¡Colores!; 1915; Feminist Artist Judy Chicago, Exhibition (The '80S And The Rise Of Women Artists, Aids Crisis, And Street Art), Playwright David Adjmi, Sculptor Danny Scheible

>>THIS TIME ON COLORES... >>FEMINIST JUDY CHICAGO TALKS ABOUT HER AMBITION TO BE AN ARTIST AT A TIME WHEN FEW FEMALE ARTISTS RECEIVED RECOGNITION. >>I have devoted my life and my work to overcoming the silence about women's achievements. >>WE SEE ANOTHER SIDE OF THE 80S ... ONE WITH THE RISE OF WOMEN ARTISTS, THE HEARTBREAKING IMPACT OFTHE AIDS CRISIS AND STREET ART. >>The show begins in 1979 when remarkably Mulsworth says, women finally became a dominant force in the mainstream art world. >>MANY SEE MARIE ANTOINETTE AS AN EVIL QUEEN WHOSE WHIMSY RUINED A NATION. BUT PLAYWRITE DAVID ADIMICREATES A MARIE WHO WAS A VICTIM OF CIRCUMSTANCE. >>I thought it would be more interesting not to demonize her. >>SCULPTURE ARTIST DANNY

SCHEIBLE CREATES CITIES FROM MASKING TAPE. >>Scheible: I make art everywhere I go and I make it so I can interact with people and show them that art is just the same as going to work. >>IT'S ALL AHEAD ON COLORES! >>THIS PROGRAM IS MADE POSSIBLE IN PART BY... FUNDING LANGUAGE FOR MAKERS. >>JUDY CHICAGO GREW UP AT A TIME WHEN TO BE AN ARTIST AND BE A WOMAN YOU HAD TO HAVE COURAGE. SHE TALKS ABOUT HER JOURNEY OF OVERCOMING OBSTACLES. >>Gustavus: JUDY YOU'RE

A GROUND-BREAKING FEMINIST ARTIST AND YOU ALSO FOUNDED THROUGH THE FLOWER WHICH HIGHLIGHTS THE ACHIEVEMENTS OF WOMEN IN ART AND THE SIGNIFICANCE OF ART. WHY IS IT IMPORTANT TO HIGHLIGHT WOMEN AND THEIR ACHIEVEMENTS TO COMBAT SOME OF THE LACK OF RECOGNITION FOR WOMEN ARTISTS? >> CHICAGO: WHEN I WAS A YOUNG GIRL I WAS GOING TO SCHOOL AT UCLA.I WAS VERY AMBITIOUS. I WENT TO ART CLASSES AT THE CHICAGO ART INSTITUTE FROM THE TIME I WAS FIVE. I WANTED TO BE AN ARTIST WHEN I GREW UP. AND OF COURSE ANY WOMEN HANGING IN THE CHICAGO ART INSTITUTE WHEN I WENT EVERY SATURDAY. WHEN I WAS IN COLLEGE AT EAST LA, I TOOK A COURSE CALLED THE INTELLECTUAL HISTORY OF EUROPE AND THE PROFESSOR SAID THAT AT THE LAST SESSION, CONTRIBUTIONS. I WAITED ALL SEMESTER BECAUSE I WANTED TO KNOW ABOUT THE WOMEN WHO HAD BEEN BEFORE ME AND HE WALKED UP AT THE LAST CLASS AND HE SAID, WOMENS CONTRIBUTIONS, THEY HAVE MADE NONE. NOW, HOW DOES THAT MAKE

