Art Tasting with Julián Zugazagoitia: Jan Schall

Art Tasting with Julián Zugazagoitia: Jan Schall


PRINCIPAL FUNDING FOR ART
TASTING WITH JULIÁN ZUGAZAGOITIA
HAS BEEN PROVIDED BY DeBRUCE TASTING WITH JULIÁN ZUGAZAGOITIA
HAS BEEN PROVIDED BY DeBRUCE
COMPANIES WITH ADDITIONAL HAS BEEN PROVIDED BY DeBRUCE
COMPANIES WITH ADDITIONAL
SUPPORT FROM THE FRANCIS FAMILY COMPANIES WITH ADDITIONAL
SUPPORT FROM THE FRANCIS FAMILY
FOUNDATION, AND BY VIEWERS LIKE SUPPORT FROM THE FRANCIS FAMILY
FOUNDATION, AND BY VIEWERS LIKE
YOU. FOUNDATION, AND BY VIEWERS LIKE
YOU.
THANK YOU. YOU.
THANK YOU.
WELL, TODAY, I THOUGHT SINCE THANK YOU.
WELL, TODAY, I THOUGHT SINCE
WE’RE TALKING ABOUT ART IN 3-D, WELL, TODAY, I THOUGHT SINCE
WE’RE TALKING ABOUT ART IN 3-D,
THAT WE SHOULD BEGIN WITH WE’RE TALKING ABOUT ART IN 3-D,
THAT WE SHOULD BEGIN WITH
SOMETHING IN 3-D AND SOME LITTLE THAT WE SHOULD BEGIN WITH
SOMETHING IN 3-D AND SOME LITTLE
SCULPTURES, SO I BROUGHT A BOX SOMETHING IN 3-D AND SOME LITTLE
SCULPTURES, SO I BROUGHT A BOX
OF CHOCOLATE. SCULPTURES, SO I BROUGHT A BOX
OF CHOCOLATE.
Announcer: COMING UP ON ART OF CHOCOLATE.
Announcer: COMING UP ON ART
TASTING, JULIÁN HOSTS FOOD AND Announcer: COMING UP ON ART
TASTING, JULIÁN HOSTS FOOD AND
BEVERAGE AS CURATOR JAN SCHALL TASTING, JULIÁN HOSTS FOOD AND
BEVERAGE AS CURATOR JAN SCHALL
JOINS HIM FOR A STROLL THROUGH BEVERAGE AS CURATOR JAN SCHALL
JOINS HIM FOR A STROLL THROUGH
THE MUSEUM’S SCULPTURE SIDE. JOINS HIM FOR A STROLL THROUGH
THE MUSEUM’S SCULPTURE SIDE.
PLUS AN UPDATE ON THE DONALD J. THE MUSEUM’S SCULPTURE SIDE.
PLUS AN UPDATE ON THE DONALD J.
HALL SCULPTURE PARK. PLUS AN UPDATE ON THE DONALD J.
HALL SCULPTURE PARK.
ANYTHING THAT HAS THIS PICKS HALL SCULPTURE PARK.
ANYTHING THAT HAS THIS PICKS
ME UP, THAT’S GOOD.   CAPTIONING PROVIDED BY
CAPTION ASSOCIATES, LLC
www.captionassociates.com HELLO AND THANKS FOR
DROPPING BY TO ENJOY SOME OF THE
MANY FLAVORS THAT ART HAS TO DROPPING BY TO ENJOY SOME OF THE
MANY FLAVORS THAT ART HAS TO
OFFER. MANY FLAVORS THAT ART HAS TO
OFFER.
I’M JULIÁN ZUGAZAGOITIA AND IN OFFER.
I’M JULIÁN ZUGAZAGOITIA AND IN
MY JOB, I’M ABLE TO ENJOY THE I’M JULIÁN ZUGAZAGOITIA AND IN
MY JOB, I’M ABLE TO ENJOY THE
GREATEST WORKS OF ART EVERY DAY, MY JOB, I’M ABLE TO ENJOY THE
GREATEST WORKS OF ART EVERY DAY,
BUT I ALSO LOVE EVERY GREATEST WORKS OF ART EVERY DAY,
BUT I ALSO LOVE EVERY
OPPORTUNITY TO EXTEND THAT BUT I ALSO LOVE EVERY
OPPORTUNITY TO EXTEND THAT
PLEASURE, AND THAT’S EXACTLY OPPORTUNITY TO EXTEND THAT
PLEASURE, AND THAT’S EXACTLY
WHAT OUR SHOW IS ABOUT. PLEASURE, AND THAT’S EXACTLY
WHAT OUR SHOW IS ABOUT.
ON THIS EDITION, THE TOPIC IS WHAT OUR SHOW IS ABOUT.
ON THIS EDITION, THE TOPIC IS
SCULPTURE, AND I’VE INVITED THE ON THIS EDITION, THE TOPIC IS
SCULPTURE, AND I’VE INVITED THE
CURATOR OF MODERN ART, JAN SCULPTURE, AND I’VE INVITED THE
CURATOR OF MODERN ART, JAN
SCHALL, TO DISCUSS IT WITH US. CURATOR OF MODERN ART, JAN
SCHALL, TO DISCUSS IT WITH US.
WE’LL TALK ABOUT WHAT TOUCHES SCHALL, TO DISCUSS IT WITH US.
WE’LL TALK ABOUT WHAT TOUCHES
HER AND TOUCHES SOME OF THE WE’LL TALK ABOUT WHAT TOUCHES
HER AND TOUCHES SOME OF THE
GREAT SCULPTURES THAT YOU FAVOR HER AND TOUCHES SOME OF THE
GREAT SCULPTURES THAT YOU FAVOR
WHEN YOU VISIT OUR MUSEUM. GREAT SCULPTURES THAT YOU FAVOR
WHEN YOU VISIT OUR MUSEUM.
LATER, WE’LL BREAK OUTSIDE THE WHEN YOU VISIT OUR MUSEUM.
LATER, WE’LL BREAK OUTSIDE THE
WALLS FOR A TOUR OF THE LATER, WE’LL BREAK OUTSIDE THE
WALLS FOR A TOUR OF THE
EVER-GROWING DONALD J. HALL WALLS FOR A TOUR OF THE
EVER-GROWING DONALD J. HALL
SCULPTURE PARK. EVER-GROWING DONALD J. HALL
SCULPTURE PARK.
BUT FIRST, KCPT’S CAMERAS WILL SCULPTURE PARK.
BUT FIRST, KCPT’S CAMERAS WILL
TAKE US INDOORS TO THE ATKINS BUT FIRST, KCPT’S CAMERAS WILL
TAKE US INDOORS TO THE ATKINS
AUDITORIUM WHERE JAN AND I WILL TAKE US INDOORS TO THE ATKINS
AUDITORIUM WHERE JAN AND I WILL
FOCUS THIS PARTICULAR ART AUDITORIUM WHERE JAN AND I WILL
FOCUS THIS PARTICULAR ART
TASTING ON THE JOYS TO BE FOUND FOCUS THIS PARTICULAR ART
TASTING ON THE JOYS TO BE FOUND
IN THE THIRD DIMENSION. TASTING ON THE JOYS TO BE FOUND
IN THE THIRD DIMENSION.
THIS IS SOMETHING THAT’S IN THE THIRD DIMENSION.
THIS IS SOMETHING THAT’S
UNIQUE TO SCULPTURE. THIS IS SOMETHING THAT’S
UNIQUE TO SCULPTURE.
WE AS HUMAN BEINGS ARE SENSORY UNIQUE TO SCULPTURE.
WE AS HUMAN BEINGS ARE SENSORY
APPARATUS, AND WE HAVE EYES THAT WE AS HUMAN BEINGS ARE SENSORY
APPARATUS, AND WE HAVE EYES THAT
RECEIVE VISION, WE HAVE EARS APPARATUS, AND WE HAVE EYES THAT
RECEIVE VISION, WE HAVE EARS
THAT RECEIVE MUSIC, WE HAVE OUR RECEIVE VISION, WE HAVE EARS
THAT RECEIVE MUSIC, WE HAVE OUR
HANDS THAT RECEIVE THE TACTILITY THAT RECEIVE MUSIC, WE HAVE OUR
HANDS THAT RECEIVE THE TACTILITY
AND ALL THOSE SIGNALS COME TO HANDS THAT RECEIVE THE TACTILITY
AND ALL THOSE SIGNALS COME TO
OUR BRAIN AND WE’RE AND ALL THOSE SIGNALS COME TO
OUR BRAIN AND WE’RE
UNDERSTANDING THE WORLD THROUGH OUR BRAIN AND WE’RE
UNDERSTANDING THE WORLD THROUGH
ALL OF THOSE PARTS OF OUR UNDERSTANDING THE WORLD THROUGH
ALL OF THOSE PARTS OF OUR
SENSORY APPARATUS. ALL OF THOSE PARTS OF OUR
SENSORY APPARATUS.
SO SCULPTURE IS THAT THING THAT SENSORY APPARATUS.
SO SCULPTURE IS THAT THING THAT
LIVES IN OUR DIMENSION, IN THE SO SCULPTURE IS THAT THING THAT
LIVES IN OUR DIMENSION, IN THE
THIRD DIMENSION, IN OUR SPACE, LIVES IN OUR DIMENSION, IN THE
THIRD DIMENSION, IN OUR SPACE,
IN OUR TIME, IN OUR MOMENT, AND THIRD DIMENSION, IN OUR SPACE,
IN OUR TIME, IN OUR MOMENT, AND
IT MAKES IT EVEN MORE IMMEDIATE IN OUR TIME, IN OUR MOMENT, AND
IT MAKES IT EVEN MORE IMMEDIATE
THAN ALMOST ANYTHING ELSE. IT MAKES IT EVEN MORE IMMEDIATE
THAN ALMOST ANYTHING ELSE.
AND IT’S THE ONLY THING THAT WE THAN ALMOST ANYTHING ELSE.
AND IT’S THE ONLY THING THAT WE
HAVE TO PUT “PLEASE DO NOT AND IT’S THE ONLY THING THAT WE
HAVE TO PUT “PLEASE DO NOT
TOUCH” NEXT TO BECAUSE THE HAVE TO PUT “PLEASE DO NOT
TOUCH” NEXT TO BECAUSE THE
IMPULSE IS AUTOMATIC TO REACH UP TOUCH” NEXT TO BECAUSE THE
IMPULSE IS AUTOMATIC TO REACH UP
AND TOUCH THE THINGS, TO KNOW IMPULSE IS AUTOMATIC TO REACH UP
AND TOUCH THE THINGS, TO KNOW
THEM THROUGH TACTILITY AND THEIR AND TOUCH THE THINGS, TO KNOW
THEM THROUGH TACTILITY AND THEIR
VISUAL FORM. THEM THROUGH TACTILITY AND THEIR
VISUAL FORM.
THE GREAT THING ALSO ABOUT VISUAL FORM.
THE GREAT THING ALSO ABOUT
THE NELSON IS THAT IF WE WERE THE GREAT THING ALSO ABOUT
THE NELSON IS THAT IF WE WERE
JUST TRACING VERY QUICKLY THE THE NELSON IS THAT IF WE WERE
JUST TRACING VERY QUICKLY THE
IDEALS OF OUR WESTERN WORLD, THE JUST TRACING VERY QUICKLY THE
IDEALS OF OUR WESTERN WORLD, THE
NELSON OPENS UP TO THE WORLD IDEALS OF OUR WESTERN WORLD, THE
NELSON OPENS UP TO THE WORLD
ITSELF. NELSON OPENS UP TO THE WORLD
ITSELF.
SO HERE ARE SOME OF OUR ITSELF.
SO HERE ARE SOME OF OUR
TREASURES FROM FLAT TO THREE SO HERE ARE SOME OF OUR
TREASURES FROM FLAT TO THREE
DIMENSION. TREASURES FROM FLAT TO THREE
DIMENSION.
AND THIS IS A GOAL OF THE DIMENSION.
AND THIS IS A GOAL OF THE
FOUNDERS OF THE MUSEUM IN 1933 AND THIS IS A GOAL OF THE
FOUNDERS OF THE MUSEUM IN 1933
WHEN THE MUSEUM OPENED. FOUNDERS OF THE MUSEUM IN 1933
WHEN THE MUSEUM OPENED.
ALREADY, THEY HAD BEEN WHEN THE MUSEUM OPENED.
ALREADY, THEY HAD BEEN
COLLECTING, LATE 1920s UP ALREADY, THEY HAD BEEN
COLLECTING, LATE 1920s UP
THROUGH 1931, ’32, ’33, ’34, THE COLLECTING, LATE 1920s UP
THROUGH 1931, ’32, ’33, ’34, THE
GOAL WAS TO CAPTURE THE ENTIRE THROUGH 1931, ’32, ’33, ’34, THE
GOAL WAS TO CAPTURE THE ENTIRE
HISTORY OF THE WORLD, TO BECOME GOAL WAS TO CAPTURE THE ENTIRE
HISTORY OF THE WORLD, TO BECOME
AN ENCYCLOPEDIA OF ART AND TO BE HISTORY OF THE WORLD, TO BECOME
AN ENCYCLOPEDIA OF ART AND TO BE
HERE PRESENTED AND THEY SET OUT AN ENCYCLOPEDIA OF ART AND TO BE
HERE PRESENTED AND THEY SET OUT
WITH THE HIGHEST OF ASPIRATIONS HERE PRESENTED AND THEY SET OUT
WITH THE HIGHEST OF ASPIRATIONS
W EXPERTS IN HIGH PLACES, WITH THE HIGHEST OF ASPIRATIONS
W EXPERTS IN HIGH PLACES,
HELPINGS S S S S A — AND GUID W EXPERTS IN HIGH PLACES,
HELPINGS S S S S A — AND GUID
RESEARCH AND DISCOVERY AND WE’VE HELPINGS S S S S A — AND GUID
RESEARCH AND DISCOVERY AND WE’VE
CREATED A MUSEUM HERE THAT’S RESEARCH AND DISCOVERY AND WE’VE
CREATED A MUSEUM HERE THAT’S
WORLD CLASS. CREATED A MUSEUM HERE THAT’S
WORLD CLASS.
AND EARLY ON, WE HAD THE WORLD CLASS.
AND EARLY ON, WE HAD THE
GREATEST ADVISORS OF ANCIENT ART AND EARLY ON, WE HAD THE
GREATEST ADVISORS OF ANCIENT ART
AND THAT’S WHY IT HAS ONE OF THE GREATEST ADVISORS OF ANCIENT ART
AND THAT’S WHY IT HAS ONE OF THE
RICHEST COLLECTIONS. AND THAT’S WHY IT HAS ONE OF THE
RICHEST COLLECTIONS.
YES. RICHEST COLLECTIONS.
YES.
HERE WE HAVE TWO OBJECTS THAT YES.
HERE WE HAVE TWO OBJECTS THAT
ARE AMAZING. HERE WE HAVE TWO OBJECTS THAT
ARE AMAZING.
ONE FOR THE DANCING SHIVA, ARE AMAZING.
ONE FOR THE DANCING SHIVA,
THE LORD OF THE DANCE IN BRONZE ONE FOR THE DANCING SHIVA,
THE LORD OF THE DANCE IN BRONZE
WHERE THE WHOLE CONCEPT OF THE THE LORD OF THE DANCE IN BRONZE
WHERE THE WHOLE CONCEPT OF THE
CREATION AND EVOLUTION OF THE WHERE THE WHOLE CONCEPT OF THE
CREATION AND EVOLUTION OF THE
UNIVERSE AND THE ENDLESS CYCLES CREATION AND EVOLUTION OF THE
UNIVERSE AND THE ENDLESS CYCLES
OF TIME IS DANCED OUT BY SHIVA UNIVERSE AND THE ENDLESS CYCLES
OF TIME IS DANCED OUT BY SHIVA
WHO HAS A DRUM BEATING THE OF TIME IS DANCED OUT BY SHIVA
WHO HAS A DRUM BEATING THE
UNIVERSE INTO EXIST SENTENCE IN WHO HAS A DRUM BEATING THE
UNIVERSE INTO EXIST SENTENCE IN
ONE HAND AND A FLAME THAT’S UNIVERSE INTO EXIST SENTENCE IN
ONE HAND AND A FLAME THAT’S
GOING TO DESTROY THE UNIVERSE IN ONE HAND AND A FLAME THAT’S
GOING TO DESTROY THE UNIVERSE IN
THE OTHER HAND AND THAT CONSTANT GOING TO DESTROY THE UNIVERSE IN
THE OTHER HAND AND THAT CONSTANT
BATTLE BETWEEN CREATION AND THE OTHER HAND AND THAT CONSTANT
BATTLE BETWEEN CREATION AND
DESTRUCTION THAT WE LIVE WITH, BATTLE BETWEEN CREATION AND
DESTRUCTION THAT WE LIVE WITH,
AND YET, THE PERFECT POISE AND DESTRUCTION THAT WE LIVE WITH,
AND YET, THE PERFECT POISE AND
THE PERFECT BALANCE THAT REALLY AND YET, THE PERFECT POISE AND
THE PERFECT BALANCE THAT REALLY
COMES TO A POINT RIGHT AT THE THE PERFECT BALANCE THAT REALLY
COMES TO A POINT RIGHT AT THE
NAVEL WHERE THE ARMS ARE — THE COMES TO A POINT RIGHT AT THE
NAVEL WHERE THE ARMS ARE — THE
MULTIPLE ARMS ARE MOVING IN NAVEL WHERE THE ARMS ARE — THE
MULTIPLE ARMS ARE MOVING IN
DIFFERENT WAYS AND THE LEG IS MULTIPLE ARMS ARE MOVING IN
DIFFERENT WAYS AND THE LEG IS
STOMPING OUT, ONE FOOT STOMPING DIFFERENT WAYS AND THE LEG IS
STOMPING OUT, ONE FOOT STOMPING
OUT THE DEMON OF IGNORANCE, AND STOMPING OUT, ONE FOOT STOMPING
OUT THE DEMON OF IGNORANCE, AND
THE WHOLE PIECE IS, AT THE SAME OUT THE DEMON OF IGNORANCE, AND
THE WHOLE PIECE IS, AT THE SAME
TIME, COMPLETELY BALANCED RIGHT THE WHOLE PIECE IS, AT THE SAME
TIME, COMPLETELY BALANCED RIGHT
AT THE NAVEL. TIME, COMPLETELY BALANCED RIGHT
AT THE NAVEL.
AND ON THE OTHER HAND, THE BOY AT THE NAVEL.
AND ON THE OTHER HAND, THE BOY
SOTKA OF MERCY AND COMPASSION IN AND ON THE OTHER HAND, THE BOY
SOTKA OF MERCY AND COMPASSION IN
A POSITION OF SUCH GRACE AND SOTKA OF MERCY AND COMPASSION IN
A POSITION OF SUCH GRACE AND
SUCH PEACEFULNESS AND THIS IS A POSITION OF SUCH GRACE AND
SUCH PEACEFULNESS AND THIS IS
CARVED FROM ONE PIECE OF WOOD, SUCH PEACEFULNESS AND THIS IS
CARVED FROM ONE PIECE OF WOOD,
SO THIS IS ALSO AN EXTRAORDINARY CARVED FROM ONE PIECE OF WOOD,
SO THIS IS ALSO AN EXTRAORDINARY
PIECE AND THEN IT’S POLYCHROMED, SO THIS IS ALSO AN EXTRAORDINARY
PIECE AND THEN IT’S POLYCHROMED,
SO PAINTED IN A BEAUTIFUL PIECE AND THEN IT’S POLYCHROMED,
SO PAINTED IN A BEAUTIFUL
FASHION, AND IF THERE’S ANY SO PAINTED IN A BEAUTIFUL
FASHION, AND IF THERE’S ANY
PIECE IN THE ENTIRE MUSEUM THAT FASHION, AND IF THERE’S ANY
PIECE IN THE ENTIRE MUSEUM THAT
REPRESENTS PERFECT PIECE, I PIECE IN THE ENTIRE MUSEUM THAT
REPRESENTS PERFECT PIECE, I
THINK THIS MIGHT BE IT. REPRESENTS PERFECT PIECE, I
THINK THIS MIGHT BE IT.
THE NOTION HERE OF MANY HANDS THINK THIS MIGHT BE IT.
THE NOTION HERE OF MANY HANDS
IS A WAY OF CAPTURING TIME, THE NOTION HERE OF MANY HANDS
IS A WAY OF CAPTURING TIME,
CAPTURING ALSO MULTIPLICITY IN IS A WAY OF CAPTURING TIME,
CAPTURING ALSO MULTIPLICITY IN
ONE PIECE. CAPTURING ALSO MULTIPLICITY IN
ONE PIECE.
THAT BALANCE IS AMAZING AND THE ONE PIECE.
THAT BALANCE IS AMAZING AND THE
TRAN SEND DENSE ALSO, IT IS AN THAT BALANCE IS AMAZING AND THE
TRAN SEND DENSE ALSO, IT IS AN
EMBODIMENT OF A HUMAN BEING THAT TRAN SEND DENSE ALSO, IT IS AN
EMBODIMENT OF A HUMAN BEING THAT
IS INSPIRING AND AGAIN, IT’S — EMBODIMENT OF A HUMAN BEING THAT
IS INSPIRING AND AGAIN, IT’S —
EACH CULTURE WILL BRING EITHER IS INSPIRING AND AGAIN, IT’S —
EACH CULTURE WILL BRING EITHER
DEITY OR THE SENSE OF POWER OR EACH CULTURE WILL BRING EITHER
DEITY OR THE SENSE OF POWER OR
PRESENTATION. DEITY OR THE SENSE OF POWER OR
PRESENTATION.
AND HERE AGAIN, THIS CLASH PRESENTATION.
AND HERE AGAIN, THIS CLASH
BETWEEN HUMANITY AND — AND HERE AGAIN, THIS CLASH
BETWEEN HUMANITY AND —
WE JUMP BACK IN TIME IN TERMS BETWEEN HUMANITY AND —
WE JUMP BACK IN TIME IN TERMS
OF THE CRUCIFIX WITH JESUS ON WE JUMP BACK IN TIME IN TERMS
OF THE CRUCIFIX WITH JESUS ON
THE CROSS HERE WITH HIS ARMS OF THE CRUCIFIX WITH JESUS ON
THE CROSS HERE WITH HIS ARMS
SPLADE OUT AND THIS IS ORDAINED THE CROSS HERE WITH HIS ARMS
SPLADE OUT AND THIS IS ORDAINED
AT THE CHURCH AT THE TIME, HOW SPLADE OUT AND THIS IS ORDAINED
AT THE CHURCH AT THE TIME, HOW
JESUS ON THE CROSS COULD BE AT THE CHURCH AT THE TIME, HOW
JESUS ON THE CROSS COULD BE
PRESENTED AND THERE COULD NOT BE JESUS ON THE CROSS COULD BE
PRESENTED AND THERE COULD NOT BE
REPRESENTATIONS OF EXTREME PRESENTED AND THERE COULD NOT BE
REPRESENTATIONS OF EXTREME
TORMENT AND ANGUISH. REPRESENTATIONS OF EXTREME
TORMENT AND ANGUISH.
IT HAD TO BE A MOMENT OF DEATH, TORMENT AND ANGUISH.
