Default,,0000,0000,0000,,is my sort of\Ntaking control of who I am
Dialogue: 0,0:06:27.40,0:06:29.00,Default,,0000,0000,0000,,through these voices.
Dialogue: 0,0:06:29.00,0:06:31.04,Default,,0000,0000,0000,,And also trying to understand\Nwho I am,
Dialogue: 0,0:06:31.04,0:06:32.52,Default,,0000,0000,0000,,what is me and what is something
Dialogue: 0,0:06:32.52,0:06:34.53,Default,,0000,0000,0000,,that the rest of the world\Nhas said I am.
Dialogue: 0,0:06:38.40,0:06:41.37,Default,,0000,0000,0000,,You know, it comes from this\Ndeep sadness that I, you know...
Dialogue: 0,0:06:42.36,0:06:45.00,Default,,0000,0000,0000,,that, uh... that's\Nkind of the baseline.
Dialogue: 0,0:06:45.00,0:06:47.47,Default,,0000,0000,0000,,I'm not a sad person,\Nbut...
Dialogue: 0,0:06:48.37,0:06:51.01,Default,,0000,0000,0000,,you know, it\Nit bubbles up inside of me.
Dialogue: 0,0:06:58.56,0:07:00.46,Default,,0000,0000,0000,,PRINTER:\NThat's starting to look better.
Dialogue: 0,0:07:00.75,0:07:01.84,Default,,0000,0000,0000,,WILSON:\NYeah.
Dialogue: 0,0:07:01.84,0:07:03.10,Default,,0000,0000,0000,,— Ooh, nice.
Dialogue: 0,0:07:04.02,0:07:04.88,Default,,0000,0000,0000,,WILSON:\NThere are these, like,
Dialogue: 0,0:07:04.88,0:07:06.40,Default,,0000,0000,0000,,in cartoons, thought bubbles
Dialogue: 0,0:07:06.40,0:07:09.28,Default,,0000,0000,0000,,where the spots drop,\Ntalk to each other
Dialogue: 0,0:07:09.28,0:07:11.80,Default,,0000,0000,0000,,and various conversations emerge
Dialogue: 0,0:07:11.80,0:07:13.85,Default,,0000,0000,0000,,from the relationship\Nbetween these spots.
Dialogue: 0,0:07:15.00,0:07:15.88,Default,,0000,0000,0000,,To me it made sense
Dialogue: 0,0:07:15.88,0:07:18.44,Default,,0000,0000,0000,,that the representations\Nof Africans in books
Dialogue: 0,0:07:18.44,0:07:20.40,Default,,0000,0000,0000,,would be the voices\Nfor these representations
Dialogue: 0,0:07:20.40,0:07:23.60,Default,,0000,0000,0000,,of blackness or of black people\Nin these spots.
Dialogue: 0,0:07:23.60,0:07:24.72,Default,,0000,0000,0000,,And so they all\Ntalk to each other
Dialogue: 0,0:07:24.72,0:07:26.32,Default,,0000,0000,0000,,and these different characters,\Nthey're kind of...
Dialogue: 0,0:07:26.32,0:07:30.16,Default,,0000,0000,0000,,the voices and personalities\Ncome out in...
Dialogue: 0,0:07:30.16,0:07:32.96,Default,,0000,0000,0000,,from these little blurbs.
Dialogue: 0,0:07:33.84,0:07:37.88,Default,,0000,0000,0000,,I was thrilled to be chosen\Nto represent the United States
Dialogue: 0,0:07:37.88,0:07:39.49,Default,,0000,0000,0000,,for the Venice Biennale.
Dialogue: 0,0:07:40.08,0:07:45.08,Default,,0000,0000,0000,,The work in Venice had\Nmany different parts.
Dialogue: 0,0:07:45.08,0:07:47.96,Default,,0000,0000,0000,,And the part that is\Nthe most abstract
Dialogue: 0,0:07:47.96,0:07:51.63,Default,,0000,0000,0000,,was this room that I created\Nof black and white tile.
Dialogue: 0,0:07:52.28,0:07:55.96,Default,,0000,0000,0000,,There was this huge black urn\Non its side
Dialogue: 0,0:07:55.96,0:07:58.76,Default,,0000,0000,0000,,and in it was a small bed,
Dialogue: 0,0:07:58.76,0:08:02.36,Default,,0000,0000,0000,,uh, cappuccino cup,\Nsome newspapers, magazines,
Dialogue: 0,0:08:02.36,0:08:04.44,Default,,0000,0000,0000,,um, CD player.
