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ANNOUNCER: PRINCIPAL FUNDING FOR ART TASTING WITH JULIAN ZUGAZAGOITIA HAS BEEN
FOR ART TASTING WITH JULIAN ZUGAZAGOITIA HAS BEEN PROVIDED BY THE BRUCE
ZUGAZAGOITIA HAS BEEN PROVIDED BY THE BRUCE COMPANIES, WITH ADDITIONAL
PROVIDED BY THE BRUCE COMPANIES, WITH ADDITIONAL SUPPORT FROM THE FRANCIS
COMPANIES, WITH ADDITIONAL SUPPORT FROM THE FRANCIS FAMILY FOUNDATION AND BY
SUPPORT FROM THE FRANCIS FAMILY FOUNDATION AND BY VIEWERS LIKE YOU.
FAMILY FOUNDATION AND BY VIEWERS LIKE YOU. THANK YOU!
VIEWERS LIKE YOU. THANK YOU!
THANK YOU! THIS IS A STAGMAN,
THIS IS A STAGMAN, CABERNET, 2006.
THIS IS A STAGMAN, CABERNET, 2006. COMING UP, THREE IS NOT A
CABERNET, 2006. COMING UP, THREE IS NOT A CROWD AS DAVID AND SUZANNE
COMING UP, THREE IS NOT A CROWD AS DAVID AND SUZANNE BOOTH JOIN JULIAN TO DISCUSS
CROWD AS DAVID AND SUZANNE BOOTH JOIN JULIAN TO DISCUSS THE CORPORATE ART COLLECTION.
BOOTH JOIN JULIAN TO DISCUSS THE CORPORATE ART COLLECTION. AND LATER, A TRIP TO
THE CORPORATE ART COLLECTION. AND LATER, A TRIP TO TEXAS, TO SEE HOW THEY
AND LATER, A TRIP TO TEXAS, TO SEE HOW THEY COLLECT DIFFERENTLY AT HOME.
TEXAS, TO SEE HOW THEY COLLECT DIFFERENTLY AT HOME. THANK YOU FOR YOUR
COLLECT DIFFERENTLY AT HOME. THANK YOU FOR YOUR INDULGENCE!
THANK YOU FOR YOUR INDULGENCE! CAPTIONING PROVIDED BY
INDULGENCE! CAPTIONING PROVIDED BY CAPTION ASSOCIATES, LLC
CAPTIONING PROVIDED BY CAPTION ASSOCIATES, LLC WWW.CAPTIONASSOCIATES.COM
¶ ¶ HELLO, I'M JULIAN
¶ HELLO, I'M JULIAN ZUGAZAGOITIA. WHAT A TREAT
HELLO, I'M JULIAN ZUGAZAGOITIA. WHAT A TREAT WE HAVE IN STORE-- NOT ONE
ZUGAZAGOITIA. WHAT A TREAT WE HAVE IN STORE-- NOT ONE BUT TWO COLLECTORS WHO SHARE
WE HAVE IN STORE-- NOT ONE BUT TWO COLLECTORS WHO SHARE MY ENTHUSIASM FOR THE MANY
BUT TWO COLLECTORS WHO SHARE MY ENTHUSIASM FOR THE MANY FLAVORS THAT ART HAS TO
MY ENTHUSIASM FOR THE MANY FLAVORS THAT ART HAS TO OFFER. DAVID BOOTH GREW UP
FLAVORS THAT ART HAS TO OFFER. DAVID BOOTH GREW UP IN LAWRENCE, KANSAS, EARNED
OFFER. DAVID BOOTH GREW UP IN LAWRENCE, KANSAS, EARNED DEGREES FROM KU AND CHICAGO
IN LAWRENCE, KANSAS, EARNED DEGREES FROM KU AND CHICAGO UNIVERSITY'S SCHOOL OF
DEGREES FROM KU AND CHICAGO UNIVERSITY'S SCHOOL OF BUSINESS. NOW HIS COMPANY,
UNIVERSITY'S SCHOOL OF BUSINESS. NOW HIS COMPANY, DIMENSIONAL FUND ADVISORS,
BUSINESS. NOW HIS COMPANY, DIMENSIONAL FUND ADVISORS, HAS OFFICES WORLD-WIDE, AND
DIMENSIONAL FUND ADVISORS, HAS OFFICES WORLD-WIDE, AND ALL OF THEM ARE ADORNED WITH
HAS OFFICES WORLD-WIDE, AND ALL OF THEM ARE ADORNED WITH ART. DAVID'S WIFE SUZANNE
ALL OF THEM ARE ADORNED WITH ART. DAVID'S WIFE SUZANNE PLAYS A MAJOR ROLE IN
ART. DAVID'S WIFE SUZANNE PLAYS A MAJOR ROLE IN "CURATING" THOSE COLLECTIONS,
PLAYS A MAJOR ROLE IN "CURATING" THOSE COLLECTIONS, AND IN BUILDING THEIR
"CURATING" THOSE COLLECTIONS, AND IN BUILDING THEIR PERSONAL ONE AS WELL. WE'LL
AND IN BUILDING THEIR PERSONAL ONE AS WELL. WE'LL SHOW YOU MORE ABOUT THAT
PERSONAL ONE AS WELL. WE'LL SHOW YOU MORE ABOUT THAT LATER IN THE PROGRAM. BUT
SHOW YOU MORE ABOUT THAT LATER IN THE PROGRAM. BUT FIRST WE'LL BE TALKING
LATER IN THE PROGRAM. BUT FIRST WE'LL BE TALKING BUSINESS, AND A LITTLE
FIRST WE'LL BE TALKING BUSINESS, AND A LITTLE BASKETBALL! BECAUSE THE
BUSINESS, AND A LITTLE BASKETBALL! BECAUSE THE BOOTHS ARE BUILDING A NEW
BASKETBALL! BECAUSE THE BOOTHS ARE BUILDING A NEW HOUSE IN NAPA VALLEY, THEY
BOOTHS ARE BUILDING A NEW HOUSE IN NAPA VALLEY, THEY BROUGHT A BOTTLE OF WINE FROM
HOUSE IN NAPA VALLEY, THEY BROUGHT A BOTTLE OF WINE FROM A NEIGHBORING VINEYARD. A
BROUGHT A BOTTLE OF WINE FROM A NEIGHBORING VINEYARD. A PERFECT WAY TO BEGIN THIS ART
A NEIGHBORING VINEYARD. A PERFECT WAY TO BEGIN THIS ART TASTING..
PERFECT WAY TO BEGIN THIS ART TASTING.. ¶
TASTING.. ¶ ¶ AND THEN, SO YOU STARTED
¶ ¶ AND THEN, SO YOU STARTED THE DIMENSION OF ART, IT WAS
¶ AND THEN, SO YOU STARTED THE DIMENSION OF ART, IT WAS IMPORTANT TO YOU, SO HOW DID
THE DIMENSION OF ART, IT WAS IMPORTANT TO YOU, SO HOW DID THAT START?
IMPORTANT TO YOU, SO HOW DID THAT START? HAVING ART IS VERY
THAT START? HAVING ART IS VERY IMPORTANT IN A BUSINESS
HAVING ART IS VERY IMPORTANT IN A BUSINESS SETTING.
IMPORTANT IN A BUSINESS SETTING. YOU WILL SEE OUR COLLECTION,
SETTING. YOU WILL SEE OUR COLLECTION, A LOT OF THE COLLECTION THAT
YOU WILL SEE OUR COLLECTION, A LOT OF THE COLLECTION THAT WE HAVE IN THE VARIOUS
A LOT OF THE COLLECTION THAT WE HAVE IN THE VARIOUS OFFICES, AND YOU KNOW WHAT, I
WE HAVE IN THE VARIOUS OFFICES, AND YOU KNOW WHAT, I WAS TOTALING IT IT UP, WE
OFFICES, AND YOU KNOW WHAT, I WAS TOTALING IT IT UP, WE SPEND ABOUT 1/10* OF A
WAS TOTALING IT IT UP, WE SPEND ABOUT 1/10* OF A PERCENT A YEAR ON ART.
SPEND ABOUT 1/10* OF A PERCENT A YEAR ON ART. SO YOU HAVE FIVE, SIX
PERCENT A YEAR ON ART. SO YOU HAVE FIVE, SIX PEOPLE, THEN YOU MOVE TO
SO YOU HAVE FIVE, SIX PEOPLE, THEN YOU MOVE TO CALIFORNIA, THAT'S WHERE THE
PEOPLE, THEN YOU MOVE TO CALIFORNIA, THAT'S WHERE THE FIRST ROOMS IN THIS OFFICE
CALIFORNIA, THAT'S WHERE THE FIRST ROOMS IN THIS OFFICE BUILDING WERE OCCUPIED.
FIRST ROOMS IN THIS OFFICE BUILDING WERE OCCUPIED. HOW DID IT GROW FROM THERE
BUILDING WERE OCCUPIED. HOW DID IT GROW FROM THERE AND WHEN DID YOU START
HOW DID IT GROW FROM THERE AND WHEN DID YOU START BRINGING ART INTO IT?
AND WHEN DID YOU START BRINGING ART INTO IT? IT WAS THE PRE-SUZANNE AND
BRINGING ART INTO IT? IT WAS THE PRE-SUZANNE AND POST-SUZANNE!
IT WAS THE PRE-SUZANNE AND POST-SUZANNE! UH-HUH?
POST-SUZANNE! UH-HUH? PRE-SUZANNE LARGELY SEEMS
UH-HUH? PRE-SUZANNE LARGELY SEEMS TO BE STORED SOMEWHERE!
PRE-SUZANNE LARGELY SEEMS TO BE STORED SOMEWHERE! [LAUGHTER]
TO BE STORED SOMEWHERE! [LAUGHTER] ACTUALLY, THAT IS A GOOD
[LAUGHTER] ACTUALLY, THAT IS A GOOD POINT.
ACTUALLY, THAT IS A GOOD POINT. WE ALL START COLLECTING
POINT. WE ALL START COLLECTING THINGS THAT WE ARE GRADUATING
WE ALL START COLLECTING THINGS THAT WE ARE GRADUATING FROM.
THINGS THAT WE ARE GRADUATING FROM. A STARTED COLLECTION.
FROM. A STARTED COLLECTION. EXACTLY.
A STARTED COLLECTION. EXACTLY. WE WERE TALKING BEFORE ABOUT
EXACTLY. WE WERE TALKING BEFORE ABOUT COLLECTING FROM STAMPS OR
WE WERE TALKING BEFORE ABOUT COLLECTING FROM STAMPS OR SHELFS, AND IT'S ALSO
COLLECTING FROM STAMPS OR SHELFS, AND IT'S ALSO PERFECTING YOUR EYE.
SHELFS, AND IT'S ALSO PERFECTING YOUR EYE. BUT I THINK THE SAME WOULD BE
PERFECTING YOUR EYE. BUT I THINK THE SAME WOULD BE TRUE WITH ART.
BUT I THINK THE SAME WOULD BE TRUE WITH ART. POSTERS, AND THEN LITTLE BY
TRUE WITH ART. POSTERS, AND THEN LITTLE BY LITTLE, YOU MEET ART, SO IT'S
POSTERS, AND THEN LITTLE BY LITTLE, YOU MEET ART, SO IT'S -- EVEN IN A MUSEUM, THE
LITTLE, YOU MEET ART, SO IT'S -- EVEN IN A MUSEUM, THE COLLECTION, WE ARE ALWAYS
-- EVEN IN A MUSEUM, THE COLLECTION, WE ARE ALWAYS TRYING TO PERFECT.
COLLECTION, WE ARE ALWAYS TRYING TO PERFECT. SO I THINK IT'S A NATURAL
TRYING TO PERFECT. SO I THINK IT'S A NATURAL GROWTH, YOU KNOW, IN THAT
SO I THINK IT'S A NATURAL GROWTH, YOU KNOW, IN THAT SENSE.
GROWTH, YOU KNOW, IN THAT SENSE. SO THEN SUZANNE COMES INTO
SENSE. SO THEN SUZANNE COMES INTO THE PICTURE.
SO THEN SUZANNE COMES INTO THE PICTURE. RIGHT.
THE PICTURE. RIGHT. PROFESSIONALLY TRAINED ART
RIGHT. PROFESSIONALLY TRAINED ART HISTORIAN.
PROFESSIONALLY TRAINED ART HISTORIAN. LET'S SHOW THIS IN THE
HISTORIAN. LET'S SHOW THIS IN THE CONTEXT, BECAUSE SUZANNE, YOU
LET'S SHOW THIS IN THE CONTEXT, BECAUSE SUZANNE, YOU ARE REALLY THE CURATOR OF ALL
CONTEXT, BECAUSE SUZANNE, YOU ARE REALLY THE CURATOR OF ALL OF THE DIFFERENT ACQUISITIONS
ARE REALLY THE CURATOR OF ALL OF THE DIFFERENT ACQUISITIONS FOR HAPPEN FOR DIMENSIONAL,
OF THE DIFFERENT ACQUISITIONS FOR HAPPEN FOR DIMENSIONAL, AND NOW, THERE ARE OFFICES
FOR HAPPEN FOR DIMENSIONAL, AND NOW, THERE ARE OFFICES WORLDWIDE, SO YOU HAVE
AND NOW, THERE ARE OFFICES WORLDWIDE, SO YOU HAVE TAILORED EACH COLLECTION IN A
WORLDWIDE, SO YOU HAVE TAILORED EACH COLLECTION IN A DIFFERENT WAY, DEPENDING UPON
TAILORED EACH COLLECTION IN A DIFFERENT WAY, DEPENDING UPON WHERE IT WAS GOING TO BE.
DIFFERENT WAY, DEPENDING UPON WHERE IT WAS GOING TO BE. THIS WAS YOUR HEADQUARTERS
WHERE IT WAS GOING TO BE. THIS WAS YOUR HEADQUARTERS BEFORE YOU MOVED TO TEXAS.
THIS WAS YOUR HEADQUARTERS BEFORE YOU MOVED TO TEXAS. IT'S NOT A MUSEUM-LIKE, OR AT
BEFORE YOU MOVED TO TEXAS. IT'S NOT A MUSEUM-LIKE, OR AT LEAST WE DON'T LOOK LIKE IT
IT'S NOT A MUSEUM-LIKE, OR AT LEAST WE DON'T LOOK LIKE IT AS OF YET.
LEAST WE DON'T LOOK LIKE IT AS OF YET. RIGHT.
AS OF YET. RIGHT. I INSISTED THIS PICTURE BE IN
RIGHT. I INSISTED THIS PICTURE BE IN HERE BECAUSE I THINK IT'S
I INSISTED THIS PICTURE BE IN HERE BECAUSE I THINK IT'S IMPORTANT TO SEE THE
HERE BECAUSE I THINK IT'S IMPORTANT TO SEE THE LANDSCAPE, TO WHERE THE ART
IMPORTANT TO SEE THE LANDSCAPE, TO WHERE THE ART IS FLOWING INTO, SO THIS IS
LANDSCAPE, TO WHERE THE ART IS FLOWING INTO, SO THIS IS THE TRADING ROOM, AND WHEN
IS FLOWING INTO, SO THIS IS THE TRADING ROOM, AND WHEN THEY LEAVE THE TRADING ROOM,
THE TRADING ROOM, AND WHEN THEY LEAVE THE TRADING ROOM, THEY ARE GOING DOWN CORRIDORS
THEY LEAVE THE TRADING ROOM, THEY ARE GOING DOWN CORRIDORS AND INTO MORE PUBLIC PLACES.
THEY ARE GOING DOWN CORRIDORS AND INTO MORE PUBLIC PLACES. WHERE THE ART IT LIKE
AND INTO MORE PUBLIC PLACES. WHERE THE ART IT LIKE THIS, UH-HUH.
WHERE THE ART IT LIKE THIS, UH-HUH. IT MAY LOOK LIKE A ROOM
THIS, UH-HUH. IT MAY LOOK LIKE A ROOM WITH A PAINTING AT THE BACK.
IT MAY LOOK LIKE A ROOM WITH A PAINTING AT THE BACK. BUT THAT IS A MUSEUM THAT'S
WITH A PAINTING AT THE BACK. BUT THAT IS A MUSEUM THAT'S OPEN THREE HOURS A WEEK --
BUT THAT IS A MUSEUM THAT'S OPEN THREE HOURS A WEEK -- ONE HOUR A WEEK, FROM 8:00 TO
OPEN THREE HOURS A WEEK -- ONE HOUR A WEEK, FROM 8:00 TO 9:00 O'CLOCK IN THE MORNING,
ONE HOUR A WEEK, FROM 8:00 TO 9:00 O'CLOCK IN THE MORNING, AND THIS IS THE SANTA MONICA
9:00 O'CLOCK IN THE MORNING, AND THIS IS THE SANTA MONICA OFFICE.
AND THIS IS THE SANTA MONICA OFFICE. IN ORDER TO GET APPROVAL FROM
OFFICE. IN ORDER TO GET APPROVAL FROM THE CITY TO BUILD OUT THE
IN ORDER TO GET APPROVAL FROM THE CITY TO BUILD OUT THE SPACE, THEY WOULDN'T LET US
THE CITY TO BUILD OUT THE SPACE, THEY WOULDN'T LET US BUILD OUT THIS SPACE WHERE WE
SPACE, THEY WOULDN'T LET US BUILD OUT THIS SPACE WHERE WE WANTED UNTIL WE CALLED --
BUILD OUT THIS SPACE WHERE WE WANTED UNTIL WE CALLED -- THEY SAID HOW ABOUT WE BUILD
WANTED UNTIL WE CALLED -- THEY SAID HOW ABOUT WE BUILD A MUSEUM, WE GO THAT'S FINE,
THEY SAID HOW ABOUT WE BUILD A MUSEUM, WE GO THAT'S FINE, WHAT'S THE MINIMUM
A MUSEUM, WE GO THAT'S FINE, WHAT'S THE MINIMUM REQUIREMENT FOR A MUSEUM, AND
WHAT'S THE MINIMUM REQUIREMENT FOR A MUSEUM, AND THAT ONE POINTING -- PAINTING
REQUIREMENT FOR A MUSEUM, AND THAT ONE POINTING -- PAINTING IN THE BACKGROUND IS THE
THAT ONE POINTING -- PAINTING IN THE BACKGROUND IS THE MINIMUM.
IN THE BACKGROUND IS THE MINIMUM. MUSEUMS COME VERY
MINIMUM. MUSEUMS COME VERY UNREGULATED!
