[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:12.04,0:00:16.16,Default,,0000,0000,0000,,[ JEFF KOONS ] People think that i have\Na large factory that just knocks out work.
Dialogue: 0,0:00:16.16,0:00:20.40,Default,,0000,0000,0000,,If you want to make public works\Nin different mediums, you have
Dialogue: 0,0:00:20.40,0:00:22.26,Default,,0000,0000,0000,,to have support.
Dialogue: 0,0:00:27.61,0:00:30.80,Default,,0000,0000,0000,,I do have a lot of people that\Nwork with me, but we make very
Dialogue: 0,0:00:30.80,0:00:35.35,Default,,0000,0000,0000,,few paintings a year, because it\Ntakes a long time to make each one.
Dialogue: 0,0:00:37.84,0:00:39.16,Default,,0000,0000,0000,,I learned at a very young age
Dialogue: 0,0:00:39.16,0:00:42.72,Default,,0000,0000,0000,,how to take care of myself, and\Ni've always enjoyed providing.
Dialogue: 0,0:00:42.72,0:00:45.36,Default,,0000,0000,0000,,So the studio's really an\Nextension of that.
Dialogue: 0,0:00:45.36,0:00:47.35,Default,,0000,0000,0000,,It's a sense of community.
Dialogue: 0,0:00:53.32,0:00:56.44,Default,,0000,0000,0000,,From the time i was a child,\Ni was self-reliant.
Dialogue: 0,0:00:56.44,0:01:02.21,Default,,0000,0000,0000,,I would go door-to-door, sell\Ngift wrapping paper, candies, chocolates,
Dialogue: 0,0:01:02.21,0:01:03.32,Default,,0000,0000,0000,,and I always enjoyed
Dialogue: 0,0:01:03.32,0:01:06.68,Default,,0000,0000,0000,,that I never knew who would open\Nthat door.
Dialogue: 0,0:01:06.68,0:01:10.41,Default,,0000,0000,0000,,But it's the same thing that's\Nhappening now as an artist today,
Dialogue: 0,0:01:10.41,0:01:13.73,Default,,0000,0000,0000,,wanting this\Ncommunication, this interaction.
Dialogue: 0,0:01:18.48,0:01:20.39,Default,,0000,0000,0000,,It wasn't till I got to art school
Dialogue: 0,0:01:20.39,0:01:25.18,Default,,0000,0000,0000,,that i really understood\Nhow art can connect you through human history
Dialogue: 0,0:01:25.18,0:01:28.13,Default,,0000,0000,0000,,and the type of\Nreservoir that it could be.
Dialogue: 0,0:01:28.34,0:01:30.25,Default,,0000,0000,0000,,If I look at all the works
Dialogue: 0,0:01:30.25,0:01:31.80,Default,,0000,0000,0000,,that i've done over the years,
Dialogue: 0,0:01:31.80,0:01:34.76,Default,,0000,0000,0000,,i can see that i continue with\Ncertain themes.
Dialogue: 0,0:01:34.76,0:01:38.32,Default,,0000,0000,0000,,I like flowers.\NI like certain sensual images.
Dialogue: 0,0:01:38.32,0:01:40.60,Default,,0000,0000,0000,,There's certain things that I\Nlike to work with, 'cause it's
Dialogue: 0,0:01:40.60,0:01:46.16,Default,,0000,0000,0000,,really the same information, how\Nyou look at life and spiritual aspects.
Dialogue: 0,0:01:46.16,0:01:48.92,Default,,0000,0000,0000,,A lot of things continue to come\Ninto play.
Dialogue: 0,0:01:52.67,0:01:55.08,Default,,0000,0000,0000,,Objects are metaphors for\Npeople.
Dialogue: 0,0:01:55.08,0:01:57.60,Default,,0000,0000,0000,,It always turns out to\Nbe about others.
Dialogue: 0,0:01:57.60,0:02:01.44,Default,,0000,0000,0000,,It's not about accepting that\Nobject, high-low culture.
Dialogue: 0,0:02:01.44,0:02:03.91,Default,,0000,0000,0000,,It's about the acceptance of\Nothers.