IT HAD TO BE A MOMENT OF DEATH,
BUT ALSO TRANSFORMATION TO IT HAD TO BE A MOMENT OF DEATH,
BUT ALSO TRANSFORMATION TO
ANOTHER LEVEL, TO A RETURN TO BUT ALSO TRANSFORMATION TO
ANOTHER LEVEL, TO A RETURN TO
THE GOD SPIRIT, AND SO IT HAD TO ANOTHER LEVEL, TO A RETURN TO
THE GOD SPIRIT, AND SO IT HAD TO
BE THE SENSE OF PEACEFULNESS. THE GOD SPIRIT, AND SO IT HAD TO
BE THE SENSE OF PEACEFULNESS.
SO IN SPITE OF ALL THE PAIN AND BE THE SENSE OF PEACEFULNESS.
SO IN SPITE OF ALL THE PAIN AND
THE AWKWARDNESS OF THE FOX — SO IN SPITE OF ALL THE PAIN AND
THE AWKWARDNESS OF THE FOX —
OF THE POSITION AND THE THE AWKWARDNESS OF THE FOX —
OF THE POSITION AND THE
ABSTRACTION THAT’S GOING ON OF THE POSITION AND THE
ABSTRACTION THAT’S GOING ON
HERE, AGAIN, A VERY SERENE AND ABSTRACTION THAT’S GOING ON
HERE, AGAIN, A VERY SERENE AND
PERFECTLY BALANCED IMAGINE, AS HERE, AGAIN, A VERY SERENE AND
PERFECTLY BALANCED IMAGINE, AS
OPPOSED TO THE RHODAN. PERFECTLY BALANCED IMAGINE, AS
OPPOSED TO THE RHODAN.
THE HUMANITY INTERPRETED OPPOSED TO THE RHODAN.
THE HUMANITY INTERPRETED
THROUGH THE FACT THAT THIS IS THE HUMANITY INTERPRETED
THROUGH THE FACT THAT THIS IS
ONE OF THE SPEAKERS THAT ARE THROUGH THE FACT THAT THIS IS
ONE OF THE SPEAKERS THAT ARE
GOING TO BE PLANTED AT THE GATES ONE OF THE SPEAKERS THAT ARE
GOING TO BE PLANTED AT THE GATES
OF HELL, AND AT THE SAME TIME, GOING TO BE PLANTED AT THE GATES
OF HELL, AND AT THE SAME TIME,
SUCH A PERFECTION OF THE BODY, OF HELL, AND AT THE SAME TIME,
SUCH A PERFECTION OF THE BODY,
SO HERE WE HAVE AGAIN A CONTRAST SUCH A PERFECTION OF THE BODY,
SO HERE WE HAVE AGAIN A CONTRAST
BETWEEN THE VERY FLAT ALMOST SO HERE WE HAVE AGAIN A CONTRAST
BETWEEN THE VERY FLAT ALMOST
ABSTRACT QUALITY OF MEDIEVAL ART BETWEEN THE VERY FLAT ALMOST
ABSTRACT QUALITY OF MEDIEVAL ART
AND THE HUMANITY THAT WAS ABSTRACT QUALITY OF MEDIEVAL ART
AND THE HUMANITY THAT WAS
WITHIN, AND THAT SENSE OF AND THE HUMANITY THAT WAS
WITHIN, AND THAT SENSE OF
HUMANITY GOING DOWN. WITHIN, AND THAT SENSE OF
HUMANITY GOING DOWN.
BUT THE OTHER THING IS THE HUMANITY GOING DOWN.
BUT THE OTHER THING IS THE
EXALTATION OF RULERS AND POWER. BUT THE OTHER THING IS THE
EXALTATION OF RULERS AND POWER.
SCULPTURE HAS ALWAYS BEEN EXALTATION OF RULERS AND POWER.
SCULPTURE HAS ALWAYS BEEN
OBSESSED WITH THAT. SCULPTURE HAS ALWAYS BEEN
OBSESSED WITH THAT.
ONE OF THE FAVORITE SUBJECTS OBSESSED WITH THAT.
ONE OF THE FAVORITE SUBJECTS
OF SCULPTORS, OR AT LEAST THE ONE OF THE FAVORITE SUBJECTS
OF SCULPTORS, OR AT LEAST THE
ONES THEY’RE PAID THE BEST FOR, OF SCULPTORS, OR AT LEAST THE
ONES THEY’RE PAID THE BEST FOR,
ARE THOSE OF RULERS BECAUSE THE ONES THEY’RE PAID THE BEST FOR,
ARE THOSE OF RULERS BECAUSE THE
RULERS CAN PAY THEM OR JUST MAKE ARE THOSE OF RULERS BECAUSE THE
RULERS CAN PAY THEM OR JUST MAKE
THEM DO IT, AND SO WE’RE LOOKING RULERS CAN PAY THEM OR JUST MAKE
THEM DO IT, AND SO WE’RE LOOKING
AT TWO HERE. THEM DO IT, AND SO WE’RE LOOKING
AT TWO HERE.
ONE FROM ANCIENT ROME AND THE AT TWO HERE.
ONE FROM ANCIENT ROME AND THE
OTHER FROM THE BENIN CULTURE IN ONE FROM ANCIENT ROME AND THE
OTHER FROM THE BENIN CULTURE IN
AFRICA. OTHER FROM THE BENIN CULTURE IN
AFRICA.
THE BENIN FIGURE, THE HEAD OF AN AFRICA.
THE BENIN FIGURE, THE HEAD OF AN
OBA, IS WEARING POWERFUL THE BENIN FIGURE, THE HEAD OF AN
OBA, IS WEARING POWERFUL
REGALIA. OBA, IS WEARING POWERFUL
REGALIA.
THE NECK PIECES ARE ALL IN RED REGALIA.
THE NECK PIECES ARE ALL IN RED
CORRAL, THE STRANDS HANGING DOWN THE NECK PIECES ARE ALL IN RED
CORRAL, THE STRANDS HANGING DOWN
COULD BE CORAL BEADS, THE CROWN CORRAL, THE STRANDS HANGING DOWN
COULD BE CORAL BEADS, THE CROWN
IS RED CORAL BEADS AND ALSO THE COULD BE CORAL BEADS, THE CROWN
IS RED CORAL BEADS AND ALSO THE
POWER AND PROTECTION. IS RED CORAL BEADS AND ALSO THE
POWER AND PROTECTION.
AND THEN YOU LOOK ON THE CHEST POWER AND PROTECTION.
AND THEN YOU LOOK ON THE CHEST
OF THE BUST AND YOU SEE THE AND THEN YOU LOOK ON THE CHEST
OF THE BUST AND YOU SEE THE
GORGON. OF THE BUST AND YOU SEE THE
GORGON.
AGAIN, PROTECTIVE. GORGON.
AGAIN, PROTECTIVE.
PROTECTIVE SYMBOL. AGAIN, PROTECTIVE.
PROTECTIVE SYMBOL.
AND I THINK AT THIS LEVEL OF PROTECTIVE SYMBOL.
AND I THINK AT THIS LEVEL OF
REPRESENTATION AND EXALTATION OF AND I THINK AT THIS LEVEL OF
REPRESENTATION AND EXALTATION OF
THE POWER, THERE IS ALSO THE REPRESENTATION AND EXALTATION OF
THE POWER, THERE IS ALSO THE
ANIME WHICH IS BESTOWED ON EACH THE POWER, THERE IS ALSO THE
ANIME WHICH IS BESTOWED ON EACH
OF THE SCULPTURES, WHETHER IT’S ANIME WHICH IS BESTOWED ON EACH
OF THE SCULPTURES, WHETHER IT’S
THE CAST FOR THE EGYPTIAN WORK, OF THE SCULPTURES, WHETHER IT’S
THE CAST FOR THE EGYPTIAN WORK,
THE THEME THAT HAVING A THE CAST FOR THE EGYPTIAN WORK,
THE THEME THAT HAVING A
REPRESENTATION OR THE MUMMIES THE THEME THAT HAVING A
REPRESENTATION OR THE MUMMIES
WAS A WAY FOR THE SPIRIT TO REPRESENTATION OR THE MUMMIES
WAS A WAY FOR THE SPIRIT TO
MAINTAIN HIMSELF, AND SO IN A WAS A WAY FOR THE SPIRIT TO
MAINTAIN HIMSELF, AND SO IN A
WAY, ALL THAT IS EMBODIED IN ALL MAINTAIN HIMSELF, AND SO IN A
WAY, ALL THAT IS EMBODIED IN ALL
OF HIS REPRESENTATIONS. WAY, ALL THAT IS EMBODIED IN ALL
OF HIS REPRESENTATIONS.
NOW, WHAT IS NOT HUMAN IS THE OF HIS REPRESENTATIONS.
NOW, WHAT IS NOT HUMAN IS THE
ANIMAL, ALSO A SURROGATE FOR NOW, WHAT IS NOT HUMAN IS THE
ANIMAL, ALSO A SURROGATE FOR
FOUR AND HERE WE HAVE TWO — FOR ANIMAL, ALSO A SURROGATE FOR
FOUR AND HERE WE HAVE TWO — FOR
FOUR AND HERE WE HAVE TWO, FOUR AND HERE WE HAVE TWO — FOR
FOUR AND HERE WE HAVE TWO,
AGAIN, OF OUR GREATEST FOUR AND HERE WE HAVE TWO,
AGAIN, OF OUR GREATEST
SCULPTURES. AGAIN, OF OUR GREATEST
SCULPTURES.
THE LION. SCULPTURES.
THE LION.
FROM THE ANCIENT GREEK CULTURE, THE LION.
FROM THE ANCIENT GREEK CULTURE,
OUR ATTIX LION, WHICH IS IN OUR FROM THE ANCIENT GREEK CULTURE,
OUR ATTIX LION, WHICH IS IN OUR
SCULPTOR HALL AND AGAIN THE KIND OUR ATTIX LION, WHICH IS IN OUR
SCULPTOR HALL AND AGAIN THE KIND
OF MUSCULATURE OF THE LION, SCULPTOR HALL AND AGAIN THE KIND
OF MUSCULATURE OF THE LION,
ATTENUATED, THAT’S A SENSE OF OF MUSCULATURE OF THE LION,
ATTENUATED, THAT’S A SENSE OF
POWER AND ON THE RIGHT SIDE IS ATTENUATED, THAT’S A SENSE OF
POWER AND ON THE RIGHT SIDE IS
AN IMAGE CARVED IN WOOD FROM POWER AND ON THE RIGHT SIDE IS
AN IMAGE CARVED IN WOOD FROM
JAPAN WHICH WOULD HAVE ONCE HAD AN IMAGE CARVED IN WOOD FROM
JAPAN WHICH WOULD HAVE ONCE HAD
AN SATSA RIDING ON IT, AND JAPAN WHICH WOULD HAVE ONCE HAD
AN SATSA RIDING ON IT, AND
AGAIN, IT’S BEEN POLYCHROMED AND AN SATSA RIDING ON IT, AND
AGAIN, IT’S BEEN POLYCHROMED AND
WE’VE STUDIED THERE AND FOUND AGAIN, IT’S BEEN POLYCHROMED AND
WE’VE STUDIED THERE AND FOUND
THE COLORS THAT IT WAS WE’VE STUDIED THERE AND FOUND
THE COLORS THAT IT WAS
BRILLIANTLY PAINTED, BUT THAT THE COLORS THAT IT WAS
BRILLIANTLY PAINTED, BUT THAT
FIERCE GLANCE AND THE DEAD-ON, BRILLIANTLY PAINTED, BUT THAT
FIERCE GLANCE AND THE DEAD-ON,
STRAIGHT-ON SNARLING FACE. FIERCE GLANCE AND THE DEAD-ON,
STRAIGHT-ON SNARLING FACE.
AND TWO OF MY FAVORITE PIECES STRAIGHT-ON SNARLING FACE.
AND TWO OF MY FAVORITE PIECES
HERE. AND TWO OF MY FAVORITE PIECES
HERE.
OF COURSE, WE CAN DEBATE WHETHER HERE.
OF COURSE, WE CAN DEBATE WHETHER
IT’S A PAINTING OR A SCULPTURE OF COURSE, WE CAN DEBATE WHETHER
IT’S A PAINTING OR A SCULPTURE
BECAUSE IT IS A SHIELD ON THE IT’S A PAINTING OR A SCULPTURE
BECAUSE IT IS A SHIELD ON THE
LEFT-HAND SIDE AND THAT IS, OF BECAUSE IT IS A SHIELD ON THE
LEFT-HAND SIDE AND THAT IS, OF
COURSE, FROM OUR NATIVE AMERICAN LEFT-HAND SIDE AND THAT IS, OF
COURSE, FROM OUR NATIVE AMERICAN
COLLECTION, BUT THAT BULL IS COURSE, FROM OUR NATIVE AMERICAN
COLLECTION, BUT THAT BULL IS
PICASSO IN ESSENCE, YOU KNOW, COLLECTION, BUT THAT BULL IS
PICASSO IN ESSENCE, YOU KNOW,
AND IF WE DIDN’T KNOW IT, IT PICASSO IN ESSENCE, YOU KNOW,
AND IF WE DIDN’T KNOW IT, IT
COULD BE ONE OF HIS WORKS AND HE AND IF WE DIDN’T KNOW IT, IT
COULD BE ONE OF HIS WORKS AND HE
WOULD HAVE ENJOYED SEEING THIS. COULD BE ONE OF HIS WORKS AND HE
WOULD HAVE ENJOYED SEEING THIS.
THE SAME THING WITH THIS OX WOULD HAVE ENJOYED SEEING THIS.
THE SAME THING WITH THIS OX
FIGURE FROM TANZANIA, WHICH IS THE SAME THING WITH THIS OX
FIGURE FROM TANZANIA, WHICH IS
RIGHT NOW IN THE AFRICAN FIGURE FROM TANZANIA, WHICH IS
RIGHT NOW IN THE AFRICAN
GALLERIES AND ONE OF MY FAVORITE RIGHT NOW IN THE AFRICAN
GALLERIES AND ONE OF MY FAVORITE
PIECES. GALLERIES AND ONE OF MY FAVORITE
PIECES.
AGAIN, SCULPTURE CAN BE SO MUCH PIECES.
AGAIN, SCULPTURE CAN BE SO MUCH
WITH SO LITTLE AND THESE ARE AGAIN, SCULPTURE CAN BE SO MUCH
WITH SO LITTLE AND THESE ARE
GOOD EXAMPLES OF THAT. WITH SO LITTLE AND THESE ARE
GOOD EXAMPLES OF THAT.
PERHAPS ALSO TRYING TO BE GOOD EXAMPLES OF THAT.
PERHAPS ALSO TRYING TO BE
ESSENTIAL IS ONE OF THE THINGS PERHAPS ALSO TRYING TO BE
ESSENTIAL IS ONE OF THE THINGS
THAT SCULPTURE HAS AND WE ESSENTIAL IS ONE OF THE THINGS
THAT SCULPTURE HAS AND WE
HAVE — THAT SCULPTURE HAS AND WE
HAVE —
ESPECIALLY IN THE MODERN HAVE —
ESPECIALLY IN THE MODERN
WORLD. ESPECIALLY IN THE MODERN
WORLD.
THESE TWO GREAT EXAMPLES FROM WORLD.
THESE TWO GREAT EXAMPLES FROM
YOUR COLLECTION. THESE TWO GREAT EXAMPLES FROM
YOUR COLLECTION.
TALK ABOUT THAT, THESE ARE YOUR COLLECTION.
TALK ABOUT THAT, THESE ARE
JUST LINES IN SPACE. TALK ABOUT THAT, THESE ARE
JUST LINES IN SPACE.
THEY’RE CAST IN BRONZE. JUST LINES IN SPACE.
THEY’RE CAST IN BRONZE.
WHAT A FEAT TO CREATE SOMETHING THEY’RE CAST IN BRONZE.
WHAT A FEAT TO CREATE SOMETHING
LIKE THESE SCULPTURES, THE WHAT A FEAT TO CREATE SOMETHING
LIKE THESE SCULPTURES, THE
CHARIOT BY JAKAMETI, AND WAGON LIKE THESE SCULPTURES, THE
CHARIOT BY JAKAMETI, AND WAGON
THREE BY DAVID SMITH. CHARIOT BY JAKAMETI, AND WAGON
THREE BY DAVID SMITH.
ONE SUGGESTING A CHARIOT OUT OF THREE BY DAVID SMITH.
ONE SUGGESTING A CHARIOT OUT OF
CONTROL, THE WHEELS UP ON ONE SUGGESTING A CHARIOT OUT OF
CONTROL, THE WHEELS UP ON
BLOCKS, NO HORSE TO LEAD, NO CONTROL, THE WHEELS UP ON
BLOCKS, NO HORSE TO LEAD, NO
REINS TO HOLD, JUST KIND OF BLOCKS, NO HORSE TO LEAD, NO
REINS TO HOLD, JUST KIND OF
WORLD IN POISE OR OUT OF CONTROL REINS TO HOLD, JUST KIND OF
WORLD IN POISE OR OUT OF CONTROL
IN A MOMENT, AND THEN THE WAGON WORLD IN POISE OR OUT OF CONTROL
IN A MOMENT, AND THEN THE WAGON
THREE, THE TELEGRAPHIC WRITING IN A MOMENT, AND THEN THE WAGON
THREE, THE TELEGRAPHIC WRITING
IN SPACE, ALMOST LIKE A THREE, THE TELEGRAPHIC WRITING
IN SPACE, ALMOST LIKE A
PREHISTORIC ALPHABET, SOME KIND IN SPACE, ALMOST LIKE A
PREHISTORIC ALPHABET, SOME KIND
OF SIGNAGE THAT’S DELINEATED IN PREHISTORIC ALPHABET, SOME KIND
OF SIGNAGE THAT’S DELINEATED IN
FEWER LINE. OF SIGNAGE THAT’S DELINEATED IN
FEWER LINE.
AND IT ALSO — IN PURE LINE. FEWER LINE.
AND IT ALSO — IN PURE LINE.
AND IT ALSO FEELS LIKE A RAM AND IT ALSO — IN PURE LINE.
AND IT ALSO FEELS LIKE A RAM
THAT IS OPEN WITH ACTIVITY. AND IT ALSO FEELS LIKE A RAM
THAT IS OPEN WITH ACTIVITY.
WHAT I LOVE ABOUT THIS IS ALSO THAT IS OPEN WITH ACTIVITY.
WHAT I LOVE ABOUT THIS IS ALSO
THAT LINE ITSELF, IT IMMEDIATELY WHAT I LOVE ABOUT THIS IS ALSO
THAT LINE ITSELF, IT IMMEDIATELY
TAKES YOU TO ANCIENT GREECE AND THAT LINE ITSELF, IT IMMEDIATELY
TAKES YOU TO ANCIENT GREECE AND
THE CHARIOTS AND EVERYTHING, OR TAKES YOU TO ANCIENT GREECE AND
THE CHARIOTS AND EVERYTHING, OR
HE MIGHT HAVE BEEN ANTICIPATING THE CHARIOTS AND EVERYTHING, OR
HE MIGHT HAVE BEEN ANTICIPATING
THE SEGUE, YOU KNOW. HE MIGHT HAVE BEEN ANTICIPATING
THE SEGUE, YOU KNOW.
I’M SURE HE DIDN’T KNOW ABOUT THE SEGUE, YOU KNOW.
I’M SURE HE DIDN’T KNOW ABOUT
THAT OR MAYBE HE WAS ALREADY I’M SURE HE DIDN’T KNOW ABOUT
THAT OR MAYBE HE WAS ALREADY
KNOWING THAT THAT WOULD COME THAT OR MAYBE HE WAS ALREADY
KNOWING THAT THAT WOULD COME
WITH THE GYROSCOPE AND KNOWING THAT THAT WOULD COME
WITH THE GYROSCOPE AND
EVERYTHING. WITH THE GYROSCOPE AND
EVERYTHING.
BUT IT’S AMAZING. EVERYTHING.
BUT IT’S AMAZING.
NOW, AS THIS IS SIMPLE, WE BUT IT’S AMAZING.
NOW, AS THIS IS SIMPLE, WE
WANTED TO SHARE WITH YOU THE NOW, AS THIS IS SIMPLE, WE
WANTED TO SHARE WITH YOU THE
COMPLEXITY AND RICHNESS ALSO OF WANTED TO SHARE WITH YOU THE
COMPLEXITY AND RICHNESS ALSO OF
THAT AND HERE WE HAVE ONE OF OUR COMPLEXITY AND RICHNESS ALSO OF
THAT AND HERE WE HAVE ONE OF OUR
FAVORITE PIECES. THAT AND HERE WE HAVE ONE OF OUR
FAVORITE PIECES.
JAN AND I ARE IN AWE. FAVORITE PIECES.
JAN AND I ARE IN AWE.
AMAZING WORK CARVED OUT OF JAN AND I ARE IN AWE.
AMAZING WORK CARVED OUT OF
ONE IVORY TUSK, AND THIS IS THE AMAZING WORK CARVED OUT OF
ONE IVORY TUSK, AND THIS IS THE
FALL OF THE REBEL ANGELS, AND ONE IVORY TUSK, AND THIS IS THE
FALL OF THE REBEL ANGELS, AND
THEY’RE ALL CATAPULTING DOWN IN FALL OF THE REBEL ANGELS, AND
THEY’RE ALL CATAPULTING DOWN IN
A HELTER-SKELTER CONFLUENCE OF THEY’RE ALL CATAPULTING DOWN IN
A HELTER-SKELTER CONFLUENCE OF
BODIES THAT’S JUST — IT’S JUST A HELTER-SKELTER CONFLUENCE OF
BODIES THAT’S JUST — IT’S JUST
MIRACULOUS THAT THIS PIECE COULD BODIES THAT’S JUST — IT’S JUST
MIRACULOUS THAT THIS PIECE COULD
BE CARVED, DRILLING WITH TINY MIRACULOUS THAT THIS PIECE COULD
BE CARVED, DRILLING WITH TINY
DRILLS TO GET THROUGH, AND THEN BE CARVED, DRILLING WITH TINY
DRILLS TO GET THROUGH, AND THEN
CARVING OUT THE LITTLE TINY DRILLS TO GET THROUGH, AND THEN
CARVING OUT THE LITTLE TINY
MINUTE FIGURES WITHOUT BREAKING CARVING OUT THE LITTLE TINY
MINUTE FIGURES WITHOUT BREAKING
ANYTHING. MINUTE FIGURES WITHOUT BREAKING
ANYTHING.
IT’S A VERY SMALL PIECE AND ANYTHING.
IT’S A VERY SMALL PIECE AND
YOU HAVE IT IN OUR — YOUR IT’S A VERY SMALL PIECE AND
YOU HAVE IT IN OUR — YOUR
EUROPEAN GALLERIES, SOMETHING YOU HAVE IT IN OUR — YOUR
EUROPEAN GALLERIES, SOMETHING
LIKE THAT, SO YOU CAN SEE THE EUROPEAN GALLERIES, SOMETHING
LIKE THAT, SO YOU CAN SEE THE
PATIENT AND THE METICULOUSITY TO LIKE THAT, SO YOU CAN SEE THE
PATIENT AND THE METICULOUSITY TO
RENDER THIS AND AT THE SAME TIME PATIENT AND THE METICULOUSITY TO
RENDER THIS AND AT THE SAME TIME
IT’S SELF-SUSTAINING, WHICH IS RENDER THIS AND AT THE SAME TIME
IT’S SELF-SUSTAINING, WHICH IS
INTERESTING ABOUT HOW THE ARTIST IT’S SELF-SUSTAINING, WHICH IS
INTERESTING ABOUT HOW THE ARTIST
IS TALKING ABOUT A DOWNWARD INTERESTING ABOUT HOW THE ARTIST
IS TALKING ABOUT A DOWNWARD
SPIRL AND CONSTRUCTING IT ALL IS TALKING ABOUT A DOWNWARD
SPIRL AND CONSTRUCTING IT ALL
THE WAY AROUND. SPIRL AND CONSTRUCTING IT ALL
THE WAY AROUND.