Dialogue: 0,0:08:05.12,0:08:08.72,Default,,0000,0000,0000,,I did those pieces\Nright after September 11th,
Dialogue: 0,0:08:08.72,0:08:11.68,Default,,0000,0000,0000,,wanting the world to go back\Nto the way it was before.
Dialogue: 0,0:08:11.68,0:08:13.31,Default,,0000,0000,0000,,It's called "Safe Haven."
Dialogue: 0,0:08:14.28,0:08:15.28,Default,,0000,0000,0000,,Right around that time,
Dialogue: 0,0:08:15.28,0:08:16.76,Default,,0000,0000,0000,,my mother was getting\Nextremely ill
Dialogue: 0,0:08:16.76,0:08:17.92,Default,,0000,0000,0000,,and was not going to get better.
Dialogue: 0,0:08:17.92,0:08:20.96,Default,,0000,0000,0000,,So this kind of womb shape\Nthat came out,
Dialogue: 0,0:08:20.96,0:08:25.00,Default,,0000,0000,0000,,I do think it has a relationship\Nwith thinking about my mom.
Dialogue: 0,0:08:27.12,0:08:30.65,Default,,0000,0000,0000,,I'm interested in invisible\Nprocesses within museums.
Dialogue: 0,0:08:31.28,0:08:32.96,Default,,0000,0000,0000,,I really start museum projects
Dialogue: 0,0:08:32.96,0:08:34.60,Default,,0000,0000,0000,,without knowing\Nwhat I'm going to do.
Dialogue: 0,0:08:34.60,0:08:38.72,Default,,0000,0000,0000,,I try to just go in,\Nuh, tabula rasa
Dialogue: 0,0:08:38.72,0:08:41.38,Default,,0000,0000,0000,,and try and just\Nsort of be a sponge.
Dialogue: 0,0:08:41.56,0:08:42.92,Default,,0000,0000,0000,,— Okay, right there.
Dialogue: 0,0:08:43.62,0:08:45.04,Default,,0000,0000,0000,,WILSON:\NI work site-specifically.
Dialogue: 0,0:08:45.04,0:08:47.00,Default,,0000,0000,0000,,In Sweden I started\Nthe way I'd normally start:
Dialogue: 0,0:08:47.00,0:08:48.68,Default,,0000,0000,0000,,I meet everyone,\Nlook at the collection
Dialogue: 0,0:08:48.68,0:08:50.00,Default,,0000,0000,0000,,and talk to people\Nabout the collection
Dialogue: 0,0:08:50.00,0:08:51.32,Default,,0000,0000,0000,,and research the collection
Dialogue: 0,0:08:51.32,0:08:53.72,Default,,0000,0000,0000,,and try to understand\Nwhere I am, the city I'm in
Dialogue: 0,0:08:53.72,0:08:55.46,Default,,0000,0000,0000,,and... and... and make a piece.
Dialogue: 0,0:08:55.91,0:08:56.56,Default,,0000,0000,0000,,— I need to get a sense
Dialogue: 0,0:08:56.56,0:08:58.16,Default,,0000,0000,0000,,of what this floor is going\Nto look like.
Dialogue: 0,0:08:58.16,0:09:00.10,Default,,0000,0000,0000,,The model is good,\Nbut this really helps.
Dialogue: 0,0:09:03.38,0:09:07.22,Default,,0000,0000,0000,,WILSON: I'm creating a metanarrative\Nabout museums and display.
Dialogue: 0,0:09:08.08,0:09:09.20,Default,,0000,0000,0000,,— I would like to put in
Dialogue: 0,0:09:09.20,0:09:11.00,Default,,0000,0000,0000,,one of the platforms
Dialogue: 0,0:09:11.00,0:09:13.44,Default,,0000,0000,0000,,so I can see how that looks\Nfrom different angles.
Dialogue: 0,0:09:14.16,0:09:16.28,Default,,0000,0000,0000,,WILSON: I'm just using the museum \Nas my palette, basically--
Dialogue: 0,0:09:17.20,0:09:21.16,Default,,0000,0000,0000,,manipulating objects, light,\Ncolor, spatial relationships
Dialogue: 0,0:09:21.16,0:09:24.42,Default,,0000,0000,0000,,and, uh, critiquing as well\Nthe notion of museum.
Dialogue: 0,0:09:25.28,0:09:27.21,Default,,0000,0000,0000,,— Can you help me to take out?\N— Yes, yes.
Dialogue: 0,0:09:27.21,0:09:29.16,Default,,0000,0000,0000,,I'll put the gloves\Nhere for a minute.
Dialogue: 0,0:09:30.76,0:09:32.60,Default,,0000,0000,0000,,[ straining ]:\NOh, boy, oh, boy-- wow.