Dialogue: 0,0:02:31.38,0:02:33.70,Default,,0000,0000,0000,,- You got everything, Chris?\N- Yeah.
Dialogue: 0,0:02:35.17,0:02:38.04,Default,,0000,0000,0000,,- I don't know if these will work with the fins.
Dialogue: 0,0:02:38.04,0:02:39.91,Default,,0000,0000,0000,,- Yeah, these braces weren't there\Nwhen we flipped it.
Dialogue: 0,0:02:39.91,0:02:41.44,Default,,0000,0000,0000,,- We'll take 'em out them. \N- Yeah.
Dialogue: 0,0:02:41.44,0:02:42.63,Default,,0000,0000,0000,,- Screwdriver.
Dialogue: 0,0:02:46.58,0:02:53.58,Default,,0000,0000,0000,,[high-pitched whining]
Dialogue: 0,0:02:53.84,0:02:56.12,Default,,0000,0000,0000,,- We're gonna maybe leave this\None in for the time being.
Dialogue: 0,0:02:56.12,0:02:58.27,Default,,0000,0000,0000,,- Yeah, I wasn't actually gonna take\Nit out.
Dialogue: 0,0:02:58.27,0:02:59.85,Default,,0000,0000,0000,,I did that one, and I missed it.
Dialogue: 0,0:02:59.85,0:03:03.48,Default,,0000,0000,0000,,- 'Cause they'll have enough\Nroom.\N- Mhm.
Dialogue: 0,0:03:04.53,0:03:06.23,Default,,0000,0000,0000,,- Yeah, this one, I'm just\Ngonna leave it.
Dialogue: 0,0:03:31.34,0:03:34.28,Default,,0000,0000,0000,,- Jeff's images are usually\Nmade up of many different sources.
Dialogue: 0,0:03:34.28,0:03:39.01,Default,,0000,0000,0000,,He'll compose these on the\Ncomputer and spend a fair amount
Dialogue: 0,0:03:40.04,0:03:43.84,Default,,0000,0000,0000,,It's our job to reproduce as\Nclose as possible to this reference,
Dialogue: 0,0:03:43.84,0:03:46.25,Default,,0000,0000,0000,,and then we work with\Nhim in the painting process.
Dialogue: 0,0:03:48.28,0:03:51.17,Default,,0000,0000,0000,,We trace the drawing on a larger\Nscale.
Dialogue: 0,0:03:51.86,0:03:54.23,Default,,0000,0000,0000,,We have to mix color to his\Nliking.
Dialogue: 0,0:03:54.78,0:03:56.50,Default,,0000,0000,0000,,Everything is done through maps.
Dialogue: 0,0:03:56.50,0:03:58.36,Default,,0000,0000,0000,,For example, we have a map for the hand.
Dialogue: 0,0:03:58.36,0:04:01.68,Default,,0000,0000,0000,,We have 141 colors just for the\Nfist on that painting.
Dialogue: 0,0:04:01.68,0:04:04.52,Default,,0000,0000,0000,,It's always an ongoing process\Nto try to get it as close to the
Dialogue: 0,0:04:04.52,0:04:05.64,Default,,0000,0000,0000,,reference as possible.
Dialogue: 0,0:04:06.26,0:04:08.76,Default,,0000,0000,0000,,So, for example, if you\Nlooked in here, we have number 21.
Dialogue: 0,0:04:08.76,0:04:12.76,Default,,0000,0000,0000,,We would have somebody mix\Nactual color that would match
Dialogue: 0,0:04:12.76,0:04:14.90,Default,,0000,0000,0000,,that specific area on the\Npainting.
Dialogue: 0,0:04:18.20,0:04:20.16,Default,,0000,0000,0000,,We mix it on the table\Nover there.
Dialogue: 0,0:04:20.16,0:04:21.84,Default,,0000,0000,0000,,We basically make a swatch.
Dialogue: 0,0:04:24.63,0:04:28.72,Default,,0000,0000,0000,,Usually three or four people have to look at the color and\Nagree if it matches or not, and
Dialogue: 0,0:04:28.72,0:04:30.94,Default,,0000,0000,0000,,then we go through and tube these paints
Dialogue: 0,0:04:30.94,0:04:34.01,Default,,0000,0000,0000,,and have boxes full\Nof all the paints that we need.