MUSEUMS COME VERY UNREGULATED! THIS IS ANOTHER SPACE IN
UNREGULATED! THIS IS ANOTHER SPACE IN THE SANTA MONICA OFFICES.
THIS IS ANOTHER SPACE IN THE SANTA MONICA OFFICES. THIS IS ONE OF THE MAIN
THE SANTA MONICA OFFICES. THIS IS ONE OF THE MAIN ENTRANCES OF THE OFFICE, THE
THIS IS ONE OF THE MAIN ENTRANCES OF THE OFFICE, THE FOYER, THIS IS A WORK BY
ENTRANCES OF THE OFFICE, THE FOYER, THIS IS A WORK BY SOLOWIT.
FOYER, THIS IS A WORK BY SOLOWIT. THERE ARE DIFFERENT SPHERES
SOLOWIT. THERE ARE DIFFERENT SPHERES HAVE HAVE BEEN PHOTOGRAPHED
THERE ARE DIFFERENT SPHERES HAVE HAVE BEEN PHOTOGRAPHED IN DIFFERENT LIGHTING.
HAVE HAVE BEEN PHOTOGRAPHED IN DIFFERENT LIGHTING. YOU ARE LOOKING AT THE SAME
IN DIFFERENT LIGHTING. YOU ARE LOOKING AT THE SAME OBJECT, BUT YOU HAVE THE
YOU ARE LOOKING AT THE SAME OBJECT, BUT YOU HAVE THE PERCEPTION OF IT THAT CHANGES
OBJECT, BUT YOU HAVE THE PERCEPTION OF IT THAT CHANGES EACH TIME YOU SEE THE IMAGE.
PERCEPTION OF IT THAT CHANGES EACH TIME YOU SEE THE IMAGE. ONE OF THE ONGOING THEMES
EACH TIME YOU SEE THE IMAGE. ONE OF THE ONGOING THEMES WE HAVE, THERE ARE THINGS YOU
ONE OF THE ONGOING THEMES WE HAVE, THERE ARE THINGS YOU WILL SEE IN THE COLLECTION
WE HAVE, THERE ARE THINGS YOU WILL SEE IN THE COLLECTION THAT ARE REVERBERATING FROM
WILL SEE IN THE COLLECTION THAT ARE REVERBERATING FROM THE DIFFERENT OFFICES ABOUT
THAT ARE REVERBERATING FROM THE DIFFERENT OFFICES ABOUT THEMES IN TERMS OF LIGHTING
THE DIFFERENT OFFICES ABOUT THEMES IN TERMS OF LIGHTING AND SPATIAL ASPECTS OF ART.
THEMES IN TERMS OF LIGHTING AND SPATIAL ASPECTS OF ART. THIS SAME SPACE WAS
AND SPATIAL ASPECTS OF ART. THIS SAME SPACE WAS OCCUPIED BY FRED ESTELLE AND
THIS SAME SPACE WAS OCCUPIED BY FRED ESTELLE AND YOU WERE TELLING ME SOMETHING
OCCUPIED BY FRED ESTELLE AND YOU WERE TELLING ME SOMETHING INTEREST ABOUT THAT.
YOU WERE TELLING ME SOMETHING INTEREST ABOUT THAT. THE SHAPE IS REFLECTED THE
INTEREST ABOUT THAT. THE SHAPE IS REFLECTED THE DIMENSIONAL LOWERINGLY, WHICH
THE SHAPE IS REFLECTED THE DIMENSIONAL LOWERINGLY, WHICH WAS AN INVERTED D, AND THIS
DIMENSIONAL LOWERINGLY, WHICH WAS AN INVERTED D, AND THIS IS A BEAUTIFUL PIECE.
WAS AN INVERTED D, AND THIS IS A BEAUTIFUL PIECE. ESTELLA GAINED IN POLICE TEEN
IS A BEAUTIFUL PIECE. ESTELLA GAINED IN POLICE TEEN AND VALUE.
ESTELLA GAINED IN POLICE TEEN AND VALUE. THE COMPANY FELT LIKE IT
AND VALUE. THE COMPANY FELT LIKE IT WASN'T THE RIGHT MESSAGE TO
THE COMPANY FELT LIKE IT WASN'T THE RIGHT MESSAGE TO GIVE TO HAVE AN EXPENSIVE
WASN'T THE RIGHT MESSAGE TO GIVE TO HAVE AN EXPENSIVE WORK OF ART IN THE LOBBY.
GIVE TO HAVE AN EXPENSIVE WORK OF ART IN THE LOBBY. THERE ARE THINGS TO LOOK
WORK OF ART IN THE LOBBY. THERE ARE THINGS TO LOOK FOR IN ART.
THERE ARE THINGS TO LOOK FOR IN ART. YOU DESIGN AN OFFICE SPACE TO
FOR IN ART. YOU DESIGN AN OFFICE SPACE TO HAVE AS MUCH NATURAL LIGHT AS
YOU DESIGN AN OFFICE SPACE TO HAVE AS MUCH NATURAL LIGHT AS YOU CAN HAVE COMING IN, FOR
HAVE AS MUCH NATURAL LIGHT AS YOU CAN HAVE COMING IN, FOR ART, AND YOU WANT TO HAVE DE
YOU CAN HAVE COMING IN, FOR ART, AND YOU WANT TO HAVE DE -- IF YOU WANT A DECENT
ART, AND YOU WANT TO HAVE DE -- IF YOU WANT A DECENT PAINTING, YOU WANT IT TO HAVE
-- IF YOU WANT A DECENT PAINTING, YOU WANT IT TO HAVE SOMETHING THAT CAN WITHSTAND
PAINTING, YOU WANT IT TO HAVE SOMETHING THAT CAN WITHSTAND LIGHT, SOMETHING THAT'S
SOMETHING THAT CAN WITHSTAND LIGHT, SOMETHING THAT'S TASTEFUL, SOMETHING THAT'S
LIGHT, SOMETHING THAT'S TASTEFUL, SOMETHING THAT'S NOT TOO REALISTIC, SOMETHING
TASTEFUL, SOMETHING THAT'S NOT TOO REALISTIC, SOMETHING NOT TOO EXTREME, AND YOU WANT
NOT TOO REALISTIC, SOMETHING NOT TOO EXTREME, AND YOU WANT SOMETHING -- YOU DON'T WANT
NOT TOO EXTREME, AND YOU WANT SOMETHING -- YOU DON'T WANT SOMETHING THAT'S TOO
SOMETHING -- YOU DON'T WANT SOMETHING THAT'S TOO EXPENSIVE.
SOMETHING THAT'S TOO EXPENSIVE. IT ENDED UP BEING AN
EXPENSIVE. IT ENDED UP BEING AN EXPENSIVE PAINTING, BUT IT
IT ENDED UP BEING AN EXPENSIVE PAINTING, BUT IT WASN'T WHEN WE BOUGHT IT.
EXPENSIVE PAINTING, BUT IT WASN'T WHEN WE BOUGHT IT. OVER TIME, A PAINTING LIKE
WASN'T WHEN WE BOUGHT IT. OVER TIME, A PAINTING LIKE THIS DEFINITELY APPRAISED, SO
OVER TIME, A PAINTING LIKE THIS DEFINITELY APPRAISED, SO WHAT ABOUT THE DECISION,
THIS DEFINITELY APPRAISED, SO WHAT ABOUT THE DECISION, THEN?
WHAT ABOUT THE DECISION, THEN? WELL, WE CAN SELL THIS,
THEN? WELL, WE CAN SELL THIS, TRADE IT IN, GET WHAT YOU
WELL, WE CAN SELL THIS, TRADE IT IN, GET WHAT YOU JUST SAW, AND A BUNCH OF
TRADE IT IN, GET WHAT YOU JUST SAW, AND A BUNCH OF OTHER WORKS, AND I THINK WE
JUST SAW, AND A BUNCH OF OTHER WORKS, AND I THINK WE FEEL MORE COMFORTABLE.
OTHER WORKS, AND I THINK WE FEEL MORE COMFORTABLE. ONE OF THE PROBLEMS HERE
FEEL MORE COMFORTABLE. ONE OF THE PROBLEMS HERE IS THAT PEOPLE WOULD JUST
ONE OF THE PROBLEMS HERE IS THAT PEOPLE WOULD JUST BUMP INTO THE PAINTING
IS THAT PEOPLE WOULD JUST BUMP INTO THE PAINTING BECAUSE YOU SEE THERE'S NOT A
BUMP INTO THE PAINTING BECAUSE YOU SEE THERE'S NOT A --
BECAUSE YOU SEE THERE'S NOT A -- EXACTLY.
-- EXACTLY. THERE'S NO PROTECTION.
EXACTLY. THERE'S NO PROTECTION. THERE'S NO MUSEUM SETTING
THERE'S NO PROTECTION. THERE'S NO MUSEUM SETTING WHICH WOULD PREVENT THAT.
THERE'S NO MUSEUM SETTING WHICH WOULD PREVENT THAT. BUT IT WAS ALSO SENDING A
WHICH WOULD PREVENT THAT. BUT IT WAS ALSO SENDING A MESSAGE BOTH TO THE PEOPLE
BUT IT WAS ALSO SENDING A MESSAGE BOTH TO THE PEOPLE WHO INVEST WITH YOU AND ALSO
MESSAGE BOTH TO THE PEOPLE WHO INVEST WITH YOU AND ALSO TO THE EMPLOYEES THAT ART CAN
WHO INVEST WITH YOU AND ALSO TO THE EMPLOYEES THAT ART CAN BE MORE AFFORDABLE, SO YOU
TO THE EMPLOYEES THAT ART CAN BE MORE AFFORDABLE, SO YOU TRADE THIS FOR A MORE
BE MORE AFFORDABLE, SO YOU TRADE THIS FOR A MORE AFFORDABLE PIECE AND
TRADE THIS FOR A MORE AFFORDABLE PIECE AND CONTINUED IN THAT SENSE.
AFFORDABLE PIECE AND CONTINUED IN THAT SENSE. YES.
CONTINUED IN THAT SENSE. YES. UH-HUH.
YES. UH-HUH. I CAN'T IMAGINE YOUR
UH-HUH. I CAN'T IMAGINE YOUR PRIVATE IMAGINATION WAS THE
I CAN'T IMAGINE YOUR PRIVATE IMAGINATION WAS THE OTHER WAY AROUND.
PRIVATE IMAGINATION WAS THE OTHER WAY AROUND. THE OTHER WAY AROUND.
OTHER WAY AROUND. THE OTHER WAY AROUND. SO THAT'S GOOD.
THE OTHER WAY AROUND. SO THAT'S GOOD. IT CAN GO BOTH WAYS.
SO THAT'S GOOD. IT CAN GO BOTH WAYS. AND HERE, THIS IS A VERY
IT CAN GO BOTH WAYS. AND HERE, THIS IS A VERY IMPORTANT MOMENT, AND
AND HERE, THIS IS A VERY IMPORTANT MOMENT, AND SOMETHING THAT CAPTURES A LOT
IMPORTANT MOMENT, AND SOMETHING THAT CAPTURES A LOT OF THINGS.
SOMETHING THAT CAPTURES A LOT OF THINGS. WHO ARE THE --
OF THINGS. WHO ARE THE -- WHO ARE THE CHARACTERS.
WHO ARE THE -- WHO ARE THE CHARACTERS. THIS IS FROM THE SANTA
WHO ARE THE CHARACTERS. THIS IS FROM THE SANTA MONICA OFFICE, THE WORK OF
THIS IS FROM THE SANTA MONICA OFFICE, THE WORK OF ART IN THE BACKGROUND IS
MONICA OFFICE, THE WORK OF ART IN THE BACKGROUND IS DAVID HOCKNEY INK JET PRINT,
ART IN THE BACKGROUND IS DAVID HOCKNEY INK JET PRINT, AND THIS IS JAMES TERRELL, A
DAVID HOCKNEY INK JET PRINT, AND THIS IS JAMES TERRELL, A LIGHT AND SPACE ARTIST, AND
AND THIS IS JAMES TERRELL, A LIGHT AND SPACE ARTIST, AND SOMEONE I WORKED WITH WHEN I
LIGHT AND SPACE ARTIST, AND SOMEONE I WORKED WITH WHEN I WAS A STUDENT AT NYU, AT THE
SOMEONE I WORKED WITH WHEN I WAS A STUDENT AT NYU, AT THE INSTITUTE OF FINE ARTS, AND
WAS A STUDENT AT NYU, AT THE INSTITUTE OF FINE ARTS, AND HAS REMAINED A LIFE-LONG
INSTITUTE OF FINE ARTS, AND HAS REMAINED A LIFE-LONG FRIEND, AND MICHAEL GUBBIN,
HAS REMAINED A LIFE-LONG FRIEND, AND MICHAEL GUBBIN, DIRECTOR OF THE L.A. COUNTY
FRIEND, AND MICHAEL GUBBIN, DIRECTOR OF THE L.A. COUNTY MUSEUM.
DIRECTOR OF THE L.A. COUNTY MUSEUM. AND TERRELL IS ONE OF THE
MUSEUM. AND TERRELL IS ONE OF THE GREATEST LIVING ARTISTS THAT
AND TERRELL IS ONE OF THE GREATEST LIVING ARTISTS THAT WE HAVE, AND IT'S ONE OF THE
GREATEST LIVING ARTISTS THAT WE HAVE, AND IT'S ONE OF THE RARE ARTISTS THAT HAS
WE HAVE, AND IT'S ONE OF THE RARE ARTISTS THAT HAS CAPTURED THE ESENTENCE OF
RARE ARTISTS THAT HAS CAPTURED THE ESENTENCE OF LIGHT IN ALL OF HIS
CAPTURED THE ESENTENCE OF LIGHT IN ALL OF HIS PROPOSITIONS, AND WE WILL SEE
LIGHT IN ALL OF HIS PROPOSITIONS, AND WE WILL SEE HIS WORK, AND IT'S LIKE A
PROPOSITIONS, AND WE WILL SEE HIS WORK, AND IT'S LIKE A THREAD OF SOME OF THE THINGS
HIS WORK, AND IT'S LIKE A THREAD OF SOME OF THE THINGS HE'S DONE AND IT'S
THREAD OF SOME OF THE THINGS HE'S DONE AND IT'S INTERESTING, YOU STARTED AS
HE'S DONE AND IT'S INTERESTING, YOU STARTED AS AN INTERNAL -- OR AS AN
INTERESTING, YOU STARTED AS AN INTERNAL -- OR AS AN ASSISTANT TO JAMES TERRELL
AN INTERNAL -- OR AS AN ASSISTANT TO JAMES TERRELL WHEN HE WAS DOING INTRO
ASSISTANT TO JAMES TERRELL WHEN HE WAS DOING INTRO EXPECTATIVE EARLY IN HIS LIFE
WHEN HE WAS DOING INTRO EXPECTATIVE EARLY IN HIS LIFE AND THE SKY ROOM AND YOU END
EXPECTATIVE EARLY IN HIS LIFE AND THE SKY ROOM AND YOU END UP IN YOUR LIFE COMMISSIONING
AND THE SKY ROOM AND YOU END UP IN YOUR LIFE COMMISSIONING WORKS OUT OF HIM, SO THAT IN
UP IN YOUR LIFE COMMISSIONING WORKS OUT OF HIM, SO THAT IN AND ITSELF IS MIND BLOWING,
WORKS OUT OF HIM, SO THAT IN AND ITSELF IS MIND BLOWING, SO THAT LEADS TO THIS IS THE
AND ITSELF IS MIND BLOWING, SO THAT LEADS TO THIS IS THE BUILDING THAT YOU JUST
SO THAT LEADS TO THIS IS THE BUILDING THAT YOU JUST RECENTLY -- IT'S WHAT, 3-5
BUILDING THAT YOU JUST RECENTLY -- IT'S WHAT, 3-5 YEARS NOW?
RECENTLY -- IT'S WHAT, 3-5 YEARS NOW? COMING UP TO FOUR YEARS.
YEARS NOW? COMING UP TO FOUR YEARS. FOUR YEARS.
COMING UP TO FOUR YEARS. FOUR YEARS. WHAT YOU ARE LOOKING AT IN
FOUR YEARS. WHAT YOU ARE LOOKING AT IN THE FRONT GROUND IS THE TOP
WHAT YOU ARE LOOKING AT IN THE FRONT GROUND IS THE TOP OF THE GARAGE.
THE FRONT GROUND IS THE TOP OF THE GARAGE. PARK PLACE.
OF THE GARAGE. PARK PLACE. WE'RE PUTTING A DUNCAN
PARK PLACE. WE'RE PUTTING A DUNCAN PIECE THERE.
WE'RE PUTTING A DUNCAN PIECE THERE. I FORGOT TO MENTION THAT.
PIECE THERE. I FORGOT TO MENTION THAT. THAT'S FOR THE NEXT
I FORGOT TO MENTION THAT. THAT'S FOR THE NEXT LECTURE.
THAT'S FOR THE NEXT LECTURE. TELL US ABOUT THE CYCLE OF
LECTURE. TELL US ABOUT THE CYCLE OF COLORS, OF LIGHT, HOW DOES IT
TELL US ABOUT THE CYCLE OF COLORS, OF LIGHT, HOW DOES IT WORK?
COLORS, OF LIGHT, HOW DOES IT WORK? THIS IS PIECE IS ENTITLED
WORK? THIS IS PIECE IS ENTITLED DATA OF STRATA, SPECIFICALLY
THIS IS PIECE IS ENTITLED DATA OF STRATA, SPECIFICALLY ABOUT INVESTMENT AND IT GOES
DATA OF STRATA, SPECIFICALLY ABOUT INVESTMENT AND IT GOES ON A ROTATION, IT GOES
ABOUT INVESTMENT AND IT GOES ON A ROTATION, IT GOES THROUGH MAGENTA, THE GREEN
ON A ROTATION, IT GOES THROUGH MAGENTA, THE GREEN AND THE BLUE, AND IT CYCLES
THROUGH MAGENTA, THE GREEN AND THE BLUE, AND IT CYCLES THROUGH AND RESTARTS THE
AND THE BLUE, AND IT CYCLES THROUGH AND RESTARTS THE CYCLE SO IT'S CONTINUOUS AND
THROUGH AND RESTARTS THE CYCLE SO IT'S CONTINUOUS AND MORE DRAMATIC AT NIGHT THAN
CYCLE SO IT'S CONTINUOUS AND MORE DRAMATIC AT NIGHT THAN DURING THE DAY, BUT IT'S
MORE DRAMATIC AT NIGHT THAN DURING THE DAY, BUT IT'S QUITE IMPRESSIVE DURING THE
DURING THE DAY, BUT IT'S QUITE IMPRESSIVE DURING THE DAY AS WELL AND THESE ARE
QUITE IMPRESSIVE DURING THE DAY AS WELL AND THESE ARE STRIPS OF LIGHT IN T
DAY AS WELL AND THESE ARE STRIPS OF LIGHT IN T TRAVERTINE.