A YOUNG WOMAN FEEL? HOW DOES THAT MAKE A YOUNG WOMAN STUDENT OR A YOUNG WOMAN ART STUDENT WHO HASN'T MADE HER FIELD, TO SIT IN CLASSES THAT TALK ABOUT WHAT MEN DID? LOOK AT WHAT MEN'S ART WAS? NOW AND THEN MAYBE SEE A WORK BY A WOMAN. WHAT DOES THAT DO TO A WOMAN AND HER OWN SENSE OF WHAT SHECAN BE AND DO? THAT IS WHY I HAVE DEVOTED MY LIFE AND MY WORK TO OVERCOMING THE SILENCE ABOUT WOMENS ACHIEVEMENTS. >>Gusteavus: WHAT ABOUT AFTER YOU LEFT THE CLASSROOM, WHAT WAS THE FIRST EXPERIENCE WHERE YOU SAW A WOMAN DOING THE KIND OF THINGS YOU WANT TO DO IN THE ART WORLD EVEN IF IT WASN'T RECOGNIZED OFFICIALLY? >> CHICAGO: ACTUALLY, YOU DIDN'T SEE ANY WOMEN DOING WHAT I WANTED TO DO. I WAS ALREADY EXHIBITING BY THE TIME I WAS IN GRADUATE SCHOOL

AND I CAME UP IN LOS ANGELES IN THE 1960'S AND 1970'S AND THE LAART SCENE AT THAT TIME WAS TOTALLY, TOTALLY MALE DOMINATED. THERE WERE NO WOMEN WHO WERE VISIBLE. YOU DIDN'T HAVE A SOLO SHOW. YOU HAD A ONE MAN SHOW, EVEN IF YOU WERE LUCKY ENOUGH TO GET ONE AND YOU WERE A WOMAN. >>Gusteavus: HOW DID YOU RESPOND TO CRITICS OF YOUR ACTUAL ART WORK? >> CHICAGO: NOBODY LIKES TO BE CRITICIZED, YOU KNOW, AND WOMEN PARTICULARLY DON'T LIKE TO BE CRITICIZED. WE TAKE IT PERSONALLY. YOU KNOW, WHICH YOU HAVE TO NOT DO IF YOU'RE AN ARTIST. I WAS ACTUALLY LUCKY WHEN I WAS IN GRADUATE SCHOOL ONE OF THE YOUNG MALE ARTISTS PROMINENT IN THE LAART SCENE CAME TO TEACH FOR A YEAR AND I KIND OF FOLLOWED HIM AROUND. HE THOUGHT I WAS A PEST OF COURSE AND THE GUYS USED TO PUT ME DOWN AND PUT WOMEN DOWN ALL THE TIME BUT, EVEN THEN, AT THE SAME TIME, I LEARNED A LOT FROM HIM. AND ONE OF THE THINGS HE SAID

WAS, NEVER READ REVIEWS. JUST COUNT THE COLUMN INCHES AND SEE HOW MANY PICTURES THERE ARE. WHICH IS A GOOD THING HE GAVE ME THAT ADVICE BECAUSE SOME OF THE REVIEWS I HAVE GOTTEN IN MY LIFETIME, OH, MY GOD I WOULD HAVE SLIT MY THROAT. I PUT THEM ALL IN BOXES AND NOW,40 OR YEARS LATER, A BOOK IS COMING OUT STUDYING THE CRITICAL REACTION TO THE DINNER PARTY, OF THE VITRIOLIC REVIEWS THIS HISTORIAN IS ANALYZING BY BOTH ART CRITICS AND FEMINIST THEORISTS AND SHE IS CONTRASTING IT WITH THOUSANDS OF LETTERS SHE FOUND IN MY ARCHIVES FROM PEOPLE AROUND THE WORLD SAYING HOW THE DINNER PARTY HAD CHANGED THEIR LIVES. SO THIS IS WHEN I FOUND OUT. YOU DON'T DIE FROM A BAD REVIEW. >>Gusteavus: DO YOU THINK WOMEN ARE GETTING DIFFERENT KINDS OF REVIEWS TODAY, THAT THEIR WORK IS JUDGED BASED