Dialogue: 0,0:04:35.44,0:04:38.00,Default,,0000,0000,0000,,Flesh is a hard one.\NJeff's very particular on the flesh,
Dialogue: 0,0:04:38.00,0:04:39.96,Default,,0000,0000,0000,,so once we find someone\Nthat we like that does it the
Dialogue: 0,0:04:39.96,0:04:44.00,Default,,0000,0000,0000,,way we want, it's very hard to\Nkeep 'em around, doing it good.
Dialogue: 0,0:04:45.20,0:04:47.76,Default,,0000,0000,0000,,We have people that paint\Ninflatables really well.
Dialogue: 0,0:04:47.76,0:04:50.00,Default,,0000,0000,0000,,People specialize in certain\Nthings.
Dialogue: 0,0:04:50.48,0:04:51.96,Default,,0000,0000,0000,,The way we paint here is very\Nparticular.
Dialogue: 0,0:04:51.96,0:04:53.84,Default,,0000,0000,0000,,It's very smooth.\NSo we have to watch out that
Dialogue: 0,0:04:53.84,0:04:55.16,Default,,0000,0000,0000,,people aren't painting too\Nthick.
Dialogue: 0,0:04:55.16,0:04:56.56,Default,,0000,0000,0000,,It's kind of an irreversible\Nthing.
Dialogue: 0,0:04:56.56,0:04:58.60,Default,,0000,0000,0000,,You can't really fix that.
Dialogue: 0,0:04:59.88,0:05:03.96,Default,,0000,0000,0000,,But generally speaking, it's three people on a painting at\Nall times, and it's probably six
Dialogue: 0,0:05:03.96,0:05:07.31,Default,,0000,0000,0000,,to eight months for a painting,\Nsometimes longer.
Dialogue: 0,0:05:09.36,0:05:11.00,Default,,0000,0000,0000,,Ideas change, techniques change,
Dialogue: 0,0:05:11.00,0:05:13.24,Default,,0000,0000,0000,,so it's always evolving into\Ndifferent things.
Dialogue: 0,0:05:15.32,0:05:17.56,Default,,0000,0000,0000,,I've seen Jeff work on some of\Nthe paintings years ago.
Dialogue: 0,0:05:17.56,0:05:20.00,Default,,0000,0000,0000,,I haven't seen him work so much\Nnow.
Dialogue: 0,0:05:21.72,0:05:24.72,Default,,0000,0000,0000,,The painting process i see him\Nworking is on the computer.
Dialogue: 0,0:05:24.72,0:05:27.52,Default,,0000,0000,0000,,He'll keep composing the image\Nuntil he's happy with it.
Dialogue: 0,0:05:27.52,0:05:29.96,Default,,0000,0000,0000,,That's primarily where i see\Nmost of his time spent.
Dialogue: 0,0:05:29.96,0:05:33.32,Default,,0000,0000,0000,,But he's more hands-on in coming\Nin daily and giving us guidance
Dialogue: 0,0:05:33.32,0:05:35.00,Default,,0000,0000,0000,,on what he wants and how to
Dialogue: 0,0:05:35.00,0:05:38.05,Default,,0000,0000,0000,,execute it to make it look like\Nwhat he wants it to look like.
Dialogue: 0,0:05:43.56,0:05:47.40,Default,,0000,0000,0000,,[ JEFF KOONS ] I think the way art comes\Ninto the world is through
Dialogue: 0,0:05:47.40,0:05:49.52,Default,,0000,0000,0000,,a metaphysical process.
Dialogue: 0,0:05:49.52,0:05:52.44,Default,,0000,0000,0000,,If you try to create art, it's a decorative process.
Dialogue: 0,0:05:52.44,0:05:55.88,Default,,0000,0000,0000,,You're just wasting time,\Nspinning gears until you get so
Dialogue: 0,0:05:55.88,0:06:00.36,Default,,0000,0000,0000,,bored with yourself that you\Njust stop the process and say,
Dialogue: 0,0:06:00.36,0:06:02.20,Default,,0000,0000,0000,,"Okay, what do i really want\Nto do?