STRIPS OF LIGHT IN T TRAVERTINE. AND IT'S THREE DIMENSIONAL
TRAVERTINE. AND IT'S THREE DIMENSIONAL IT GOES THROUGH THERE ONCE AN
AND IT'S THREE DIMENSIONAL IT GOES THROUGH THERE ONCE AN HOUR, BUT IT LENDS ITSELF,
IT GOES THROUGH THERE ONCE AN HOUR, BUT IT LENDS ITSELF, FOR THE HOLIDAY PARTY -- TO
HOUR, BUT IT LENDS ITSELF, FOR THE HOLIDAY PARTY -- TO LOOK AT IT IN THE LOBBY, THE
FOR THE HOLIDAY PARTY -- TO LOOK AT IT IN THE LOBBY, THE RECEPTION AREA, IT MAKES IT
LOOK AT IT IN THE LOBBY, THE RECEPTION AREA, IT MAKES IT LOOK LIKE STUDIO 54.
RECEPTION AREA, IT MAKES IT LOOK LIKE STUDIO 54. ACTUALLY, WE'LL COME BACK
LOOK LIKE STUDIO 54. ACTUALLY, WE'LL COME BACK TO THAT, TO THE THIRD IMAGE.
ACTUALLY, WE'LL COME BACK TO THAT, TO THE THIRD IMAGE. SO OTHER WORK THAT YOU HAVE
TO THAT, TO THE THIRD IMAGE. SO OTHER WORK THAT YOU HAVE HERE IN YOUR OFFICE -- AND
SO OTHER WORK THAT YOU HAVE HERE IN YOUR OFFICE -- AND AGAIN, THIS IS AN AMAZING
HERE IN YOUR OFFICE -- AND AGAIN, THIS IS AN AMAZING PIECE --
AGAIN, THIS IS AN AMAZING PIECE -- THIS IS BOB IRWIN, ONE OF
PIECE -- THIS IS BOB IRWIN, ONE OF HIS EARLY WORKS.
THIS IS BOB IRWIN, ONE OF HIS EARLY WORKS. WHEN YOU LOOK AT THIS, YOU
HIS EARLY WORKS. WHEN YOU LOOK AT THIS, YOU DON'T SEE THE EDGES, SO YOU
WHEN YOU LOOK AT THIS, YOU DON'T SEE THE EDGES, SO YOU HAVE THE PERCEPTION OF BEING
DON'T SEE THE EDGES, SO YOU HAVE THE PERCEPTION OF BEING A LITTLE LOST IN SPACE, AND
HAVE THE PERCEPTION OF BEING A LITTLE LOST IN SPACE, AND THIS IS ON LOAN TO THE
A LITTLE LOST IN SPACE, AND THIS IS ON LOAN TO THE OFFICE, BECAUSE WE ARE
THIS IS ON LOAN TO THE OFFICE, BECAUSE WE ARE BUILDING A HOUSE AND WE DON'T
OFFICE, BECAUSE WE ARE BUILDING A HOUSE AND WE DON'T HAVE STORAGE.
BUILDING A HOUSE AND WE DON'T HAVE STORAGE. WE DON'T WANT TO PUT
HAVE STORAGE. WE DON'T WANT TO PUT SOMETHING LIKE THIS IN
WE DON'T WANT TO PUT SOMETHING LIKE THIS IN STORAGE.
SOMETHING LIKE THIS IN STORAGE. OF COURSE.
STORAGE. OF COURSE. WE WANT TO HAVE PEOPLE SEE
OF COURSE. WE WANT TO HAVE PEOPLE SEE IT.
WE WANT TO HAVE PEOPLE SEE IT. HOW DOES IT RELATE TO WHAT
IT. HOW DOES IT RELATE TO WHAT WE JUST SAW WITH THE ROUND
HOW DOES IT RELATE TO WHAT WE JUST SAW WITH THE ROUND VOLUMES?
WE JUST SAW WITH THE ROUND VOLUMES? THERE IS A THREAD, A CONTINUE
VOLUMES? THERE IS A THREAD, A CONTINUE UUM AND TALKING WITH STUDIOO
THERE IS A THREAD, A CONTINUE UUM AND TALKING WITH STUDIOO TALKING ABOUT STUDIO 54, HERE
UUM AND TALKING WITH STUDIOO TALKING ABOUT STUDIO 54, HERE WE HAVE IT, THE DISCO BALL!
TALKING ABOUT STUDIO 54, HERE WE HAVE IT, THE DISCO BALL! WHAT IS THIS HERE?
WE HAVE IT, THE DISCO BALL! WHAT IS THIS HERE? THIS IS SOMETHING THAT'S
WHAT IS THIS HERE? THIS IS SOMETHING THAT'S BEEN FUN TO DO IN THE
THIS IS SOMETHING THAT'S BEEN FUN TO DO IN THE DIFFERENT OFFICES, IS TO
BEEN FUN TO DO IN THE DIFFERENT OFFICES, IS TO INITIATE OR REFER PEOPLE TO
DIFFERENT OFFICES, IS TO INITIATE OR REFER PEOPLE TO THE -- EXPOSE PEOPLE TO THE
INITIATE OR REFER PEOPLE TO THE -- EXPOSE PEOPLE TO THE UNEXPECTED.
THE -- EXPOSE PEOPLE TO THE UNEXPECTED. THIS IS ONE OF THE AREAS OF
UNEXPECTED. THIS IS ONE OF THE AREAS OF DIMENSIONAL, WHERE IT'S A
THIS IS ONE OF THE AREAS OF DIMENSIONAL, WHERE IT'S A CONFERENCE CENTER, THEY HAVE
DIMENSIONAL, WHERE IT'S A CONFERENCE CENTER, THEY HAVE REGULARLY PEOPLE FROM
CONFERENCE CENTER, THEY HAVE REGULARLY PEOPLE FROM ELSEWHERE, NOT IN THE
REGULARLY PEOPLE FROM ELSEWHERE, NOT IN THE COMPANIES, COMING HERE AND TO
ELSEWHERE, NOT IN THE COMPANIES, COMING HERE AND TO WALK THROUGH THIS SPACE, TO
COMPANIES, COMING HERE AND TO WALK THROUGH THIS SPACE, TO WALK THROUGH THIS DISCO BALL
WALK THROUGH THIS SPACE, TO WALK THROUGH THIS DISCO BALL IS FUN.
WALK THROUGH THIS DISCO BALL IS FUN. IT'S A LITTLE WHIMSICAL.
IS FUN. IT'S A LITTLE WHIMSICAL. BUT I'VE GOTTEN FREIGHT
IT'S A LITTLE WHIMSICAL. BUT I'VE GOTTEN FREIGHT FEEDBACK, AND IT'S BEEN VERY
BUT I'VE GOTTEN FREIGHT FEEDBACK, AND IT'S BEEN VERY SUCCESSFUL.
FEEDBACK, AND IT'S BEEN VERY SUCCESSFUL. YOU ARE ENTERING INTO SPACES
SUCCESSFUL. YOU ARE ENTERING INTO SPACES THAT ARE EDUCATIONAL AS WELL.
YOU ARE ENTERING INTO SPACES THAT ARE EDUCATIONAL AS WELL. AND TELL US WHAT THIS WORK
THAT ARE EDUCATIONAL AS WELL. AND TELL US WHAT THIS WORK IS ABOUT.
AND TELL US WHAT THIS WORK IS ABOUT. ONE OF THE THINGS WE'VE
IS ABOUT. ONE OF THE THINGS WE'VE TRIED TO DO IN THE OFFICE IS
ONE OF THE THINGS WE'VE TRIED TO DO IN THE OFFICE IS TO HAVE A DIVERSITY OF
TRIED TO DO IN THE OFFICE IS TO HAVE A DIVERSITY OF ARTISTS FROM OTHER COUNTRIES
TO HAVE A DIVERSITY OF ARTISTS FROM OTHER COUNTRIES THAT ALSO REPRESENT THE
ARTISTS FROM OTHER COUNTRIES THAT ALSO REPRESENT THE DIVERSITY OF INVESTMENTS, THE
THAT ALSO REPRESENT THE DIVERSITY OF INVESTMENTS, THE DIMENSION, AND THIS IS RAVANA
DIVERSITY OF INVESTMENTS, THE DIMENSION, AND THIS IS RAVANA VOINSCHWANDER, IT'S KIND OF A
DIMENSION, AND THIS IS RAVANA VOINSCHWANDER, IT'S KIND OF A MISGUIDED ATTEMPT TO CREATE
VOINSCHWANDER, IT'S KIND OF A MISGUIDED ATTEMPT TO CREATE THE PANORAMIC OF ANIMALS THAT
MISGUIDED ATTEMPT TO CREATE THE PANORAMIC OF ANIMALS THAT THEY WERE SO COMFORTABLE IN,
THE PANORAMIC OF ANIMALS THAT THEY WERE SO COMFORTABLE IN, SO THIS IS THE TITLE OF A
THEY WERE SO COMFORTABLE IN, SO THIS IS THE TITLE OF A PLACE NOT FAR FROM HERE AND
SO THIS IS THE TITLE OF A PLACE NOT FAR FROM HERE AND THE WAY THEY ARE ARRANGED IS
PLACE NOT FAR FROM HERE AND THE WAY THEY ARE ARRANGED IS SPECIFIC TO THE WAY THE
THE WAY THEY ARE ARRANGED IS SPECIFIC TO THE WAY THE ARTIST PRESCRIBED, AND THIS
SPECIFIC TO THE WAY THE ARTIST PRESCRIBED, AND THIS IS IN ONE OF THE COMMON
ARTIST PRESCRIBED, AND THIS IS IN ONE OF THE COMMON AREAS.
IS IN ONE OF THE COMMON AREAS. PEOPLE WALK BY THIS AND WHEN
AREAS. PEOPLE WALK BY THIS AND WHEN THEY LEARN THE IMAGES, IT'S A
PEOPLE WALK BY THIS AND WHEN THEY LEARN THE IMAGES, IT'S A SURPRISE AND CHANGES THE WAY
THEY LEARN THE IMAGES, IT'S A SURPRISE AND CHANGES THE WAY THEY LOOK AT IT.
SURPRISE AND CHANGES THE WAY THEY LOOK AT IT. HOW DO YOU MAKE A DECISION
THEY LOOK AT IT. HOW DO YOU MAKE A DECISION OR HOW, WHEN A PIECE LIKE
HOW DO YOU MAKE A DECISION OR HOW, WHEN A PIECE LIKE THAT COMES INTO THE
OR HOW, WHEN A PIECE LIKE THAT COMES INTO THE COLLECTION OR INTO THE
THAT COMES INTO THE COLLECTION OR INTO THE BUILDING, WHAT IS THE
COLLECTION OR INTO THE BUILDING, WHAT IS THE INTERACTION WITH THE PEOPLE
BUILDING, WHAT IS THE INTERACTION WITH THE PEOPLE WORKING AROUND YOU?
INTERACTION WITH THE PEOPLE WORKING AROUND YOU? WELL, WE SEND OUT A
WORKING AROUND YOU? WELL, WE SEND OUT A NOTICE.
WELL, WE SEND OUT A NOTICE. A NOTICE, UH-HUH.
NOTICE. A NOTICE, UH-HUH. THEY USUALLY COME AND
A NOTICE, UH-HUH. THEY USUALLY COME AND CHECK IT OUT, AND I'VE GIVEN
THEY USUALLY COME AND CHECK IT OUT, AND I'VE GIVEN A COUPLE OF LUCKTURES AT THE
CHECK IT OUT, AND I'VE GIVEN A COUPLE OF LUCKTURES AT THE OFFICE PERIODICALLY.
A COUPLE OF LUCKTURES AT THE OFFICE PERIODICALLY. WE'VE ALSO BEEN INVITING THE
OFFICE PERIODICALLY. WE'VE ALSO BEEN INVITING THE ARTISTS TO COME IN AND SPEAK
WE'VE ALSO BEEN INVITING THE ARTISTS TO COME IN AND SPEAK ABOUT THEIR WORK.
ARTISTS TO COME IN AND SPEAK ABOUT THEIR WORK. TELL US ABOUT THIS WORK.
ABOUT THEIR WORK. TELL US ABOUT THIS WORK. THIS IS AN AMAZING PIECE,
TELL US ABOUT THIS WORK. THIS IS AN AMAZING PIECE, TOO.
THIS IS AN AMAZING PIECE, TOO. THIS IS ACTUALLY ONE OF
TOO. THIS IS ACTUALLY ONE OF THE MOST POPULAR PIECES IN
THIS IS ACTUALLY ONE OF THE MOST POPULAR PIECES IN THE OFFICE.
THE MOST POPULAR PIECES IN THE OFFICE. THIS IS CALLED 50 BUILDINGS
THE OFFICE. THIS IS CALLED 50 BUILDINGS TO VISIT BEFORE YOU DIE.
THIS IS CALLED 50 BUILDINGS TO VISIT BEFORE YOU DIE. AND IT'S THE NEGATIVE OF THE
TO VISIT BEFORE YOU DIE. AND IT'S THE NEGATIVE OF THE BUILDING.
AND IT'S THE NEGATIVE OF THE BUILDING. THE BUILDING ITSELF IS CUT
BUILDING. THE BUILDING ITSELF IS CUT OUT IN THE LANDSCAPE, AND YOU
THE BUILDING ITSELF IS CUT OUT IN THE LANDSCAPE, AND YOU KNOW, PEOPLE WOULD JUST STAND
OUT IN THE LANDSCAPE, AND YOU KNOW, PEOPLE WOULD JUST STAND IN FRONT OF IT AND TRY TO
KNOW, PEOPLE WOULD JUST STAND IN FRONT OF IT AND TRY TO IDENTIFY THE DIFFERENT
IN FRONT OF IT AND TRY TO IDENTIFY THE DIFFERENT BUILDINGS, AND IT'S THE
IDENTIFY THE DIFFERENT BUILDINGS, AND IT'S THE NEGATIVE THAT ENHANCES THIS
BUILDINGS, AND IT'S THE NEGATIVE THAT ENHANCES THIS EXPERIENCE, NOT THE POSITIVE,
NEGATIVE THAT ENHANCES THIS EXPERIENCE, NOT THE POSITIVE, SEEING EXACTLY WHAT IT IS.
EXPERIENCE, NOT THE POSITIVE, SEEING EXACTLY WHAT IT IS. IT'S NOT KNOWING WHAT IT IS.
SEEING EXACTLY WHAT IT IS. IT'S NOT KNOWING WHAT IT IS. YOU WERE TALKING ABOUT
IT'S NOT KNOWING WHAT IT IS. YOU WERE TALKING ABOUT ALSO THERE ARE DIFFERENT
YOU WERE TALKING ABOUT ALSO THERE ARE DIFFERENT MATERIALS, PHOTOGRAPHS,
ALSO THERE ARE DIFFERENT MATERIALS, PHOTOGRAPHS, SCULPTURES, YOU ARE VERY,
MATERIALS, PHOTOGRAPHS, SCULPTURES, YOU ARE VERY, VERY CAREFUL ABOUT SELECTING
SCULPTURES, YOU ARE VERY, VERY CAREFUL ABOUT SELECTING ALL FORMS OF ART.
VERY CAREFUL ABOUT SELECTING ALL FORMS OF ART. MY BACKGROUND IS AS A
ALL FORMS OF ART. MY BACKGROUND IS AS A CONSERVATOR IS VERY SENSITIVE
MY BACKGROUND IS AS A CONSERVATOR IS VERY SENSITIVE TO WORKS OF ART FADING,
CONSERVATOR IS VERY SENSITIVE TO WORKS OF ART FADING, PHOTOGRAPHS, WORKS OF ART ON
TO WORKS OF ART FADING, PHOTOGRAPHS, WORKS OF ART ON PAPER, AND I ALSO HAVE FOUND
PHOTOGRAPHS, WORKS OF ART ON PAPER, AND I ALSO HAVE FOUND IN MANY OFFICES, THEY DO A
PAPER, AND I ALSO HAVE FOUND IN MANY OFFICES, THEY DO A LOT OF GLAZING.
IN MANY OFFICES, THEY DO A LOT OF GLAZING. THE GLAZE IS DONE, THEN WHEN
LOT OF GLAZING. THE GLAZE IS DONE, THEN WHEN YOU WALK BY THEM, YOU HAVE
THE GLAZE IS DONE, THEN WHEN YOU WALK BY THEM, YOU HAVE THIS REFLECTION OF YOURSELF
YOU WALK BY THEM, YOU HAVE THIS REFLECTION OF YOURSELF OR THE WINDOW BEHIND.
THIS REFLECTION OF YOURSELF OR THE WINDOW BEHIND. IN THESE OFFICES, I TRIED TO
OR THE WINDOW BEHIND. IN THESE OFFICES, I TRIED TO CREATE MORE OF A MATTE
IN THESE OFFICES, I TRIED TO CREATE MORE OF A MATTE SURFACE SO YOU FEEL MORE
CREATE MORE OF A MATTE SURFACE SO YOU FEEL MORE ENGAGED WITH THE WORKS OF ART
SURFACE SO YOU FEEL MORE ENGAGED WITH THE WORKS OF ART AND THAT HAS BEEN A
ENGAGED WITH THE WORKS OF ART AND THAT HAS BEEN A CHALLENGE.
AND THAT HAS BEEN A CHALLENGE. IN THIS CASE, YOU ARE LOOKING
CHALLENGE. IN THIS CASE, YOU ARE LOOKING AT A TAPESTRY, SO IT'S
IN THIS CASE, YOU ARE LOOKING AT A TAPESTRY, SO IT'S COMPLETELY WOVEN AND WE'LL
AT A TAPESTRY, SO IT'S COMPLETELY WOVEN AND WE'LL HAVE PAINTINGS AND OTHER
COMPLETELY WOVEN AND WE'LL HAVE PAINTINGS AND OTHER KINDS OF MATERIALS.