ON THE MERIT OF THEIR WORK AND NOT JUST THE CRITIQUE OF BEING A WOMAN IN THE ART WORLD? YOU THINK YOU WERE ABLE TO CHANGE THAT FOR FEMALE ARTISTS TODAY? >> CHICAGO: THERE IS NO QUESTION THERE ARE SIGNIFICANT CHANGES SINCE I WAS A YOUNG WOMAN ARTIST. WOMEN ARTISTS AND ARTIST OF COLOR CAN BE THEMSELVES IN WAYS THAT WAS JUST IMPOSSIBLE. EVERYBODY HAD TO PAINT LIKE THEY WERE A WHITE GUY, WHETHER YOU WERE A WOMAN OR AFRICAN AMERICAN OR HISPANIC, LATINO, EVERYBODY HAD TO PRETEND THEY WERE WHITE GUYS. AND, THAT HAS CHANGED. OKAY? THE OTHER THING THAT HAS CHANGED IS THERE ARE MANY MORE WOMEN AND ARTISTS OF COLOR EXHIBITING BUT A LOT OF IT IS AT THE ENTRY LEVEL. >>Gusteavus: WHERE DOES YOUR CONFIDENCE COME FROM? >> CHICAGO: YOU KNOW, I AM LIKE EVERYBODY ELSE. I HAVE MY DAYS OF DOUBT. IN FACT IN LONDON NOW, ONE OF THE SHOWS I HAVE IN ONE ROOM IS A SERIES OF 140 DRAWINGS CALLED AUTOBIOGRAPHY OF THE YEAR, WHICH CHRONICLES UPS AND DOWNS OF THE YEAR, YOU KNOW, WHICH DEMONSTRATES THAT, YOU KNOW, NOT EVERYDAY IS THE EASIEST DAY FOR ME.

ON THE OTHER HAND, I WAS EXCEEDINGLY FORTUNATE AS A CHILD. I WAS RAISED BY A FAMILY IN A FAMILY THAT BELIEVED IN EQUAL RIGHTS FOR WOMEN, MY FATHER WAS -- HE WORKED NIGHTS AND SO HE WAS THERE IN THE -- AND MY MOTHER WORKED DURING THE DAY. HE WAS THERE WHEN I WOKE UP AND AFTER MY NAPS IN THE AFTERNOON. AND MY FATHER REALLY MADE ME FEEL LIKE I COULD BE WHO I WANTED, DO WHAT I WANTED AND THAT I HAD AN OBLIGATION TO MAKE A CONTRIBUTION, BUT IT WAS MY MOTHER WHO SENT ME TO ART SCHOOL. >>Gusteavus: DID YOU ALWAYS WANT TO BE AN ARTIST? >> CHICAGO: YES, FROM THE TIME I WAS A CHILD. I STARTED DRAWING WHEN I WAS THREE AND I STARTED STUDYINGART WHEN I WAS FIVE. >>Gusteavus: WHEN DID YOU REALIZE THAT IT MIGHT BE DIFFICULT TO ENTER THE ART WORLD AS A WOMAN? >> CHICAGO: WITHIN MY FIRST SHOW AND ALL THESE GUYS CAME UP TO ME AND SAID, YOU CAN'T BE A WOMAN ANDAN ARTIST TOO. THAT WAS PRETTY BLATANT. >>Gusteavus: DO YOU THINK YOUNG WOMAN HEAR THAT TODAY

IN A DIFFERENT VERSION? >> CHICAGO: NOT TOO LONG AGO, I MET A YOUNG CURATOR AT A MUSEUM IN CALIFORNIA WHO HAD JUST DONE THISSHOW AND SHE TOLD ME, SHE HAD GRADUATED, SHE HAD COME UP THROUGH THE 90'S WHEN SHE WAS TOLD THAT WELIVED IN A FEMINIST WORLD THAT EVERYTHING HAD CHANGED AND WOMEN COULD DO AND BE WHATEVER THEY WANTED NOW. THE FIRST THING THAT HAPPENED WAS SHE WORKED AS AN ASSISTANT FOR A MALE ARTIST AFTER SHE GOT OUT OF SCHOOL AND HE SEXUALLY HARASSED HER. AND THEN AS CURATOR AT THE MUSEUM, EVERY ONE OF THE MALE ARTISTS SHE INCLUDED IN THE SHOW PROPOSITIONED HERE. AND SHE SAID, NOTHING HAS CHANGED. SO, I WOULD SAY SOMEWHERE BETWEEN EVERYTHING HAS CHANGED AND NOTHING HAS CHANGED IS WHERE WE ARE. NOT ENOUGH HAS CHANGED. >>Gusteavus: A LOT OF PEOPLE TALK ABOUT THE WORK THAT YOU HAVE DONE OVER THE COURSE OF YOUR CAREER, BUT DO YOU HAVE A PARTICULAR ACCOMPLISHMENT THAT YOU FEEL IS LESS WELL-KNOWN OR THAT