Dialogue: 0,0:06:02.20,0:06:05.84,Default,,0000,0000,0000,,What am i interested in?"\Nand you focus on it, and before
Dialogue: 0,0:06:05.84,0:06:08.43,Default,,0000,0000,0000,,you know it, you're in that\Nmetaphysical place.
Dialogue: 0,0:06:12.51,0:06:16.78,Default,,0000,0000,0000,,"Bear and Policeman" that's\Nprobably one of my kind of darker works,
Dialogue: 0,0:06:16.78,0:06:19.92,Default,,0000,0000,0000,,I worked with\Nwood because I wanted to work
Dialogue: 0,0:06:19.92,0:06:22.88,Default,,0000,0000,0000,,with a material that had\Na spiritual side,
Dialogue: 0,0:06:22.88,0:06:24.20,Default,,0000,0000,0000,,that's a living material.
Dialogue: 0,0:06:24.20,0:06:27.48,Default,,0000,0000,0000,,It keeps moving.\NThe church has used it for
Dialogue: 0,0:06:27.48,0:06:31.28,Default,,0000,0000,0000,,a very kind of spiritual aspect\Nto its nature.
Dialogue: 0,0:06:31.28,0:06:36.56,Default,,0000,0000,0000,,"Bear and Policeman" is an image\Nof a bear that's really kind of
Dialogue: 0,0:06:36.56,0:06:40.24,Default,,0000,0000,0000,,outgrown the symbol of\Nauthority, and it's larger than
Dialogue: 0,0:06:40.24,0:06:43.44,Default,,0000,0000,0000,,the bobby, the policeman bobby\Nthat's there.
Dialogue: 0,0:06:43.44,0:06:46.34,Default,,0000,0000,0000,,And it's ready to blow the\Nbobby's whistle.
Dialogue: 0,0:06:47.88,0:06:51.76,Default,,0000,0000,0000,,There is kind of a sense of\Nsexual humiliation there through
Dialogue: 0,0:06:51.76,0:06:56.04,Default,,0000,0000,0000,,overpowering the bobby, and that\Npiece, for me, is really
Dialogue: 0,0:06:56.04,0:07:00.44,Default,,0000,0000,0000,,speaking about that, you know,\Nart should be something really powerful.
Dialogue: 0,0:07:00.44,0:07:05.28,Default,,0000,0000,0000,,Artists should embrace all the\Ntools of art to communicate as
Dialogue: 0,0:07:05.28,0:07:06.60,Default,,0000,0000,0000,,strongly as possible,
Dialogue: 0,0:07:06.60,0:07:11.20,Default,,0000,0000,0000,,as clearly as possible with as\Nmuch a virile quality.
Dialogue: 0,0:07:11.20,0:07:14.80,Default,,0000,0000,0000,,But at the same time,\Nthere's a morality that comes
Dialogue: 0,0:07:14.80,0:07:18.76,Default,,0000,0000,0000,,along with that, and that's just\Nthe respect of other people,
Dialogue: 0,0:07:18.76,0:07:21.30,Default,,0000,0000,0000,,that their rights are equal\Nto yours.
Dialogue: 0,0:07:21.30,0:07:25.20,Default,,0000,0000,0000,,And so, "Bear and Policeman"\Nwas always like art having that
Dialogue: 0,0:07:25.20,0:07:28.84,Default,,0000,0000,0000,,power but being misused and\Ngoing out of control.
Dialogue: 0,0:07:28.84,0:07:31.52,Default,,0000,0000,0000,,And it always reminded me, like,\Nof Hitler.
Dialogue: 0,0:07:31.52,0:07:33.08,Default,,0000,0000,0000,,So i was trying to communicate,
Dialogue: 0,0:07:33.08,0:07:36.04,Default,,0000,0000,0000,,again, artists should embrace\Nall the powers of art, but
Dialogue: 0,0:07:36.04,0:07:38.85,Default,,0000,0000,0000,,there's a moral responsibility\Nthat comes with it.
Dialogue: 0,0:07:44.31,0:07:47.48,Default,,0000,0000,0000,,"Ushering in Banality" is also\Nfrom the "Banality" series.