HAVE PAINTINGS AND OTHER KINDS OF MATERIALS. I THINK IT'S REALLY IMPORTANT
KINDS OF MATERIALS. I THINK IT'S REALLY IMPORTANT TO SHAKE IT UP A LITTLE BIT,
I THINK IT'S REALLY IMPORTANT TO SHAKE IT UP A LITTLE BIT, TO HAVE THAT SENSORY, THAT
TO SHAKE IT UP A LITTLE BIT, TO HAVE THAT SENSORY, THAT COMBINATION OF DIFFERENT
TO HAVE THAT SENSORY, THAT COMBINATION OF DIFFERENT SENSORY PERCEPTIONS AS YOU
COMBINATION OF DIFFERENT SENSORY PERCEPTIONS AS YOU MOVE THROUGH SPACES.
SENSORY PERCEPTIONS AS YOU MOVE THROUGH SPACES. ART IS IMPORTANT TO
MOVE THROUGH SPACES. ART IS IMPORTANT TO EVERYONE.
ART IS IMPORTANT TO EVERYONE. THIS IS OUR LUNCH ROOM, SO ON
EVERYONE. THIS IS OUR LUNCH ROOM, SO ON THE LEFT IS ACTUALLY AN
THIS IS OUR LUNCH ROOM, SO ON THE LEFT IS ACTUALLY AN AQUARIUM, ON THE RIGHT IS A
THE LEFT IS ACTUALLY AN AQUARIUM, ON THE RIGHT IS A COFFEE BAR.
AQUARIUM, ON THE RIGHT IS A COFFEE BAR. SO OF COURSE, YOUR
COFFEE BAR. SO OF COURSE, YOUR HEADQUARTERS NOW, A LOT OF
SO OF COURSE, YOUR HEADQUARTERS NOW, A LOT OF ATTENTION HAS GONE INTO THIS.
HEADQUARTERS NOW, A LOT OF ATTENTION HAS GONE INTO THIS. THIS IS DIFFERENT FROM
ATTENTION HAS GONE INTO THIS. THIS IS DIFFERENT FROM OTHER OFFICES, I'M SURE.
THIS IS DIFFERENT FROM OTHER OFFICES, I'M SURE. TELL US ABOUT THIS PIECE,
OTHER OFFICES, I'M SURE. TELL US ABOUT THIS PIECE, THAT IS VERY SPATIAL.
TELL US ABOUT THIS PIECE, THAT IS VERY SPATIAL. THIS IS A LOS ANGELES
THAT IS VERY SPATIAL. THIS IS A LOS ANGELES ARTIST, AND IT'S A CELESTIAL
THIS IS A LOS ANGELES ARTIST, AND IT'S A CELESTIAL LANDSCAPE, A PHOTOGRAPH FROM
ARTIST, AND IT'S A CELESTIAL LANDSCAPE, A PHOTOGRAPH FROM THE HUBEL SPACECRAFT.
LANDSCAPE, A PHOTOGRAPH FROM THE HUBEL SPACECRAFT. WE BLEW IT UP AND MADE IT
THE HUBEL SPACECRAFT. WE BLEW IT UP AND MADE IT INTO DIFFERENT STRIPS OF
WE BLEW IT UP AND MADE IT INTO DIFFERENT STRIPS OF PAPER.
INTO DIFFERENT STRIPS OF PAPER. I DON'T WANT TO CALL IT
PAPER. I DON'T WANT TO CALL IT WALLPAPER BECAUSE IT'S A
I DON'T WANT TO CALL IT WALLPAPER BECAUSE IT'S A UNIQUE WORK OF ART BUT IT IS
WALLPAPER BECAUSE IT'S A UNIQUE WORK OF ART BUT IT IS APPLIED LIKE WALLPAPER, SO
UNIQUE WORK OF ART BUT IT IS APPLIED LIKE WALLPAPER, SO YOU ARE COMING UP THE STAIRS,
APPLIED LIKE WALLPAPER, SO YOU ARE COMING UP THE STAIRS, THIS IS THE FIRST THING YOU
YOU ARE COMING UP THE STAIRS, THIS IS THE FIRST THING YOU SEE, YOU WALK INTO THE
THIS IS THE FIRST THING YOU SEE, YOU WALK INTO THE UNIVERSE, YOU WALK INTO THE
SEE, YOU WALK INTO THE UNIVERSE, YOU WALK INTO THE EXPANSES, THE IDEA OF THE
UNIVERSE, YOU WALK INTO THE EXPANSES, THE IDEA OF THE UNIVERSE.
EXPANSES, THE IDEA OF THE UNIVERSE. I THINK THIS IS -- IF YOU
UNIVERSE. I THINK THIS IS -- IF YOU TAKE ONE PIECE OF ART, AND
I THINK THIS IS -- IF YOU TAKE ONE PIECE OF ART, AND SAY THIS IS THE BEST, I THINK
TAKE ONE PIECE OF ART, AND SAY THIS IS THE BEST, I THINK THIS IS ABOUT AS GOOD AS IT
SAY THIS IS THE BEST, I THINK THIS IS ABOUT AS GOOD AS IT GETS.
THIS IS ABOUT AS GOOD AS IT GETS. HOW SO?
GETS. HOW SO? FIRST OFF, PEOPLE COME UP,
HOW SO? FIRST OFF, PEOPLE COME UP, IT LOOKS LIKE IT'S SOME SORT
FIRST OFF, PEOPLE COME UP, IT LOOKS LIKE IT'S SOME SORT OF FRESCO OR SOMETHING.
IT LOOKS LIKE IT'S SOME SORT OF FRESCO OR SOMETHING. PEOPLE DON'T REALIZE IT'S
OF FRESCO OR SOMETHING. PEOPLE DON'T REALIZE IT'S PAPER.
PEOPLE DON'T REALIZE IT'S PAPER. IT'S A STUNNING PIECE OF ART
PAPER. IT'S A STUNNING PIECE OF ART IN ITS OWN RIGHT.
IT'S A STUNNING PIECE OF ART IN ITS OWN RIGHT. THIS IS NOT VERY EXPENSIVE.
IN ITS OWN RIGHT. THIS IS NOT VERY EXPENSIVE. IT COST MORE TO INSTALL IT
THIS IS NOT VERY EXPENSIVE. IT COST MORE TO INSTALL IT THAN THE ARTWORK ITSELF.
IT COST MORE TO INSTALL IT THAN THE ARTWORK ITSELF. YOU'VE EXPANDED TO OFFICES
THAN THE ARTWORK ITSELF. YOU'VE EXPANDED TO OFFICES ALL OVER THE WORLD.
YOU'VE EXPANDED TO OFFICES ALL OVER THE WORLD. IS THIS A -- IN THIS WORLD
ALL OVER THE WORLD. IS THIS A -- IN THIS WORLD THAT WE LIVE IN, IS IT
IS THIS A -- IN THIS WORLD THAT WE LIVE IN, IS IT INTERCONNECTED, LIKE A
THAT WE LIVE IN, IS IT INTERCONNECTED, LIKE A GALAXY, OR AM I READING TOO
INTERCONNECTED, LIKE A GALAXY, OR AM I READING TOO MUCH INTO IT?
GALAXY, OR AM I READING TOO MUCH INTO IT? WE HADN'T THOUGHT OF THAT
MUCH INTO IT? WE HADN'T THOUGHT OF THAT UNTIL NOW!
WE HADN'T THOUGHT OF THAT UNTIL NOW! TALKING ABOUT ALSO
UNTIL NOW! TALKING ABOUT ALSO DIFFERENT EXPERIENCES, THE
TALKING ABOUT ALSO DIFFERENT EXPERIENCES, THE SAME CORRIDOR, THE PIECE
DIFFERENT EXPERIENCES, THE SAME CORRIDOR, THE PIECE CHANGES, SO THIS IS DIFFERENT
SAME CORRIDOR, THE PIECE CHANGES, SO THIS IS DIFFERENT EACH TIME YOU WALK AROUND IT.
CHANGES, SO THIS IS DIFFERENT EACH TIME YOU WALK AROUND IT. THIS IS AN EXPERIMENT AS
EACH TIME YOU WALK AROUND IT. THIS IS AN EXPERIMENT AS WELL, TO HAVE SOMETHING
THIS IS AN EXPERIMENT AS WELL, TO HAVE SOMETHING THAT'S MORE INTERACTIVE AND
WELL, TO HAVE SOMETHING THAT'S MORE INTERACTIVE AND CHANGEABLE.
THAT'S MORE INTERACTIVE AND CHANGEABLE. THIS IS A CORRIDOR THAT GOES
CHANGEABLE. THIS IS A CORRIDOR THAT GOES TO THE LUNCH ROOM, IT LEADS
THIS IS A CORRIDOR THAT GOES TO THE LUNCH ROOM, IT LEADS TO THE RESTROOM.
TO THE LUNCH ROOM, IT LEADS TO THE RESTROOM. IT'S THE ONLY THING IN THIS
TO THE RESTROOM. IT'S THE ONLY THING IN THIS HALLWAY, SO PEOPLE GO DOWN
IT'S THE ONLY THING IN THIS HALLWAY, SO PEOPLE GO DOWN THERE ALL THE TIME AND YOU
HALLWAY, SO PEOPLE GO DOWN THERE ALL THE TIME AND YOU HAVE THIS OBJECT THAT'S
THERE ALL THE TIME AND YOU HAVE THIS OBJECT THAT'S CHANGING IN COLOR AS YOU
HAVE THIS OBJECT THAT'S CHANGING IN COLOR AS YOU APPROACH IT AND IT'S NEVER
CHANGING IN COLOR AS YOU APPROACH IT AND IT'S NEVER THE SAME.
APPROACH IT AND IT'S NEVER THE SAME. SO I THINK THIS HAS BEEN
THE SAME. SO I THINK THIS HAS BEEN PRETTY SUCCESSFUL, AND I
SO I THINK THIS HAS BEEN PRETTY SUCCESSFUL, AND I WOULD LIKE TO INTRODUCE MORE
PRETTY SUCCESSFUL, AND I WOULD LIKE TO INTRODUCE MORE INTERACTIVE ART.
WOULD LIKE TO INTRODUCE MORE INTERACTIVE ART. AND MANY OF YOU HAVE SEEN
INTERACTIVE ART. AND MANY OF YOU HAVE SEEN SOME OF THIS WORK, YOU HAD A
AND MANY OF YOU HAVE SEEN SOME OF THIS WORK, YOU HAD A SMALL RETROSPECTIVE AT THE
SOME OF THIS WORK, YOU HAD A SMALL RETROSPECTIVE AT THE MUSEUM, BUT THE PERMEATION OF
SMALL RETROSPECTIVE AT THE MUSEUM, BUT THE PERMEATION OF THE LIGHT AT THE MANSLAUGHTER
MUSEUM, BUT THE PERMEATION OF THE LIGHT AT THE MANSLAUGHTER EEM AT JOHNSON COUNTY
THE LIGHT AT THE MANSLAUGHTER EEM AT JOHNSON COUNTY COMMUNITY COLLEGE.
EEM AT JOHNSON COUNTY COMMUNITY COLLEGE. AGAIN, I KNOW HOW MUSEUMS
COMMUNITY COLLEGE. AGAIN, I KNOW HOW MUSEUMS EVOLVE BUT HOW DID THE
AGAIN, I KNOW HOW MUSEUMS EVOLVE BUT HOW DID THE COMPANY, IT EVENTUALLY
EVOLVE BUT HOW DID THE COMPANY, IT EVENTUALLY SPREADS OUT, THAT EXPANSE,
COMPANY, IT EVENTUALLY SPREADS OUT, THAT EXPANSE, HOW DID IT START BRANCHING
SPREADS OUT, THAT EXPANSE, HOW DID IT START BRANCHING OUT AND THE RISK THAT IT
HOW DID IT START BRANCHING OUT AND THE RISK THAT IT MAKES TO HAVE ANOTHER OFFICE
OUT AND THE RISK THAT IT MAKES TO HAVE ANOTHER OFFICE OR MORE OFFICES.
MAKES TO HAVE ANOTHER OFFICE OR MORE OFFICES. HOW DID THAT GO?
OR MORE OFFICES. HOW DID THAT GO? YOU BASICALLY FOLLOW THE
HOW DID THAT GO? YOU BASICALLY FOLLOW THE CLIENT.
YOU BASICALLY FOLLOW THE CLIENT. OUR CLIENTS, WHEN I STARTED
CLIENT. OUR CLIENTS, WHEN I STARTED IN THE BUSINESS, WE INVESTED
OUR CLIENTS, WHEN I STARTED IN THE BUSINESS, WE INVESTED ALL OUR MONEY IN THE U.S. BUT
IN THE BUSINESS, WE INVESTED ALL OUR MONEY IN THE U.S. BUT BUSINESSES CHANGE A LOT, AND
ALL OUR MONEY IN THE U.S. BUT BUSINESSES CHANGE A LOT, AND WITH TECHNOLOGY BEING WHAT IT
BUSINESSES CHANGE A LOT, AND WITH TECHNOLOGY BEING WHAT IT IS NOW, EVEN FIRMS OUR SIZE
WITH TECHNOLOGY BEING WHAT IT IS NOW, EVEN FIRMS OUR SIZE CAN BE VERY GLOBAL.
IS NOW, EVEN FIRMS OUR SIZE CAN BE VERY GLOBAL. ALMOST HALF OUR ASSETS NOW
CAN BE VERY GLOBAL. ALMOST HALF OUR ASSETS NOW ARE INVESTED OUTSIDE THE U.S.
ALMOST HALF OUR ASSETS NOW ARE INVESTED OUTSIDE THE U.S. WE HAVE THE EUROPEAN MIDDLE
ARE INVESTED OUTSIDE THE U.S. WE HAVE THE EUROPEAN MIDDLE EAST ASSETS ARE INVESTED OUT
WE HAVE THE EUROPEAN MIDDLE EAST ASSETS ARE INVESTED OUT OF LONDON.
EAST ASSETS ARE INVESTED OUT OF LONDON. SO YOU HAVE A NEW OFFICE
OF LONDON. SO YOU HAVE A NEW OFFICE THAT YOU GO INTO, A DIFFERENT
SO YOU HAVE A NEW OFFICE THAT YOU GO INTO, A DIFFERENT CONTEXT, OF COURSE.
THAT YOU GO INTO, A DIFFERENT CONTEXT, OF COURSE. LONDON IS ALSO ONE OF THE
CONTEXT, OF COURSE. LONDON IS ALSO ONE OF THE CENTERS OF THE ART WORLD, SO
LONDON IS ALSO ONE OF THE CENTERS OF THE ART WORLD, SO EVERYTHING THERE IS POSSIBLE,
CENTERS OF THE ART WORLD, SO EVERYTHING THERE IS POSSIBLE, SO HOW DO YOU THINK ABOUT
EVERYTHING THERE IS POSSIBLE, SO HOW DO YOU THINK ABOUT THAT AND WHAT DO YOU DO?
SO HOW DO YOU THINK ABOUT THAT AND WHAT DO YOU DO? THIS IS ADJACENT TO
THAT AND WHAT DO YOU DO? THIS IS ADJACENT TO REGENTS PARK, SO THAT WAS ONE
THIS IS ADJACENT TO REGENTS PARK, SO THAT WAS ONE THE CONSIDERATIONS, THAT A
REGENTS PARK, SO THAT WAS ONE THE CONSIDERATIONS, THAT A LOT OF THE WINDOWS FACE THE
THE CONSIDERATIONS, THAT A LOT OF THE WINDOWS FACE THE PARK.
LOT OF THE WINDOWS FACE THE PARK. THEY HAVE A LOT OF INTERIOR
PARK. THEY HAVE A LOT OF INTERIOR WALLS THAT WERE QUITE DARK,
THEY HAVE A LOT OF INTERIOR WALLS THAT WERE QUITE DARK, SO HOW TO ANIMATE THAT, AND
WALLS THAT WERE QUITE DARK, SO HOW TO ANIMATE THAT, AND IT WAS GREAT FUN.
SO HOW TO ANIMATE THAT, AND IT WAS GREAT FUN. WE STARTED WORKING, THIS
IT WAS GREAT FUN. WE STARTED WORKING, THIS PIECE ON THE LEFT, THAT IS
WE STARTED WORKING, THIS PIECE ON THE LEFT, THAT IS PORCELAIN VASES IS BY EDMOND
PIECE ON THE LEFT, THAT IS PORCELAIN VASES IS BY EDMOND DUVALL, ALSO A WRITER, A BEST
PORCELAIN VASES IS BY EDMOND DUVALL, ALSO A WRITER, A BEST SELLER, A GREAT READ ABOUT
DUVALL, ALSO A WRITER, A BEST SELLER, A GREAT READ ABOUT HIS FAMILY, BUT I -- THAT'S
SELLER, A GREAT READ ABOUT HIS FAMILY, BUT I -- THAT'S BEFORE I KNEW ABOUT THE BOOK.
HIS FAMILY, BUT I -- THAT'S BEFORE I KNEW ABOUT THE BOOK. A LOT OF PEOPLE KNOW THE BOOK
BEFORE I KNEW ABOUT THE BOOK. A LOT OF PEOPLE KNOW THE BOOK FIRST.
A LOT OF PEOPLE KNOW THE BOOK FIRST. IT WAS GREAT FUN WORKING WITH
FIRST. IT WAS GREAT FUN WORKING WITH HIM.
IT WAS GREAT FUN WORKING WITH HIM. HIS COLLECTIONS ARE
HIM. HIS COLLECTIONS ARE MULTI-DIMENSIONAL.
HIS COLLECTIONS ARE MULTI-DIMENSIONAL. I'LL NEVER FORGET THE WAY HE
MULTI-DIMENSIONAL. I'LL NEVER FORGET THE WAY HE SPOKE TO -- FIRST OF ALL, THE
I'LL NEVER FORGET THE WAY HE SPOKE TO -- FIRST OF ALL, THE MONEY MANAGERS ASKED HIM
SPOKE TO -- FIRST OF ALL, THE MONEY MANAGERS ASKED HIM QUESTIONS THAT HE HAD NOT
MONEY MANAGERS ASKED HIM QUESTIONS THAT HE HAD NOT BEEN ASKED FOR.
QUESTIONS THAT HE HAD NOT BEEN ASKED FOR. HE USUALLY LECTURES TO ART
BEEN ASKED FOR. HE USUALLY LECTURES TO ART CROWDS.
HE USUALLY LECTURES TO ART CROWDS. ONE OF THEM ASKED WHY DO YOU
CROWDS. ONE OF THEM ASKED WHY DO YOU ONLY WORK WITH WHITE, AND HE
ONE OF THEM ASKED WHY DO YOU ONLY WORK WITH WHITE, AND HE SAID WHAT DO YOU MEAN WHITE?