THE REPRESENTATIONS OF EVIL ARE THE WAY AROUND.
THE REPRESENTATIONS OF EVIL ARE
ASTOUNDING. THE REPRESENTATIONS OF EVIL ARE
ASTOUNDING.
GO THROUGH THE GALLERIES AND ASTOUNDING.
GO THROUGH THE GALLERIES AND
SOMETIMES CHECK MORE THE GO THROUGH THE GALLERIES AND
SOMETIMES CHECK MORE THE
REPRESENTATIONS OF EVIL OR SIN SOMETIMES CHECK MORE THE
REPRESENTATIONS OF EVIL OR SIN
BECAUSE THEY BECOME VERY — THAT REPRESENTATIONS OF EVIL OR SIN
BECAUSE THEY BECOME VERY — THAT
IS WHERE CREATIVITY OR SOMETHING BECAUSE THEY BECOME VERY — THAT
IS WHERE CREATIVITY OR SOMETHING
INVENTING MONSTERS WAS THE IS WHERE CREATIVITY OR SOMETHING
INVENTING MONSTERS WAS THE
HEIGHT OF THEIR EXPERIMENTATION, INVENTING MONSTERS WAS THE
HEIGHT OF THEIR EXPERIMENTATION,
WHETHER THEY COULD LEAP FREE HEIGHT OF THEIR EXPERIMENTATION,
WHETHER THEY COULD LEAP FREE
HAND AND WHAT ABOUT THE OTHER WHETHER THEY COULD LEAP FREE
HAND AND WHAT ABOUT THE OTHER
ONE? HAND AND WHAT ABOUT THE OTHER
ONE?
THIS AMAZING FETISH NECKLACE ONE?
THIS AMAZING FETISH NECKLACE
FROM THE ZUNI PEOPLE OF NEW THIS AMAZING FETISH NECKLACE
FROM THE ZUNI PEOPLE OF NEW
MEXICO, AN INCREDIBLE POWER FROM THE ZUNI PEOPLE OF NEW
MEXICO, AN INCREDIBLE POWER
SYMBOL BECAUSE EACH OF THOSE MEXICO, AN INCREDIBLE POWER
SYMBOL BECAUSE EACH OF THOSE
FETISHES CARVED IN DIFFERENT SYMBOL BECAUSE EACH OF THOSE
FETISHES CARVED IN DIFFERENT
STONE IS A SYMBOL OF A FETISHES CARVED IN DIFFERENT
STONE IS A SYMBOL OF A
PARTICULAR POWER AND EACH ONE OF STONE IS A SYMBOL OF A
PARTICULAR POWER AND EACH ONE OF
THOSE IS INVESTED WITH THE POWER PARTICULAR POWER AND EACH ONE OF
THOSE IS INVESTED WITH THE POWER
OF THAT ACTUAL CREATURE, SO TO THOSE IS INVESTED WITH THE POWER
OF THAT ACTUAL CREATURE, SO TO
WEAR A NECKLACE LIKE THIS THAT OF THAT ACTUAL CREATURE, SO TO
WEAR A NECKLACE LIKE THIS THAT
SO POWERFUL WITH ALMOST ANY KIND WEAR A NECKLACE LIKE THIS THAT
SO POWERFUL WITH ALMOST ANY KIND
OF VIRTUE AND POWER THAT YOU SO POWERFUL WITH ALMOST ANY KIND
OF VIRTUE AND POWER THAT YOU
COULD IMAGINE THAT YOU’RE OF VIRTUE AND POWER THAT YOU
COULD IMAGINE THAT YOU’RE
WEARING RIGHT AROUND YOUR NECK COULD IMAGINE THAT YOU’RE
WEARING RIGHT AROUND YOUR NECK
AND DANCING WITH IT. WEARING RIGHT AROUND YOUR NECK
AND DANCING WITH IT.
HEAVY TOO. AND DANCING WITH IT.
HEAVY TOO.
BUT ALSO’S THE MUSIC THAT IT HEAVY TOO.
BUT ALSO’S THE MUSIC THAT IT
GENERATES AND WORKS LIKE THIS, BUT ALSO’S THE MUSIC THAT IT
GENERATES AND WORKS LIKE THIS,
SOME OF THIS SCULPTURES THAT WE GENERATES AND WORKS LIKE THIS,
SOME OF THIS SCULPTURES THAT WE
HAVE TODAY WERE MEANT TO BE IN SOME OF THIS SCULPTURES THAT WE
HAVE TODAY WERE MEANT TO BE IN
MOVEMENT OR IN DISPLACEMENT AND HAVE TODAY WERE MEANT TO BE IN
MOVEMENT OR IN DISPLACEMENT AND
IT IS THAT THAT ALSO BRINGS THE MOVEMENT OR IN DISPLACEMENT AND
IT IS THAT THAT ALSO BRINGS THE
RICHNESS, SO HERE WE HAVE ONE OF IT IS THAT THAT ALSO BRINGS THE
RICHNESS, SO HERE WE HAVE ONE OF
OUR INCREDIBLE MASKS, AND WE’RE RICHNESS, SO HERE WE HAVE ONE OF
OUR INCREDIBLE MASKS, AND WE’RE
DISCUSSING THAT A MASK LIKE OUR INCREDIBLE MASKS, AND WE’RE
DISCUSSING THAT A MASK LIKE
THERE ONE IS ALMOST ALSO A DISCUSSING THAT A MASK LIKE
THERE ONE IS ALMOST ALSO A
COLLAGE OF THINGS, BUT YOU HAVE THERE ONE IS ALMOST ALSO A
COLLAGE OF THINGS, BUT YOU HAVE
TO GO FURTHER AND IMAGINE IT IN COLLAGE OF THINGS, BUT YOU HAVE
TO GO FURTHER AND IMAGINE IT IN
MOVEMENT AND DANCE WITH ELEMENTS TO GO FURTHER AND IMAGINE IT IN
MOVEMENT AND DANCE WITH ELEMENTS
THAT THEY HAD TO COMPLETELY MOVEMENT AND DANCE WITH ELEMENTS
THAT THEY HAD TO COMPLETELY
TRANSFORM A HUMAN BEING AND THAT THEY HAD TO COMPLETELY
TRANSFORM A HUMAN BEING AND
THAT’S WHEN THEY COME ALIVE. TRANSFORM A HUMAN BEING AND
THAT’S WHEN THEY COME ALIVE.
THE SAME WAY I WOULD SAY THE THAT’S WHEN THEY COME ALIVE.
THE SAME WAY I WOULD SAY THE
CALDER, ONE OF THE MOST PRECIOUS THE SAME WAY I WOULD SAY THE
CALDER, ONE OF THE MOST PRECIOUS
PIECES WE HAVE, AND LIKE MANY OF CALDER, ONE OF THE MOST PRECIOUS
PIECES WE HAVE, AND LIKE MANY OF
HIS MOBILES, IT IS THE — THE PIECES WE HAVE, AND LIKE MANY OF
HIS MOBILES, IT IS THE — THE
SPACE IT GENERATES, WHEN A HIS MOBILES, IT IS THE — THE
SPACE IT GENERATES, WHEN A
CALDER MOVES, SO YOU HAVE TO SEE SPACE IT GENERATES, WHEN A
CALDER MOVES, SO YOU HAVE TO SEE
IT MANY TIMES BECAUSE THERE’S CALDER MOVES, SO YOU HAVE TO SEE
IT MANY TIMES BECAUSE THERE’S
NEVER A FIXED MOMENT THAT IS A IT MANY TIMES BECAUSE THERE’S
NEVER A FIXED MOMENT THAT IS A
SCULPTURE. NEVER A FIXED MOMENT THAT IS A
SCULPTURE.
THE SCULPTURE IS THE MYRIAD OF SCULPTURE.
THE SCULPTURE IS THE MYRIAD OF
POSSIBILITIES OF WHERE THAT THE SCULPTURE IS THE MYRIAD OF
POSSIBILITIES OF WHERE THAT
UNIVERSE CAN GENERATE. POSSIBILITIES OF WHERE THAT
UNIVERSE CAN GENERATE.
THIS TWO PIECES IS ABOUT THAT, UNIVERSE CAN GENERATE.
THIS TWO PIECES IS ABOUT THAT,
AND ALSO ABOUT THAT MOVEMENT, THIS TWO PIECES IS ABOUT THAT,
AND ALSO ABOUT THAT MOVEMENT,
THAT LIFE THAT THEY CAN BRING, AND ALSO ABOUT THAT MOVEMENT,
THAT LIFE THAT THEY CAN BRING,
AS MUCH AS THIS JUST ABOUT THE THAT LIFE THAT THEY CAN BRING,
AS MUCH AS THIS JUST ABOUT THE
ESSENTIALITY. AS MUCH AS THIS JUST ABOUT THE
ESSENTIALITY.
AGAIN, THAT PURIFICATION AND ESSENTIALITY.
AGAIN, THAT PURIFICATION AND
THE CONTEMPORARY PIECE, MODERN AGAIN, THAT PURIFICATION AND
THE CONTEMPORARY PIECE, MODERN
FEES BY BRONCUZI WITH THE SHIN THE CONTEMPORARY PIECE, MODERN
FEES BY BRONCUZI WITH THE SHIN
ON TOP OF THE HEAD, A LOOKING FEES BY BRONCUZI WITH THE SHIN
ON TOP OF THE HEAD, A LOOKING
BACK AND BEING INSPIRED BY ON TOP OF THE HEAD, A LOOKING
BACK AND BEING INSPIRED BY
THINGS LIKE AFRICAN ART. BACK AND BEING INSPIRED BY
THINGS LIKE AFRICAN ART.
AN ROMAN YAEN ARTIST, THIS IS THINGS LIKE AFRICAN ART.
AN ROMAN YAEN ARTIST, THIS IS
NANCY CUNARD, THE MATRON OF THE AN ROMAN YAEN ARTIST, THIS IS
NANCY CUNARD, THE MATRON OF THE
CUNARD SHIPPING LINE. NANCY CUNARD, THE MATRON OF THE
CUNARD SHIPPING LINE.
SHE WAS VERY TALL, WALKED WITH CUNARD SHIPPING LINE.
SHE WAS VERY TALL, WALKED WITH
VERY UPRIGHT POSTURE, A SHE WAS VERY TALL, WALKED WITH
VERY UPRIGHT POSTURE, A
PROTRUDING FOREHEAD, A RECEDING VERY UPRIGHT POSTURE, A
PROTRUDING FOREHEAD, A RECEDING
CHIN AND HER GAIT WAS LONG AND PROTRUDING FOREHEAD, A RECEDING
CHIN AND HER GAIT WAS LONG AND
LEAN AND SHE HAD THESE GOOFY CHIN AND HER GAIT WAS LONG AND
LEAN AND SHE HAD THESE GOOFY
LITTLE CURLS BESIDE HER FACE. LEAN AND SHE HAD THESE GOOFY
LITTLE CURLS BESIDE HER FACE.
HE COULDN’T DO THAT, IT WOULD BE LITTLE CURLS BESIDE HER FACE.
HE COULDN’T DO THAT, IT WOULD BE
INCOMPATIBLE WITH HER HE COULDN’T DO THAT, IT WOULD BE
INCOMPATIBLE WITH HER
PERSONALITY, SO HE TOOK THE IDEA INCOMPATIBLE WITH HER
PERSONALITY, SO HE TOOK THE IDEA
OF THE CURL AND PUT IT ON TOP OF PERSONALITY, SO HE TOOK THE IDEA
OF THE CURL AND PUT IT ON TOP OF
HER HEAD AND USED HIS OWN OF THE CURL AND PUT IT ON TOP OF
HER HEAD AND USED HIS OWN
IMAGINATION TO CREATE SOMETHING HER HEAD AND USED HIS OWN
IMAGINATION TO CREATE SOMETHING
ELSE, BUT BASED ON THE IMAGINATION TO CREATE SOMETHING
ELSE, BUT BASED ON THE
INSPIRATION OF AFRICAN ELSE, BUT BASED ON THE
INSPIRATION OF AFRICAN
SCULPTURE. INSPIRATION OF AFRICAN
SCULPTURE.
AND THIS IS STARTING, YOU CAN SCULPTURE.
AND THIS IS STARTING, YOU CAN
SEE THE RELATIONSHIP THAT WE CAN AND THIS IS STARTING, YOU CAN
SEE THE RELATIONSHIP THAT WE CAN
BUILD THINGS IN A VAST AND SEE THE RELATIONSHIP THAT WE CAN
BUILD THINGS IN A VAST AND
VARIED COLLECTION, BUT THERE’S BUILD THINGS IN A VAST AND
VARIED COLLECTION, BUT THERE’S
FUN RELATIONSHIPS THAT ALSO VARIED COLLECTION, BUT THERE’S
FUN RELATIONSHIPS THAT ALSO
START HAPPENING WHEN YOU HAVE A FUN RELATIONSHIPS THAT ALSO
START HAPPENING WHEN YOU HAVE A
CLASSIC PIECE LIKE HERE ON THE START HAPPENING WHEN YOU HAVE A
CLASSIC PIECE LIKE HERE ON THE
LEFT-HAND SIDE, AND THEN YOU CLASSIC PIECE LIKE HERE ON THE
LEFT-HAND SIDE, AND THEN YOU
HAVE A CONTEMPORARY ARTIST THAT LEFT-HAND SIDE, AND THEN YOU
HAVE A CONTEMPORARY ARTIST THAT
IS USING NEW TECHNOLOGIES LIKE HAVE A CONTEMPORARY ARTIST THAT
IS USING NEW TECHNOLOGIES LIKE
VIDEO AND THAT CLOSED CIRCUIT IS USING NEW TECHNOLOGIES LIKE
VIDEO AND THAT CLOSED CIRCUIT
LOOP AND HE’S BY HIMSELF WITH A VIDEO AND THAT CLOSED CIRCUIT
LOOP AND HE’S BY HIMSELF WITH A
SCULPTURE TO PUT IT THERE, SO LOOP AND HE’S BY HIMSELF WITH A
SCULPTURE TO PUT IT THERE, SO
IT’S VERY ZEN-LIKE TO OPEN SO SCULPTURE TO PUT IT THERE, SO
IT’S VERY ZEN-LIKE TO OPEN SO
MANY DOORS TO PERFORMANCE AND IT’S VERY ZEN-LIKE TO OPEN SO
MANY DOORS TO PERFORMANCE AND
ALSO THE USE OF NEW MANY DOORS TO PERFORMANCE AND
ALSO THE USE OF NEW
TECHNOLOGIES, BUT A PIECE LIKE ALSO THE USE OF NEW
TECHNOLOGIES, BUT A PIECE LIKE
THIS IS SO SERENE AND AT THE TECHNOLOGIES, BUT A PIECE LIKE
THIS IS SO SERENE AND AT THE
SAME TIME SO ESSENTIAL THAT YOU THIS IS SO SERENE AND AT THE
SAME TIME SO ESSENTIAL THAT YOU
CAN RELATE VERY WELL TO ALL THE SAME TIME SO ESSENTIAL THAT YOU
CAN RELATE VERY WELL TO ALL THE
COLLECTION. CAN RELATE VERY WELL TO ALL THE
COLLECTION.
I JUST FIND IT FASCINATING, THE COLLECTION.
I JUST FIND IT FASCINATING, THE
VARIOUS CONNECTIVITIES, BUT I JUST FIND IT FASCINATING, THE
VARIOUS CONNECTIVITIES, BUT
NOTHING MORE FUN THAN THIS VARIOUS CONNECTIVITIES, BUT
NOTHING MORE FUN THAN THIS
PAIRING I HOPE THAT YOU FIND IT NOTHING MORE FUN THAN THIS
PAIRING I HOPE THAT YOU FIND IT
FUN AND ENJOYING. PAIRING I HOPE THAT YOU FIND IT
FUN AND ENJOYING.
TWO FIGURES OF AUTHORITY AT THE FUN AND ENJOYING.
TWO FIGURES OF AUTHORITY AT THE
NELSON. TWO FIGURES OF AUTHORITY AT THE
NELSON.
WELL, WHAT A WONDERFUL NELSON.
WELL, WHAT A WONDERFUL
COMBINATION BETWEEN THESE TWO, WELL, WHAT A WONDERFUL
COMBINATION BETWEEN THESE TWO,
ONE OF THESE PERFECTLY IDEAL COMBINATION BETWEEN THESE TWO,
ONE OF THESE PERFECTLY IDEAL
YOUTH REPRESENTED IN THE NUDE ONE OF THESE PERFECTLY IDEAL
YOUTH REPRESENTED IN THE NUDE
AND AGAIN, THIS IS — MAY HAVE YOUTH REPRESENTED IN THE NUDE
AND AGAIN, THIS IS — MAY HAVE
BEGUN AS A MODEL FROM A AND AGAIN, THIS IS — MAY HAVE
BEGUN AS A MODEL FROM A
BEAUTIFUL BODY, BUT IT IS BEGUN AS A MODEL FROM A
BEAUTIFUL BODY, BUT IT IS
IDEALIZED IN PERFECT PROPORTION, BEAUTIFUL BODY, BUT IT IS
IDEALIZED IN PERFECT PROPORTION,
PERFECT MUSCULATURE, EVERYTHING IDEALIZED IN PERFECT PROPORTION,
PERFECT MUSCULATURE, EVERYTHING
IS SO PERFECT AND PURE AND WHITE PERFECT MUSCULATURE, EVERYTHING
IS SO PERFECT AND PURE AND WHITE
AND JUST GORGEOUS, AND WITH THE IS SO PERFECT AND PURE AND WHITE
AND JUST GORGEOUS, AND WITH THE
SORT OF CLOTH CASUALLY DRAPED AND JUST GORGEOUS, AND WITH THE
SORT OF CLOTH CASUALLY DRAPED
OVER BUT NOT COVERING ANYTHING SORT OF CLOTH CASUALLY DRAPED
OVER BUT NOT COVERING ANYTHING
AT ALL, BUT THEN YOU HAVE OVER BUT NOT COVERING ANYTHING
AT ALL, BUT THEN YOU HAVE
SOMETHING LIKE DUANE HANSON WITH AT ALL, BUT THEN YOU HAVE
SOMETHING LIKE DUANE HANSON WITH
HIS MUSEUM GUARD WHERE HE REALLY SOMETHING LIKE DUANE HANSON WITH
HIS MUSEUM GUARD WHERE HE REALLY
GOES TO THE ENDS OF THE EARTH TO HIS MUSEUM GUARD WHERE HE REALLY
GOES TO THE ENDS OF THE EARTH TO
CREATE A REALISTIC IMAGE, ALL GOES TO THE ENDS OF THE EARTH TO
CREATE A REALISTIC IMAGE, ALL
THE WAY TO THE POINT WHERE HE’S CREATE A REALISTIC IMAGE, ALL
THE WAY TO THE POINT WHERE HE’S
CASTING FROM A LIVE PERSON AND THE WAY TO THE POINT WHERE HE’S
CASTING FROM A LIVE PERSON AND
THEN MAKING — GOING BACK WITH CASTING FROM A LIVE PERSON AND
THEN MAKING — GOING BACK WITH
PAINT AND GOING BACK WITH HAIR THEN MAKING — GOING BACK WITH
PAINT AND GOING BACK WITH HAIR
AND ADDING IN ALL THE DETAILS TO PAINT AND GOING BACK WITH HAIR
AND ADDING IN ALL THE DETAILS TO
MAKE THIS APPEAR JUST LIKE A AND ADDING IN ALL THE DETAILS TO
MAKE THIS APPEAR JUST LIKE A
FACSIMILE OF A PERSON. MAKE THIS APPEAR JUST LIKE A
FACSIMILE OF A PERSON.
WE DECIDED TO, INSTEAD OF FACSIMILE OF A PERSON.
WE DECIDED TO, INSTEAD OF
PICKING IT OFF RIGHT AWAY, LET WE DECIDED TO, INSTEAD OF
PICKING IT OFF RIGHT AWAY, LET
IT WAIT UNTIL THE CONSERVATORS PICKING IT OFF RIGHT AWAY, LET
IT WAIT UNTIL THE CONSERVATORS
ARE READY AND IN THE MEANTIME, IT WAIT UNTIL THE CONSERVATORS
ARE READY AND IN THE MEANTIME,
HE’S BEEN UP STAIRS IN THE WHO ARE READY AND IN THE MEANTIME,
HE’S BEEN UP STAIRS IN THE WHO
WERE ROOM IN THE AMERICAN HE’S BEEN UP STAIRS IN THE WHO
WERE ROOM IN THE AMERICAN
COLLECTION — IN THE HOOPER ROOM WERE ROOM IN THE AMERICAN
COLLECTION — IN THE HOOPER ROOM
IN THE AMERICAN COLLECTION, HE’S COLLECTION — IN THE HOOPER ROOM
IN THE AMERICAN COLLECTION, HE’S
IN THE EUROPEAN COLLECTION, IN THE AMERICAN COLLECTION, HE’S
IN THE EUROPEAN COLLECTION,
MOVING AROUND AND EXPERIENCING A IN THE EUROPEAN COLLECTION,
MOVING AROUND AND EXPERIENCING A
WORLD OF THE MUSEUM HE’S NEVER MOVING AROUND AND EXPERIENCING A
WORLD OF THE MUSEUM HE’S NEVER
BEEN ABLE TO EXPERIENCE. WORLD OF THE MUSEUM HE’S NEVER
BEEN ABLE TO EXPERIENCE.
EXACTLY. BEEN ABLE TO EXPERIENCE.
EXACTLY.
HE LIVED HERE FOR ALL THESE EXACTLY.
HE LIVED HERE FOR ALL THESE
YEARS AND HE’S NEVER SEEN IT. HE LIVED HERE FOR ALL THESE
YEARS AND HE’S NEVER SEEN IT.
AND IF HE’S A GUARD, HE YEARS AND HE’S NEVER SEEN IT.
AND IF HE’S A GUARD, HE
SHOULD BE REALLY MAKING HIS AND IF HE’S A GUARD, HE
SHOULD BE REALLY MAKING HIS
ROUNDS. SHOULD BE REALLY MAKING HIS
ROUNDS.
YOU PUT THE FRAME, WHEN WE ROUNDS.