Dialogue: 0,0:07:47.48,0:07:49.68,Default,,0000,0000,0000,,It's also made out of wood.
Dialogue: 0,0:07:50.92,0:07:54.20,Default,,0000,0000,0000,,I always felt that it was\Na little autobiographical.
Dialogue: 0,0:07:54.36,0:07:57.84,Default,,0000,0000,0000,,The young boy in the back\Npushing the pig, I always
Dialogue: 0,0:07:57.84,0:08:02.28,Default,,0000,0000,0000,,thought of as myself pushing in\Nthis belief of really trying to
Dialogue: 0,0:08:02.28,0:08:06.40,Default,,0000,0000,0000,,make work that would communicate\Nto people that their own
Dialogue: 0,0:08:06.40,0:08:11.68,Default,,0000,0000,0000,,cultural history to that moment\Nwas perfect, absolutely perfect.
Dialogue: 0,0:08:11.68,0:08:15.96,Default,,0000,0000,0000,,Cultural history, personal\Nhistory, everything is perfect,
Dialogue: 0,0:08:16.40,0:08:20.92,Default,,0000,0000,0000,,and that that would give them\Na foundation to move forward in life.
Dialogue: 0,0:08:20.92,0:08:23.92,Default,,0000,0000,0000,,You know, art can be something\Nwhich can really disempower
Dialogue: 0,0:08:23.92,0:08:28.60,Default,,0000,0000,0000,,people and can make them feel\Ncompletely inferior—and some
Dialogue: 0,0:08:28.60,0:08:32.28,Default,,0000,0000,0000,,people can get a sense of power\Nfrom that—or it can be
Dialogue: 0,0:08:32.28,0:08:35.56,Default,,0000,0000,0000,,a vehicle which can\Nempower people.
Dialogue: 0,0:08:35.56,0:08:38.80,Default,,0000,0000,0000,,And i also get a sense of power\Nfrom empowering.
Dialogue: 0,0:08:41.84,0:08:45.80,Default,,0000,0000,0000,,There are theatrical aspects\Ntaking place in Versailles.
Dialogue: 0,0:08:45.80,0:08:48.68,Default,,0000,0000,0000,,My artworks want to show\Nthemselves.
Dialogue: 0,0:08:48.68,0:08:52.68,Default,,0000,0000,0000,,The artworks are extroverted.\NThe major salons are about
Dialogue: 0,0:08:52.68,0:08:53.64,Default,,0000,0000,0000,,public interaction.
Dialogue: 0,0:08:53.64,0:08:56.45,Default,,0000,0000,0000,,It's for the public to be there.
Dialogue: 0,0:08:58.28,0:09:03.44,Default,,0000,0000,0000,,I had to position myself in a certain way even to be\Naccepted within that situation
Dialogue: 0,0:09:03.44,0:09:06.88,Default,,0000,0000,0000,,of Louis XIV, just like any\Nartist of the court would have
Dialogue: 0,0:09:06.88,0:09:10.04,Default,,0000,0000,0000,,to present themself in a certain\Nway.
Dialogue: 0,0:09:10.04,0:09:14.20,Default,,0000,0000,0000,,The way I did that, I showed my\Nself-portrait bust, and I put
Dialogue: 0,0:09:14.20,0:09:18.96,Default,,0000,0000,0000,,the bust on top of a plinth that\Nwas designed by Bernini, so it
Dialogue: 0,0:09:18.96,0:09:19.76,Default,,0000,0000,0000,,was quite high.
Dialogue: 0,0:09:19.76,0:09:22.44,Default,,0000,0000,0000,,It was probably about 11 feet up\Nin the air.
Dialogue: 0,0:09:22.44,0:09:25.24,Default,,0000,0000,0000,,And I remember when I made this\Nsuggestion, some of the
Dialogue: 0,0:09:25.24,0:09:28.04,Default,,0000,0000,0000,,assistants at Versailles started\Nto giggle.
Dialogue: 0,0:09:28.04,0:09:29.60,Default,,0000,0000,0000,,They thought, "How could he do\Nthat?