YOU WOULD LIKE TO HIGHLIGHT ABOUTYOUR CAREER SO FAR? >>CHICAGO: ACTUALLY, A LOT OF MY WORK FOR A LONG TIME WAS COMPLETELY OVERSHADOWED BY THE DINNER PARTY. A LOT OF THE HUGE BODY OF ART THAT I HAVE CREATED WAS JUST NOBODY KNEW ANYTHING ABOUT IT. THAT STARTED TO CHANGE IN 2011 WITH THIS GETTY FUNDED INITIATIVE CALLED PACIFIC STANDARD TIME. WHICH INVOLVED EVERY INSTITUTION FROM SANTA BARBARA TO SAN DIEGO DOCUMENTING AND CELEBRATING LA ART FROM 1945 TO 1980, 20 OF WHICH YEARS, I WAS IN. I HAD DESTROYED QUITE A BIT OF MY EARLY BIG SCALE WORK BECAUSE IT WAS TOO EXPENSIVE TO STORE, BUT I STILL HAD A LOT OF THAT EARLY WORK THAT I HAD GOTTEN NOWHERE WITH IN THE FIRST 10 YEARS OF MY CAREER. I MEAN, I SHOWED IT BUT I COULDN'T SELL IT, SUDDENLY PEOPLE DISCOVERED THAT THERE WAS MORE TO MY WORK THAN THE DINNER PARTY AND THAT

SEEMS TO HAVE INITIATED A BIG CHANGE BECAUSE SUDDENLY PEOPLE ARE STARTING TO LOOK AT OTHER BODIES OF MY ART. IT IS JUST FABULOUS. IT IS FABULOUS. I AM JUST GLAD I LIVED LONG ENOUGH TO SEE THAT AND A REVIEW IN ART MAGAZINE THAT SAID, JUDY CHICAGO'S EARLY WORK WAS TOO RADICAL FOR THE LA MACHO ART SCENE. I AM LIKE; YES! THE 1980S DEFIED WHAT HAD BEEN CONSIDERED ...ART .... AND ARTISTS EMERGED FROM OUTSIDE OF THE MAINSTREAM ARTWORLD TO BE ACCEPTED AND BECOME A DOMINANT FORCE. >>NARR: It was the decade of incredible excess and oppressive loss. It was a time of revolution politically and artistically. Leaders shook the country and artists amplified the vibrations. The 1980s, some argue was the last great movement in art. And until now, no museum has examined the decade.The Institute

of Contemporary Art/Boston is the first led by Chief Curator Helen Molesworth. >>JB & Helen Molesworth: Yes, I suppose in some ways it is a very personal show// Its the moment of my political formation. Its the moment of my intellectual formation. Its the moment where I become who I am in many ways. >>NARR: The show begins in 1979 when remarkably, Molesworth says, women finally became a dominant force in the mainstream art world. >>Molesworth: Feminism emerges in the 70s. It makes enormous demands on us both as individuals and as a culture. And its really the task of the 1980s to process those demands. Were seeing more women artists really be thought of as some of the most important artists. >>NARR: Its also a time when artists of color break through and centuries-old notions of masculinitysuddenly cave. As does tradition. >>Molesworth: The idea that painting was the ultimate form

of artistic expression and activity also fell by the wayside. So this idea of endings was very dominant in the 1980s. >>NARR: Launched from the 60s, punk takes hold. Artists take aim at convention. Corporations seep into everything. As do politics. >>JB & Molesworth: Well certainly in the States he was pretty responsible. What Reagan signaled was a return or a desire to return to an earlier way of life. Mom, dad, two kids, suburbs, two cars, Dadworks, mom doesn't. A whole kind of gendered family-based cultural values that come out of the suburbs and Hollywood and for many artists this was just an anathema. Especially after what had been a really about two decades of exploration of different ways of living. Different forms of equality, different lifestyles. >>NARR: One was either