YOU PUT THE FRAME, WHEN WE
ANALYZE COLLECTIONS AND AS YOU YOU PUT THE FRAME, WHEN WE
ANALYZE COLLECTIONS AND AS YOU
SEE, WE’VE BEEN TALKING ABOUT ANALYZE COLLECTIONS AND AS YOU
SEE, WE’VE BEEN TALKING ABOUT
PIECES OF ART THAT ARE IN SEE, WE’VE BEEN TALKING ABOUT
PIECES OF ART THAT ARE IN
DIFFERENT DEPARTMENTS, DIFFERENT PIECES OF ART THAT ARE IN
DIFFERENT DEPARTMENTS, DIFFERENT
EPOCHS, DIFFERENT CULTURES AND DIFFERENT DEPARTMENTS, DIFFERENT
EPOCHS, DIFFERENT CULTURES AND
CIVILIZATIONS, BUT IF YOU THINK EPOCHS, DIFFERENT CULTURES AND
CIVILIZATIONS, BUT IF YOU THINK
OF THE NELSON THROUGH THE PRISM CIVILIZATIONS, BUT IF YOU THINK
OF THE NELSON THROUGH THE PRISM
OF THE THREE DIMENSION AND OF THE NELSON THROUGH THE PRISM
OF THE THREE DIMENSION AND
OBJECTS, WE HAVE ONE OF THE MOST OF THE THREE DIMENSION AND
OBJECTS, WE HAVE ONE OF THE MOST
EXTRAORDINARY COLLECTIONS AND WE OBJECTS, WE HAVE ONE OF THE MOST
EXTRAORDINARY COLLECTIONS AND WE
CAN TELL MANY STORIES, BUT IT EXTRAORDINARY COLLECTIONS AND WE
CAN TELL MANY STORIES, BUT IT
WAS PART SERENDIPITY AND PART CAN TELL MANY STORIES, BUT IT
WAS PART SERENDIPITY AND PART
BUILDING ON STRENGTHS THAT WAS PART SERENDIPITY AND PART
BUILDING ON STRENGTHS THAT
SCULPTURE, ESPECIALLY IN THE BUILDING ON STRENGTHS THAT
SCULPTURE, ESPECIALLY IN THE
MODERN WORLD, KALE TO BE PART OF SCULPTURE, ESPECIALLY IN THE
MODERN WORLD, KALE TO BE PART OF
THE NELSON — CAME TO BE PART OF MODERN WORLD, KALE TO BE PART OF
THE NELSON — CAME TO BE PART OF
THE NELSON AND THAT HAD TO DO THE NELSON — CAME TO BE PART OF
THE NELSON AND THAT HAD TO DO
ALSO WITH MR. NELSON’S WILL. THE NELSON AND THAT HAD TO DO
ALSO WITH MR. NELSON’S WILL.
MANY OF YOU PROBABLY KNOW THE ALSO WITH MR. NELSON’S WILL.
MANY OF YOU PROBABLY KNOW THE
STORY, BUT WILLIAM ROCKHILL MANY OF YOU PROBABLY KNOW THE
STORY, BUT WILLIAM ROCKHILL
NELSON’S BEQUEST SPECIFIED THAT STORY, BUT WILLIAM ROCKHILL
NELSON’S BEQUEST SPECIFIED THAT
NONE OF THAT MONEY COULD BE USED NELSON’S BEQUEST SPECIFIED THAT
NONE OF THAT MONEY COULD BE USED
TO BUY ANYTHING FROM AN ARTIST NONE OF THAT MONEY COULD BE USED
TO BUY ANYTHING FROM AN ARTIST
THAT HADN’T BEEN DEAD FOR MANY TO BUY ANYTHING FROM AN ARTIST
THAT HADN’T BEEN DEAD FOR MANY
YEARS. THAT HADN’T BEEN DEAD FOR MANY
YEARS.
IN THE EARLY 1930s WHEN WE WERE YEARS.
IN THE EARLY 1930s WHEN WE WERE
BEGINNING TO ACQUIRE THINGS, IN THE EARLY 1930s WHEN WE WERE
BEGINNING TO ACQUIRE THINGS,
NOTHING COULD BE ACQUIRED. BEGINNING TO ACQUIRE THINGS,
NOTHING COULD BE ACQUIRED.
PICASSO WAS ALIVE, MATISSE WAS NOTHING COULD BE ACQUIRED.
PICASSO WAS ALIVE, MATISSE WAS
ALIVE, MONET WAS ALIVE, SO WE PICASSO WAS ALIVE, MATISSE WAS
ALIVE, MONET WAS ALIVE, SO WE
COULDN’T COLLECT THEM. ALIVE, MONET WAS ALIVE, SO WE
COULDN’T COLLECT THEM.
THE KANSAS CITY ART INSTITUTE COULDN’T COLLECT THEM.
THE KANSAS CITY ART INSTITUTE
ACROSS THE STREET SAID WE’RE THE KANSAS CITY ART INSTITUTE
ACROSS THE STREET SAID WE’RE
GOING TO HAVE A WORLD CLASS ACROSS THE STREET SAID WE’RE
GOING TO HAVE A WORLD CLASS
MUSEUM, WE HAVE TO HAVE ARTISTS GOING TO HAVE A WORLD CLASS
MUSEUM, WE HAVE TO HAVE ARTISTS
NOW, SO THEY POOLED THEY ARE MUSEUM, WE HAVE TO HAVE ARTISTS
NOW, SO THEY POOLED THEY ARE
MONEY AND SELECTED WORKS THEY NOW, SO THEY POOLED THEY ARE
MONEY AND SELECTED WORKS THEY
WERE INTERESTED IN BUYING AND MONEY AND SELECTED WORKS THEY
WERE INTERESTED IN BUYING AND
THEY VOTED AND BOUGHT SOMETHING WERE INTERESTED IN BUYING AND
THEY VOTED AND BOUGHT SOMETHING
AND THEN THEY GAVE IT TO THE THEY VOTED AND BOUGHT SOMETHING
AND THEN THEY GAVE IT TO THE
NELSON ATKINS. AND THEN THEY GAVE IT TO THE
NELSON ATKINS.
I THINK THE REAL TRANSITION NELSON ATKINS.
I THINK THE REAL TRANSITION
MOMENT, THE GREAT MOMENT THAT I THINK THE REAL TRANSITION
MOMENT, THE GREAT MOMENT THAT
PUTS SCULPTURE IN A COMPLETELY MOMENT, THE GREAT MOMENT THAT
PUTS SCULPTURE IN A COMPLETELY
DIFFERENT LIGHT, AND I THINK IT PUTS SCULPTURE IN A COMPLETELY
DIFFERENT LIGHT, AND I THINK IT
HAS TO DO WITH ALSO THE DIFFERENT LIGHT, AND I THINK IT
HAS TO DO WITH ALSO THE
UNDERSTANDING THAT BY THEN, IN HAS TO DO WITH ALSO THE
UNDERSTANDING THAT BY THEN, IN
THE ’80s, WE WERE ALREADY TOO UNDERSTANDING THAT BY THEN, IN
THE ’80s, WE WERE ALREADY TOO
LATE TO BUY SOME OF THE THE ’80s, WE WERE ALREADY TOO
LATE TO BUY SOME OF THE
MODERNIST GREAT ARTISTS, BUT LATE TO BUY SOME OF THE
MODERNIST GREAT ARTISTS, BUT
THERE WAS THIS OPPORTUNITY THAT MODERNIST GREAT ARTISTS, BUT
THERE WAS THIS OPPORTUNITY THAT
PRESENTED, THAT WAS PRESENTED TO THERE WAS THIS OPPORTUNITY THAT
PRESENTED, THAT WAS PRESENTED TO
THE HALL FAMILY FOUNDATION AND PRESENTED, THAT WAS PRESENTED TO
THE HALL FAMILY FOUNDATION AND
THEY SEIZED IT. THE HALL FAMILY FOUNDATION AND
THEY SEIZED IT.
THEY BOUGHT 11 MONUMENTAL THEY SEIZED IT.
THEY BOUGHT 11 MONUMENTAL
SCULPTURES AND THE HENRY MOORE. THEY BOUGHT 11 MONUMENTAL
SCULPTURES AND THE HENRY MOORE.
THAT GIFT CAME WITH 43 PIECES. SCULPTURES AND THE HENRY MOORE.
THAT GIFT CAME WITH 43 PIECES.
IT WAS AN AMAZING ACQUISITION THAT GIFT CAME WITH 43 PIECES.
IT WAS AN AMAZING ACQUISITION
TO ACQUIRE ALL THESE THINGS IN IT WAS AN AMAZING ACQUISITION
TO ACQUIRE ALL THESE THINGS IN
ONE FELL SWOOP AND TO THEREBY TO ACQUIRE ALL THESE THINGS IN
ONE FELL SWOOP AND TO THEREBY
MAKE SCULPTURE A KEY ELEMENT OF ONE FELL SWOOP AND TO THEREBY
MAKE SCULPTURE A KEY ELEMENT OF
OUR MODERN COLLECTION. MAKE SCULPTURE A KEY ELEMENT OF
OUR MODERN COLLECTION.
AND I THINK THAT EXACTLY IS OUR MODERN COLLECTION.
AND I THINK THAT EXACTLY IS
TRANSFORM NATIVE AT THE MOMENT AND I THINK THAT EXACTLY IS
TRANSFORM NATIVE AT THE MOMENT
AND THEN TO START THEN ADDING, TRANSFORM NATIVE AT THE MOMENT
AND THEN TO START THEN ADDING,
AND NOW ALL OF A SUDDEN, YOU AND THEN TO START THEN ADDING,
AND NOW ALL OF A SUDDEN, YOU
HAVE A NEW FOCUS. AND NOW ALL OF A SUDDEN, YOU
HAVE A NEW FOCUS.
YOU HAVE A NEW WAY OF LOOKING AT HAVE A NEW FOCUS.
YOU HAVE A NEW WAY OF LOOKING AT
OUR HOLDINGS, AND SO, YOU KNOW, YOU HAVE A NEW WAY OF LOOKING AT
OUR HOLDINGS, AND SO, YOU KNOW,
WE ALWAYS — WE ALWAYS TALK OUR HOLDINGS, AND SO, YOU KNOW,
WE ALWAYS — WE ALWAYS TALK
ABOUT WHEN YOU BUY EITHER TO WE ALWAYS — WE ALWAYS TALK
ABOUT WHEN YOU BUY EITHER TO
FILL A HOLE OR TO BUILD ON THE ABOUT WHEN YOU BUY EITHER TO
FILL A HOLE OR TO BUILD ON THE
STRENGTH, BUT THE HOLES AND THE FILL A HOLE OR TO BUILD ON THE
STRENGTH, BUT THE HOLES AND THE
STRENGTHS ARE DEFINED BY WHAT STRENGTH, BUT THE HOLES AND THE
STRENGTHS ARE DEFINED BY WHAT
YOU’RE GETTING, SO ALL OF A STRENGTHS ARE DEFINED BY WHAT
YOU’RE GETTING, SO ALL OF A
SUDDEN, WE HAVE A SENSE NOW IN YOU’RE GETTING, SO ALL OF A
SUDDEN, WE HAVE A SENSE NOW IN
MONUMENTAL SCULPTURE AND THEN WE SUDDEN, WE HAVE A SENSE NOW IN
MONUMENTAL SCULPTURE AND THEN WE
START WITH WHAT GOES AROUND MONUMENTAL SCULPTURE AND THEN WE
START WITH WHAT GOES AROUND
THOSE ELEMENTS, AND SO MORE START WITH WHAT GOES AROUND
THOSE ELEMENTS, AND SO MORE
GIFTS AND MORE FOCUS IN OUR THOSE ELEMENTS, AND SO MORE
GIFTS AND MORE FOCUS IN OUR
COLLECTION, THE MODERN SCULPTURE GIFTS AND MORE FOCUS IN OUR
COLLECTION, THE MODERN SCULPTURE
INITIATIVE. COLLECTION, THE MODERN SCULPTURE
INITIATIVE.
THE MODERN SCULPTURE INITIATIVE.
THE MODERN SCULPTURE
INITIATIVE, MM-HMM. THE MODERN SCULPTURE
INITIATIVE, MM-HMM.
BRINGS THE AMAZING PIECES IN, INITIATIVE, MM-HMM.
BRINGS THE AMAZING PIECES IN,
SO EXPANDING THE DIFFERENT KIND BRINGS THE AMAZING PIECES IN,
SO EXPANDING THE DIFFERENT KIND
OF MONUMENTALS AND THEN ONE OF SO EXPANDING THE DIFFERENT KIND
OF MONUMENTALS AND THEN ONE OF
THE GREATEST ACHIEVEMENTS ALSO OF MONUMENTALS AND THEN ONE OF
THE GREATEST ACHIEVEMENTS ALSO
IN CONJUNCTION WITH THE BUILDING THE GREATEST ACHIEVEMENTS ALSO
IN CONJUNCTION WITH THE BUILDING
WAS FOCUSING ON GUCCI AND THIS IN CONJUNCTION WITH THE BUILDING
WAS FOCUSING ON GUCCI AND THIS
IS ONE OF THE MOST CONTE WAS FOCUSING ON GUCCI AND THIS
IS ONE OF THE MOST CONTE
CONTEMPORATIVE SPACES THAT WE IS ONE OF THE MOST CONTE
CONTEMPORATIVE SPACES THAT WE
HAVE AND ALSO THE CONTINUITY OF CONTEMPORATIVE SPACES THAT WE
HAVE AND ALSO THE CONTINUITY OF
THE FOUNTAIN THAT GOES IN AND HAVE AND ALSO THE CONTINUITY OF
THE FOUNTAIN THAT GOES IN AND
OUT AND ALMOST BREAKS THE NOTION THE FOUNTAIN THAT GOES IN AND
OUT AND ALMOST BREAKS THE NOTION
OF AN EXTERIOR AND INTERIOR AND OUT AND ALMOST BREAKS THE NOTION
OF AN EXTERIOR AND INTERIOR AND
IT’S REALLY MONUMENTAL. OF AN EXTERIOR AND INTERIOR AND
IT’S REALLY MONUMENTAL.
ANOTHER FRIEND OF THE NELSON IS IT’S REALLY MONUMENTAL.
ANOTHER FRIEND OF THE NELSON IS
THE CAMPUS OF THE WILLIAM P. ANOTHER FRIEND OF THE NELSON IS
THE CAMPUS OF THE WILLIAM P.
KEMPER FOUNDATION. THE CAMPUS OF THE WILLIAM P.
KEMPER FOUNDATION.
AGAIN, BUILDING ON STRENGTHS KEMPER FOUNDATION.
AGAIN, BUILDING ON STRENGTHS
IN 1999, WILLIAM T. KEMPER AGAIN, BUILDING ON STRENGTHS
IN 1999, WILLIAM T. KEMPER
FOUNDATION TRUSTEES MADE AN IN 1999, WILLIAM T. KEMPER
FOUNDATION TRUSTEES MADE AN
INCREDIBLE GIFT TO THE FOUNDATION TRUSTEES MADE AN
INCREDIBLE GIFT TO THE
NELSON-ATKINS OF ONE MILLION INCREDIBLE GIFT TO THE
NELSON-ATKINS OF ONE MILLION
DOLLARS A YEAR FOR TEN YEARS, NELSON-ATKINS OF ONE MILLION
DOLLARS A YEAR FOR TEN YEARS,
AND WE HAVE BEEN DOING GREAT DOLLARS A YEAR FOR TEN YEARS,
AND WE HAVE BEEN DOING GREAT
THINGS WITH THAT AND THIS IS ONE AND WE HAVE BEEN DOING GREAT
THINGS WITH THAT AND THIS IS ONE
OF THE EARLY ACQUISITIONS, THINGS WITH THAT AND THIS IS ONE
OF THE EARLY ACQUISITIONS,
KAPUR’S SIX SECRET PLACES, THESE OF THE EARLY ACQUISITIONS,
KAPUR’S SIX SECRET PLACES, THESE
BEAUTIFUL FORMS THAT ARE COATED KAPUR’S SIX SECRET PLACES, THESE
BEAUTIFUL FORMS THAT ARE COATED
WITH LOOSE PIGMENT, BRIGHT BEAUTIFUL FORMS THAT ARE COATED
WITH LOOSE PIGMENT, BRIGHT
PIGMENT IN THE WAY THAT IF WITH LOOSE PIGMENT, BRIGHT
PIGMENT IN THE WAY THAT IF
YOU’VE EVER BEEN TO INDIA AT PIGMENT IN THE WAY THAT IF
YOU’VE EVER BEEN TO INDIA AT
HOLY TIME, PEOPLE HAVE YOU’VE EVER BEEN TO INDIA AT
HOLY TIME, PEOPLE HAVE
CELEBRATIONS AND THEY THROW HOLY TIME, PEOPLE HAVE
CELEBRATIONS AND THEY THROW
THESE BRILLIANT PIGMENTS ALL CELEBRATIONS AND THEY THROW
THESE BRILLIANT PIGMENTS ALL
OVER THEIR BODIES AND THEY COME THESE BRILLIANT PIGMENTS ALL
OVER THEIR BODIES AND THEY COME
OUT IN HOT PINKS AND BRIGHT OVER THEIR BODIES AND THEY COME
OUT IN HOT PINKS AND BRIGHT
YELLOWS AND IT’S A BIG OUT IN HOT PINKS AND BRIGHT
YELLOWS AND IT’S A BIG
CELEBRATION AND THERE’S THAT YELLOWS AND IT’S A BIG
CELEBRATION AND THERE’S THAT
QUALITY TO THIS. CELEBRATION AND THERE’S THAT
QUALITY TO THIS.
AND ONE OF THE FIRST QUALITY TO THIS.
AND ONE OF THE FIRST
ACQUISITIONS WHEN YOU BECAME THE AND ONE OF THE FIRST
ACQUISITIONS WHEN YOU BECAME THE
CURATOR OF MODERN CONTEMPORARY ACQUISITIONS WHEN YOU BECAME THE
CURATOR OF MODERN CONTEMPORARY
ART WAS THIS. CURATOR OF MODERN CONTEMPORARY
ART WAS THIS.
YEAH. ART WAS THIS.
YEAH.
TELL US ABOUT IT BECAUSE IT YEAH.
TELL US ABOUT IT BECAUSE IT
IS A KEY ARTIST. TELL US ABOUT IT BECAUSE IT
IS A KEY ARTIST.
WHEN I CAME HERE, I WAS IS A KEY ARTIST.
WHEN I CAME HERE, I WAS
SURPRISED THAT IT AS IF ALMOST WHEN I CAME HERE, I WAS
SURPRISED THAT IT AS IF ALMOST
NO CONCEPTUAL ART WAS HERE AND SURPRISED THAT IT AS IF ALMOST
NO CONCEPTUAL ART WAS HERE AND
NO PERFORMANCE ART AND NO NO CONCEPTUAL ART WAS HERE AND
NO PERFORMANCE ART AND NO
EARTH-TYPE ART, AND NO MEDIA NO PERFORMANCE ART AND NO
EARTH-TYPE ART, AND NO MEDIA
ART, AND SO WE REALLY BEGAN TO EARTH-TYPE ART, AND NO MEDIA
ART, AND SO WE REALLY BEGAN TO
WORK ON THINKING ABOUT HOW TO ART, AND SO WE REALLY BEGAN TO
WORK ON THINKING ABOUT HOW TO
FILL THAT BIG GAP, AND THESE TWO WORK ON THINKING ABOUT HOW TO
FILL THAT BIG GAP, AND THESE TWO
PIECES WERE SEMINAL IN FILL THAT BIG GAP, AND THESE TWO
PIECES WERE SEMINAL IN
ESTABLISHING THE CORE OF THAT PIECES WERE SEMINAL IN
ESTABLISHING THE CORE OF THAT
BECAUSE DU CHAMPS WITH HIS — WE ESTABLISHING THE CORE OF THAT
BECAUSE DU CHAMPS WITH HIS — WE
COULDN’T AFFORD THIS AND THEY’RE BECAUSE DU CHAMPS WITH HIS — WE
COULDN’T AFFORD THIS AND THEY’RE
ALREADY IF MUSEUMS AGAIN, BUT COULDN’T AFFORD THIS AND THEY’RE
ALREADY IF MUSEUMS AGAIN, BUT
ONE BECAME AVAILABLE AND IT’S ALREADY IF MUSEUMS AGAIN, BUT
ONE BECAME AVAILABLE AND IT’S
BEEN A FRIEND OF MINE WHO OWNS ONE BECAME AVAILABLE AND IT’S
BEEN A FRIEND OF MINE WHO OWNS
THE GALLERY HAD THIS CONNECTION BEEN A FRIEND OF MINE WHO OWNS
THE GALLERY HAD THIS CONNECTION
AND CALLED ME AND SAID WOULD YOU THE GALLERY HAD THIS CONNECTION
AND CALLED ME AND SAID WOULD YOU
BE INTERESTED. AND CALLED ME AND SAID WOULD YOU
BE INTERESTED.
AND I WAS SMITTEN. BE INTERESTED.
AND I WAS SMITTEN.
I HAVE LOVED HIM FOREVER, SO I AND I WAS SMITTEN.
I HAVE LOVED HIM FOREVER, SO I
THOUGHT IT WOULD BE A WONDERFUL I HAVE LOVED HIM FOREVER, SO I
THOUGHT IT WOULD BE A WONDERFUL
OPPORTUNITY FOR US TO HAVE N A THOUGHT IT WOULD BE A WONDERFUL
OPPORTUNITY FOR US TO HAVE N A
NUTSHELL, EVERYTHING THAT DU OPPORTUNITY FOR US TO HAVE N A
NUTSHELL, EVERYTHING THAT DU
CHAMPS EVER MADE ALL PACKED INTO NUTSHELL, EVERYTHING THAT DU
CHAMPS EVER MADE ALL PACKED INTO
THIS BOX THAT UNFOLDS AND TURNS CHAMPS EVER MADE ALL PACKED INTO
THIS BOX THAT UNFOLDS AND TURNS
INTO WHAT HE CALLED THE THIS BOX THAT UNFOLDS AND TURNS
INTO WHAT HE CALLED THE
TRAVELER’S CARRYING CASE AND INTO WHAT HE CALLED THE
TRAVELER’S CARRYING CASE AND
EVERYTHING IS THERE, BUT HE WAS TRAVELER’S CARRYING CASE AND
EVERYTHING IS THERE, BUT HE WAS
REALLY THE FATHER OF CONCEPTUAL EVERYTHING IS THERE, BUT HE WAS
REALLY THE FATHER OF CONCEPTUAL
ART, AND THEN MANRAY ALSO WITH REALLY THE FATHER OF CONCEPTUAL
ART, AND THEN MANRAY ALSO WITH
THIS METRONOME, THE IDEA THAT ART, AND THEN MANRAY ALSO WITH
THIS METRONOME, THE IDEA THAT
YOU CAN FIND THE THING THAT THIS METRONOME, THE IDEA THAT
YOU CAN FIND THE THING THAT
EXISTS IN A MUSIC STORE AND YOU CAN FIND THE THING THAT
EXISTS IN A MUSIC STORE AND
BIDDING A PHOTOGRAPH OF AN EYE, EXISTS IN A MUSIC STORE AND
BIDDING A PHOTOGRAPH OF AN EYE,
YOU CAN TRANSFORM IT INTO BIDDING A PHOTOGRAPH OF AN EYE,
YOU CAN TRANSFORM IT INTO
SOMETHING COMPLETELY DIFFERENT, YOU CAN TRANSFORM IT INTO
SOMETHING COMPLETELY DIFFERENT,
VERY CONCEPTUAL. SOMETHING COMPLETELY DIFFERENT,
VERY CONCEPTUAL.