Dialogue: 0,0:09:29.60,0:09:33.20,Default,,0000,0000,0000,,How could he, you know, put\Nhimself on such a position like
Dialogue: 0,0:09:33.20,0:09:35.32,Default,,0000,0000,0000,,that on a Bernini base?"
Dialogue: 0,0:09:35.32,0:09:39.00,Default,,0000,0000,0000,,But i realized that that was\Nkind of necessary, and that was
Dialogue: 0,0:09:39.00,0:09:43.16,Default,,0000,0000,0000,,across from the portrait of\NLouis XIV by Rigaud, and I think
Dialogue: 0,0:09:43.16,0:09:46.57,Default,,0000,0000,0000,,it worked, and I think Louis XIV\Nappreciated it.
Dialogue: 0,0:09:49.68,0:09:54.52,Default,,0000,0000,0000,,When I'm at Versailles, it never\Nreally seems to be about excess,
Dialogue: 0,0:09:54.52,0:09:59.12,Default,,0000,0000,0000,,because it seems to be about\Ndetail and enjoying the detail.
Dialogue: 0,0:10:11.76,0:10:15.36,Default,,0000,0000,0000,,I really enjoyed the lobster\Nhanging—I think it was in the
Dialogue: 0,0:10:15.36,0:10:17.04,Default,,0000,0000,0000,,Salon de Mars.
Dialogue: 0,0:10:17.04,0:10:20.20,Default,,0000,0000,0000,,If you look at the lobster, it's\Na little bit like a performer,
Dialogue: 0,0:10:20.20,0:10:25.84,Default,,0000,0000,0000,,like an acrobat, kind of broad\Narms, and the tentacles are like
Dialogue: 0,0:10:25.84,0:10:27.52,Default,,0000,0000,0000,,a mustache.
Dialogue: 0,0:10:27.52,0:10:31.32,Default,,0000,0000,0000,,But if you look closely, the\Ngraphics on the lobster are like
Dialogue: 0,0:10:31.32,0:10:33.68,Default,,0000,0000,0000,,somebody being burned at the\Nstake.
Dialogue: 0,0:10:33.68,0:10:36.92,Default,,0000,0000,0000,,So you also have this sense that\Nif you're in the public eye long
Dialogue: 0,0:10:36.92,0:10:40.17,Default,,0000,0000,0000,,enough, that's an inevitable\Nfate.
Dialogue: 0,0:10:56.12,0:10:58.57,Default,,0000,0000,0000,,To be able to have an exhibition at Versailles,
Dialogue: 0,0:10:58.57,0:11:00.60,Default,,0000,0000,0000,,it's really\Na special opportunity.
Dialogue: 0,0:11:07.36,0:11:11.32,Default,,0000,0000,0000,,I spent about five weeks of the\Nsummer being in the gardens and
Dialogue: 0,0:11:11.32,0:11:14.81,Default,,0000,0000,0000,,going through the palace, and then I \Nplanted “Split-Rocker."
Dialogue: 0,0:11:15.04,0:11:18.24,Default,,0000,0000,0000,,There are 90,000 flowers, and I\Nworked with a team of gardeners
Dialogue: 0,0:11:18.24,0:11:19.92,Default,,0000,0000,0000,,from Versailles.
Dialogue: 0,0:11:19.92,0:11:23.00,Default,,0000,0000,0000,,And this was the first time that\NI ever planted a floral piece
Dialogue: 0,0:11:23.00,0:11:24.92,Default,,0000,0000,0000,,completely mathematically.
Dialogue: 0,0:11:24.92,0:11:27.72,Default,,0000,0000,0000,,It's based on a pattern of five\Nplants.
Dialogue: 0,0:11:27.72,0:11:31.84,Default,,0000,0000,0000,,I have different light colors\Nand dark colors and mid colors.
Dialogue: 0,0:11:31.84,0:11:34.68,Default,,0000,0000,0000,,But it's all done in\Nmathematical patterns,
Dialogue: 0,0:11:34.68,0:11:36.24,Default,,0000,0000,0000,,and I never did that before.
Dialogue: 0,0:11:36.24,0:11:39.05,Default,,0000,0000,0000,,I thought that was really\Nappropriate for Versailles.