Dialogue: 0,0:09:32.60,0:09:34.68,Default,,0000,0000,0000,,Wow, there's certainly stone in here.\N— Yeah.
Dialogue: 0,0:09:34.80,0:09:36.00,Default,,0000,0000,0000,,WILSON: What happens\Nwith a lot of museums
Dialogue: 0,0:09:36.00,0:09:38.00,Default,,0000,0000,0000,,is that galleries are arranged\Nby historians
Dialogue: 0,0:09:38.00,0:09:40.52,Default,,0000,0000,0000,,who are really interested\Nin the history of the object,
Dialogue: 0,0:09:40.52,0:09:44.52,Default,,0000,0000,0000,,the object themselves,\Nand not really so focused
Dialogue: 0,0:09:44.52,0:09:47.12,Default,,0000,0000,0000,,on the environment\Nthese are placed in,
Dialogue: 0,0:09:47.12,0:09:48.24,Default,,0000,0000,0000,,the juxtaposition of objects
Dialogue: 0,0:09:48.24,0:09:51.76,Default,,0000,0000,0000,,and what meaning\Nare they creating.
Dialogue: 0,0:09:51.76,0:09:53.28,Default,,0000,0000,0000,,Besides the visual\Nof the object,
Dialogue: 0,0:09:53.28,0:09:55.56,Default,,0000,0000,0000,,what is the visual of\Nthe space doing to the object,
Dialogue: 0,0:09:55.56,0:09:57.12,Default,,0000,0000,0000,,doing to your experience?
Dialogue: 0,0:09:57.12,0:10:00.15,Default,,0000,0000,0000,,And sort of try to kind\Nof infuse it into those spaces.
Dialogue: 0,0:10:01.52,0:10:04.16,Default,,0000,0000,0000,,It's not only the visual; it's\Nhow this aesthetic experience
Dialogue: 0,0:10:04.16,0:10:07.88,Default,,0000,0000,0000,,affects you emotionally\Nand physically,
Dialogue: 0,0:10:07.88,0:10:10.08,Default,,0000,0000,0000,,and, uh, the power of that.
Dialogue: 0,0:10:10.08,0:10:12.84,Default,,0000,0000,0000,,You know, I'm interested\Nin all that stuff.
Dialogue: 0,0:10:12.84,0:10:13.88,Default,,0000,0000,0000,,Stones, which seem to be
Dialogue: 0,0:10:13.88,0:10:17.08,Default,,0000,0000,0000,,the least movable objects\Non the earth,
Dialogue: 0,0:10:17.08,0:10:19.32,Default,,0000,0000,0000,,are moving everywhere.
Dialogue: 0,0:10:19.32,0:10:23.43,Default,,0000,0000,0000,,The project really became not\Nonly the movement of stones
Dialogue: 0,0:10:24.04,0:10:25.64,Default,,0000,0000,0000,,and archaeological material,
Dialogue: 0,0:10:25.64,0:10:27.61,Default,,0000,0000,0000,,but the movement of people.
Dialogue: 0,0:10:30.59,0:10:33.04,Default,,0000,0000,0000,,The stones I'm choosing because\NI think they're interesting
Dialogue: 0,0:10:33.04,0:10:34.96,Default,,0000,0000,0000,,and I think they're interesting\Nin how they look together.
Dialogue: 0,0:10:34.96,0:10:37.75,Default,,0000,0000,0000,,It's kind of\Nan archaeological site
Dialogue: 0,0:10:38.52,0:10:40.52,Default,,0000,0000,0000,,that would never be\Nand never would be like this.
Dialogue: 0,0:10:40.52,0:10:42.60,Default,,0000,0000,0000,,But it's just to get\Nthis idea across
Dialogue: 0,0:10:42.60,0:10:44.52,Default,,0000,0000,0000,,that these things\Nbeing everywhere
Dialogue: 0,0:10:44.52,0:10:46.52,Default,,0000,0000,0000,,and that they travel\Naround the world,
Dialogue: 0,0:10:46.52,0:10:48.72,Default,,0000,0000,0000,,people take them\Nfrom one place to another.
Dialogue: 0,0:10:48.72,0:10:52.64,Default,,0000,0000,0000,,And since I found this one stone\Nfrom my family's island
Dialogue: 0,0:10:52.64,0:10:53.68,Default,,0000,0000,0000,,and so I saw this connection
Dialogue: 0,0:10:53.68,0:10:58.25,Default,,0000,0000,0000,,between how stone can kind\Nof connect to your identity.