I THINK THERE’S TWO GENIUSES VERY CONCEPTUAL.
I THINK THERE’S TWO GENIUSES
IN THE 20th CENTURY. I THINK THERE’S TWO GENIUSES
IN THE 20th CENTURY.
ONE IS PICASSO AND THE OTHER ONE IN THE 20th CENTURY.
ONE IS PICASSO AND THE OTHER ONE
I THINK WILL HAVE THE MOST ONE IS PICASSO AND THE OTHER ONE
I THINK WILL HAVE THE MOST
LASTING IMPACT IS DEFINITELY DU I THINK WILL HAVE THE MOST
LASTING IMPACT IS DEFINITELY DU
CHAMPS. LASTING IMPACT IS DEFINITELY DU
CHAMPS.
MOVING FORWARD OVER TIME, CHAMPS.
MOVING FORWARD OVER TIME,
THERE’S TWO GREAT ACQUISITIONS MOVING FORWARD OVER TIME,
THERE’S TWO GREAT ACQUISITIONS
THAT COMPLEMENT THAT IDEA THERE’S TWO GREAT ACQUISITIONS
THAT COMPLEMENT THAT IDEA
FURTHER. THAT COMPLEMENT THAT IDEA
FURTHER.
REPRESENTING THE CARRYING FURTHER.
REPRESENTING THE CARRYING
FORTH AND FORWARD THE IDEA OF REPRESENTING THE CARRYING
FORTH AND FORWARD THE IDEA OF
CONCEPTUAL ART. FORTH AND FORWARD THE IDEA OF
CONCEPTUAL ART.
THERE’S NO ATTEMPT IN KIKI CONCEPTUAL ART.
THERE’S NO ATTEMPT IN KIKI
SMITH’S WORK TO REPLICATE THE THERE’S NO ATTEMPT IN KIKI
SMITH’S WORK TO REPLICATE THE
BODY IN A KIND OF GREEK SENSE OR SMITH’S WORK TO REPLICATE THE
BODY IN A KIND OF GREEK SENSE OR
ROMAN SENSE OR RENAISSANCE SENSE BODY IN A KIND OF GREEK SENSE OR
ROMAN SENSE OR RENAISSANCE SENSE
OR EVEN MEDIEVAL SENSE. ROMAN SENSE OR RENAISSANCE SENSE
OR EVEN MEDIEVAL SENSE.
THIS IS MADE OF RICE PAPER, OR EVEN MEDIEVAL SENSE.
THIS IS MADE OF RICE PAPER,
THESE PARTS OF THE FEMALE BODY THIS IS MADE OF RICE PAPER,
THESE PARTS OF THE FEMALE BODY
WITH ORGANS DROPPING OUT AND THESE PARTS OF THE FEMALE BODY
WITH ORGANS DROPPING OUT AND
SHELLS AND THEY’RE JUST SO WITH ORGANS DROPPING OUT AND
SHELLS AND THEY’RE JUST SO
HAUNTING AND BEAUTIFUL AND SHELLS AND THEY’RE JUST SO
HAUNTING AND BEAUTIFUL AND
CONCEPTUALLY POWERFUL AND NEXT HAUNTING AND BEAUTIFUL AND
CONCEPTUALLY POWERFUL AND NEXT
TO THEM IS THE FELT SUIT BY CONCEPTUALLY POWERFUL AND NEXT
TO THEM IS THE FELT SUIT BY
JOSEPH BOYCE, A GERMAN ARTIST TO THEM IS THE FELT SUIT BY
JOSEPH BOYCE, A GERMAN ARTIST
WHO INVENTED A MYTH ABOUT JOSEPH BOYCE, A GERMAN ARTIST
WHO INVENTED A MYTH ABOUT
HIMSELF. WHO INVENTED A MYTH ABOUT
HIMSELF.
HE WAS ACTUALLY IN THE AIR FORCE HIMSELF.
HE WAS ACTUALLY IN THE AIR FORCE
IN THE GERMAN FORCES DURING HE WAS ACTUALLY IN THE AIR FORCE
IN THE GERMAN FORCES DURING
WORLD WAR II AND THE EFFECT OF IN THE GERMAN FORCES DURING
WORLD WAR II AND THE EFFECT OF
BEING IN THAT WAR AND THAT ROLE WORLD WAR II AND THE EFFECT OF
BEING IN THAT WAR AND THAT ROLE
AND GERMANY’S ROLE IN IT AND BEING IN THAT WAR AND THAT ROLE
AND GERMANY’S ROLE IN IT AND
WHAT HAPPENED AFTERWARDS AND IT AND GERMANY’S ROLE IN IT AND
WHAT HAPPENED AFTERWARDS AND IT
WAS SO HORRIBLE AND TRAUMATIC WHAT HAPPENED AFTERWARDS AND IT
WAS SO HORRIBLE AND TRAUMATIC
FOR HIM, THAT HE FELT HE HAD TO WAS SO HORRIBLE AND TRAUMATIC
FOR HIM, THAT HE FELT HE HAD TO
BE BORN ANEW AND SO HE REALLY FOR HIM, THAT HE FELT HE HAD TO
BE BORN ANEW AND SO HE REALLY
INVENTED THIS MYTH ABOUT HIMSELF BE BORN ANEW AND SO HE REALLY
INVENTED THIS MYTH ABOUT HIMSELF
HAVING BEEN SHOT DOWN OVER THE INVENTED THIS MYTH ABOUT HIMSELF
HAVING BEEN SHOT DOWN OVER THE
CRIMEA AND THE TARTAR PEOPLE HAVING BEEN SHOT DOWN OVER THE
CRIMEA AND THE TARTAR PEOPLE
SAVING HIS LIFE AND SO HE WAS CRIMEA AND THE TARTAR PEOPLE
SAVING HIS LIFE AND SO HE WAS
REBORN AS AN ARTIST. SAVING HIS LIFE AND SO HE WAS
REBORN AS AN ARTIST.
AND AGAIN, THAT ART IS AN REBORN AS AN ARTIST.
AND AGAIN, THAT ART IS AN
INFLUENCE, AT LEAST THROUGH AND AGAIN, THAT ART IS AN
INFLUENCE, AT LEAST THROUGH
EUROPE AND THE U.S., A WAY OF INFLUENCE, AT LEAST THROUGH
EUROPE AND THE U.S., A WAY OF
SELF CREATION AND NOT ONLY THE EUROPE AND THE U.S., A WAY OF
SELF CREATION AND NOT ONLY THE
ART BUT EVERYTHING THAT HE — SELF CREATION AND NOT ONLY THE
ART BUT EVERYTHING THAT HE —
THE ADVENT OF THIS, HE TOOK IT ART BUT EVERYTHING THAT HE —
THE ADVENT OF THIS, HE TOOK IT
TO THE NOTION OF SOCIAL THE ADVENT OF THIS, HE TOOK IT
TO THE NOTION OF SOCIAL
SCULPTURE AND HE OPENED IT UP IN TO THE NOTION OF SOCIAL
SCULPTURE AND HE OPENED IT UP IN
MANY WAYS. SCULPTURE AND HE OPENED IT UP IN
MANY WAYS.
NOW, JUST CONTRAST, BECAUSE WE MANY WAYS.
NOW, JUST CONTRAST, BECAUSE WE
COULD GO ON AND ON, BUT YOU WILL NOW, JUST CONTRAST, BECAUSE WE
COULD GO ON AND ON, BUT YOU WILL
SEE THIS ON DISPLAY, VERY COULD GO ON AND ON, BUT YOU WILL
SEE THIS ON DISPLAY, VERY
CONCEPTUAL FEES AND PERHAPS ONE SEE THIS ON DISPLAY, VERY
CONCEPTUAL FEES AND PERHAPS ONE
OF — PIECE AND PERHAPS ONE OF CONCEPTUAL FEES AND PERHAPS ONE
OF — PIECE AND PERHAPS ONE OF
OUR LIGHTEST SCULPTURES, OF — PIECE AND PERHAPS ONE OF
OUR LIGHTEST SCULPTURES,
LIGHTEST IN THE TRUE SENSE OF OUR LIGHTEST SCULPTURES,
LIGHTEST IN THE TRUE SENSE OF
THE WORD, PUN INTENDED, AND THE LIGHTEST IN THE TRUE SENSE OF
THE WORD, PUN INTENDED, AND THE
HEAVIEST PIECE. THE WORD, PUN INTENDED, AND THE
HEAVIEST PIECE.
AND ALSO THE MINIMALISM BUT ALSO HEAVIEST PIECE.
AND ALSO THE MINIMALISM BUT ALSO
DEFYING GRAVITY, DISPLAYING WITH AND ALSO THE MINIMALISM BUT ALSO
DEFYING GRAVITY, DISPLAYING WITH
THE SOLIDITY AND THE HEAVINESS DEFYING GRAVITY, DISPLAYING WITH
THE SOLIDITY AND THE HEAVINESS
OF HIS WORK, BUT ALSO LOOKING THE SOLIDITY AND THE HEAVINESS
OF HIS WORK, BUT ALSO LOOKING
FOR THAT NOTION THAT WE’VE BEEN OF HIS WORK, BUT ALSO LOOKING
FOR THAT NOTION THAT WE’VE BEEN
TALKING ABOUT SCULPTURE, THE FOR THAT NOTION THAT WE’VE BEEN
TALKING ABOUT SCULPTURE, THE
NOTION OF A BALANCE. TALKING ABOUT SCULPTURE, THE
NOTION OF A BALANCE.
BUT NOW WE’LL GO OUTSIDE AND WE NOTION OF A BALANCE.
BUT NOW WE’LL GO OUTSIDE AND WE
HAVE OUR THINKER WHO GRACES NOW BUT NOW WE’LL GO OUTSIDE AND WE
HAVE OUR THINKER WHO GRACES NOW
OUR SOUTH LAW IN A CENTRAL HAVE OUR THINKER WHO GRACES NOW
OUR SOUTH LAW IN A CENTRAL
FEATURE AND THIS CAME — SOUTH OUR SOUTH LAW IN A CENTRAL
FEATURE AND THIS CAME — SOUTH
LAWN IN A CENTRAL FEATURE AND FEATURE AND THIS CAME — SOUTH
LAWN IN A CENTRAL FEATURE AND
THIS CAME TO THE CITY OF KANSAS LAWN IN A CENTRAL FEATURE AND
THIS CAME TO THE CITY OF KANSAS
CITY IN THE LATE ’40s, EARLY THIS CAME TO THE CITY OF KANSAS
CITY IN THE LATE ’40s, EARLY
’50s AND IS NOW IN FRONT OF THE CITY IN THE LATE ’40s, EARLY
’50s AND IS NOW IN FRONT OF THE
MUSEUM, BUT MORE INTERESTINGLY, ’50s AND IS NOW IN FRONT OF THE
MUSEUM, BUT MORE INTERESTINGLY,
PRIOR TO THE ACQUISITION BY THE MUSEUM, BUT MORE INTERESTINGLY,
PRIOR TO THE ACQUISITION BY THE
HALL FAMILY FOUNDATION OF ALL OF PRIOR TO THE ACQUISITION BY THE
HALL FAMILY FOUNDATION OF ALL OF
HENRY MOORE’S, HENRY MOORE, HALL FAMILY FOUNDATION OF ALL OF
HENRY MOORE’S, HENRY MOORE,
HIMSELF, YOU WERE TELLING ME, HENRY MOORE’S, HENRY MOORE,
HIMSELF, YOU WERE TELLING ME,
INSTALLED THIS TODAY. HIMSELF, YOU WERE TELLING ME,
INSTALLED THIS TODAY.
THE SHEEP PIECE AND HE CALLED INSTALLED THIS TODAY.
THE SHEEP PIECE AND HE CALLED
IT THAT BECAUSE HE HAD A THE SHEEP PIECE AND HE CALLED
IT THAT BECAUSE HE HAD A
SCULPTURE JUST LIKE IT IN HIS IT THAT BECAUSE HE HAD A
SCULPTURE JUST LIKE IT IN HIS
LAND, HIS PASTURES AT PERRY SCULPTURE JUST LIKE IT IN HIS
LAND, HIS PASTURES AT PERRY
GREEN IN THE SOUTHERN PART OF LAND, HIS PASTURES AT PERRY
GREEN IN THE SOUTHERN PART OF
ENGLAND AND THE SHEEP LOVED GREEN IN THE SOUTHERN PART OF
ENGLAND AND THE SHEEP LOVED
TO — HIS SHEEP LOVED TO RUB UP ENGLAND AND THE SHEEP LOVED
TO — HIS SHEEP LOVED TO RUB UP
AGAINST IT, SO HE CALLED IT THE TO — HIS SHEEP LOVED TO RUB UP
AGAINST IT, SO HE CALLED IT THE
SHEEP PIECE AND HE MADE ANOTHER AGAINST IT, SO HE CALLED IT THE
SHEEP PIECE AND HE MADE ANOTHER
CAST OF THAT SAME PIECE AND THIS SHEEP PIECE AND HE MADE ANOTHER
CAST OF THAT SAME PIECE AND THIS
IS AN INTERESTING WAY THIS SAME CAST OF THAT SAME PIECE AND THIS
IS AN INTERESTING WAY THIS SAME
TO US, BECAUSE LAWRENCE SICKMAN IS AN INTERESTING WAY THIS SAME
TO US, BECAUSE LAWRENCE SICKMAN
WHO WAS HERE AT THE TIME AS A TO US, BECAUSE LAWRENCE SICKMAN
WHO WAS HERE AT THE TIME AS A
DIRECTOR HAD A CONNECTION AND WHO WAS HERE AT THE TIME AS A
DIRECTOR HAD A CONNECTION AND
WAS CONNECTED WITH THE CITY AND DIRECTOR HAD A CONNECTION AND
WAS CONNECTED WITH THE CITY AND
THE CITY FATHERS, AND SO SOMEONE WAS CONNECTED WITH THE CITY AND
THE CITY FATHERS, AND SO SOMEONE
WANTED TO MAKE A GIFT. THE CITY FATHERS, AND SO SOMEONE
WANTED TO MAKE A GIFT.
MR. DERANGER WANTED TO MAKE A WANTED TO MAKE A GIFT.
MR. DERANGER WANTED TO MAKE A
GIFT OF A SCULPTURE TO KANSAS MR. DERANGER WANTED TO MAKE A
GIFT OF A SCULPTURE TO KANSAS
CITY AND HE HAD A REQUIREMENT ON GIFT OF A SCULPTURE TO KANSAS
CITY AND HE HAD A REQUIREMENT ON
IT THAT IT HAS TO DO SOMETHING CITY AND HE HAD A REQUIREMENT ON
IT THAT IT HAS TO DO SOMETHING
WITH THE PIONEERING SPIRIT, AND IT THAT IT HAS TO DO SOMETHING
WITH THE PIONEERING SPIRIT, AND
SO IT WAS LAWRENCE SICKMAN WHO WITH THE PIONEERING SPIRIT, AND
SO IT WAS LAWRENCE SICKMAN WHO
SAID, WELL, PIONEERING SPIRIT, SO IT WAS LAWRENCE SICKMAN WHO
SAID, WELL, PIONEERING SPIRIT,
DOES THAT MEAN WE DO A CONESTOGA SAID, WELL, PIONEERING SPIRIT,
DOES THAT MEAN WE DO A CONESTOGA
WAGON OR DOES THAT MEAN DOES THAT MEAN WE DO A CONESTOGA
WAGON OR DOES THAT MEAN
SOMETHING ELSE? WAGON OR DOES THAT MEAN
SOMETHING ELSE?
AND HE INTERPRETED THAT BROADLY SOMETHING ELSE?
AND HE INTERPRETED THAT BROADLY
TO MEAN THE PIONEERING SPIRIT OF AND HE INTERPRETED THAT BROADLY
TO MEAN THE PIONEERING SPIRIT OF
THE MID 20th CENTURY AND MOVING TO MEAN THE PIONEERING SPIRIT OF
THE MID 20th CENTURY AND MOVING
FORWARD, AND THEN THERE WAS A THE MID 20th CENTURY AND MOVING
FORWARD, AND THEN THERE WAS A
DISCUSSION ABOUT WHERE SHOULD IT FORWARD, AND THEN THERE WAS A
DISCUSSION ABOUT WHERE SHOULD IT
GO. DISCUSSION ABOUT WHERE SHOULD IT
GO.
IT WAS COMING TO THE CITY AND GO.
IT WAS COMING TO THE CITY AND
LAWRENCE SICKMAN ONCE AGAIN WAS IT WAS COMING TO THE CITY AND
LAWRENCE SICKMAN ONCE AGAIN WAS
ABLE TO, WITH A LOT OF OTHER LAWRENCE SICKMAN ONCE AGAIN WAS
ABLE TO, WITH A LOT OF OTHER
SUPPORT, CONVINCED THAT IT ABLE TO, WITH A LOT OF OTHER
SUPPORT, CONVINCED THAT IT
NEEDED TO BE AT THE SUPPORT, CONVINCED THAT IT
NEEDED TO BE AT THE
NELSON-ATKINS, AND HENRY MOORE NEEDED TO BE AT THE
NELSON-ATKINS, AND HENRY MOORE
CAME AND CHOSE THE SITE AND — NELSON-ATKINS, AND HENRY MOORE
CAME AND CHOSE THE SITE AND —
AND LITTLE DID WE KNOW THAT CAME AND CHOSE THE SITE AND —
AND LITTLE DID WE KNOW THAT
THAT WAS GOING TO BE THE ANCHOR AND LITTLE DID WE KNOW THAT
THAT WAS GOING TO BE THE ANCHOR
FOR NOW HAVING A SCULPTURE THAT WAS GOING TO BE THE ANCHOR
FOR NOW HAVING A SCULPTURE
GARDEN THAT REALLY IS AN HOMAGE FOR NOW HAVING A SCULPTURE
GARDEN THAT REALLY IS AN HOMAGE
TO HENRY MOORE, BUT THE GARDEN THAT REALLY IS AN HOMAGE
TO HENRY MOORE, BUT THE
SCULPTURE GARDEN BEGAN EARLY IN TO HENRY MOORE, BUT THE
SCULPTURE GARDEN BEGAN EARLY IN
THE ’70s WITH A MOBILE MUMMA’S SCULPTURE GARDEN BEGAN EARLY IN
THE ’70s WITH A MOBILE MUMMA’S
GARDEN, WHICH IS THE SMALLEST THE ’70s WITH A MOBILE MUMMA’S
GARDEN, WHICH IS THE SMALLEST
BUT A REFERENCE FOR MANY, AND GARDEN, WHICH IS THE SMALLEST
BUT A REFERENCE FOR MANY, AND
THIS IS OUR FIRST ATTEMPT, THE BUT A REFERENCE FOR MANY, AND
THIS IS OUR FIRST ATTEMPT, THE
PEARSON SCULPTURE GARDEN AND IT THIS IS OUR FIRST ATTEMPT, THE
PEARSON SCULPTURE GARDEN AND IT
WAS DESIGNED BY HARRAH AND IT PEARSON SCULPTURE GARDEN AND IT
WAS DESIGNED BY HARRAH AND IT
HAD SOME MODERNIST SCULPTURE. WAS DESIGNED BY HARRAH AND IT
HAD SOME MODERNIST SCULPTURE.
NOW, IT IS INTERESTING, YOU HAD SOME MODERNIST SCULPTURE.
NOW, IT IS INTERESTING, YOU
KNOW, MOMA IS CONSCRIBED BECAUSE NOW, IT IS INTERESTING, YOU
KNOW, MOMA IS CONSCRIBED BECAUSE
OF THE AREA AROUND IT AND KNOW, MOMA IS CONSCRIBED BECAUSE
OF THE AREA AROUND IT AND
QUICKLY THEREAFTER, THERE ARE OF THE AREA AROUND IT AND
QUICKLY THEREAFTER, THERE ARE
BIGGER AMBITIONS. QUICKLY THEREAFTER, THERE ARE
BIGGER AMBITIONS.
SURE. BIGGER AMBITIONS.
SURE.
IN 1986, THAT’S WHEN THE HALL SURE.
IN 1986, THAT’S WHEN THE HALL
FAMILY FOUNDATION PURCHASED ALL IN 1986, THAT’S WHEN THE HALL
FAMILY FOUNDATION PURCHASED ALL
OF THESE HENRY MOORS, THE 11 FAMILY FOUNDATION PURCHASED ALL
OF THESE HENRY MOORS, THE 11
MONUMENTAL BRONZES, THE 43 OF THESE HENRY MOORS, THE 11
MONUMENTAL BRONZES, THE 43
BRONZES AND ALREADY IN THE PLAN MONUMENTAL BRONZES, THE 43
BRONZES AND ALREADY IN THE PLAN
WAS LET’S BUILD A MUSEUM THAT BRONZES AND ALREADY IN THE PLAN
WAS LET’S BUILD A MUSEUM THAT
HAS A SCULPTURE PARK AND IT WAS WAS LET’S BUILD A MUSEUM THAT
HAS A SCULPTURE PARK AND IT WAS
CALLED THE HENRY MOORE SCULPTURE HAS A SCULPTURE PARK AND IT WAS
CALLED THE HENRY MOORE SCULPTURE
GARDEN AT THE TIME BECAUSE CALLED THE HENRY MOORE SCULPTURE
GARDEN AT THE TIME BECAUSE
THAT’S ALL THAT WAS IN IT GARDEN AT THE TIME BECAUSE
THAT’S ALL THAT WAS IN IT
BASICALLY EXCEPT FOR THE ONE THAT’S ALL THAT WAS IN IT
BASICALLY EXCEPT FOR THE ONE
RODAN THAT YOU JUST SAW. BASICALLY EXCEPT FOR THE ONE
RODAN THAT YOU JUST SAW.
SO THEY BROUGHT IN THE BEST RODAN THAT YOU JUST SAW.
SO THEY BROUGHT IN THE BEST
LANDSCAPE ARCHITECT, ONE OF THE SO THEY BROUGHT IN THE BEST
LANDSCAPE ARCHITECT, ONE OF THE
BEST IN THE WORLD, DAN PILY AND LANDSCAPE ARCHITECT, ONE OF THE
BEST IN THE WORLD, DAN PILY AND
HIS ASSOCIATE JACK ROBINSON AND BEST IN THE WORLD, DAN PILY AND
HIS ASSOCIATE JACK ROBINSON AND
TOGETHER THEY CRAFTED VARIOUS HIS ASSOCIATE JACK ROBINSON AND
TOGETHER THEY CRAFTED VARIOUS
INCARNATIONS OF WHAT THE TOGETHER THEY CRAFTED VARIOUS
INCARNATIONS OF WHAT THE
SCULPTURE PARK COULD LOOK LIKE INCARNATIONS OF WHAT THE
SCULPTURE PARK COULD LOOK LIKE
AND YOU NOTICE THE ONES ON THE SCULPTURE PARK COULD LOOK LIKE
AND YOU NOTICE THE ONES ON THE
LEFT AND THE CENTER, THE AND YOU NOTICE THE ONES ON THE
LEFT AND THE CENTER, THE
CONTIGUOUS LAND OF OUR SCULPTURE LEFT AND THE CENTER, THE
CONTIGUOUS LAND OF OUR SCULPTURE
PARK TODAY BUT THEY ALSO CONTIGUOUS LAND OF OUR SCULPTURE
PARK TODAY BUT THEY ALSO
INCORPORATE SOUTH MOORELAND AND PARK TODAY BUT THEY ALSO
INCORPORATE SOUTH MOORELAND AND
THEIS PARK BECAUSE THERE WAS A INCORPORATE SOUTH MOORELAND AND
THEIS PARK BECAUSE THERE WAS A
PLAN AT ONE TIME THAT MAYBE THEIS PARK BECAUSE THERE WAS A
PLAN AT ONE TIME THAT MAYBE
THERE COULD BE THE SCULPTURE PLAN AT ONE TIME THAT MAYBE
THERE COULD BE THE SCULPTURE
PARK EXTENDING INTO OTHER THERE COULD BE THE SCULPTURE
PARK EXTENDING INTO OTHER
SPACES. PARK EXTENDING INTO OTHER
SPACES.