ONLY WORK WITH WHITE, AND HE SAID WHAT DO YOU MEAN WHITE? I WORK WITH 100 SHADES OF
SAID WHAT DO YOU MEAN WHITE? I WORK WITH 100 SHADES OF VARIATIONS OF THIS COLOR AND
I WORK WITH 100 SHADES OF VARIATIONS OF THIS COLOR AND IT CHANGED THE WAY THEY
VARIATIONS OF THIS COLOR AND IT CHANGED THE WAY THEY LOOKED AT IT.
IT CHANGED THE WAY THEY LOOKED AT IT. THEY NOW SEE GREEN AND YELLOW
LOOKED AT IT. THEY NOW SEE GREEN AND YELLOW AND PURPLE.
THEY NOW SEE GREEN AND YELLOW AND PURPLE. ALL DIFFERENT HUES IN THE SER
AND PURPLE. ALL DIFFERENT HUES IN THE SER A.M.EVES.
ALL DIFFERENT HUES IN THE SER A.M.EVES. IN YOU -- IF YOU HAD TO
A.M.EVES. IN YOU -- IF YOU HAD TO PICK AN INVESTMENT, I WOULD
IN YOU -- IF YOU HAD TO PICK AN INVESTMENT, I WOULD SAY THIS GUY WOULD BE --
PICK AN INVESTMENT, I WOULD SAY THIS GUY WOULD BE -- WHEN YOU ARE CONSIDERING
SAY THIS GUY WOULD BE -- WHEN YOU ARE CONSIDERING ACQUISITIONS, IS IT AN
WHEN YOU ARE CONSIDERING ACQUISITIONS, IS IT AN INVESTMENT?
ACQUISITIONS, IS IT AN INVESTMENT? NO, IT'S CONSUMPTION.
INVESTMENT? NO, IT'S CONSUMPTION. PURE CONSUMPTION, EXACTLY!
NO, IT'S CONSUMPTION. PURE CONSUMPTION, EXACTLY! I THINK THAT'S A HEALTHY WAY
PURE CONSUMPTION, EXACTLY! I THINK THAT'S A HEALTHY WAY TO LOOK AT IT.
I THINK THAT'S A HEALTHY WAY TO LOOK AT IT. ONE OF THE THINGS, YOU
TO LOOK AT IT. ONE OF THE THINGS, YOU COMMISSION WORKING WITH
ONE OF THE THINGS, YOU COMMISSION WORKING WITH ARTISTS.
COMMISSION WORKING WITH ARTISTS. IT HAS BEEN.
ARTISTS. IT HAS BEEN. THIS PIECE, THIS IS CHARLES
IT HAS BEEN. THIS PIECE, THIS IS CHARLES KUBRICK, THEY ARE
THIS PIECE, THIS IS CHARLES KUBRICK, THEY ARE COMMISSIONED PIECES
KUBRICK, THEY ARE COMMISSIONED PIECES SPECIFICALLY FOR THE SPAYS
COMMISSIONED PIECES SPECIFICALLY FOR THE SPAYS AND THESE ARE LEAVES FROM
SPECIFICALLY FOR THE SPAYS AND THESE ARE LEAVES FROM REGENTS PARK.
AND THESE ARE LEAVES FROM REGENTS PARK. SHE WORKED WITH A BOTANIST.
REGENTS PARK. SHE WORKED WITH A BOTANIST. IT'S STUNNING.
SHE WORKED WITH A BOTANIST. IT'S STUNNING. THE CAME IS HUGE.
IT'S STUNNING. THE CAME IS HUGE. -- THE SCALE IS HUGE.
THE CAME IS HUGE. -- THE SCALE IS HUGE. THEY ARE ABOUT 8 FEET
-- THE SCALE IS HUGE. THEY ARE ABOUT 8 FEET HIGH.
THEY ARE ABOUT 8 FEET HIGH. YOU CAN'T HELP BUT ENTER INTO
HIGH. YOU CAN'T HELP BUT ENTER INTO THE FACE.
YOU CAN'T HELP BUT ENTER INTO THE FACE. SO THE EDIFICATION IS
THE FACE. SO THE EDIFICATION IS SMALLER THAN THE REAL THING.
SO THE EDIFICATION IS SMALLER THAN THE REAL THING. IT IS, BECAUSE THE SCALE --
SMALLER THAN THE REAL THING. IT IS, BECAUSE THE SCALE -- THAT IS WHY WE HAVE TO
IT IS, BECAUSE THE SCALE -- THAT IS WHY WE HAVE TO ALWAYS BE IN THE PRESENCE,
THAT IS WHY WE HAVE TO ALWAYS BE IN THE PRESENCE, THE CONTACT WITH A REAL
ALWAYS BE IN THE PRESENCE, THE CONTACT WITH A REAL OBJECT.
THE CONTACT WITH A REAL OBJECT. SIZE MATTERS SO MUCH.
OBJECT. SIZE MATTERS SO MUCH. AND BECAUSE ALL OF THE
SIZE MATTERS SO MUCH. AND BECAUSE ALL OF THE CURATORS, FROM 5000 YEARS AGO
AND BECAUSE ALL OF THE CURATORS, FROM 5000 YEARS AGO TO TODAY, ARE CREATING WITH
CURATORS, FROM 5000 YEARS AGO TO TODAY, ARE CREATING WITH THEIR BODY AND IN REACTION TO
TO TODAY, ARE CREATING WITH THEIR BODY AND IN REACTION TO THE BODY AND THE -- FOR
THEIR BODY AND IN REACTION TO THE BODY AND THE -- FOR INSTANCE, DUTCH PAINTINGS ARE
THE BODY AND THE -- FOR INSTANCE, DUTCH PAINTINGS ARE SO INTIMATE, IT TAKES YOU IN,
INSTANCE, DUTCH PAINTINGS ARE SO INTIMATE, IT TAKES YOU IN, AND OF COURSE, THIS LEAF YOU
SO INTIMATE, IT TAKES YOU IN, AND OF COURSE, THIS LEAF YOU WOULD STEP ON IS TWICE YOUR
AND OF COURSE, THIS LEAF YOU WOULD STEP ON IS TWICE YOUR SIZE.
WOULD STEP ON IS TWICE YOUR SIZE. THE TOP ONE IS FLOOR TO
SIZE. THE TOP ONE IS FLOOR TO CEILING.
THE TOP ONE IS FLOOR TO CEILING. WE HAVE ONE LIKE THIS IN OUR
CEILING. WE HAVE ONE LIKE THIS IN OUR AUSTIN OFFICE.
WE HAVE ONE LIKE THIS IN OUR AUSTIN OFFICE. EVERY TIME I GO BY, I'M
AUSTIN OFFICE. EVERY TIME I GO BY, I'M STUNNED BY IT.
EVERY TIME I GO BY, I'M STUNNED BY IT. AND THEN YOU HAVE THIS ALSO,
STUNNED BY IT. AND THEN YOU HAVE THIS ALSO, ONE OF THE SPACES.
AND THEN YOU HAVE THIS ALSO, ONE OF THE SPACES. THIS IS KATHRYN OPEY.
ONE OF THE SPACES. THIS IS KATHRYN OPEY. ANOTHER GREAT ARTIST.
THIS IS KATHRYN OPEY. ANOTHER GREAT ARTIST. AND THESE WERE SPECIFIC
ANOTHER GREAT ARTIST. AND THESE WERE SPECIFIC FOR THE SPACE.
AND THESE WERE SPECIFIC FOR THE SPACE. SHE HAS DEVELOPED THIS LARGE
FOR THE SPACE. SHE HAS DEVELOPED THIS LARGE FORMAT CAMERA.
SHE HAS DEVELOPED THIS LARGE FORMAT CAMERA. THESE ARE UNIQUE PHOTOGRAPHS
FORMAT CAMERA. THESE ARE UNIQUE PHOTOGRAPHS THAT SHE USES AND THEN PRINTS
THESE ARE UNIQUE PHOTOGRAPHS THAT SHE USES AND THEN PRINTS THESE LARGE SHOTS.
THAT SHE USES AND THEN PRINTS THESE LARGE SHOTS. VERY NICE.
THESE LARGE SHOTS. VERY NICE. AND JUST, AGAIN, A COUPLE OF
VERY NICE. AND JUST, AGAIN, A COUPLE OF IMAGES --
AND JUST, AGAIN, A COUPLE OF IMAGES -- I THINK THESE ARE
IMAGES -- I THINK THESE ARE IMPORTANT.
I THINK THESE ARE IMPORTANT. WE HAVEN'T HAD HER SPEAK AT
IMPORTANT. WE HAVEN'T HAD HER SPEAK AT THE OFFICE YET BUT WHEN SHE
WE HAVEN'T HAD HER SPEAK AT THE OFFICE YET BUT WHEN SHE DOES, IT WILL CHANGE THE WAY
THE OFFICE YET BUT WHEN SHE DOES, IT WILL CHANGE THE WAY EVERYONE WHO WORKS HERE SEES
DOES, IT WILL CHANGE THE WAY EVERYONE WHO WORKS HERE SEES THESE.
EVERYONE WHO WORKS HERE SEES THESE. THIS IS A PERFORMANCE PIECE,
THESE. THIS IS A PERFORMANCE PIECE, AND SHE'S MADE A
THIS IS A PERFORMANCE PIECE, AND SHE'S MADE A DIFFERENTIATION BETWEEN
AND SHE'S MADE A DIFFERENTIATION BETWEEN DIGITAL AND ANALOG
DIFFERENTIATION BETWEEN DIGITAL AND ANALOG PHOTOGRAPHY.
DIGITAL AND ANALOG PHOTOGRAPHY. AND THESE ARE ACTUALLY
PHOTOGRAPHY. AND THESE ARE ACTUALLY PORTRAITS THAT ARE DONE
AND THESE ARE ACTUALLY PORTRAITS THAT ARE DONE THROUGH ANALOG.
PORTRAITS THAT ARE DONE THROUGH ANALOG. AND SHE'S MAKING PORTRAITS OF
THROUGH ANALOG. AND SHE'S MAKING PORTRAITS OF SPACES WITH PERFORMANCE IN
AND SHE'S MAKING PORTRAITS OF SPACES WITH PERFORMANCE IN THEM.
SPACES WITH PERFORMANCE IN THEM. AND FINALLY, AGAIN, IN THE
THEM. AND FINALLY, AGAIN, IN THE SETTING OF THE WORK FORCE,
AND FINALLY, AGAIN, IN THE SETTING OF THE WORK FORCE, YOU HAVE THIS INCREDIBLE --
SETTING OF THE WORK FORCE, YOU HAVE THIS INCREDIBLE -- BECAUSE PEOPLE WORK IN
YOU HAVE THIS INCREDIBLE -- BECAUSE PEOPLE WORK IN FRONT OF THESE AND THEY COULD
BECAUSE PEOPLE WORK IN FRONT OF THESE AND THEY COULD BACK THEIR CHAIR INTO THESE,
FRONT OF THESE AND THEY COULD BACK THEIR CHAIR INTO THESE, THESE ARE GLAZED.
BACK THEIR CHAIR INTO THESE, THESE ARE GLAZED. IT PROTECTS THE WORK.
THESE ARE GLAZED. IT PROTECTS THE WORK. AND WHAT ELSE ARE YOU GOING
IT PROTECTS THE WORK. AND WHAT ELSE ARE YOU GOING TO DO TO A WALL LIKE THIS?
AND WHAT ELSE ARE YOU GOING TO DO TO A WALL LIKE THIS? THEY NEED ANIMATION AND LIGHT
TO DO TO A WALL LIKE THIS? THEY NEED ANIMATION AND LIGHT AND COLOR.
THEY NEED ANIMATION AND LIGHT AND COLOR. IT'S A STRESSFUL
AND COLOR. IT'S A STRESSFUL ENVIRONMENT, SO ANYTHING YOU
IT'S A STRESSFUL ENVIRONMENT, SO ANYTHING YOU CAN DO TO HELP PEOPLE RELAX
ENVIRONMENT, SO ANYTHING YOU CAN DO TO HELP PEOPLE RELAX IS APPRECIATED.
CAN DO TO HELP PEOPLE RELAX IS APPRECIATED. NOW, LET'S TAKE ANOTHER
IS APPRECIATED. NOW, LET'S TAKE ANOTHER PLANE, AND THIS IS ONE OF THE
NOW, LET'S TAKE ANOTHER PLANE, AND THIS IS ONE OF THE RECENT OFFICES IN SIDNEY.
PLANE, AND THIS IS ONE OF THE RECENT OFFICES IN SIDNEY. TELL US ABOUT THIS ARTIST?
RECENT OFFICES IN SIDNEY. TELL US ABOUT THIS ARTIST? IT'S HARD TO COMPETE WITH
TELL US ABOUT THIS ARTIST? IT'S HARD TO COMPETE WITH THE VIEW ALREADY IN THIS
IT'S HARD TO COMPETE WITH THE VIEW ALREADY IN THIS ROOM, BUT ON THE RIGHT, YOU
THE VIEW ALREADY IN THIS ROOM, BUT ON THE RIGHT, YOU WILL SEE THIS IS A NEW
ROOM, BUT ON THE RIGHT, YOU WILL SEE THIS IS A NEW ZEALAND ARTIST WHO WORKS WITH
WILL SEE THIS IS A NEW ZEALAND ARTIST WHO WORKS WITH INDIGENOUS, ALMOST TATTOO
ZEALAND ARTIST WHO WORKS WITH INDIGENOUS, ALMOST TATTOO TYPES OF ICONOGRAPHY ON THESE
INDIGENOUS, ALMOST TATTOO TYPES OF ICONOGRAPHY ON THESE TOTEMS.
TYPES OF ICONOGRAPHY ON THESE TOTEMS. I WISH I HAD A BETTER SO YOU
TOTEMS. I WISH I HAD A BETTER SO YOU COULD SEE HOW LOVELY THEY
I WISH I HAD A BETTER SO YOU COULD SEE HOW LOVELY THEY ARE.
COULD SEE HOW LOVELY THEY ARE. THEY ARE WHITE AND THE
ARE. THEY ARE WHITE AND THE IMAGERY IS PAIL ON IT -- IS
THEY ARE WHITE AND THE IMAGERY IS PAIL ON IT -- IS PALE.
IMAGERY IS PAIL ON IT -- IS PALE. NOT ONLY THIS OFFICE, THE CEO
PALE. NOT ONLY THIS OFFICE, THE CEO AND OTHER DIRECTORS OF THE
NOT ONLY THIS OFFICE, THE CEO AND OTHER DIRECTORS OF THE OFFICE WERE INTERESTED IN
AND OTHER DIRECTORS OF THE OFFICE WERE INTERESTED IN HAVING A COLLECTION OF
OFFICE WERE INTERESTED IN HAVING A COLLECTION OF AUSTRALIA AND NEW ZEALAND AND
HAVING A COLLECTION OF AUSTRALIA AND NEW ZEALAND AND THAT WAS INTERESTING TO ME
AUSTRALIA AND NEW ZEALAND AND THAT WAS INTERESTING TO ME AND SUCH A CHALLENGE BECAUSE
THAT WAS INTERESTING TO ME AND SUCH A CHALLENGE BECAUSE IT'S AN AREA I DIDN'T KNOW.
AND SUCH A CHALLENGE BECAUSE IT'S AN AREA I DIDN'T KNOW. SO THIS IS A PERSON WHO IS A
IT'S AN AREA I DIDN'T KNOW. SO THIS IS A PERSON WHO IS A LOCAL ARTIST AND THIS
SO THIS IS A PERSON WHO IS A LOCAL ARTIST AND THIS PAINTING HAS MOVED AROUND THE
LOCAL ARTIST AND THIS PAINTING HAS MOVED AROUND THE OFFICE BECAUSE THERE ARE MORE
PAINTING HAS MOVED AROUND THE OFFICE BECAUSE THERE ARE MORE PEOPLE WORKING IN THIS SPACE
OFFICE BECAUSE THERE ARE MORE PEOPLE WORKING IN THIS SPACE AND THEY WANT IT WITH THEM.
PEOPLE WORKING IN THIS SPACE AND THEY WANT IT WITH THEM. IT'S MOVED INTO THIS SPACE,
AND THEY WANT IT WITH THEM. IT'S MOVED INTO THIS SPACE, AND IT'S REALLY -- IT REALLY
IT'S MOVED INTO THIS SPACE, AND IT'S REALLY -- IT REALLY DOES COMMAND THE SPACE.
AND IT'S REALLY -- IT REALLY DOES COMMAND THE SPACE. THERE ARE PROBABLY ABOUT 20
DOES COMMAND THE SPACE. THERE ARE PROBABLY ABOUT 20 PEOPLE WORKING AT COMPUTERS
THERE ARE PROBABLY ABOUT 20 PEOPLE WORKING AT COMPUTERS IN THIS SPACE.
PEOPLE WORKING AT COMPUTERS IN THIS SPACE. SO WHO MAKES THOSE
IN THIS SPACE. SO WHO MAKES THOSE DECISIONS, WHO TAKES CARE OF
SO WHO MAKES THOSE DECISIONS, WHO TAKES CARE OF WHEN SOMEONE ASKS FOR A PIECE
DECISIONS, WHO TAKES CARE OF WHEN SOMEONE ASKS FOR A PIECE TO BE CLOSER TO HIS OR HER
WHEN SOMEONE ASKS FOR A PIECE TO BE CLOSER TO HIS OR HER OFFICE, HOW IS ALL OF THAT
TO BE CLOSER TO HIS OR HER OFFICE, HOW IS ALL OF THAT NEGOTIATED?
OFFICE, HOW IS ALL OF THAT NEGOTIATED? EACH OFFICE HAS AN OFFICE
NEGOTIATED? EACH OFFICE HAS AN OFFICE MANAGER.
EACH OFFICE HAS AN OFFICE MANAGER. AN OFFICE MANAGER.
MANAGER. AN OFFICE MANAGER. SO I WORK WITH THEM, AND
AN OFFICE MANAGER. SO I WORK WITH THEM, AND YOU KNOW, IT'S A PROCESS,
SO I WORK WITH THEM, AND YOU KNOW, IT'S A PROCESS, BECAUSE LEARNING HOW TO
YOU KNOW, IT'S A PROCESS, BECAUSE LEARNING HOW TO HANDLE WORKS OF ART, AND HOW
BECAUSE LEARNING HOW TO HANDLE WORKS OF ART, AND HOW THEY ARE EXHIBITED.
HANDLE WORKS OF ART, AND HOW THEY ARE EXHIBITED. SO THEY DON'T REALLY MOVE
THEY ARE EXHIBITED. SO THEY DON'T REALLY MOVE AROUND THAT MUCH.