Dialogue: 0,0:11:39.67,0:11:46.54,Default,,0000,0000,0000,,[ speaking French ]
Dialogue: 0,0:12:04.59,0:12:09.94,Default,,0000,0000,0000,,[ speaking French ]
Dialogue: 0,0:12:12.80,0:12:14.20,Default,,0000,0000,0000,,[ JEFF KOONS ] One of the things that I came
Dialogue: 0,0:12:14.20,0:12:18.76,Default,,0000,0000,0000,,to realize in this last year--\NI had several major exhibitions.
Dialogue: 0,0:12:18.76,0:12:22.60,Default,,0000,0000,0000,,I had a show at Chicago at the\NMuseum of Contemporary Art.
Dialogue: 0,0:12:22.60,0:12:26.12,Default,,0000,0000,0000,,I had the show on the roof of\NThe Metropolitan in New York,
Dialogue: 0,0:12:26.12,0:12:28.28,Default,,0000,0000,0000,,exhibition at Versailles,
Dialogue: 0,0:12:28.28,0:12:32.40,Default,,0000,0000,0000,,and then also at the Neue Nationalgalerie in Berlin.
Dialogue: 0,0:12:32.40,0:12:36.36,Default,,0000,0000,0000,,I had a chance to see different\Nbodies of work inter-reacting
Dialogue: 0,0:12:36.36,0:12:38.24,Default,,0000,0000,0000,,with each other.
Dialogue: 0,0:12:38.24,0:12:43.03,Default,,0000,0000,0000,,The images can change a lot.\NThe reason for making something can change.
Dialogue: 0,0:12:43.03,0:12:45.00,Default,,0000,0000,0000,,Some things can be more\Ncerebral.
Dialogue: 0,0:12:45.00,0:12:49.24,Default,,0000,0000,0000,,Other ones can be more physical.\NBut what doesn't change is that
Dialogue: 0,0:12:49.24,0:12:51.16,Default,,0000,0000,0000,,reason for making them,
Dialogue: 0,0:12:51.16,0:12:56.24,Default,,0000,0000,0000,,that desire to be in that moment\Nof that time when you want to
Dialogue: 0,0:12:56.24,0:13:00.28,Default,,0000,0000,0000,,make something, just diving\Nin, that kind of sense of
Dialogue: 0,0:13:00.28,0:13:04.20,Default,,0000,0000,0000,,abandonment of kind of any doubt\Nand just going for it.
Dialogue: 0,0:13:04.20,0:13:08.76,Default,,0000,0000,0000,,And that's really what's\Nimportant to me as the viewer in this case.
Dialogue: 0,0:13:08.76,0:13:11.96,Default,,0000,0000,0000,,I know that other viewers can\Nlook at it, and they can feel
Dialogue: 0,0:13:11.96,0:13:16.64,Default,,0000,0000,0000,,something, but I hope that the\Nmain charge that they're getting
Dialogue: 0,0:13:16.64,0:13:20.16,Default,,0000,0000,0000,,is that sense of commitment of\Nmoving forward on something,
Dialogue: 0,0:13:20.16,0:13:22.42,Default,,0000,0000,0000,,that commitment of gesture.
Dialogue: 0,0:13:47.15,0:13:51.23,Default,,0000,0000,0000,,[ ANNOUNCER ] To learn more about \NArt21: “Art in the Twenty-First Century"
Dialogue: 0,0:13:51.23,0:13:53.23,Default,,0000,0000,0000,,and its educational resources,
Dialogue: 0,0:13:53.23,0:13:56.36,Default,,0000,0000,0000,,please visit us online at: \NPBS.org
Dialogue: 0,0:14:00.30,0:14:05.92,Default,,0000,0000,0000,,Art21: “Art in the Twenty-First Century” is available on Blu-Ray and DVD.
Dialogue: 0,0:14:06.01,0:14:08.18,Default,,0000,0000,0000,,The companion book is also available.
Dialogue: 0,0:14:08.18,0:14:11.26,Default,,0000,0000,0000,,To order, visit us online at: shopPBS.org
Dialogue: 0,0:14:11.26,0:14:15.54,Default,,0000,0000,0000,,or call PBS Home Video at: \N1-800-PLAY-PBS