MORE AND MORE ALL THOSE SPACES.
MORE AND MORE ALL THOSE
GARDENS ARE INTEGRATED AND YOU MORE AND MORE ALL THOSE
GARDENS ARE INTEGRATED AND YOU
CAN SEE HERE THAT IT WAS NOT GARDENS ARE INTEGRATED AND YOU
CAN SEE HERE THAT IT WAS NOT
THAT LONG TIME AGO, BUT THAT WAS CAN SEE HERE THAT IT WAS NOT
THAT LONG TIME AGO, BUT THAT WAS
THE OPENING. THAT LONG TIME AGO, BUT THAT WAS
THE OPENING.
1989. THE OPENING.
1989.
IN 1989, AND THEN PERHAPS 1989.
IN 1989, AND THEN PERHAPS
SOMETHING THAT, AGAIN, WAS A IN 1989, AND THEN PERHAPS
SOMETHING THAT, AGAIN, WAS A
COMPLETE TRANSFORMATION AND SOMETHING THAT, AGAIN, WAS A
COMPLETE TRANSFORMATION AND
PERHAPS WHAT HAS BECOME OUR COMPLETE TRANSFORMATION AND
PERHAPS WHAT HAS BECOME OUR
SIGNATURE. PERHAPS WHAT HAS BECOME OUR
SIGNATURE.
WHEN PEOPLE THINK KANSAS CITY, SIGNATURE.
WHEN PEOPLE THINK KANSAS CITY,
PEOPLE THINK OUR — THIS HAS TO WHEN PEOPLE THINK KANSAS CITY,
PEOPLE THINK OUR — THIS HAS TO
BE AN AMAZING ADVENTURE OF HOW PEOPLE THINK OUR — THIS HAS TO
BE AN AMAZING ADVENTURE OF HOW
THAT CAME TO BE AND IT HAS GIVEN BE AN AMAZING ADVENTURE OF HOW
THAT CAME TO BE AND IT HAS GIVEN
THE CITY SO MUCH JOY AND ALSO THAT CAME TO BE AND IT HAS GIVEN
THE CITY SO MUCH JOY AND ALSO
THE NELSON. THE CITY SO MUCH JOY AND ALSO
THE NELSON.
THAT WAS THE BRAINCHILD OF THE NELSON.
THAT WAS THE BRAINCHILD OF
MORTON SOSLAND AND ESTELLE THAT WAS THE BRAINCHILD OF
MORTON SOSLAND AND ESTELLE
SOSLAND AND THE SOSLAND FAMILY. MORTON SOSLAND AND ESTELLE
SOSLAND AND THE SOSLAND FAMILY.
THEY WANTED TO COMMISSION A WORK SOSLAND AND THE SOSLAND FAMILY.
THEY WANTED TO COMMISSION A WORK
OF ART THAT WOULD BE UNIQUELY THEY WANTED TO COMMISSION A WORK
OF ART THAT WOULD BE UNIQUELY
KANSAS CITY, A SITE-SPECIFIC OF ART THAT WOULD BE UNIQUELY
KANSAS CITY, A SITE-SPECIFIC
PIECE, AND THEY TALKED TO CLAUS KANSAS CITY, A SITE-SPECIFIC
PIECE, AND THEY TALKED TO CLAUS
OLDENBERG AND HIS WIFE AND PIECE, AND THEY TALKED TO CLAUS
OLDENBERG AND HIS WIFE AND
COLLABORATOR AND THEY CAME OUT OLDENBERG AND HIS WIFE AND
COLLABORATOR AND THEY CAME OUT
AND MADE SEVERAL TRIPS OUT AND COLLABORATOR AND THEY CAME OUT
AND MADE SEVERAL TRIPS OUT AND
LOOKED THE AN ALL KINDS OF AND MADE SEVERAL TRIPS OUT AND
LOOKED THE AN ALL KINDS OF
THINGS AROUND KANSAS CITY AND LOOKED THE AN ALL KINDS OF
THINGS AROUND KANSAS CITY AND
THOUGHT ABOUT WHAT KANSAS CITY THINGS AROUND KANSAS CITY AND
THOUGHT ABOUT WHAT KANSAS CITY
WAS IN THE MIDDLE OF THE MIDWEST THOUGHT ABOUT WHAT KANSAS CITY
WAS IN THE MIDDLE OF THE MIDWEST
AND THE MOVEMENT WESTWARD AND WAS IN THE MIDDLE OF THE MIDWEST
AND THE MOVEMENT WESTWARD AND
ALL THAT, AND THEN FROM THAT, AND THE MOVEMENT WESTWARD AND
ALL THAT, AND THEN FROM THAT,
THEY SYNTHESIZED THIS IDEA OF ALL THAT, AND THEN FROM THAT,
THEY SYNTHESIZED THIS IDEA OF
THE SHUTTLECOCK. THEY SYNTHESIZED THIS IDEA OF
THE SHUTTLECOCK.
BUT THIS IS THE IDEA THAT THE SHUTTLECOCK.
BUT THIS IS THE IDEA THAT
ENDS UP BEING AND YOU CAN SEE BUT THIS IS THE IDEA THAT
ENDS UP BEING AND YOU CAN SEE
HERE STILL THE HENRY MOORE ENDS UP BEING AND YOU CAN SEE
HERE STILL THE HENRY MOORE
ANCHORING WHAT BECOMES A COURT HERE STILL THE HENRY MOORE
ANCHORING WHAT BECOMES A COURT
AND OUR CLASSIC FACADE BECOMES ANCHORING WHAT BECOMES A COURT
AND OUR CLASSIC FACADE BECOMES
THE FINESSE, SO THIS IS REALLY AND OUR CLASSIC FACADE BECOMES
THE FINESSE, SO THIS IS REALLY
THE CONCEPTUAL PIECE THAT THE FINESSE, SO THIS IS REALLY
THE CONCEPTUAL PIECE THAT
FINALLY MAKES IT ALL HAPPEN, BUT THE CONCEPTUAL PIECE THAT
FINALLY MAKES IT ALL HAPPEN, BUT
IT HAD MANY ITERATIONS BEFORE FINALLY MAKES IT ALL HAPPEN, BUT
IT HAD MANY ITERATIONS BEFORE
BUT IT WAS — IT HAD MANY ITERATIONS BEFORE
BUT IT WAS —
MANY THINGS. BUT IT WAS —
MANY THINGS.
AN INTERESTING BASKETBALL IN THE MANY THINGS.
AN INTERESTING BASKETBALL IN THE
MIDWEST, THAT WAS AN INITIAL AN INTERESTING BASKETBALL IN THE
MIDWEST, THAT WAS AN INITIAL
IDEA AND THAT’S WHY EVEN MIDWEST, THAT WAS AN INITIAL
IDEA AND THAT’S WHY EVEN
RETAINING THE IDEA OF THE ORANGE IDEA AND THAT’S WHY EVEN
RETAINING THE IDEA OF THE ORANGE
BALL WHERE WHEN YOU PLAY RETAINING THE IDEA OF THE ORANGE
BALL WHERE WHEN YOU PLAY
BADMINTON, TYPICALLY THEY’RE BALL WHERE WHEN YOU PLAY
BADMINTON, TYPICALLY THEY’RE
WHITE, ALL WHITE, BUT THE ORANGE BADMINTON, TYPICALLY THEY’RE
WHITE, ALL WHITE, BUT THE ORANGE
BALL COMES FROM THE IDEA THAT IT WHITE, ALL WHITE, BUT THE ORANGE
BALL COMES FROM THE IDEA THAT IT
STEMS FROM THE BASKETBALL, THE BALL COMES FROM THE IDEA THAT IT
STEMS FROM THE BASKETBALL, THE
FEATHERS OF WINDMILLS, THE BIRDS STEMS FROM THE BASKETBALL, THE
FEATHERS OF WINDMILLS, THE BIRDS
OF THE MIDWEST, CONESTOGA WAGON. FEATHERS OF WINDMILLS, THE BIRDS
OF THE MIDWEST, CONESTOGA WAGON.
NATIVE AMERICAN TRADITION. OF THE MIDWEST, CONESTOGA WAGON.
NATIVE AMERICAN TRADITION.
ALL OF THAT. NATIVE AMERICAN TRADITION.
ALL OF THAT.
AND, OF COURSE, NOW THIS SETS ALL OF THAT.
AND, OF COURSE, NOW THIS SETS
ANOTHER TRAJECTORY AND THEY’RE AND, OF COURSE, NOW THIS SETS
ANOTHER TRAJECTORY AND THEY’RE
DEFINITELY NOW — THERE ANOTHER TRAJECTORY AND THEY’RE
DEFINITELY NOW — THERE
DEFINITELY NOW, THIS SPACE DEFINITELY NOW — THERE
DEFINITELY NOW, THIS SPACE
BECOMES, THE MUSEUM IS NO LONGER DEFINITELY NOW, THIS SPACE
BECOMES, THE MUSEUM IS NO LONGER
INSIDE. BECOMES, THE MUSEUM IS NO LONGER
INSIDE.
PEOPLE SAY WHEN IS THE MUSEUM INSIDE.
PEOPLE SAY WHEN IS THE MUSEUM
OPEN? PEOPLE SAY WHEN IS THE MUSEUM
OPEN?
I SAY IT’S OPEN 24 HOURS EVERY OPEN?
I SAY IT’S OPEN 24 HOURS EVERY
DAY OF THE WEEK, THE EXTERNAL I SAY IT’S OPEN 24 HOURS EVERY
DAY OF THE WEEK, THE EXTERNAL
PART. DAY OF THE WEEK, THE EXTERNAL
PART.
COME INTO THE MUSEUM, WE HAVE PART.
COME INTO THE MUSEUM, WE HAVE
OTHER HOURS, BUT IT IS GOOD THAT COME INTO THE MUSEUM, WE HAVE
OTHER HOURS, BUT IT IS GOOD THAT
WE HAVE TODAY, THAT PEOPLE CAN OTHER HOURS, BUT IT IS GOOD THAT
WE HAVE TODAY, THAT PEOPLE CAN
DEFINITELY, AND PEOPLE DO USE IT WE HAVE TODAY, THAT PEOPLE CAN
DEFINITELY, AND PEOPLE DO USE IT
AT NIGHT OR EARLY IN THE DEFINITELY, AND PEOPLE DO USE IT
AT NIGHT OR EARLY IN THE
MORNING, SO NEW TRADITION AND AT NIGHT OR EARLY IN THE
MORNING, SO NEW TRADITION AND
NEW ADDITIONS. MORNING, SO NEW TRADITION AND
NEW ADDITIONS.
YES, THE HALL FAMILY NEW ADDITIONS.
YES, THE HALL FAMILY
FOUNDATION CONTINUES WITH THE YES, THE HALL FAMILY
FOUNDATION CONTINUES WITH THE
MODERN SCULPTURE INITIATIVE FOUNDATION CONTINUES WITH THE
MODERN SCULPTURE INITIATIVE
WORKING IN CONJUNCTION WITH US, MODERN SCULPTURE INITIATIVE
WORKING IN CONJUNCTION WITH US,
IN HARMONY WITH US, FOCUSING ON WORKING IN CONJUNCTION WITH US,
IN HARMONY WITH US, FOCUSING ON
FIGURATIVE SCULPTURE, ORGANIC IN HARMONY WITH US, FOCUSING ON
FIGURATIVE SCULPTURE, ORGANIC
ABSTRACTION, ON GEOMETRIC FIGURATIVE SCULPTURE, ORGANIC
ABSTRACTION, ON GEOMETRIC
ABSTRACTION, COVERING THE WHOLE ABSTRACTION, ON GEOMETRIC
ABSTRACTION, COVERING THE WHOLE
WATERFRONT OF WHAT SCULPTURE CAN ABSTRACTION, COVERING THE WHOLE
WATERFRONT OF WHAT SCULPTURE CAN
BE. WATERFRONT OF WHAT SCULPTURE CAN
BE.
AND ANOTHER MOMENT — BE.
AND ANOTHER MOMENT —
ANOTHER SERENDIPITOUS MOMENT. AND ANOTHER MOMENT —
ANOTHER SERENDIPITOUS MOMENT.
THOSE MOMENTS ARE UNIQUE. ANOTHER SERENDIPITOUS MOMENT.
THOSE MOMENTS ARE UNIQUE.
A GLORIOUS MOMENT WHEN THOSE MOMENTS ARE UNIQUE.
A GLORIOUS MOMENT WHEN
RAYMOND AND PATSY NASHER WERE A GLORIOUS MOMENT WHEN
RAYMOND AND PATSY NASHER WERE
SELLING THINGS FROM THEIR RAYMOND AND PATSY NASHER WERE
SELLING THINGS FROM THEIR
INCREDIBLE COLLECTION AND THE SELLING THINGS FROM THEIR
INCREDIBLE COLLECTION AND THE
HALL FAMILY FOUNDATION WAS THERE INCREDIBLE COLLECTION AND THE
HALL FAMILY FOUNDATION WAS THERE
AT THE MOMENT AND ACQUIRED FIVE HALL FAMILY FOUNDATION WAS THERE
AT THE MOMENT AND ACQUIRED FIVE
GREAT MASTERPIECES FROM THAT AT THE MOMENT AND ACQUIRED FIVE
GREAT MASTERPIECES FROM THAT
COLLECTION. GREAT MASTERPIECES FROM THAT
COLLECTION.
AND ALL THE OTHERS YOU CAN COLLECTION.
AND ALL THE OTHERS YOU CAN
SEE IN DALLAS BECAUSE THEY HAVE AND ALL THE OTHERS YOU CAN
SEE IN DALLAS BECAUSE THEY HAVE
CREATED THEIR OWN MUSEUM AND SEE IN DALLAS BECAUSE THEY HAVE
CREATED THEIR OWN MUSEUM AND
IT’S A BEAUTIFUL SCULPTURE CREATED THEIR OWN MUSEUM AND
IT’S A BEAUTIFUL SCULPTURE
MUSEUM IN DALLAS AND ONE DAY WE IT’S A BEAUTIFUL SCULPTURE
MUSEUM IN DALLAS AND ONE DAY WE
HOPE THAT THEY WILL SEND SOME OF MUSEUM IN DALLAS AND ONE DAY WE
HOPE THAT THEY WILL SEND SOME OF
THEIR PIECES, BUT TO CONCLUDE, HOPE THAT THEY WILL SEND SOME OF
THEIR PIECES, BUT TO CONCLUDE,
THERE’S TWO MOMENTS THAT WE THEIR PIECES, BUT TO CONCLUDE,
THERE’S TWO MOMENTS THAT WE
CELEBRATED A TEN-YEAR THERE’S TWO MOMENTS THAT WE
CELEBRATED A TEN-YEAR
ANNIVERSARY OF THE SCULPTURE CELEBRATED A TEN-YEAR
ANNIVERSARY OF THE SCULPTURE
GARDEN WITH THIS WORK THAT WAS ANNIVERSARY OF THE SCULPTURE
GARDEN WITH THIS WORK THAT WAS
PRESENTED HERE DURING AN GARDEN WITH THIS WORK THAT WAS
PRESENTED HERE DURING AN
EXHIBITION. PRESENTED HERE DURING AN
EXHIBITION.
WE HAD HAD AN EXHIBITION OF EXHIBITION.
WE HAD HAD AN EXHIBITION OF
THESE BEAUTIFUL PIECES IN CEDAR WE HAD HAD AN EXHIBITION OF
THESE BEAUTIFUL PIECES IN CEDAR
WOOD THAT HAVE BEEN GRAPHITE, THESE BEAUTIFUL PIECES IN CEDAR
WOOD THAT HAVE BEEN GRAPHITE,
POWDERED GRAPHITE LIKE PENCIL WOOD THAT HAVE BEEN GRAPHITE,
POWDERED GRAPHITE LIKE PENCIL
LEAD, GROUND UP, AND AN POWDERED GRAPHITE LIKE PENCIL
LEAD, GROUND UP, AND AN
ACQUISITION WAS MADE FROM THAT LEAD, GROUND UP, AND AN
ACQUISITION WAS MADE FROM THAT
EXHIBITION IN 1999. ACQUISITION WAS MADE FROM THAT
EXHIBITION IN 1999.
THE RICKY FEES WAS A GIFT FROM EXHIBITION IN 1999.
THE RICKY FEES WAS A GIFT FROM
THE SOSLAND FAMILY TO THE CITY THE RICKY FEES WAS A GIFT FROM
THE SOSLAND FAMILY TO THE CITY
OF KANSAS CITY IN CELEBRATION OF THE SOSLAND FAMILY TO THE CITY
OF KANSAS CITY IN CELEBRATION OF
THE ORIGINAL SITE WHERE THE OF KANSAS CITY IN CELEBRATION OF
THE ORIGINAL SITE WHERE THE
SOSLAND FAMILY BUSINESS FIRST THE ORIGINAL SITE WHERE THE
SOSLAND FAMILY BUSINESS FIRST
WAS, WHEN THEY FIRST SETTLED IN SOSLAND FAMILY BUSINESS FIRST
WAS, WHEN THEY FIRST SETTLED IN
KANSAS CITY, AND IT WAS ON A WAS, WHEN THEY FIRST SETTLED IN
KANSAS CITY, AND IT WAS ON A
MEDIAN DOWNTOWN AND IT WAS KANSAS CITY, AND IT WAS ON A
MEDIAN DOWNTOWN AND IT WAS
DAMAGED AND — MEDIAN DOWNTOWN AND IT WAS
DAMAGED AND —
AND FELL TWICE OR SOMETHING DAMAGED AND —
AND FELL TWICE OR SOMETHING
LIKE THAT. AND FELL TWICE OR SOMETHING
LIKE THAT.
YES, IT WAS HORRIBLE. LIKE THAT.
YES, IT WAS HORRIBLE.
AND THE MUSEUM HAD TO TAKE YES, IT WAS HORRIBLE.
AND THE MUSEUM HAD TO TAKE
CARE OF IT. AND THE MUSEUM HAD TO TAKE
CARE OF IT.
YES, FINALLY IT WAS PUT IN CARE OF IT.
YES, FINALLY IT WAS PUT IN
STORAGE AND WE FIGURED OUT A WAY YES, FINALLY IT WAS PUT IN
STORAGE AND WE FIGURED OUT A WAY
TO BRING IT HERE, AND SO WE HAVE STORAGE AND WE FIGURED OUT A WAY
TO BRING IT HERE, AND SO WE HAVE
THIS BEAUTIFUL PIECE BY GEORGE TO BRING IT HERE, AND SO WE HAVE
THIS BEAUTIFUL PIECE BY GEORGE
RICKY. THIS BEAUTIFUL PIECE BY GEORGE
RICKY.
HE WAS AN ENGINEER AND HE RICKY.
HE WAS AN ENGINEER AND HE
UNDERSTOOD IDEAS ABOUT BALANCE HE WAS AN ENGINEER AND HE
UNDERSTOOD IDEAS ABOUT BALANCE
AND FORM AND THIS PIECE NOW UNDERSTOOD IDEAS ABOUT BALANCE
AND FORM AND THIS PIECE NOW
BLOWS SO PEACEFULLY AROUND AND AND FORM AND THIS PIECE NOW
BLOWS SO PEACEFULLY AROUND AND
AROUND LIKE THIS. BLOWS SO PEACEFULLY AROUND AND
AROUND LIKE THIS.
IT’S JUST AN INCREDIBLE PIECE. AROUND LIKE THIS.
IT’S JUST AN INCREDIBLE PIECE.
AND BY THE WAY, IN 1999, THAT IT’S JUST AN INCREDIBLE PIECE.
AND BY THE WAY, IN 1999, THAT
SAME YEAR, THE HALL FAMILY AND BY THE WAY, IN 1999, THAT
SAME YEAR, THE HALL FAMILY
FOUNDATION, WHICH HAD BEEN SAME YEAR, THE HALL FAMILY
FOUNDATION, WHICH HAD BEEN
COLLECTING ALL OF THESE FOUNDATION, WHICH HAD BEEN
COLLECTING ALL OF THESE
WONDERFUL SCULPTURES MADE A GIFT COLLECTING ALL OF THESE
WONDERFUL SCULPTURES MADE A GIFT
OF ALL OF IT TO THE WONDERFUL SCULPTURES MADE A GIFT
OF ALL OF IT TO THE
NELSON-ATKINS IN CELEBRATION OF OF ALL OF IT TO THE
NELSON-ATKINS IN CELEBRATION OF
THE TENTH ANNIVERSARY. NELSON-ATKINS IN CELEBRATION OF
THE TENTH ANNIVERSARY.
SO HERE YOU SEE THE NET IS A THE TENTH ANNIVERSARY.
SO HERE YOU SEE THE NET IS A
BIT BIGGER IN THE DRAWING, AND SO HERE YOU SEE THE NET IS A
BIT BIGGER IN THE DRAWING, AND
ALSO WE HAVE THIS AMAZING NOW BIT BIGGER IN THE DRAWING, AND
ALSO WE HAVE THIS AMAZING NOW
PIECE THAT IS PART — YOU HAVE ALSO WE HAVE THIS AMAZING NOW
PIECE THAT IS PART — YOU HAVE
TO LIVE IT IN BOTH WAYS. PIECE THAT IS PART — YOU HAVE
TO LIVE IT IN BOTH WAYS.
YOU CAN SEE IT FROM ABOVE, BUT TO LIVE IT IN BOTH WAYS.
YOU CAN SEE IT FROM ABOVE, BUT
ALSO IT’S BEAUTIFUL BECAUSE WHEN YOU CAN SEE IT FROM ABOVE, BUT
ALSO IT’S BEAUTIFUL BECAUSE WHEN
YOU GO NOW TO A PARKING, IT IS A ALSO IT’S BEAUTIFUL BECAUSE WHEN
YOU GO NOW TO A PARKING, IT IS A
PIECE THAT IS THOUGHT ALMOST YOU GO NOW TO A PARKING, IT IS A
PIECE THAT IS THOUGHT ALMOST
THREE-DIMENSIONALLY IN THAT PIECE THAT IS THOUGHT ALMOST
THREE-DIMENSIONALLY IN THAT
SENSE. THREE-DIMENSIONALLY IN THAT
SENSE.
YES, A SPECIFIC COMMISSIONED SENSE.
YES, A SPECIFIC COMMISSIONED
WORK, IT COULD ONLY HAVE YES, A SPECIFIC COMMISSIONED
WORK, IT COULD ONLY HAVE
HAPPENED WHEN WE GOT RID OF THE WORK, IT COULD ONLY HAVE
HAPPENED WHEN WE GOT RID OF THE
PARKING LOT UP ON THE NORTH HAPPENED WHEN WE GOT RID OF THE
PARKING LOT UP ON THE NORTH
SIDE. PARKING LOT UP ON THE NORTH
SIDE.