SO THEY DON'T REALLY MOVE AROUND THAT MUCH. AGAIN, THIS IS A PAINTING,
AROUND THAT MUCH. AGAIN, THIS IS A PAINTING, THERE'S NO DIRECT LIGHT.
AGAIN, THIS IS A PAINTING, THERE'S NO DIRECT LIGHT. YOU HAVE TO BE CAREFUL.
THERE'S NO DIRECT LIGHT. YOU HAVE TO BE CAREFUL. YOU HAVE TO BE CAREFUL.
YOU HAVE TO BE CAREFUL. YOU HAVE TO BE CAREFUL. SO DAVID, IN ANY MEETING,
YOU HAVE TO BE CAREFUL. SO DAVID, IN ANY MEETING, DOES SOMEONE HAVE A COMPLETE
SO DAVID, IN ANY MEETING, DOES SOMEONE HAVE A COMPLETE LY -- A COMPLETE LOVE
DOES SOMEONE HAVE A COMPLETE LY -- A COMPLETE LOVE OR HATE FOR A WORK OF ART,
LY -- A COMPLETE LOVE OR HATE FOR A WORK OF ART, SOMETHING LIKE THAT,
OR HATE FOR A WORK OF ART, SOMETHING LIKE THAT, PUSHBACK?
SOMETHING LIKE THAT, PUSHBACK? NO, HERE AGAIN, IT'S PART
PUSHBACK? NO, HERE AGAIN, IT'S PART OF A -- IN THE COLLECTION OF
NO, HERE AGAIN, IT'S PART OF A -- IN THE COLLECTION OF ART, THERE'S NOTHING THAT
OF A -- IN THE COLLECTION OF ART, THERE'S NOTHING THAT WOULD REALLY OFFEND REALLY
ART, THERE'S NOTHING THAT WOULD REALLY OFFEND REALLY ANYBODY.
WOULD REALLY OFFEND REALLY ANYBODY. YOU KNOW, SOME PEOPLE MIGHT
ANYBODY. YOU KNOW, SOME PEOPLE MIGHT PREFER TO HAVE DUCKS LANDING
YOU KNOW, SOME PEOPLE MIGHT PREFER TO HAVE DUCKS LANDING ON A POND, BUT WE DON'T HAVE
PREFER TO HAVE DUCKS LANDING ON A POND, BUT WE DON'T HAVE ANY OF THOSE.
ON A POND, BUT WE DON'T HAVE ANY OF THOSE. BUT THAT'S -- YOU BROUGHT
ANY OF THOSE. BUT THAT'S -- YOU BROUGHT UP SOMETHING WE HAVEN'T
BUT THAT'S -- YOU BROUGHT UP SOMETHING WE HAVEN'T MENTIONED, WHICH IS WHAT THE
UP SOMETHING WE HAVEN'T MENTIONED, WHICH IS WHAT THE THEMES ARE, LIKE THE THINGS
MENTIONED, WHICH IS WHAT THE THEMES ARE, LIKE THE THINGS YOU HAVEN'T SEEN, POLITICAL
THEMES ARE, LIKE THE THINGS YOU HAVEN'T SEEN, POLITICAL ART, SEXUALLY IDENTIFIABLE
YOU HAVEN'T SEEN, POLITICAL ART, SEXUALLY IDENTIFIABLE ART, LIKE IF IT'S ONE WAY OR
ART, SEXUALLY IDENTIFIABLE ART, LIKE IF IT'S ONE WAY OR THE OTHER.
ART, LIKE IF IT'S ONE WAY OR THE OTHER. ANYTHING VIOLENT, ABOUT WAR.
THE OTHER. ANYTHING VIOLENT, ABOUT WAR. SO IT'S BEEN I THINK
ANYTHING VIOLENT, ABOUT WAR. SO IT'S BEEN I THINK COMPELLING ART WITHOUT HAVING
SO IT'S BEEN I THINK COMPELLING ART WITHOUT HAVING TO DO THAT.
COMPELLING ART WITHOUT HAVING TO DO THAT. YES.
TO DO THAT. YES. AND THOSE ARE THINGS THAT
YES. AND THOSE ARE THINGS THAT MAY BE MORE ANPERSONAL BASIS
AND THOSE ARE THINGS THAT MAY BE MORE ANPERSONAL BASIS THAN AN INSTITUTION TAKES
MAY BE MORE ANPERSONAL BASIS THAN AN INSTITUTION TAKES CARE OF, OR MORE INDIVIDUAL.
THAN AN INSTITUTION TAKES CARE OF, OR MORE INDIVIDUAL. WHEN I DESIGNED THE OFFICE
CARE OF, OR MORE INDIVIDUAL. WHEN I DESIGNED THE OFFICE I WANTED IT TO BE WELCOMING
WHEN I DESIGNED THE OFFICE I WANTED IT TO BE WELCOMING AND HAVE COLOR AND THAT'S
I WANTED IT TO BE WELCOMING AND HAVE COLOR AND THAT'S WHERE -- ART HELPS A LOT WITH
AND HAVE COLOR AND THAT'S WHERE -- ART HELPS A LOT WITH THAT.
WHERE -- ART HELPS A LOT WITH THAT. YOU WANT TO MAKE PEOPLE FEEL
THAT. YOU WANT TO MAKE PEOPLE FEEL WELCOMED, NOT IN YOUR FACE.
YOU WANT TO MAKE PEOPLE FEEL WELCOMED, NOT IN YOUR FACE. ONE OTHER THING, AND WE
WELCOMED, NOT IN YOUR FACE. ONE OTHER THING, AND WE CHANGED COMPLETELY THE THEMES
ONE OTHER THING, AND WE CHANGED COMPLETELY THE THEMES AND IT WOULD BE A FOCUS ON
CHANGED COMPLETELY THE THEMES AND IT WOULD BE A FOCUS ON DIMENSIONAL AND THERE'S
AND IT WOULD BE A FOCUS ON DIMENSIONAL AND THERE'S ANOTHER PASSION OF YOURS AND
DIMENSIONAL AND THERE'S ANOTHER PASSION OF YOURS AND IT HAS BEEN THE CREATION OF
ANOTHER PASSION OF YOURS AND IT HAS BEEN THE CREATION OF FRIENDS OF HERITAGE
IT HAS BEEN THE CREATION OF FRIENDS OF HERITAGE PRESERVATION, WHICH IS THE
FRIENDS OF HERITAGE PRESERVATION, WHICH IS THE NOT-FOR-PROFIT THAT YOU
PRESERVATION, WHICH IS THE NOT-FOR-PROFIT THAT YOU CREATED TO CONTINUE THAT WORK
NOT-FOR-PROFIT THAT YOU CREATED TO CONTINUE THAT WORK THAT YOU ARE DOING IN
CREATED TO CONTINUE THAT WORK THAT YOU ARE DOING IN PRESERVATION OF CULTURAL
THAT YOU ARE DOING IN PRESERVATION OF CULTURAL HERITAGE, TAKING IT TO THE
PRESERVATION OF CULTURAL HERITAGE, TAKING IT TO THE WORLD.
HERITAGE, TAKING IT TO THE WORLD. AND JUST TO GIVE SOME
WORLD. AND JUST TO GIVE SOME NUMBERS, YOU HAVE BEEN
AND JUST TO GIVE SOME NUMBERS, YOU HAVE BEEN INVOLVED IN MORE -- CLOSE TO
NUMBERS, YOU HAVE BEEN INVOLVED IN MORE -- CLOSE TO 50 PROJECTS, 11 COUNTRIES,
INVOLVED IN MORE -- CLOSE TO 50 PROJECTS, 11 COUNTRIES, ARGENTINA, CAMBODIA, INDIA,
50 PROJECTS, 11 COUNTRIES, ARGENTINA, CAMBODIA, INDIA, MEXICO, UNITED KINGDOM,
ARGENTINA, CAMBODIA, INDIA, MEXICO, UNITED KINGDOM, ISRAEL, JAPAN, AND IT GOES
MEXICO, UNITED KINGDOM, ISRAEL, JAPAN, AND IT GOES FROM PAINTINGS, AND WE SEE
ISRAEL, JAPAN, AND IT GOES FROM PAINTINGS, AND WE SEE HERE THIS AMAZING PAINTING,
FROM PAINTINGS, AND WE SEE HERE THIS AMAZING PAINTING, TO THREE DIMENSIONAL OBJECTS
HERE THIS AMAZING PAINTING, TO THREE DIMENSIONAL OBJECTS LIKE THIS SCULPTURE OR
TO THREE DIMENSIONAL OBJECTS LIKE THIS SCULPTURE OR CONTEMPORARY ARCHITECTURE, SO
LIKE THIS SCULPTURE OR CONTEMPORARY ARCHITECTURE, SO I THINK THERE ARE A LOT OF
CONTEMPORARY ARCHITECTURE, SO I THINK THERE ARE A LOT OF PRONGS YOU'VE BEEN INVOLVED
I THINK THERE ARE A LOT OF PRONGS YOU'VE BEEN INVOLVED WITH THROUGH THIS
PRONGS YOU'VE BEEN INVOLVED WITH THROUGH THIS ORGANIZATION.
WITH THROUGH THIS ORGANIZATION. HOW DID IT COME ABOUT AND
ORGANIZATION. HOW DID IT COME ABOUT AND WHAT IS THE PHILOSOPHY BEHIND
HOW DID IT COME ABOUT AND WHAT IS THE PHILOSOPHY BEHIND IT?
WHAT IS THE PHILOSOPHY BEHIND IT? I THINK THIS IS ONE OF OUR
IT? I THINK THIS IS ONE OF OUR JOINT PROJECTS IN TERMS OF
I THINK THIS IS ONE OF OUR JOINT PROJECTS IN TERMS OF FOUNDING IT, AND REALLY
JOINT PROJECTS IN TERMS OF FOUNDING IT, AND REALLY THINKING ABOUT HAVING IT MAKE
FOUNDING IT, AND REALLY THINKING ABOUT HAVING IT MAKE A DIFFERENCE.
THINKING ABOUT HAVING IT MAKE A DIFFERENCE. PRESERVATION IS MY FIELD, AND
A DIFFERENCE. PRESERVATION IS MY FIELD, AND WE WANTED TO BRING TOGETHER A
PRESERVATION IS MY FIELD, AND WE WANTED TO BRING TOGETHER A GROUP OF INDIVIDUALS WHO
WE WANTED TO BRING TOGETHER A GROUP OF INDIVIDUALS WHO SHARED OUR PASSION, AND HAVE
GROUP OF INDIVIDUALS WHO SHARED OUR PASSION, AND HAVE IT WORK BOTH WAYS.
SHARED OUR PASSION, AND HAVE IT WORK BOTH WAYS. YOU FEEL LIKE YOU'RE GETTING
IT WORK BOTH WAYS. YOU FEEL LIKE YOU'RE GETTING A LOT OUT OF SOMETHING, DOING
YOU FEEL LIKE YOU'RE GETTING A LOT OUT OF SOMETHING, DOING SOMETHING FOR OTHER PEOPLE,
A LOT OUT OF SOMETHING, DOING SOMETHING FOR OTHER PEOPLE, OR FOR THE COMMUNITY, THAT
SOMETHING FOR OTHER PEOPLE, OR FOR THE COMMUNITY, THAT MAKE A DIFFERENCE, AND WE'VE
OR FOR THE COMMUNITY, THAT MAKE A DIFFERENCE, AND WE'VE BEEN DOING THIS FOR 14 YEARS.
MAKE A DIFFERENCE, AND WE'VE BEEN DOING THIS FOR 14 YEARS. I DEVOTE A LOT OF TIME TO IT,
BEEN DOING THIS FOR 14 YEARS. I DEVOTE A LOT OF TIME TO IT, AND IT'S BEEN VERY REWARDING,
I DEVOTE A LOT OF TIME TO IT, AND IT'S BEEN VERY REWARDING, GREAT FUN, AND I HAVE NO
AND IT'S BEEN VERY REWARDING, GREAT FUN, AND I HAVE NO INTENTION OF STOPPING.
GREAT FUN, AND I HAVE NO INTENTION OF STOPPING. A LOT OF TRIPS, FROM THE
INTENTION OF STOPPING. A LOT OF TRIPS, FROM THE -- FOR INSTANCE, THIS
A LOT OF TRIPS, FROM THE -- FOR INSTANCE, THIS WALLPAPER, JUST CONVERSING
-- FOR INSTANCE, THIS WALLPAPER, JUST CONVERSING IT, TO ALSO, SITES, SITES OF
WALLPAPER, JUST CONVERSING IT, TO ALSO, SITES, SITES OF WORLD CULTURE HERITAGE LIKE
IT, TO ALSO, SITES, SITES OF WORLD CULTURE HERITAGE LIKE THIS IN TAOS.
WORLD CULTURE HERITAGE LIKE THIS IN TAOS. IT'S COMMUNITY-BASED.
THIS IN TAOS. IT'S COMMUNITY-BASED. WE LIKE TO WORK WITH
IT'S COMMUNITY-BASED. WE LIKE TO WORK WITH COMMUNITIES THAT ARE ALSO IN
WE LIKE TO WORK WITH COMMUNITIES THAT ARE ALSO IN FRANCHISE WITH THEIR OWN
COMMUNITIES THAT ARE ALSO IN FRANCHISE WITH THEIR OWN CULTURE SO RESTORING A
FRANCHISE WITH THEIR OWN CULTURE SO RESTORING A PAINTING AND LEAVING IT IN A
CULTURE SO RESTORING A PAINTING AND LEAVING IT IN A MUSEUM, IT'S DONE BUT IT'S
PAINTING AND LEAVING IT IN A MUSEUM, IT'S DONE BUT IT'S NOT NEARLY AS REWARDING AS
MUSEUM, IT'S DONE BUT IT'S NOT NEARLY AS REWARDING AS THIS PROJECT WHERE YOU WORK
NOT NEARLY AS REWARDING AS THIS PROJECT WHERE YOU WORK WITH PEOPLE WHO ARE IN CHARGE
THIS PROJECT WHERE YOU WORK WITH PEOPLE WHO ARE IN CHARGE OF THEIR OWN HERITAGE, AND
WITH PEOPLE WHO ARE IN CHARGE OF THEIR OWN HERITAGE, AND ARE LIVING IT.
OF THEIR OWN HERITAGE, AND ARE LIVING IT. THEY LIVE THIS HERITAGE.
ARE LIVING IT. THEY LIVE THIS HERITAGE. THIS IS THE MOST CONTINUOUSLY
THEY LIVE THIS HERITAGE. THIS IS THE MOST CONTINUOUSLY OCCUPIED SITES IN NORTH
THIS IS THE MOST CONTINUOUSLY OCCUPIED SITES IN NORTH AMERICA, SINCE 1100.
OCCUPIED SITES IN NORTH AMERICA, SINCE 1100. SO DAVID, HOW ARE THE
AMERICA, SINCE 1100. SO DAVID, HOW ARE THE CONVERSATIONS AT THE DINNER
SO DAVID, HOW ARE THE CONVERSATIONS AT THE DINNER STPHAEUBL THERE'S HUNDREDS OF
CONVERSATIONS AT THE DINNER STPHAEUBL THERE'S HUNDREDS OF PROPOSALS AND ALL OF THE
STPHAEUBL THERE'S HUNDREDS OF PROPOSALS AND ALL OF THE SUDDEN, YOU ARE DISCUSSING
PROPOSALS AND ALL OF THE SUDDEN, YOU ARE DISCUSSING THIS, AND THEN IT'S --
SUDDEN, YOU ARE DISCUSSING THIS, AND THEN IT'S -- WELL, THERE ARE SEVERAL
THIS, AND THEN IT'S -- WELL, THERE ARE SEVERAL CRITERIA WE HAVE.
WELL, THERE ARE SEVERAL CRITERIA WE HAVE. WE LOOK AT THE PROJECT,
CRITERIA WE HAVE. WE LOOK AT THE PROJECT, WHETHER IT'S INTERESTING OR
WE LOOK AT THE PROJECT, WHETHER IT'S INTERESTING OR NOT, AND THEN IS THERE
WHETHER IT'S INTERESTING OR NOT, AND THEN IS THERE LEVERAGE, AND WE WANT A
NOT, AND THEN IS THERE LEVERAGE, AND WE WANT A PROJECT THAT HAS A BEGINNING
LEVERAGE, AND WE WANT A PROJECT THAT HAS A BEGINNING AND AN END.
PROJECT THAT HAS A BEGINNING AND AN END. WE DON'T WANT -- AND FINALLY,
AND AN END. WE DON'T WANT -- AND FINALLY, IT HAS TO BE FUN, BECAUSE WE
WE DON'T WANT -- AND FINALLY, IT HAS TO BE FUN, BECAUSE WE TRAVEL.
IT HAS TO BE FUN, BECAUSE WE TRAVEL. WE GO TO THESE SITES.
TRAVEL. WE GO TO THESE SITES. A GROUP GOES AND WE HAVE A
WE GO TO THESE SITES. A GROUP GOES AND WE HAVE A ***-UP TIME.
A GROUP GOES AND WE HAVE A ***-UP TIME. AND IT IS THAT, IT IS
***-UP TIME. AND IT IS THAT, IT IS ABOUT BRINGING PEOPLE
AND IT IS THAT, IT IS ABOUT BRINGING PEOPLE TOGETHER, AND THINK THAT IS
ABOUT BRINGING PEOPLE TOGETHER, AND THINK THAT IS ONE OF THE THINGS I'VE SEEN
TOGETHER, AND THINK THAT IS ONE OF THE THINGS I'VE SEEN THROUGHOUT YOUR PROJECTS,
ONE OF THE THINGS I'VE SEEN THROUGHOUT YOUR PROJECTS, 1245 YOU -- IS THAT YOU ARE
THROUGHOUT YOUR PROJECTS, 1245 YOU -- IS THAT YOU ARE EXPANDING ALSO THE PASSION
1245 YOU -- IS THAT YOU ARE EXPANDING ALSO THE PASSION THAT YOU BRING TO EACH
EXPANDING ALSO THE PASSION THAT YOU BRING TO EACH PROJECT.
THAT YOU BRING TO EACH PROJECT. SO YOU ARE NOT ONLY
PROJECT. SO YOU ARE NOT ONLY LEVERAGING FUNDS, BUT ALSO,
SO YOU ARE NOT ONLY LEVERAGING FUNDS, BUT ALSO, IT'S LEVERAGING THE CARE, THE
LEVERAGING FUNDS, BUT ALSO, IT'S LEVERAGING THE CARE, THE SHARE, KNOWLEDGE, AND ALL OF
IT'S LEVERAGING THE CARE, THE SHARE, KNOWLEDGE, AND ALL OF THE SUDDEN, YOU HAVE MORE
SHARE, KNOWLEDGE, AND ALL OF THE SUDDEN, YOU HAVE MORE AMBASSADORS TAKING CARE OF
THE SUDDEN, YOU HAVE MORE AMBASSADORS TAKING CARE OF SOMETHING THAT SOMEONE
AMBASSADORS TAKING CARE OF SOMETHING THAT SOMEONE BROUGHT TO YOUR ATTENTION.