for or against President Reagan this piece suggests. And this portrait of a white Jesse Jackson painted by a black artist suggests equal opportunity targeting. The 80s was alsoa period of high/low art Molesworth says. Galleries embrace graffiti. Artists embrace TV. Sort of. >>Molesworth: This is really the first generation of artists to grow up with a television in the home. bringing in all that ideology, all that messaging, all that advertising, all that demand to be a certain thing, to have desire, to buy a certain thing, to think a certain way. They hate it. They want to fight it. And on the other hand, they want to BE a part of it. They want to be as influential as it. >>NARR: And many would be. Warhol was a trigger-the 1980s became the age of celebrity artists-Gerhard Richter, Cindy Sherman and Basquiat to name a select few. And men like Robert Mapplethorpe rose and fell sharply. Remember, so many of the people who died, died very young. >>NARR: No conversation

about the 1980s would be complete without a look at the AIDS crisis which like this piece, AIDS Wallpaper, hung over the creative community. >>Molesworth: Art also has this melancholic reparative quality as well. And the longing that is exhibited in so many of these works is really the longing for the time before the AIDS crisis began. A time for whenyou know longing for individuals that they would be present, that they would return. >>NARR: The show closes in 1992-a vastly different era. The AIDS crisis has left a massive gash. President Clinton puts conservatism to bed. Art becomes big business generating enormous wealth. Andthe internet dilutes art hubs like New York making all art global. >>Molesworth: Now the art world is so heterogeneous and so global due to the new technologies that shape our lives, that a cohesive movement is no more possible than for instance a newspaper or television show watched by everyone at the same time.

It was the end of an era. And it may now be our most modern art movement. MARIE ANTIONETTE HAS BEEN CRITICIZED FOR BEING FRIVOLOUS AND SUPERFICIAL, BUT FOR MANY SHE REMAINS MISUNDERSTOOD. NOW, A NEW STAGE PRODUCTION SHOWS THE QUEEN IN A NEW LIGHT. The show casts Marie in a surprisingly resonate contemporary lens. She's vilified for her lavish lifestyle and becomes the subject of a smear campaign-she's a tabloid queen torn from her perch not unlike what we witness today says director Rebecca Taichman >>Taichman: It IS meant to kind of awaken questions about our own moment and culturally what's happening and how it's reflected and what was going on then. Of course the frivolity fated Marie And here we see her slowly awaken to the realization that

the nation that vaunted her would actually end her. And what makes this play sorich is that we feel for the fact that for so long she didn't see it coming. I kept thinking as I working OMG she's so much like Claudette Colbert in the Palm Beach story. And I think that's what shereally wanted. I mean that's what this incarnation of MA wants to be. She wants to be in a Preston Sturgess film and have everything be light and frothy and fun like we all do. DANNY SCHEIBLE HAS SPENT MORE THAN SEVEN YEARS AND TEN DANNY SCHEIBLE HAS SPENT MORE

THAN SEVEN YEARS AND TEN THOUSAND HOURS OF WORK TO CREATE WHAT HE CALLS A TAPE CITY, OR.... TAPE-OPOLIS. >>Rob: Well I am fascinated by the Rob on the Road that An amazing artists, Danny Scheible. Good to see you Danny. >>Danny: Good to see you Rob. >>Rob: And we're sitting in the middle of tape city. This is one of the coolest things I think I'veever seen. >>Danny: Oh, thank you so much. >>Rob: What is this? >>Danny: What we're sitting in the middle of . . . it's a city that's been made out of masking tape.But really sculpture. >>Rob: OK. >>Danny: And I refer to it as an interactive social sculpture. >>Rob: OK, what does that mean? >>Danny: I make my art everywhere I go . . . and I make it so I can interact with people and show them that art is just the same as going to work. It's just the same as doing, you know, like your chores. It's just