YOU ALL REMEMBER THAT, AND SIDE.
YOU ALL REMEMBER THAT, AND
TURNED THAT WHOLE AREA INTO A YOU ALL REMEMBER THAT, AND
TURNED THAT WHOLE AREA INTO A
BEAUTIFUL PARKLAND, TRANSFORMING TURNED THAT WHOLE AREA INTO A
BEAUTIFUL PARKLAND, TRANSFORMING
THE PARK FROM 17 ACRES TO 22, BEAUTIFUL PARKLAND, TRANSFORMING
THE PARK FROM 17 ACRES TO 22,
AND CREATING A BEAUTIFUL SPACE THE PARK FROM 17 ACRES TO 22,
AND CREATING A BEAUTIFUL SPACE
FOR MORE SCULPTURE. AND CREATING A BEAUTIFUL SPACE
FOR MORE SCULPTURE.
AND OUR MOST RECENT, OF FOR MORE SCULPTURE.
AND OUR MOST RECENT, OF
COURSE, ADDITION TO THE AND OUR MOST RECENT, OF
COURSE, ADDITION TO THE
SCULPTURE PARK, THIS INCREDIBLE COURSE, ADDITION TO THE
SCULPTURE PARK, THIS INCREDIBLE
ROXY PAINE AND ALSO THE SCULPTURE PARK, THIS INCREDIBLE
ROXY PAINE AND ALSO THE
EXTERNAL, THE FACT WE’RE GRACING ROXY PAINE AND ALSO THE
EXTERNAL, THE FACT WE’RE GRACING
WITH A NEW PIECE, HOW DO WE GIVE EXTERNAL, THE FACT WE’RE GRACING
WITH A NEW PIECE, HOW DO WE GIVE
CONTEXT, AND THAT’S WHEN WE WITH A NEW PIECE, HOW DO WE GIVE
CONTEXT, AND THAT’S WHEN WE
STARTED USING AND OCCUPYING THE CONTEXT, AND THAT’S WHEN WE
STARTED USING AND OCCUPYING THE
LOBBY AND YOU MIGHT REMEMBER THE STARTED USING AND OCCUPYING THE
LOBBY AND YOU MIGHT REMEMBER THE
MACHINE THAT WAS THE FIRST LOBBY AND YOU MIGHT REMEMBER THE
MACHINE THAT WAS THE FIRST
INTERVENTION IN THE LOBBY AND MACHINE THAT WAS THE FIRST
INTERVENTION IN THE LOBBY AND
CLASSICAL ARTISTS AND RODAN CAME INTERVENTION IN THE LOBBY AND
CLASSICAL ARTISTS AND RODAN CAME
TO GRACE AND WE’RE WORKING ON CLASSICAL ARTISTS AND RODAN CAME
TO GRACE AND WE’RE WORKING ON
BRINGING BACK THIS RODAN AND THE TO GRACE AND WE’RE WORKING ON
BRINGING BACK THIS RODAN AND THE
HENRY MOORE WORKS, AND RIGHT NOW BRINGING BACK THIS RODAN AND THE
HENRY MOORE WORKS, AND RIGHT NOW
WE’RE GOING TO TAKE THOSE FOR HENRY MOORE WORKS, AND RIGHT NOW
WE’RE GOING TO TAKE THOSE FOR
CONSERVATION PURPOSES AND BRING WE’RE GOING TO TAKE THOSE FOR
CONSERVATION PURPOSES AND BRING
PERHAPS AGAIN RODAN IF YOU LIKE CONSERVATION PURPOSES AND BRING
PERHAPS AGAIN RODAN IF YOU LIKE
IT. PERHAPS AGAIN RODAN IF YOU LIKE
IT.
BUT WE’RE GOING TO REVEAL IT.
BUT WE’RE GOING TO REVEAL
TONIGHT, AND IT’S A QUESTION. BUT WE’RE GOING TO REVEAL
TONIGHT, AND IT’S A QUESTION.
WE DON’T KNOW IF IT’S A TONIGHT, AND IT’S A QUESTION.
WE DON’T KNOW IF IT’S A
SCULPTURE OR IT’S, OR IT’S A WE DON’T KNOW IF IT’S A
SCULPTURE OR IT’S, OR IT’S A
WALL. SCULPTURE OR IT’S, OR IT’S A
WALL.
IS IT FLAT OR IS IT THREE WALL.
IS IT FLAT OR IS IT THREE
DIMENSIONAL, AND ACTUALLY, WE’RE IS IT FLAT OR IS IT THREE
DIMENSIONAL, AND ACTUALLY, WE’RE
POSING OURSELVES THOSE QUESTIONS DIMENSIONAL, AND ACTUALLY, WE’RE
POSING OURSELVES THOSE QUESTIONS
AND A LOT OF OUR PEOPLE, A LOT POSING OURSELVES THOSE QUESTIONS
AND A LOT OF OUR PEOPLE, A LOT
OF OUR TEAM, MANY CURATORS, AND A LOT OF OUR PEOPLE, A LOT
OF OUR TEAM, MANY CURATORS,
ENGINEERS, ARE WORKING TO DEFINE OF OUR TEAM, MANY CURATORS,
ENGINEERS, ARE WORKING TO DEFINE
WHAT IT IS AND HOW WE’RE GOING ENGINEERS, ARE WORKING TO DEFINE
WHAT IT IS AND HOW WE’RE GOING
TO INSTALL IT SO THAT YOU ALL WHAT IT IS AND HOW WE’RE GOING
TO INSTALL IT SO THAT YOU ALL
ENJOY IT AGAIN AND THIS IS A TO INSTALL IT SO THAT YOU ALL
ENJOY IT AGAIN AND THIS IS A
PIECE THAT I KNOW YOU WILL ALL ENJOY IT AGAIN AND THIS IS A
PIECE THAT I KNOW YOU WILL ALL
LOVE. PIECE THAT I KNOW YOU WILL ALL
LOVE.
IT’S GOING TO BE OUR NEXT LOVE.
IT’S GOING TO BE OUR NEXT
INSTALLATION IN OUR LOBBY, BUT IT’S GOING TO BE OUR NEXT
INSTALLATION IN OUR LOBBY, BUT
IT’S SO COMPLEX AND I GUESS OUR INSTALLATION IN OUR LOBBY, BUT
IT’S SO COMPLEX AND I GUESS OUR
NUMBERS, OUR ACCESSION NUMBERS IT’S SO COMPLEX AND I GUESS OUR
NUMBERS, OUR ACCESSION NUMBERS
AND OUR DATABASE CAPTURES NUMBERS, OUR ACCESSION NUMBERS
AND OUR DATABASE CAPTURES
WHATEVER WE WERE GIVEN, BUT AS AND OUR DATABASE CAPTURES
WHATEVER WE WERE GIVEN, BUT AS
WE FINALLY TO PREPARE IT, WHATEVER WE WERE GIVEN, BUT AS
WE FINALLY TO PREPARE IT,
BECAUSE IT’S A LOT OF WE FINALLY TO PREPARE IT,
BECAUSE IT’S A LOT OF
ENGINEERING SO IT CAN GO UP, BECAUSE IT’S A LOT OF
ENGINEERING SO IT CAN GO UP,
IT’S LONGER THAN WE HAD ENGINEERING SO IT CAN GO UP,
IT’S LONGER THAN WE HAD
ANTICIPATED, NINE FEET, SO ALL IT’S LONGER THAN WE HAD
ANTICIPATED, NINE FEET, SO ALL
THE ENGINEERING THAT HAD GONE TO ANTICIPATED, NINE FEET, SO ALL
THE ENGINEERING THAT HAD GONE TO
A CERTAIN DEGREE SMOOTHLY, ALL THE ENGINEERING THAT HAD GONE TO
A CERTAIN DEGREE SMOOTHLY, ALL
OF A SUDDEN, IT DOESN’T FIT. A CERTAIN DEGREE SMOOTHLY, ALL
OF A SUDDEN, IT DOESN’T FIT.
THERE’S NOT THAT MANY WALLS THAT OF A SUDDEN, IT DOESN’T FIT.
THERE’S NOT THAT MANY WALLS THAT
CAN FIT SOMETHING LIKE THAT, SO THERE’S NOT THAT MANY WALLS THAT
CAN FIT SOMETHING LIKE THAT, SO
JAN REACHED OUT TO THE ARTIST CAN FIT SOMETHING LIKE THAT, SO
JAN REACHED OUT TO THE ARTIST
GALLERIES AND SAID, HEY, CAN WE JAN REACHED OUT TO THE ARTIST
GALLERIES AND SAID, HEY, CAN WE
DO IT VERTICAL. GALLERIES AND SAID, HEY, CAN WE
DO IT VERTICAL.
THE ARTIST ALWAYS SAID HE LIKES DO IT VERTICAL.
THE ARTIST ALWAYS SAID HE LIKES
THAT EACH INSTALLS IS DIFFERENT THE ARTIST ALWAYS SAID HE LIKES
THAT EACH INSTALLS IS DIFFERENT
EVERY — INSTALLATION IS THAT EACH INSTALLS IS DIFFERENT
EVERY — INSTALLATION IS
DIFFERENT EVERY TIME YOU INSTALL EVERY — INSTALLATION IS
DIFFERENT EVERY TIME YOU INSTALL
IT, AND HE SAID DO WHATEVER YOU DIFFERENT EVERY TIME YOU INSTALL
IT, AND HE SAID DO WHATEVER YOU
WANT. IT, AND HE SAID DO WHATEVER YOU
WANT.
WE SAID, CAN WE DO IT WANT.
WE SAID, CAN WE DO IT
VERTICALLY, HE SAID, NO, YOU CAN WE SAID, CAN WE DO IT
VERTICALLY, HE SAID, NO, YOU CAN
DO WHATEVER YOU WANT. VERTICALLY, HE SAID, NO, YOU CAN
DO WHATEVER YOU WANT.
IT’S NOT THAT — IT’S LIKE IT DO WHATEVER YOU WANT.
IT’S NOT THAT — IT’S LIKE IT
WOULD BREAK THE WAY IT IS IT’S NOT THAT — IT’S LIKE IT
WOULD BREAK THE WAY IT IS
CONSTRUCTED AND THE HEAVINESS. WOULD BREAK THE WAY IT IS
CONSTRUCTED AND THE HEAVINESS.
BUT I HOPE YOU HAVE ENJOYED THIS CONSTRUCTED AND THE HEAVINESS.
BUT I HOPE YOU HAVE ENJOYED THIS
ART TASTING, SO THANK YOU FOR BUT I HOPE YOU HAVE ENJOYED THIS
ART TASTING, SO THANK YOU FOR
BEING HERE. ART TASTING, SO THANK YOU FOR
BEING HERE.
[ APPLAUSE ] BEING HERE.
[ APPLAUSE ]
IT’S ALWAYS SUCH A TREAT TO [ APPLAUSE ]
IT’S ALWAYS SUCH A TREAT TO
SEE SO MANY ENTHUSIASTIC PEOPLE IT’S ALWAYS SUCH A TREAT TO
SEE SO MANY ENTHUSIASTIC PEOPLE
ATTEND EVENTS LIKE THIS AT THE SEE SO MANY ENTHUSIASTIC PEOPLE
ATTEND EVENTS LIKE THIS AT THE
MUSEUM. ATTEND EVENTS LIKE THIS AT THE
MUSEUM.
THAT SESSION OF ART TASTING WITH MUSEUM.
THAT SESSION OF ART TASTING WITH
JAN SCHALL WAS TAPED LAST FALL THAT SESSION OF ART TASTING WITH
JAN SCHALL WAS TAPED LAST FALL
AND IN THE MEANTIME, SOME THINGS JAN SCHALL WAS TAPED LAST FALL
AND IN THE MEANTIME, SOME THINGS
HAVE CHANGED. AND IN THE MEANTIME, SOME THINGS
HAVE CHANGED.
AMONG THEM IS THE NAME OF THE HAVE CHANGED.
AMONG THEM IS THE NAME OF THE
AMAZING SCULPTURE PARK THAT WE AMONG THEM IS THE NAME OF THE
AMAZING SCULPTURE PARK THAT WE
TALKED SO MUCH ABOUT. AMAZING SCULPTURE PARK THAT WE
TALKED SO MUCH ABOUT.
THIS SPRING IS WAS RECHRISTENED TALKED SO MUCH ABOUT.
THIS SPRING IS WAS RECHRISTENED
THE DONALD J. HALL SCULPTURE THIS SPRING IS WAS RECHRISTENED
THE DONALD J. HALL SCULPTURE
PARK, IN HONOR OF THE MAN WHO THE DONALD J. HALL SCULPTURE
PARK, IN HONOR OF THE MAN WHO
CONTRIBUTED SO MUCH TO IT AND TO PARK, IN HONOR OF THE MAN WHO
CONTRIBUTED SO MUCH TO IT AND TO
WHOM THE COMMUNITY OWES SO MUCH. CONTRIBUTED SO MUCH TO IT AND TO
WHOM THE COMMUNITY OWES SO MUCH.
SO WE WENT OUT TO LEARN HOW THE WHOM THE COMMUNITY OWES SO MUCH.
SO WE WENT OUT TO LEARN HOW THE
PARK IS CONSTANTLY EVOLVING TO SO WE WENT OUT TO LEARN HOW THE
PARK IS CONSTANTLY EVOLVING TO
HELP CELEBRATE SCULPTURE IN PARK IS CONSTANTLY EVOLVING TO
HELP CELEBRATE SCULPTURE IN
KANSAS CITY. HELP CELEBRATE SCULPTURE IN
KANSAS CITY.
THE GARDENS INVITE PEOPLE IN KANSAS CITY.
THE GARDENS INVITE PEOPLE IN
IN A WAY THAT BUILDINGS DON’T THE GARDENS INVITE PEOPLE IN
IN A WAY THAT BUILDINGS DON’T
ALWAYS, RIGHT? IN A WAY THAT BUILDINGS DON’T
ALWAYS, RIGHT?
YEAH. ALWAYS, RIGHT?
YEAH.
I MEAN, THIS IS A DIFFERENT YEAH.
I MEAN, THIS IS A DIFFERENT
EXPERIENCE, A DIFFERENT WAY TO I MEAN, THIS IS A DIFFERENT
EXPERIENCE, A DIFFERENT WAY TO
EXPERIENCE ART THAN IT IS WHEN EXPERIENCE, A DIFFERENT WAY TO
EXPERIENCE ART THAN IT IS WHEN
YOU GO INTO THE BUILDING. EXPERIENCE ART THAN IT IS WHEN
YOU GO INTO THE BUILDING.
IT’S A MUCH MORE CASUAL WAY TO YOU GO INTO THE BUILDING.
IT’S A MUCH MORE CASUAL WAY TO
DO IT. IT’S A MUCH MORE CASUAL WAY TO
DO IT.
IT’S MUCH MORE ON YOUR OWN DO IT.
IT’S MUCH MORE ON YOUR OWN
SCHEDULE, ON YOUR TIME, REALLY. IT’S MUCH MORE ON YOUR OWN
SCHEDULE, ON YOUR TIME, REALLY.
I MEAN, WE WANT PEOPLE IN THE SCHEDULE, ON YOUR TIME, REALLY.
I MEAN, WE WANT PEOPLE IN THE
PARK TO REFLECT, TO PICNIC, TO I MEAN, WE WANT PEOPLE IN THE
PARK TO REFLECT, TO PICNIC, TO
PLAY. PARK TO REFLECT, TO PICNIC, TO
PLAY.
WE WANT IT TO BE ALIVE. PLAY.
WE WANT IT TO BE ALIVE.
WE DON’T WANT PEOPLE IN ANY WAY WE WANT IT TO BE ALIVE.
WE DON’T WANT PEOPLE IN ANY WAY
TO FEEL PUT OFF OR THAT IT ISN’T WE DON’T WANT PEOPLE IN ANY WAY
TO FEEL PUT OFF OR THAT IT ISN’T
THEIR PARK. TO FEEL PUT OFF OR THAT IT ISN’T
THEIR PARK.
IT IS THEIR PARK, AND WE WANT THEIR PARK.
IT IS THEIR PARK, AND WE WANT
THEM TO COME AND ENJOY IT AND IT IS THEIR PARK, AND WE WANT
THEM TO COME AND ENJOY IT AND
JUST MAKE IT A PLACE WHERE THEY THEM TO COME AND ENJOY IT AND
JUST MAKE IT A PLACE WHERE THEY
CAN RELAX AND ENJOY THE ART AND JUST MAKE IT A PLACE WHERE THEY
CAN RELAX AND ENJOY THE ART AND
ENJOY THE OUTDOORS. ¶
I JUST SAW SOME PEOPLE JUST
STAYING IN THIS HENRY MOORE. I JUST SAW SOME PEOPLE JUST
STAYING IN THIS HENRY MOORE.
WHERE DOES IT FIT INTO THE STAYING IN THIS HENRY MOORE.
WHERE DOES IT FIT INTO THE
SCHEME OF THINGS? WHERE DOES IT FIT INTO THE
SCHEME OF THINGS?
WELL, THIS WAS REALLY ONE OF SCHEME OF THINGS?
WELL, THIS WAS REALLY ONE OF
THE FIRST PIECES THAT WE WELL, THIS WAS REALLY ONE OF
THE FIRST PIECES THAT WE
PURCHASED. THE FIRST PIECES THAT WE
PURCHASED.
HAS THIS ONE ALWAYS SAT RIGHT PURCHASED.
HAS THIS ONE ALWAYS SAT RIGHT
THERE? HAS THIS ONE ALWAYS SAT RIGHT
THERE?
THIS ONE HAS ALWAYS BEEN THERE?
THIS ONE HAS ALWAYS BEEN
RIGHT THERE. THIS ONE HAS ALWAYS BEEN
RIGHT THERE.
BECAUSE SOME OF THEM HAVE RIGHT THERE.
BECAUSE SOME OF THEM HAVE
MOVED A LITTLE BIT. BECAUSE SOME OF THEM HAVE
MOVED A LITTLE BIT.
OH, YEAH. MOVED A LITTLE BIT.
OH, YEAH.
THE GARDEN IS GOING TO ALWAYS OH, YEAH.
THE GARDEN IS GOING TO ALWAYS
CHANGE. THE GARDEN IS GOING TO ALWAYS
CHANGE.
THERE ARE GOING TO BE NEW THINGS CHANGE.
THERE ARE GOING TO BE NEW THINGS
TO COME, THERE ARE GOING TO BE THERE ARE GOING TO BE NEW THINGS
TO COME, THERE ARE GOING TO BE
PLACES WHERE WE THINK IT’S TO COME, THERE ARE GOING TO BE
PLACES WHERE WE THINK IT’S
BETTER TO POSITION THEM. PLACES WHERE WE THINK IT’S
BETTER TO POSITION THEM.
THE PIECES DESERVE BEING IN THE BETTER TO POSITION THEM.
THE PIECES DESERVE BEING IN THE
GREATEST SETTING, AND SO WE NEED THE PIECES DESERVE BEING IN THE
GREATEST SETTING, AND SO WE NEED
TO BE CAREFUL THAT EVERYTHING IS GREATEST SETTING, AND SO WE NEED
TO BE CAREFUL THAT EVERYTHING IS
BEING DONE RIGHT AND THE NELSON TO BE CAREFUL THAT EVERYTHING IS
BEING DONE RIGHT AND THE NELSON
IS VERY GOOD ABOUT IT AND WE’RE BEING DONE RIGHT AND THE NELSON
IS VERY GOOD ABOUT IT AND WE’RE
DILIGENT ABOUT BEING SURE IT IS IS VERY GOOD ABOUT IT AND WE’RE
DILIGENT ABOUT BEING SURE IT IS
BEING DONE RIGHT. DILIGENT ABOUT BEING SURE IT IS
BEING DONE RIGHT.
BECAUSE THIS IS SOMETHING THAT’S BEING DONE RIGHT.
BECAUSE THIS IS SOMETHING THAT’S
GOING TO BE HERE FOREVER. BECAUSE THIS IS SOMETHING THAT’S
GOING TO BE HERE FOREVER.
AND, YOU KNOW, WE NEED THE GOING TO BE HERE FOREVER.
AND, YOU KNOW, WE NEED THE
OPPORTUNITY TO CONTINUE TO GROW AND, YOU KNOW, WE NEED THE
OPPORTUNITY TO CONTINUE TO GROW
AND DO IT IN A WAY WHERE WE OPPORTUNITY TO CONTINUE TO GROW
AND DO IT IN A WAY WHERE WE
DON’T BECOME CROWDED. AND DO IT IN A WAY WHERE WE
DON’T BECOME CROWDED.
WE DON’T WANT THIS TO BE DON’T BECOME CROWDED.
WE DON’T WANT THIS TO BE
SOMETHING WHERE YOU’RE SEEING WE DON’T WANT THIS TO BE
SOMETHING WHERE YOU’RE SEEING
EVERY PIECE WITH ONE GLANCE. SOMETHING WHERE YOU’RE SEEING
EVERY PIECE WITH ONE GLANCE.
DAN KILEY WHO WAS THE LANDSCAPE EVERY PIECE WITH ONE GLANCE.
DAN KILEY WHO WAS THE LANDSCAPE
ARCHITECT, THE WORLD RENOWNED DAN KILEY WHO WAS THE LANDSCAPE
ARCHITECT, THE WORLD RENOWNED
LANDSCAPE ARCHITECT WHO DESIGNED ARCHITECT, THE WORLD RENOWNED
LANDSCAPE ARCHITECT WHO DESIGNED
WHAT WE’RE WALKING WITH, WHICH LANDSCAPE ARCHITECT WHO DESIGNED
WHAT WE’RE WALKING WITH, WHICH
HE REFERRED TO AS THE ZIPPER WHAT WE’RE WALKING WITH, WHICH
HE REFERRED TO AS THE ZIPPER
PATH, YOU’LL LOOK AT IT AND HE REFERRED TO AS THE ZIPPER
PATH, YOU’LL LOOK AT IT AND
YOU’LL KNOW WHY HE CALLED IT PATH, YOU’LL LOOK AT IT AND
YOU’LL KNOW WHY HE CALLED IT
THAT, HE DID A TREMENDOUS JOB YOU’LL KNOW WHY HE CALLED IT
THAT, HE DID A TREMENDOUS JOB
WITH JACK ROBERTSON WHO WAS OUR THAT, HE DID A TREMENDOUS JOB
WITH JACK ROBERTSON WHO WAS OUR
ARCHITECT, THEY JUST DID A WITH JACK ROBERTSON WHO WAS OUR
ARCHITECT, THEY JUST DID A
WONDERFUL JOB OF CREATING WHAT ARCHITECT, THEY JUST DID A
WONDERFUL JOB OF CREATING WHAT
IS A NATURAL ENVIRONMENT, BUT WONDERFUL JOB OF CREATING WHAT
IS A NATURAL ENVIRONMENT, BUT
ALLOWS — I MEAN, WE’RE WALKING IS A NATURAL ENVIRONMENT, BUT
ALLOWS — I MEAN, WE’RE WALKING
ALONG THIS PATH. ALLOWS — I MEAN, WE’RE WALKING
ALONG THIS PATH.