Dialogue: 0,0:10:59.76,0:11:02.52,Default,,0000,0000,0000,,I'm very interested\Nin juxtaposition of objects,
Dialogue: 0,0:11:02.52,0:11:05.20,Default,,0000,0000,0000,,how juxtaposition of very\Ndifferent objects can bring up
Dialogue: 0,0:11:05.20,0:11:07.10,Default,,0000,0000,0000,,a new idea, a new thought.
Dialogue: 0,0:11:07.48,0:11:08.96,Default,,0000,0000,0000,,There's no manipulation\Nof the objects
Dialogue: 0,0:11:08.96,0:11:10.08,Default,,0000,0000,0000,,other than their positioning
Dialogue: 0,0:11:10.08,0:11:12.92,Default,,0000,0000,0000,,and that changes the meaning,\Nor the relationship,
Dialogue: 0,0:11:12.92,0:11:13.96,Default,,0000,0000,0000,,or how you think about them.
Dialogue: 0,0:11:13.96,0:11:16.48,Default,,0000,0000,0000,,And this is everything\Nthat I'm about.
Dialogue: 0,0:11:18.28,0:11:20.24,Default,,0000,0000,0000,,I would like to think\Nthat objects have memories,
Dialogue: 0,0:11:20.24,0:11:23.53,Default,,0000,0000,0000,,and we have memories\Nabout certain objects.
Dialogue: 0,0:11:24.04,0:11:28.16,Default,,0000,0000,0000,,A lot of what I do is soliciting\Nmemory from an object.
Dialogue: 0,0:11:32.52,0:11:34.96,Default,,0000,0000,0000,,The other piece\Nthat expresses another side
Dialogue: 0,0:11:34.96,0:11:36.72,Default,,0000,0000,0000,,of what I've been doing\Nwith museums,
Dialogue: 0,0:11:36.72,0:11:38.92,Default,,0000,0000,0000,,the piece called\N"Picasso/Whose Rules"
Dialogue: 0,0:11:38.92,0:11:42.32,Default,,0000,0000,0000,,using a large photo blowup\Nof "Demoiselles d'Avignon"--
Dialogue: 0,0:11:42.32,0:11:44.72,Default,,0000,0000,0000,,the famous painting by Picasso--
Dialogue: 0,0:11:44.72,0:11:48.84,Default,,0000,0000,0000,,uh, an African mask and a video\Nalso covers
Dialogue: 0,0:11:48.84,0:11:54.68,Default,,0000,0000,0000,,a lot of other of my interests\Nabout art, uh, modernism,
Dialogue: 0,0:11:54.68,0:12:00.18,Default,,0000,0000,0000,,um... you know, ethnography\Nand African culture.
Dialogue: 0,0:12:00.72,0:12:01.48,Default,,0000,0000,0000,,And when I did that,
Dialogue: 0,0:12:01.48,0:12:06.44,Default,,0000,0000,0000,,I was feeling very strongly\Nabout how modernism was a part
Dialogue: 0,0:12:06.44,0:12:09.70,Default,,0000,0000,0000,,of the destruction\Nof traditional African culture.
Dialogue: 0,0:12:11.16,0:12:14.36,Default,,0000,0000,0000,,When Picasso found African\Nthings in the shops in France,
Dialogue: 0,0:12:14.36,0:12:16.48,Default,,0000,0000,0000,,he saw something\Nfar greater in them,
Dialogue: 0,0:12:16.48,0:12:20.20,Default,,0000,0000,0000,,which, you know, of course\Nwe're all thankful to him for.
Dialogue: 0,0:12:20.20,0:12:23.64,Default,,0000,0000,0000,,However, neither the\Nmissionaries, the military men
Dialogue: 0,0:12:23.64,0:12:27.20,Default,,0000,0000,0000,,nor Picasso had a clue
Dialogue: 0,0:12:27.20,0:12:29.20,Default,,0000,0000,0000,,as to what these things\Nwere really about.
Dialogue: 0,0:12:29.20,0:12:30.44,Default,,0000,0000,0000,,If you look through\Nthe eyes of the mask,
Dialogue: 0,0:12:30.44,0:12:34.28,Default,,0000,0000,0000,,there's a video of two\NAfrican friends and myself
Dialogue: 0,0:12:34.28,0:12:38.24,Default,,0000,0000,0000,,speaking about\Nwhat makes art great.
Dialogue: 0,0:12:38.24,0:12:40.68,Default,,0000,0000,0000,,And, um, there are a lot\Nof convoluted questions
Dialogue: 0,0:12:40.68,0:12:44.68,Default,,0000,0000,0000,,like "If your modern art is\Nour traditional art,
Dialogue: 0,0:12:44.68,0:12:48.24,Default,,0000,0000,0000,,does that make our\Ncontemporary art your cliché?"