the same as going out and getting a drink. It's a way in which you approach life. And I also encourage people to make it with me when I go out. Every year I try and expand into a new medium. And what that involves is creating, like a simple process of working that involves very minimal tools. It could be made by hand and can be made everywhere, but it's also modular, and giving people the opportunity to actually become part of my art instillation. Well literally you and I are a part of it right now. That's why I wanted to do this interview down on the floor. So we could bring you right into Tape City. You said Tapeopolis. SometimesTapeopolis. It has many names depending on where it is. And I encourage people to actually name their favorite buildings. I've found that often times, people make assumptions about the way in which they're gonna interact with the world. And I've found art to be the best tool to use to get people out of that everyday

assumption. Like, they'll be going through their day and they'll just assume that it's gonna go in a set pattern of like, events that are gonna happen. Like, its Monday, I'm gonna wake up, I'm gonna goto work. I'm gonna like, see these people. To give them something new . . . something that they can just engage with, and just like, you know, take a break. >>Rob: So how long have you been doing this and can you even put a guess of how many creations you've made? >>Danny: Oh, a guess? >>Rob: I mean, there's thousands of them in here today. >>Danny: I've been doing it for seven years every day. And I would probably say that it's made out of 100,000 individual pieces. >>Rob: Talk to me about the lamps. >>Danny: I am constantly trying to expand and figure out new ways of not only displaying, but work with the tape. And so applying light to a sculpture is something that you do . . . as any artist hasto pay attention to their light. If it's a painter, it's the quality of the light entering the paint and coming back out. A sculptor, it's how

do you light your work. Well it just so happens that the tape . . . like, lighting it from behind reveals an entire new quality. >>Rob: And also, we see models here wearing pieces that you've made for jewelry. Yes. >>Danny: Yes. All my art's temporal. It's made so it's forced to be remade, my sculptures and my installations are like mandalas, and they're a way so I can reach a point of clarity in myself, but also so I can remake who I am, so it's made to come apart and be remade and it allows me to be free. Sometimes you get confined by your objects and the things that you own and the idea, and more the concept of who you think you are. And so to be able to constantly rearrange who you are allows me tochange my ideas very freely and openly and adapt to new situations and just become a person I want to be instead of the person I think I am. >>Rob: When I just sit here listening to you I-- I'm just fascinated by you because not only do you have the work of an artist, but you've got the spirit and the soul of an artist. >>Danny: Thank you. >>Rob: So if you could say

something for the art, if you could say something for these thousands of creations, what would you say for them? >>Danny: Um, I would say that the fallacy of normality creates the benignity of our reality. >>Rob: Very well said. >>Danny: I think that people are the most interesting, unique, creative, spontaneous wondrous sources of not only like, inspiration, but also of like, meaning and connectedness that you can achieve inthe world. >>Rob: Well I think that is an excellent way to end the interview. Danny, good to see you. >>Danny: Thank you. >>Rob: Thank you for having us here in the middle of this awesome creation, Tape City. And I'll give you one for the road. >>Danny: Thank you! Thank you very much. NEXT TIME ON COLORES! NEW MEXICO ARCHITECT ANTOINE PREDOCK SHARES HIS VISION. >>Antoine Predock:

Architecture, with a capital A, is a poetic encounter, with a client, with a site, with a place, with a people, a collective of people. NEXT, PHOTOGRAPHER MICHAEL EASTMAN CAPTURES THE EXISTING LIGHT OF ARCHITECTURAL SPACES IN LONG EXPOSURES. >>Michael Eastman: I'm a painter who uses the camera as my brushes. PRATT INSTITUTES DESIGN INCUBATOR TEACHES STUDENTS TO USE THEIR SKILLS TO CREATE SUSTAINABLE PRODUCTS AND SOCIALLY RESPONSIBLE COMPANIES. >>Narr: We use design as a tool to help these organizations make a positive impact. SINCE SETTLING IN NORTHERN CALIFORNIA, PAINTER NING HOU IS INSPIRED BY NATURE AND WHAT HE CALLS THE CALIFORNIA GOLDEN LIGHT. >>Ning Hou: When I do the painting I feel totally