YES, WE ARE. ALONG THIS PATH.
YES, WE ARE.
BUT IT’S PRETTY WELL HIDDEN. YES, WE ARE.
BUT IT’S PRETTY WELL HIDDEN.
WHEN YOU SEE THE SHUTTLECOCK BUT IT’S PRETTY WELL HIDDEN.
WHEN YOU SEE THE SHUTTLECOCK
AND THEIR ACCEPTANCE TODAY, DOES WHEN YOU SEE THE SHUTTLECOCK
AND THEIR ACCEPTANCE TODAY, DOES
THAT GRATIFY YOU? AND THEIR ACCEPTANCE TODAY, DOES
THAT GRATIFY YOU?
IT DOES. THAT GRATIFY YOU?
IT DOES.
THERE WAS A LOT OF CONTROVERSY IT DOES.
THERE WAS A LOT OF CONTROVERSY
ABOUT THE SHUTTLECOCK. THERE WAS A LOT OF CONTROVERSY
ABOUT THE SHUTTLECOCK.
THERE WAS A REALLY CONCERN BY A ABOUT THE SHUTTLECOCK.
THERE WAS A REALLY CONCERN BY A
NUMBER OF PEOPLE WHO WERE THERE WAS A REALLY CONCERN BY A
NUMBER OF PEOPLE WHO WERE
INVOLVED WHO FELT THAT NUMBER OF PEOPLE WHO WERE
INVOLVED WHO FELT THAT
INTERRUPTING THE VIEW OF THE INVOLVED WHO FELT THAT
INTERRUPTING THE VIEW OF THE
NELSON WAS NOT THE PROPER THING INTERRUPTING THE VIEW OF THE
NELSON WAS NOT THE PROPER THING
TO DO, AND IN A WAY, BECAUSE OF NELSON WAS NOT THE PROPER THING
TO DO, AND IN A WAY, BECAUSE OF
THE SHUTTLECOCK, IT MEANS THE TO DO, AND IN A WAY, BECAUSE OF
THE SHUTTLECOCK, IT MEANS THE
VIEW CAN NEVER BE INTERRUPTED THE SHUTTLECOCK, IT MEANS THE
VIEW CAN NEVER BE INTERRUPTED
BECAUSE YOU LOSE THE STORY OF VIEW CAN NEVER BE INTERRUPTED
BECAUSE YOU LOSE THE STORY OF
THE SHUTTLECOCK IF YOU WERE TO BECAUSE YOU LOSE THE STORY OF
THE SHUTTLECOCK IF YOU WERE TO
PUT SOMETHING ELSE ON THIS LAWN. THE SHUTTLECOCK IF YOU WERE TO
PUT SOMETHING ELSE ON THIS LAWN.
THEY HAVE BECOME ONE OF THE PUT SOMETHING ELSE ON THIS LAWN.
THEY HAVE BECOME ONE OF THE
ICONS FOR KANSAS CITY AND I THEY HAVE BECOME ONE OF THE
ICONS FOR KANSAS CITY AND I
THINK IT’S A GREAT TRIBUTE TO AN ICONS FOR KANSAS CITY AND I
THINK IT’S A GREAT TRIBUTE TO AN
IDEA THAT MOST PEOPLE DIDN’T SEE THINK IT’S A GREAT TRIBUTE TO AN
IDEA THAT MOST PEOPLE DIDN’T SEE
AT THE TIME. IDEA THAT MOST PEOPLE DIDN’T SEE
AT THE TIME.
SEEMS LIKE THE FACT THAT AT THE TIME.
SEEMS LIKE THE FACT THAT
THEY’RE OUT HERE DOES NOT SEEM SEEMS LIKE THE FACT THAT
THEY’RE OUT HERE DOES NOT SEEM
TO BE A NEGATIVE FOR PEOPLE. THEY’RE OUT HERE DOES NOT SEEM
TO BE A NEGATIVE FOR PEOPLE.
IT’S ACTUALLY TURNED INTO KIND TO BE A NEGATIVE FOR PEOPLE.
IT’S ACTUALLY TURNED INTO KIND
OF A POSITIVE. IT’S ACTUALLY TURNED INTO KIND
OF A POSITIVE.
OH, YEAH, I THINK THAT’S OF A POSITIVE.
OH, YEAH, I THINK THAT’S
RIGHT. OH, YEAH, I THINK THAT’S
RIGHT.
I THINK THAT’S RIGHT. RIGHT.
I THINK THAT’S RIGHT.
THEY ENJOY IT, THEY LIKE THE I THINK THAT’S RIGHT.
THEY ENJOY IT, THEY LIKE THE
OPEN SPACE. THEY ENJOY IT, THEY LIKE THE
OPEN SPACE.
THEY LIKE THE GREEN, AND THE ART OPEN SPACE.
THEY LIKE THE GREEN, AND THE ART
JUST ADDS TO THE EXPERIENCE. WE HAD A WONDERFUL ADVISOR, A
MAN NAMED MARTIN FRIEDMAN WHO
HAD BEEN THE HEAD OF THE WALKER MAN NAMED MARTIN FRIEDMAN WHO
HAD BEEN THE HEAD OF THE WALKER
MUSEUM IN MINNEAPOLIS AND HE HAD BEEN THE HEAD OF THE WALKER
MUSEUM IN MINNEAPOLIS AND HE
BUILT A SCULPTURE GARDEN. MUSEUM IN MINNEAPOLIS AND HE
BUILT A SCULPTURE GARDEN.
HE HAD ENORMOUS ENERGY AND BUILT A SCULPTURE GARDEN.
HE HAD ENORMOUS ENERGY AND
ENTHUSIASM AND HE JUST HAD AN HE HAD ENORMOUS ENERGY AND
ENTHUSIASM AND HE JUST HAD AN
IDEA EVERY DAY. ENTHUSIASM AND HE JUST HAD AN
IDEA EVERY DAY.
BUT HIS ENTHUSIASM CERTAINLY IS IDEA EVERY DAY.
BUT HIS ENTHUSIASM CERTAINLY IS
FELT IN THIS GARDEN. BUT HIS ENTHUSIASM CERTAINLY IS
FELT IN THIS GARDEN.
MARTIN WAS EXTREMELY FELT IN THIS GARDEN.
MARTIN WAS EXTREMELY
WELL-CONNECTED IN THE ART WORLD. MARTIN WAS EXTREMELY
WELL-CONNECTED IN THE ART WORLD.
IT ISN’T LIKE HE JUST KNEW ART. WELL-CONNECTED IN THE ART WORLD.
IT ISN’T LIKE HE JUST KNEW ART.
HE KNEW THE ARTISTS. IT ISN’T LIKE HE JUST KNEW ART.
HE KNEW THE ARTISTS.
AND THEY TRUSTED HIM. HE KNEW THE ARTISTS.
AND THEY TRUSTED HIM.
I MEAN, THAT’S HOW WE GOT THE AND THEY TRUSTED HIM.
I MEAN, THAT’S HOW WE GOT THE
ROXY THING. I MEAN, THAT’S HOW WE GOT THE
ROXY THING.
ROXY PAINE DID THAT PIECE IN ROXY THING.
ROXY PAINE DID THAT PIECE IN
HONOR OF MARTIN BECAUSE HE WAS ROXY PAINE DID THAT PIECE IN
HONOR OF MARTIN BECAUSE HE WAS
MARTIN FRIEDMAN. HONOR OF MARTIN BECAUSE HE WAS
MARTIN FRIEDMAN.
THE SCULPTURES ALL HAVE MARTIN FRIEDMAN.
THE SCULPTURES ALL HAVE
CHALLENGES, PATINAS AND NOW DO THE SCULPTURES ALL HAVE
CHALLENGES, PATINAS AND NOW DO
YOU KEEP THE SHUTTLECOCK IN CHALLENGES, PATINAS AND NOW DO
YOU KEEP THE SHUTTLECOCK IN
PERFECT SHAPE BECAUSE WE HAVE YOU KEEP THE SHUTTLECOCK IN
PERFECT SHAPE BECAUSE WE HAVE
HOT SUMMERS AND COLD WINTERS AND PERFECT SHAPE BECAUSE WE HAVE
HOT SUMMERS AND COLD WINTERS AND
THE PIECES HAVE TO BE PROTECTED HOT SUMMERS AND COLD WINTERS AND
THE PIECES HAVE TO BE PROTECTED
AND THE PATINAS HAVE TO BE TAKEN THE PIECES HAVE TO BE PROTECTED
AND THE PATINAS HAVE TO BE TAKEN
CARE OF AND THERE ARE PEOPLE AND THE PATINAS HAVE TO BE TAKEN
CARE OF AND THERE ARE PEOPLE
HERE WHO DO A VERY GOOD JOB OF CARE OF AND THERE ARE PEOPLE
HERE WHO DO A VERY GOOD JOB OF
MAKING SURE THAT YOUR CHILDREN HERE WHO DO A VERY GOOD JOB OF
MAKING SURE THAT YOUR CHILDREN
AND MY GRANDCHILDREN AND THEIR MAKING SURE THAT YOUR CHILDREN
AND MY GRANDCHILDREN AND THEIR
CHILDREN WILL BE ABLE TO ENJOY AND MY GRANDCHILDREN AND THEIR
CHILDREN WILL BE ABLE TO ENJOY
THESE FOR, HOPEFULLY, YOU KNOW, CHILDREN WILL BE ABLE TO ENJOY
THESE FOR, HOPEFULLY, YOU KNOW,
CENTURIES TO COME BECAUSE THESE THESE FOR, HOPEFULLY, YOU KNOW,
CENTURIES TO COME BECAUSE THESE
ARE WORKS OF ART WHICH WILL CENTURIES TO COME BECAUSE THESE
ARE WORKS OF ART WHICH WILL
ENDURE IN TERMS OF PEOPLE’S VIEW ARE WORKS OF ART WHICH WILL
ENDURE IN TERMS OF PEOPLE’S VIEW
OF THEM FOR MANY, MANY YEARS. ENDURE IN TERMS OF PEOPLE’S VIEW
OF THEM FOR MANY, MANY YEARS.
I MEAN, I THINK PEOPLE CERTAINLY OF THEM FOR MANY, MANY YEARS.
I MEAN, I THINK PEOPLE CERTAINLY
KNOW ABOUT THE PARK AND THEY I MEAN, I THINK PEOPLE CERTAINLY
KNOW ABOUT THE PARK AND THEY
PROBABLY KNOW THAT IT IS — IT’S KNOW ABOUT THE PARK AND THEY
PROBABLY KNOW THAT IT IS — IT’S
A WORLD-CLASS COLLECTION, BUT I PROBABLY KNOW THAT IT IS — IT’S
A WORLD-CLASS COLLECTION, BUT I
THINK IT TAKES NEW PIECES TO A WORLD-CLASS COLLECTION, BUT I
THINK IT TAKES NEW PIECES TO
CREATE EXCITEMENT, BUT IT NEEDS THINK IT TAKES NEW PIECES TO
CREATE EXCITEMENT, BUT IT NEEDS
TO BE ALIVE. CREATE EXCITEMENT, BUT IT NEEDS
TO BE ALIVE.
IT NEEDS TO GROW AND IT NEEDS TO TO BE ALIVE.
IT NEEDS TO GROW AND IT NEEDS TO
BE SOMETHING THAT, YOU KNOW, IT NEEDS TO GROW AND IT NEEDS TO
BE SOMETHING THAT, YOU KNOW,
THERE’S NEW EXPERIENCES AND ONE BE SOMETHING THAT, YOU KNOW,
THERE’S NEW EXPERIENCES AND ONE
OF OUR CHALLENGES IS GOING TO THERE’S NEW EXPERIENCES AND ONE
OF OUR CHALLENGES IS GOING TO
BE, YOU KNOW, WHERE DO WE GROW. OF OUR CHALLENGES IS GOING TO
BE, YOU KNOW, WHERE DO WE GROW.
AND THERE ARE GOING TO BE SOME, BE, YOU KNOW, WHERE DO WE GROW.
AND THERE ARE GOING TO BE SOME,
YOU KNOW, SOME INTERESTING AND THERE ARE GOING TO BE SOME,
YOU KNOW, SOME INTERESTING
ISSUES. YOU KNOW, SOME INTERESTING
ISSUES.
DO WE GO INTO THEIS PARK, DO WE ISSUES.
DO WE GO INTO THEIS PARK, DO WE
GO INTO SOUTH MOORE LAND, DO YOU DO WE GO INTO THEIS PARK, DO WE
GO INTO SOUTH MOORE LAND, DO YOU
GO ACROSS ROCKHILL, BUT WE’RE GO INTO SOUTH MOORE LAND, DO YOU
GO ACROSS ROCKHILL, BUT WE’RE
GOING TO NEED MORE SPACE BECAUSE GO ACROSS ROCKHILL, BUT WE’RE
GOING TO NEED MORE SPACE BECAUSE
I THINK OVER TIME THIS IS GOING GOING TO NEED MORE SPACE BECAUSE
I THINK OVER TIME THIS IS GOING
TO BE ONE OF THE GREAT SCULPTURE I THINK OVER TIME THIS IS GOING
TO BE ONE OF THE GREAT SCULPTURE
PARKS IN THE COUNTRY AND IT WILL TO BE ONE OF THE GREAT SCULPTURE
PARKS IN THE COUNTRY AND IT WILL
NEED SOME MORE SPACE. PARKS IN THE COUNTRY AND IT WILL
NEED SOME MORE SPACE.
YOU’RE DOING SOMETHING HERE NEED SOME MORE SPACE.
YOU’RE DOING SOMETHING HERE
THAT ENRICHES, IN ITS OWN WAY. YOU’RE DOING SOMETHING HERE
THAT ENRICHES, IN ITS OWN WAY.
YEAH, I MEAN, THIS IS A THAT ENRICHES, IN ITS OWN WAY.
YEAH, I MEAN, THIS IS A
DIFFERENT EXPERIENCE, A YEAH, I MEAN, THIS IS A
DIFFERENT EXPERIENCE, A
DIFFERENT WAY TO EXPERIENCE ART DIFFERENT EXPERIENCE, A
DIFFERENT WAY TO EXPERIENCE ART
THAN IT IS WHEN YOU GO INTO THE DIFFERENT WAY TO EXPERIENCE ART
THAN IT IS WHEN YOU GO INTO THE
BUILDING. THAN IT IS WHEN YOU GO INTO THE
BUILDING.
WOULD DON HALL THINK THAT BUILDING.
WOULD DON HALL THINK THAT
THAT’S THE ULTIMATE WAY THAT WOULD DON HALL THINK THAT
THAT’S THE ULTIMATE WAY THAT
THIS SHOULD HAVE WORKED? THAT’S THE ULTIMATE WAY THAT
THIS SHOULD HAVE WORKED?
ABSOLUTELY. THIS SHOULD HAVE WORKED?
ABSOLUTELY.
BECAUSE HIS NAME IS NOW ON ABSOLUTELY.
BECAUSE HIS NAME IS NOW ON
IT. BECAUSE HIS NAME IS NOW ON
IT.
IT’S KIND OF ONE OF THOSE IT.
IT’S KIND OF ONE OF THOSE
THINGS, I’M GUESSING HE MIGHT IT’S KIND OF ONE OF THOSE
THINGS, I’M GUESSING HE MIGHT
NOT HAVE SAID HE NEEDED HIS NAME THINGS, I’M GUESSING HE MIGHT
NOT HAVE SAID HE NEEDED HIS NAME
ON IT, BUT IT FELT LIKE THE NOT HAVE SAID HE NEEDED HIS NAME
ON IT, BUT IT FELT LIKE THE
RIGHT THING TO DO. ON IT, BUT IT FELT LIKE THE
RIGHT THING TO DO.
I THINK HE WOULD SAY THAT. RIGHT THING TO DO.
I THINK HE WOULD SAY THAT.
I THINK HE WAS RELUCTANT TO HAVE I THINK HE WOULD SAY THAT.
I THINK HE WAS RELUCTANT TO HAVE
HIS NAME PUT ON IT, BUT IT I THINK HE WAS RELUCTANT TO HAVE
HIS NAME PUT ON IT, BUT IT
CERTAINLY IS WELL DESERVED. HIS NAME PUT ON IT, BUT IT
CERTAINLY IS WELL DESERVED.
HE HAS BEEN THE DRIVING FORCE CERTAINLY IS WELL DESERVED.
HE HAS BEEN THE DRIVING FORCE
BEHIND THIS FROM THE VERY HE HAS BEEN THE DRIVING FORCE
BEHIND THIS FROM THE VERY
BEGINNING. BEHIND THIS FROM THE VERY
BEGINNING.
FROM THE IDEA UNTIL THE BEGINNING.
FROM THE IDEA UNTIL THE
EXECUTION, HE IS THE PERSON WHO FROM THE IDEA UNTIL THE
EXECUTION, HE IS THE PERSON WHO
MADE THE DECISION THAT SAID, EXECUTION, HE IS THE PERSON WHO
MADE THE DECISION THAT SAID,
YES, WE WANT TO DO THIS, AND MADE THE DECISION THAT SAID,
YES, WE WANT TO DO THIS, AND
YES, WE’RE GOING TO MAKE SURE IT YES, WE WANT TO DO THIS, AND
YES, WE’RE GOING TO MAKE SURE IT
IS WORLD-CLASS. YES, WE’RE GOING TO MAKE SURE IT
IS WORLD-CLASS.
IT WAS A UNIQUE IDEA. IS WORLD-CLASS.
IT WAS A UNIQUE IDEA.
WE DIDN’T HAVE IT. IT WAS A UNIQUE IDEA.
WE DIDN’T HAVE IT.
A MAN GAVE US THE IDEA. WE DIDN’T HAVE IT.
A MAN GAVE US THE IDEA.
WE HAD THE ABILITY TO RECOGNIZE A MAN GAVE US THE IDEA.
WE HAD THE ABILITY TO RECOGNIZE
T WE HAD THE ABILITY TO RECOGNIZE
T
T T
T
THEMERITS OF THE IDEA, HE HAD T
THEMERITS OF THE IDEA, HE HAD
THE ABILITY TO FIND SOMEBODY TO THEMERITS OF THE IDEA, HE HAD
THE ABILITY TO FIND SOMEBODY TO
HELP US AND I THINK WE PUT THE ABILITY TO FIND SOMEBODY TO
HELP US AND I THINK WE PUT
SOMETHING THAT IS OF NATIONAL OR HELP US AND I THINK WE PUT
SOMETHING THAT IS OF NATIONAL OR
INTERNATIONAL QUALITY THAT SOMETHING THAT IS OF NATIONAL OR
INTERNATIONAL QUALITY THAT
PEOPLE IN KANSAS CITY WILL ENJOY INTERNATIONAL QUALITY THAT
PEOPLE IN KANSAS CITY WILL ENJOY
AND THE WHOLE REGION WILL ENJOY PEOPLE IN KANSAS CITY WILL ENJOY
AND THE WHOLE REGION WILL ENJOY
FOR MANY, MANY YEARS. AND THE WHOLE REGION WILL ENJOY
FOR MANY, MANY YEARS.
MANY YEARS. FOR MANY, MANY YEARS.
MANY YEARS.
IT’S SOMETHING THAT WE’RE VERY MANY YEARS.
IT’S SOMETHING THAT WE’RE VERY
PROUD OF. IT’S SOMETHING THAT WE’RE VERY
PROUD OF.
AT THE NELSON-ATKINS, WE PROUD OF.
AT THE NELSON-ATKINS, WE
BELIEVE THAT THE POWER OF ART AT THE NELSON-ATKINS, WE
BELIEVE THAT THE POWER OF ART
TRULY ENGAGES WITH THE SPIRIT OF BELIEVE THAT THE POWER OF ART
TRULY ENGAGES WITH THE SPIRIT OF
THE COMMUNITY, AND THAT IS WHY TRULY ENGAGES WITH THE SPIRIT OF
THE COMMUNITY, AND THAT IS WHY
WE’RE SO GRATIFIED THAT MANY THE COMMUNITY, AND THAT IS WHY
WE’RE SO GRATIFIED THAT MANY
MORE PEOPLE ARE TAKING ADVANTAGE WE’RE SO GRATIFIED THAT MANY
MORE PEOPLE ARE TAKING ADVANTAGE
OF OUR GREAT MUSEUM AND ALSO OF MORE PEOPLE ARE TAKING ADVANTAGE
OF OUR GREAT MUSEUM AND ALSO OF
OUR SCULPTURE PARK. OF OUR GREAT MUSEUM AND ALSO OF
OUR SCULPTURE PARK.
THE SCULPTURE PARK IS SO OUR SCULPTURE PARK.
THE SCULPTURE PARK IS SO
INVITING AND IT IS OPEN 24/7 ALL THE SCULPTURE PARK IS SO
INVITING AND IT IS OPEN 24/7 ALL
DAYS OF THE YEAR, EVEN WHEN THE INVITING AND IT IS OPEN 24/7 ALL
DAYS OF THE YEAR, EVEN WHEN THE
MUSEUM MAY BE CLOSED. DAYS OF THE YEAR, EVEN WHEN THE
MUSEUM MAY BE CLOSED.
AND SPEAKING OF CLOSED, THIS IS MUSEUM MAY BE CLOSED.
AND SPEAKING OF CLOSED, THIS IS
IT FOR THIS WEEK’S INSTALLMENT AND SPEAKING OF CLOSED, THIS IS
IT FOR THIS WEEK’S INSTALLMENT
OF ART TASTING. IT FOR THIS WEEK’S INSTALLMENT
OF ART TASTING.
I HOPE YOU WILL JOIN US NEXT OF ART TASTING.
I HOPE YOU WILL JOIN US NEXT
TIME WHEN WE TURN OUR ATTENTION I HOPE YOU WILL JOIN US NEXT
TIME WHEN WE TURN OUR ATTENTION
TO NATIVE AMERICAN ART WITH THE TIME WHEN WE TURN OUR ATTENTION
TO NATIVE AMERICAN ART WITH THE
NOTED COLLECTORS ALAN TO NATIVE AMERICAN ART WITH THE
NOTED COLLECTORS ALAN
HIRSCHFELD. NOTED COLLECTORS ALAN
HIRSCHFELD.
I’M JULIÁN ZUGAZAGOITIA. HIRSCHFELD.
I’M JULIÁN ZUGAZAGOITIA.
THANK YOU FOR STOPPING BY.   CAPTIONING PROVIDED BY
CAPTION ASSOCIATES, LLC
www.captionassociates.com PRINCIPAL FUNDING FOR ART
TASTING WITH JULIÁN ZUGAZAGOITIA
HAS BEEN PROVIDED BY DeBRUCE TASTING WITH JULIÁN ZUGAZAGOITIA
HAS BEEN PROVIDED BY DeBRUCE
COMPANIES, WITH ADDITIONAL HAS BEEN PROVIDED BY DeBRUCE
COMPANIES, WITH ADDITIONAL
SUPPORT FROM THE FRANCIS FAMILY COMPANIES, WITH ADDITIONAL
SUPPORT FROM THE FRANCIS FAMILY
FOUNDATION AND BY VIEWERS LIKE SUPPORT FROM THE FRANCIS FAMILY
FOUNDATION AND BY VIEWERS LIKE
YOU. FOUNDATION AND BY VIEWERS LIKE
YOU.
THANK YOU.  

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