SOMETHING THAT SOMEONE BROUGHT TO YOUR ATTENTION. UNFORTUNATELY IT'S VERY
BROUGHT TO YOUR ATTENTION. UNFORTUNATELY IT'S VERY TIME INTENSIVE FOR SUZANNE SO
UNFORTUNATELY IT'S VERY TIME INTENSIVE FOR SUZANNE SO WE CAN'T DO A DOZEN OF THESE
TIME INTENSIVE FOR SUZANNE SO WE CAN'T DO A DOZEN OF THESE GROUPS BUT THAT WAS OUR
WE CAN'T DO A DOZEN OF THESE GROUPS BUT THAT WAS OUR INTENT TO SAY LOOK, WE WILL
GROUPS BUT THAT WAS OUR INTENT TO SAY LOOK, WE WILL STAND UP AND GET PEOPLE
INTENT TO SAY LOOK, WE WILL STAND UP AND GET PEOPLE INTERESTED IN PRESERVATION,
STAND UP AND GET PEOPLE INTERESTED IN PRESERVATION, AND HOPEFULLY THEY WILL FORM
INTERESTED IN PRESERVATION, AND HOPEFULLY THEY WILL FORM THEIR OWN GROUPS, AND THAT
AND HOPEFULLY THEY WILL FORM THEIR OWN GROUPS, AND THAT SECONDARY EFFECT HASN'T
THEIR OWN GROUPS, AND THAT SECONDARY EFFECT HASN'T OCCURRED YET.
SECONDARY EFFECT HASN'T OCCURRED YET. SO WE'LL START WORKING ON
OCCURRED YET. SO WE'LL START WORKING ON THE GROUP HERE, BECAUSE WE
SO WE'LL START WORKING ON THE GROUP HERE, BECAUSE WE HAVE A LOT OF
THE GROUP HERE, BECAUSE WE HAVE A LOT OF PRESERVATIONISTS AROUND HERE.
HAVE A LOT OF PRESERVATIONISTS AROUND HERE. WE WILL PROVIDE THE WINE!
PRESERVATIONISTS AROUND HERE. WE WILL PROVIDE THE WINE! IT IS ONE OF THE GREATEST
WE WILL PROVIDE THE WINE! IT IS ONE OF THE GREATEST FIELDS TO KEEP GOING TO.
IT IS ONE OF THE GREATEST FIELDS TO KEEP GOING TO. BUT ALSO ONE GREAT
FIELDS TO KEEP GOING TO. BUT ALSO ONE GREAT INSTITUTION YOU'VE BEEN
BUT ALSO ONE GREAT INSTITUTION YOU'VE BEEN INVOLVED WITH FOR MANY YEARS
INSTITUTION YOU'VE BEEN INVOLVED WITH FOR MANY YEARS IS THE AMERICAN ACADEMY IN
INVOLVED WITH FOR MANY YEARS IS THE AMERICAN ACADEMY IN ROME, OF COURSE A GREAT
IS THE AMERICAN ACADEMY IN ROME, OF COURSE A GREAT SETTING, WHO COULD NOT BE
ROME, OF COURSE A GREAT SETTING, WHO COULD NOT BE INVOLVED IN ROME, AND YOU
SETTING, WHO COULD NOT BE INVOLVED IN ROME, AND YOU LIVED ALSO FOR A COUPLE OF
INVOLVED IN ROME, AND YOU LIVED ALSO FOR A COUPLE OF YEARS IN ROME.
LIVED ALSO FOR A COUPLE OF YEARS IN ROME. WELL, I THINK WE'RE INTO
YEARS IN ROME. WELL, I THINK WE'RE INTO 10 YEARS OF FUNDING THE
WELL, I THINK WE'RE INTO 10 YEARS OF FUNDING THE FELLOWSHIP AND HISTORIC
10 YEARS OF FUNDING THE FELLOWSHIP AND HISTORIC PRESERVATION AND IT'S BEEN
FELLOWSHIP AND HISTORIC PRESERVATION AND IT'S BEEN TERRIFIC.
PRESERVATION AND IT'S BEEN TERRIFIC. EVERY SINGLE PERSON WHO'S
TERRIFIC. EVERY SINGLE PERSON WHO'S BEEN THERE HAS BEEN -- HAS
EVERY SINGLE PERSON WHO'S BEEN THERE HAS BEEN -- HAS COME BACK WITH SUCH --
BEEN THERE HAS BEEN -- HAS COME BACK WITH SUCH -- ENDOWED WITH SUCH RICHNESS
COME BACK WITH SUCH -- ENDOWED WITH SUCH RICHNESS FROM THE EXPERIENCE THAT
ENDOWED WITH SUCH RICHNESS FROM THE EXPERIENCE THAT THEY'VE JUST BEEN EMPOWERED
FROM THE EXPERIENCE THAT THEY'VE JUST BEEN EMPOWERED TO DO SO MUCH MORE IN THEIR
THEY'VE JUST BEEN EMPOWERED TO DO SO MUCH MORE IN THEIR CAREERS.
TO DO SO MUCH MORE IN THEIR CAREERS. ALSO ONE OF THE THINGS
CAREERS. ALSO ONE OF THE THINGS THAT HAS DRAWN A LOT OF
ALSO ONE OF THE THINGS THAT HAS DRAWN A LOT OF ATTENTION AND YOU'VE TRIED TO
THAT HAS DRAWN A LOT OF ATTENTION AND YOU'VE TRIED TO BE VERY DISCREET ABOUT THE
ATTENTION AND YOU'VE TRIED TO BE VERY DISCREET ABOUT THE ATTENTION THAT'S COME IS YOUR
BE VERY DISCREET ABOUT THE ATTENTION THAT'S COME IS YOUR FILL
ATTENTION THAT'S COME IS YOUR FILL PHILANTHROPY AND YOU'VE GIVEN
FILL PHILANTHROPY AND YOU'VE GIVEN BACK TO THE ALMA MATERS THAT
PHILANTHROPY AND YOU'VE GIVEN BACK TO THE ALMA MATERS THAT YOU'VE COME FROM AND MANY OF
BACK TO THE ALMA MATERS THAT YOU'VE COME FROM AND MANY OF THE PROFESSORS WHO ARE
YOU'VE COME FROM AND MANY OF THE PROFESSORS WHO ARE INFLUENTIAL TO YOU TODAY AND
THE PROFESSORS WHO ARE INFLUENTIAL TO YOU TODAY AND WHO HAVE INSPIRED YOU IN WHAT
INFLUENTIAL TO YOU TODAY AND WHO HAVE INSPIRED YOU IN WHAT YOU ARE DOING ARE CLOSE
WHO HAVE INSPIRED YOU IN WHAT YOU ARE DOING ARE CLOSE ADVISERS, AND THAT IS WHAT
YOU ARE DOING ARE CLOSE ADVISERS, AND THAT IS WHAT HAS LINKED YOU BACK TO BE
ADVISERS, AND THAT IS WHAT HAS LINKED YOU BACK TO BE SUPPORTIVE OF THE SCHOOLS.
HAS LINKED YOU BACK TO BE SUPPORTIVE OF THE SCHOOLS. TELL US ABOUT THAT.
SUPPORTIVE OF THE SCHOOLS. TELL US ABOUT THAT. THERE ARE A LOT OF IDEAS
TELL US ABOUT THAT. THERE ARE A LOT OF IDEAS DEVELOPED IN THE '50S AND
THERE ARE A LOT OF IDEAS DEVELOPED IN THE '50S AND '60S, AND THAT CHANGED THE
DEVELOPED IN THE '50S AND '60S, AND THAT CHANGED THE FIELD OF FINANCE AROUND, AND
'60S, AND THAT CHANGED THE FIELD OF FINANCE AROUND, AND I'VE HAD THE GOOD FORTUNE TO
FIELD OF FINANCE AROUND, AND I'VE HAD THE GOOD FORTUNE TO BE ABLE TO BUILD A BUSINESS
I'VE HAD THE GOOD FORTUNE TO BE ABLE TO BUILD A BUSINESS AROUND AND IMPLEMENT THOSE
BE ABLE TO BUILD A BUSINESS AROUND AND IMPLEMENT THOSE IDEAS AND ALONG THE WAY, KEPT
AROUND AND IMPLEMENT THOSE IDEAS AND ALONG THE WAY, KEPT CONTACT WITH THESE LEADING
IDEAS AND ALONG THE WAY, KEPT CONTACT WITH THESE LEADING ACADEMICS.
CONTACT WITH THESE LEADING ACADEMICS. YOU KNOW, LIKE NOBEL PRIZE IN
ACADEMICS. YOU KNOW, LIKE NOBEL PRIZE IN ECONOMICS, I THINK SOMETHING
YOU KNOW, LIKE NOBEL PRIZE IN ECONOMICS, I THINK SOMETHING LIKE ONE THIRD OF THE PEOPLE
ECONOMICS, I THINK SOMETHING LIKE ONE THIRD OF THE PEOPLE THAT HAVE GOTTEN THEM WERE
LIKE ONE THIRD OF THE PEOPLE THAT HAVE GOTTEN THEM WERE WHEN I WAS IN SCHOOL, SO IT'S
THAT HAVE GOTTEN THEM WERE WHEN I WAS IN SCHOOL, SO IT'S BEEN AN INCREDIBLE CAREER.
WHEN I WAS IN SCHOOL, SO IT'S BEEN AN INCREDIBLE CAREER. IF YOU TAKE THE FINANCE,
BEEN AN INCREDIBLE CAREER. IF YOU TAKE THE FINANCE, PROFESSORS, I BET IF YOU TOOK
IF YOU TAKE THE FINANCE, PROFESSORS, I BET IF YOU TOOK THEM TO ITALY AND HAD THEM
PROFESSORS, I BET IF YOU TOOK THEM TO ITALY AND HAD THEM STUDY CARAIVAGGIO, THEY WOULD
THEM TO ITALY AND HAD THEM STUDY CARAIVAGGIO, THEY WOULD BE EXPERTS.
STUDY CARAIVAGGIO, THEY WOULD BE EXPERTS. IT'S SOMETHING ABOUT A EYE
BE EXPERTS. IT'S SOMETHING ABOUT A EYE THAT'S SIMILAR IN ART AND IN
IT'S SOMETHING ABOUT A EYE THAT'S SIMILAR IN ART AND IN AN ACADEMIC FIELD.
THAT'S SIMILAR IN ART AND IN AN ACADEMIC FIELD. YOU KNOW, WHY DO THEY CHOOSE
AN ACADEMIC FIELD. YOU KNOW, WHY DO THEY CHOOSE THE SUBJECTS, TO STUDY THE
YOU KNOW, WHY DO THEY CHOOSE THE SUBJECTS, TO STUDY THE THINGS THEY DO, BECAUSE THEY
THE SUBJECTS, TO STUDY THE THINGS THEY DO, BECAUSE THEY HAVE AN EYE, AN INTUITION
THINGS THEY DO, BECAUSE THEY HAVE AN EYE, AN INTUITION THAT IT'S GOING TO BE
HAVE AN EYE, AN INTUITION THAT IT'S GOING TO BE FRUITFUL.
THAT IT'S GOING TO BE FRUITFUL. I THINK THERE'S A CONNECTION
FRUITFUL. I THINK THERE'S A CONNECTION BETWEEN ART AND ACADEMIA.
I THINK THERE'S A CONNECTION BETWEEN ART AND ACADEMIA. SO WITH HAVE A MOMENT OF
BETWEEN ART AND ACADEMIA. SO WITH HAVE A MOMENT OF THE DEDICATION AND HOW DID
SO WITH HAVE A MOMENT OF THE DEDICATION AND HOW DID YOU START THAT PROGRAM, HOW
THE DEDICATION AND HOW DID YOU START THAT PROGRAM, HOW DID THAT COME TO BE.
YOU START THAT PROGRAM, HOW DID THAT COME TO BE. I'M ONE OF FIVE MEMBERS OF
DID THAT COME TO BE. I'M ONE OF FIVE MEMBERS OF THE ART COMMUNITY AT THE
I'M ONE OF FIVE MEMBERS OF THE ART COMMUNITY AT THE UNIVERSITY OF CHICAGO.
THE ART COMMUNITY AT THE UNIVERSITY OF CHICAGO. I STARTED WORKING WITH THIS
UNIVERSITY OF CHICAGO. I STARTED WORKING WITH THIS GROUP BEFORE THEY NAMED IT
I STARTED WORKING WITH THIS GROUP BEFORE THEY NAMED IT AFTER DAVID, AND IT'S BEEN --
GROUP BEFORE THEY NAMED IT AFTER DAVID, AND IT'S BEEN -- IT'S AN ENVIRONMENT -- THE
AFTER DAVID, AND IT'S BEEN -- IT'S AN ENVIRONMENT -- THE BUILDING, FRANK LLOYD WRIGHT,
IT'S AN ENVIRONMENT -- THE BUILDING, FRANK LLOYD WRIGHT, IT'S IN THE MIDDLE OF THE
BUILDING, FRANK LLOYD WRIGHT, IT'S IN THE MIDDLE OF THE UNIVERSITY OF CHICAGO CAMPUS
IT'S IN THE MIDDLE OF THE UNIVERSITY OF CHICAGO CAMPUS AND IT WAS AN OPPORTUNITY, IN
UNIVERSITY OF CHICAGO CAMPUS AND IT WAS AN OPPORTUNITY, IN THIS NEW BUILDING, TO PUT
AND IT WAS AN OPPORTUNITY, IN THIS NEW BUILDING, TO PUT TOGETHER A NEW COLLECTION,
THIS NEW BUILDING, TO PUT TOGETHER A NEW COLLECTION, AND THIS GROUP, TWO CURATORS,
TOGETHER A NEW COLLECTION, AND THIS GROUP, TWO CURATORS, AN ECONOMIST, MYSELF AND
AND THIS GROUP, TWO CURATORS, AN ECONOMIST, MYSELF AND ANOTHER COLLECTOR FROM LOS
AN ECONOMIST, MYSELF AND ANOTHER COLLECTOR FROM LOS ANGELES, IT'S BEEN REALLY
ANOTHER COLLECTOR FROM LOS ANGELES, IT'S BEEN REALLY EMPOWERING, AND IT'S A PLACE
ANGELES, IT'S BEEN REALLY EMPOWERING, AND IT'S A PLACE WHERE WE CAN TAKE MORE RISK
EMPOWERING, AND IT'S A PLACE WHERE WE CAN TAKE MORE RISK IN TERMS OF WHAT WE EXHIBIT.
WHERE WE CAN TAKE MORE RISK IN TERMS OF WHAT WE EXHIBIT. THERE YOU CAN TAKE MORE
IN TERMS OF WHAT WE EXHIBIT. THERE YOU CAN TAKE MORE RISKS, OF COURSE, BECAUSE
THERE YOU CAN TAKE MORE RISKS, OF COURSE, BECAUSE WITHIN THE -- ON THE ONE
RISKS, OF COURSE, BECAUSE WITHIN THE -- ON THE ONE SIDE, THIS IS A TRANSIENT
WITHIN THE -- ON THE ONE SIDE, THIS IS A TRANSIENT AUDIENCE.
SIDE, THIS IS A TRANSIENT AUDIENCE. A GLOBAL AUDIENCE.
AUDIENCE. A GLOBAL AUDIENCE. AND SO ALSO YOUR CHOICES
A GLOBAL AUDIENCE. AND SO ALSO YOUR CHOICES ARE, AGAIN, MORE GLOBAL, WE
AND SO ALSO YOUR CHOICES ARE, AGAIN, MORE GLOBAL, WE SEE HERE ALSO THE BRAZILIAN
ARE, AGAIN, MORE GLOBAL, WE SEE HERE ALSO THE BRAZILIAN ARTIST, AND SO THERE ARE
SEE HERE ALSO THE BRAZILIAN ARTIST, AND SO THERE ARE FAVORITES THAT COME BACK, ALL
ARTIST, AND SO THERE ARE FAVORITES THAT COME BACK, ALL THESE DIFFERENT ARTISTS.
FAVORITES THAT COME BACK, ALL THESE DIFFERENT ARTISTS. PART OF THE INVESTMENT IS
THESE DIFFERENT ARTISTS. PART OF THE INVESTMENT IS COMMITTED TO -- WE HAVE A
PART OF THE INVESTMENT IS COMMITTED TO -- WE HAVE A BUDGET OF 250 GRAND A YEAR
COMMITTED TO -- WE HAVE A BUDGET OF 250 GRAND A YEAR FOR THE BUSINESS SCHOOL,
BUDGET OF 250 GRAND A YEAR FOR THE BUSINESS SCHOOL, WHICH IS -- FOR A BUSINESS
FOR THE BUSINESS SCHOOL, WHICH IS -- FOR A BUSINESS SCHOOL, THAT'S UNHEARD OF.
WHICH IS -- FOR A BUSINESS SCHOOL, THAT'S UNHEARD OF. TOTALLY.
SCHOOL, THAT'S UNHEARD OF. TOTALLY. THEN THERE'S THE OTHER
TOTALLY. THEN THERE'S THE OTHER UNIVERSITY, YOUR OWN ALMA
THEN THERE'S THE OTHER UNIVERSITY, YOUR OWN ALMA MATER, AND I THINK THIS IS
UNIVERSITY, YOUR OWN ALMA MATER, AND I THINK THIS IS AMAZING.
MATER, AND I THINK THIS IS AMAZING. SO WE'VE STARTED WITH JAMES
AMAZING. SO WE'VE STARTED WITH JAMES TERRELL, AND YOU COMMISSIONED
SO WE'VE STARTED WITH JAMES TERRELL, AND YOU COMMISSIONED RECENTLY, AND THIS IS JUST --
TERRELL, AND YOU COMMISSIONED RECENTLY, AND THIS IS JUST -- I MEAN, THIS IS HOT OFF THE
RECENTLY, AND THIS IS JUST -- I MEAN, THIS IS HOT OFF THE PRESS, BECAUSE YOU'VE JUST
I MEAN, THIS IS HOT OFF THE PRESS, BECAUSE YOU'VE JUST OPENED IT IN THE LAST FEW
PRESS, BECAUSE YOU'VE JUST OPENED IT IN THE LAST FEW MONTHS AND IT HAS BEEN
OPENED IT IN THE LAST FEW MONTHS AND IT HAS BEEN UNVEILED, SO THIS IS ONE
MONTHS AND IT HAS BEEN UNVEILED, SO THIS IS ONE SPACE, BUT IT'S DIFFERENT
UNVEILED, SO THIS IS ONE SPACE, BUT IT'S DIFFERENT FROM ANYTHING HE HAS DONE
SPACE, BUT IT'S DIFFERENT FROM ANYTHING HE HAS DONE BEFORE.
FROM ANYTHING HE HAS DONE BEFORE. THIS IS THE MOST AMBITIOUS
BEFORE. THIS IS THE MOST AMBITIOUS AND AT THE SAME TIME, THE
THIS IS THE MOST AMBITIOUS AND AT THE SAME TIME, THE MOST SUCCESSFUL.
AND AT THE SAME TIME, THE MOST SUCCESSFUL. I ATTENDED AT A TIME WHEN
MOST SUCCESSFUL. I ATTENDED AT A TIME WHEN THERE WAS A GREAT BENEFIT
I ATTENDED AT A TIME WHEN THERE WAS A GREAT BENEFIT FACTOR, AN ART PATRON
THERE WAS A GREAT BENEFIT FACTOR, AN ART PATRON INVOLVED WITH THE UNIT, AND
FACTOR, AN ART PATRON INVOLVED WITH THE UNIT, AND SHE WENT ON TO FORM HER OWN
INVOLVED WITH THE UNIT, AND SHE WENT ON TO FORM HER OWN MUSEUM COLLECTION ELSEWHERE,
SHE WENT ON TO FORM HER OWN MUSEUM COLLECTION ELSEWHERE, OFF CAMPUS, AND WHEN I
MUSEUM COLLECTION ELSEWHERE, OFF CAMPUS, AND WHEN I BECAME, AS I COMPLETED MY
OFF CAMPUS, AND WHEN I BECAME, AS I COMPLETED MY STUDIES AND WENT BACK AND GOT
BECAME, AS I COMPLETED MY STUDIES AND WENT BACK AND GOT INVOLVE WITH MY ALMA MATER,
STUDIES AND WENT BACK AND GOT INVOLVE WITH MY ALMA MATER, THIS WAS ONE OF THE THINGS
INVOLVE WITH MY ALMA MATER, THIS WAS ONE OF THE THINGS MISSING AT RICE, A CULTURAL,
THIS WAS ONE OF THE THINGS MISSING AT RICE, A CULTURAL, ICONIC EXPERIENCE AND I
MISSING AT RICE, A CULTURAL, ICONIC EXPERIENCE AND I WANTED TO BRING THAT BACK.
ICONIC EXPERIENCE AND I WANTED TO BRING THAT BACK. SO IT WAS MY IDEA TO BRING
WANTED TO BRING THAT BACK. SO IT WAS MY IDEA TO BRING JAMES, A LIFE-LONG FRIEND, TO
SO IT WAS MY IDEA TO BRING JAMES, A LIFE-LONG FRIEND, TO DO THIS PROJECT, AND IT HAS
JAMES, A LIFE-LONG FRIEND, TO DO THIS PROJECT, AND IT HAS -- IT HAPPENED.
DO THIS PROJECT, AND IT HAS -- IT HAPPENED. IT TOOK FIVE YEARS OF
-- IT HAPPENED. IT TOOK FIVE YEARS OF PLANNING, FIVE YEARS OF
IT TOOK FIVE YEARS OF PLANNING, FIVE YEARS OF NEGOTIATIONS WITH THE
PLANNING, FIVE YEARS OF NEGOTIATIONS WITH THE UNIVERSITY, AND I COULDN'T BE
NEGOTIATIONS WITH THE UNIVERSITY, AND I COULDN'T BE HAPPIER.
UNIVERSITY, AND I COULDN'T BE HAPPIER. IT'S ADJUNCT TO THE MUSIC,
HAPPIER. IT'S ADJUNCT TO THE MUSIC, THE TREVOR SCHOOL OF MUSIC,
IT'S ADJUNCT TO THE MUSIC, THE TREVOR SCHOOL OF MUSIC, SO IT'S BEEN DESIGNED TO BE A
THE TREVOR SCHOOL OF MUSIC, SO IT'S BEEN DESIGNED TO BE A MUSIC VENUE AS WELL.
SO IT'S BEEN DESIGNED TO BE A MUSIC VENUE AS WELL. IT CAN SEAT 120 PEOPLE AND I
MUSIC VENUE AS WELL. IT CAN SEAT 120 PEOPLE AND I DON'T KNOW IF ANYBODY HAS
IT CAN SEAT 120 PEOPLE AND I DON'T KNOW IF ANYBODY HAS BEEN IN THE SITE SPACE BUT
DON'T KNOW IF ANYBODY HAS BEEN IN THE SITE SPACE BUT USUALLY EIGHT PEOPLE CAN FIT
BEEN IN THE SITE SPACE BUT USUALLY EIGHT PEOPLE CAN FIT IN THEM, SO THE SCALE IS
USUALLY EIGHT PEOPLE CAN FIT IN THEM, SO THE SCALE IS KNOCKED OUT OF THE BOUNDARIES
IN THEM, SO THE SCALE IS KNOCKED OUT OF THE BOUNDARIES FOR WHAT TERRELL USUALLY
KNOCKED OUT OF THE BOUNDARIES FOR WHAT TERRELL USUALLY DOES.
FOR WHAT TERRELL USUALLY DOES. IT CAN HAVE A CHAMBER
DOES. IT CAN HAVE A CHAMBER ORCHESTRA.
IT CAN HAVE A CHAMBER ORCHESTRA. IT'S REALLY AROUND SUNSET
ORCHESTRA. IT'S REALLY AROUND SUNSET AND SUNRISE IS WHEN YOU WANT
IT'S REALLY AROUND SUNSET AND SUNRISE IS WHEN YOU WANT TO VISIT THE SITE.
AND SUNRISE IS WHEN YOU WANT TO VISIT THE SITE. THE RESULTS ARE AMAZING.
TO VISIT THE SITE. THE RESULTS ARE AMAZING. THIS HAS A CYCLE, ALSO.
THE RESULTS ARE AMAZING. THIS HAS A CYCLE, ALSO. IT HAS AN L.E.D. CYCLE THAT
THIS HAS A CYCLE, ALSO. IT HAS AN L.E.D. CYCLE THAT COMES ON AT THESE TIMES SO
IT HAS AN L.E.D. CYCLE THAT COMES ON AT THESE TIMES SO IT'S EVEN MORE ENHANCED WITH
COMES ON AT THESE TIMES SO IT'S EVEN MORE ENHANCED WITH THE TIMES, AT SUNSET AND
IT'S EVEN MORE ENHANCED WITH THE TIMES, AT SUNSET AND SUNRISE.
THE TIMES, AT SUNSET AND SUNRISE. THE THRILL OF GIVING, YOU
SUNRISE. THE THRILL OF GIVING, YOU GET MORE BACK IN TERMS OF
THE THRILL OF GIVING, YOU GET MORE BACK IN TERMS OF ENJOYMENT.
GET MORE BACK IN TERMS OF ENJOYMENT. THIS HAS BEEN SOLD OUT EVERY
ENJOYMENT. THIS HAS BEEN SOLD OUT EVERY DAY.
THIS HAS BEEN SOLD OUT EVERY DAY. THERE'S A CAPACITY.
DAY. THERE'S A CAPACITY. YOU HAVE TO MAKE A
THERE'S A CAPACITY. YOU HAVE TO MAKE A RESERVATION TO GO FOR THESE
YOU HAVE TO MAKE A RESERVATION TO GO FOR THESE TWO SEQUENCES.
RESERVATION TO GO FOR THESE TWO SEQUENCES. IT'S BEEN SOLD OUT EVERY
TWO SEQUENCES. IT'S BEEN SOLD OUT EVERY DAY SINCE IT'S BEEN OPENED.
IT'S BEEN SOLD OUT EVERY DAY SINCE IT'S BEEN OPENED. NOW THEY THINK ABOUT IT,
DAY SINCE IT'S BEEN OPENED. NOW THEY THINK ABOUT IT, THE CONNECTION WITH THE
NOW THEY THINK ABOUT IT, THE CONNECTION WITH THE COLLECTION -- YOU HAVE THE
THE CONNECTION WITH THE COLLECTION -- YOU HAVE THE RUFFECHT CHAPEL FOR THE FIRST
COLLECTION -- YOU HAVE THE RUFFECHT CHAPEL FOR THE FIRST HALF OF THE 20TH CENTURY,
RUFFECHT CHAPEL FOR THE FIRST HALF OF THE 20TH CENTURY, THIS IS EQUIVALENT FOR THE
HALF OF THE 20TH CENTURY, THIS IS EQUIVALENT FOR THE FIRST HALF OF THE 20TH
THIS IS EQUIVALENT FOR THE FIRST HALF OF THE 20TH CENTURY.
FIRST HALF OF THE 20TH CENTURY. HOUSTON REALLY IS GETTING
CENTURY. HOUSTON REALLY IS GETTING TO BE DESTINATION FOR PEOPLE,
HOUSTON REALLY IS GETTING TO BE DESTINATION FOR PEOPLE, FOR ART LOVES.
TO BE DESTINATION FOR PEOPLE, FOR ART LOVES. THERE'S SO MUCH GOING ON IN
FOR ART LOVES. THERE'S SO MUCH GOING ON IN ART IN HOUSTON, YOU DON'T
THERE'S SO MUCH GOING ON IN ART IN HOUSTON, YOU DON'T THINK OF IT.
ART IN HOUSTON, YOU DON'T THINK OF IT. WE ARE TAKING THIS HEADS
THINK OF IT. WE ARE TAKING THIS HEADS ON.
WE ARE TAKING THIS HEADS ON. WE HAVE A GREAT MUSEUM.
ON. WE HAVE A GREAT MUSEUM. WE WANT THEM TO RAISE THEIR
WE HAVE A GREAT MUSEUM. WE WANT THEM TO RAISE THEIR GAME.
WE WANT THEM TO RAISE THEIR GAME. IT JUST PUTS --
GAME. IT JUST PUTS -- IT'S NOT KANSAS CITY, I
IT JUST PUTS -- IT'S NOT KANSAS CITY, I DIDN'T MEAN THAT!
IT'S NOT KANSAS CITY, I DIDN'T MEAN THAT! OF COURSE!
DIDN'T MEAN THAT! OF COURSE! EARLY ON MY TENURE, THE
OF COURSE! EARLY ON MY TENURE, THE GREATEST PLEASURE WAS THAT I
EARLY ON MY TENURE, THE GREATEST PLEASURE WAS THAT I THINK WE CALLED EACH OTHER
GREATEST PLEASURE WAS THAT I THINK WE CALLED EACH OTHER FOR THE NEW YEAR AND YOU JUST
THINK WE CALLED EACH OTHER FOR THE NEW YEAR AND YOU JUST SAID OH, WE JUST BOUGHT --
FOR THE NEW YEAR AND YOU JUST SAID OH, WE JUST BOUGHT -- ANYTHING, SOMETHING VERY
SAID OH, WE JUST BOUGHT -- ANYTHING, SOMETHING VERY STRANGE IN YOUR NORMAL
ANYTHING, SOMETHING VERY STRANGE IN YOUR NORMAL COLLECTION.
STRANGE IN YOUR NORMAL COLLECTION. JULIAN IS BEING MODEST.
COLLECTION. JULIAN IS BEING MODEST. WE BOUGHT -- WE GOT THIS
JULIAN IS BEING MODEST. WE BOUGHT -- WE GOT THIS PHONE CALL EARLY ON, JULIAN
WE BOUGHT -- WE GOT THIS PHONE CALL EARLY ON, JULIAN HAD NEVER SEEN A BASKETBALL
PHONE CALL EARLY ON, JULIAN HAD NEVER SEEN A BASKETBALL GAME, BUT REALIZED THERE WERE
HAD NEVER SEEN A BASKETBALL GAME, BUT REALIZED THERE WERE THESE RULES IN BASKETBALL
GAME, BUT REALIZED THERE WERE THESE RULES IN BASKETBALL THAT IF YOU LIVE IN THIS
THESE RULES IN BASKETBALL THAT IF YOU LIVE IN THIS AREA, YOU KNOW, YOU GOT TO --
THAT IF YOU LIVE IN THIS AREA, YOU KNOW, YOU GOT TO -- THE PASSION OF THE CITY IS
AREA, YOU KNOW, YOU GOT TO -- THE PASSION OF THE CITY IS LIKE -- I EVEN GOT MY CROCS
THE PASSION OF THE CITY IS LIKE -- I EVEN GOT MY CROCS RED.
LIKE -- I EVEN GOT MY CROCS RED. WE GOT THIS PHONE CALL.
RED. WE GOT THIS PHONE CALL. ANYTHING WE COULD DO TO HELP,
WE GOT THIS PHONE CALL. ANYTHING WE COULD DO TO HELP, WE WANTED TO DO.
ANYTHING WE COULD DO TO HELP, WE WANTED TO DO. YOU HAVE CREATED THE BOOTH
WE WANTED TO DO. YOU HAVE CREATED THE BOOTH FAMILY HALL OF ATHLETICS.
YOU HAVE CREATED THE BOOTH FAMILY HALL OF ATHLETICS. THE WAY IT'S DESIGNED,
FAMILY HALL OF ATHLETICS. THE WAY IT'S DESIGNED, IT'S GOING TO BE ACTUALLY
THE WAY IT'S DESIGNED, IT'S GOING TO BE ACTUALLY VERY COOL.
IT'S GOING TO BE ACTUALLY VERY COOL. WHICH IS WE'RE GOING TO BLOW
VERY COOL. WHICH IS WE'RE GOING TO BLOW OUT THE NORTH WALL OF THE
WHICH IS WE'RE GOING TO BLOW OUT THE NORTH WALL OF THE FIELDHOUSE AND MAKE IT SO YOU
OUT THE NORTH WALL OF THE FIELDHOUSE AND MAKE IT SO YOU CAN -- ALMOST EVERYBODY
FIELDHOUSE AND MAKE IT SO YOU CAN -- ALMOST EVERYBODY SITTING IN THE STADIUM WILL
CAN -- ALMOST EVERYBODY SITTING IN THE STADIUM WILL YOU ABLE TO SEE THE RULES.
SITTING IN THE STADIUM WILL YOU ABLE TO SEE THE RULES. IT WILL BE LIT UP.
YOU ABLE TO SEE THE RULES. IT WILL BE LIT UP. IT'S ALMOST LIKE YOUR
IT WILL BE LIT UP. IT'S ALMOST LIKE YOUR LIFE, IN MANY OF THE
IT'S ALMOST LIKE YOUR LIFE, IN MANY OF THE ENDEAVORS HERE -- WHY DO ALL
LIFE, IN MANY OF THE ENDEAVORS HERE -- WHY DO ALL THIS, WHY?
ENDEAVORS HERE -- WHY DO ALL THIS, WHY? WELL, I THINK WE WOULD
THIS, WHY? WELL, I THINK WE WOULD AGREE, WE LIKE BEING
WELL, I THINK WE WOULD AGREE, WE LIKE BEING SURROUNDED BY BEAUTIFUL
AGREE, WE LIKE BEING SURROUNDED BY BEAUTIFUL THINGS, AND HOPEFULLY, WE CAN
SURROUNDED BY BEAUTIFUL THINGS, AND HOPEFULLY, WE CAN MAKE A DIFFERENCE WITH WHAT
THINGS, AND HOPEFULLY, WE CAN MAKE A DIFFERENCE WITH WHAT WE DO FOR OTHER PEOPLE,
MAKE A DIFFERENCE WITH WHAT WE DO FOR OTHER PEOPLE, COMMUNITIES.
WE DO FOR OTHER PEOPLE, COMMUNITIES. WE'RE CERTAINLY ENJOYING IT.
COMMUNITIES. WE'RE CERTAINLY ENJOYING IT. IT'S SELFISH.
WE'RE CERTAINLY ENJOYING IT. IT'S SELFISH. WE ENJOY THE ART, WE ENJOY
IT'S SELFISH. WE ENJOY THE ART, WE ENJOY SHARING IT, AND IT'S A LOT OF
WE ENJOY THE ART, WE ENJOY SHARING IT, AND IT'S A LOT OF FUN.
SHARING IT, AND IT'S A LOT OF FUN. I CAN'T TELL YOU WHAT A KICK
FUN. I CAN'T TELL YOU WHAT A KICK IN THE PANTS THAT IS!
I CAN'T TELL YOU WHAT A KICK IN THE PANTS THAT IS! [APPLAUSE]
IN THE PANTS THAT IS! [APPLAUSE]
[APPLAUSE] ¶
¶ ¶
¶ ¶ ¶
¶ ¶ THE SUBLIME BEAUTY OF JAMES
¶ THE SUBLIME BEAUTY OF JAMES TERRELL'S INSTALLATION AT
THE SUBLIME BEAUTY OF JAMES TERRELL'S INSTALLATION AT RICE UNIVERSITY IS A FITTING
TERRELL'S INSTALLATION AT RICE UNIVERSITY IS A FITTING WAY TO CONCLUDE OUR
RICE UNIVERSITY IS A FITTING WAY TO CONCLUDE OUR DISCUSSION WITH THE BOOTHS,
WAY TO CONCLUDE OUR DISCUSSION WITH THE BOOTHS, BECAUSE BOTH THE ARTIST AND
DISCUSSION WITH THE BOOTHS, BECAUSE BOTH THE ARTIST AND THE PLACE HAVE PLAYED SUCH A
BECAUSE BOTH THE ARTIST AND THE PLACE HAVE PLAYED SUCH A LARGE ROLE IN SUZANNE'S
THE PLACE HAVE PLAYED SUCH A LARGE ROLE IN SUZANNE'S JOURNEY AS A COLLECTOR AND
LARGE ROLE IN SUZANNE'S JOURNEY AS A COLLECTOR AND PRESERVATIONIST. AS YOU SAW,
JOURNEY AS A COLLECTOR AND PRESERVATIONIST. AS YOU SAW, WE FOCUSED MOSTLY ON THE ROLE
PRESERVATIONIST. AS YOU SAW, WE FOCUSED MOSTLY ON THE ROLE ART PLAYS WITHIN THEIR
WE FOCUSED MOSTLY ON THE ROLE ART PLAYS WITHIN THEIR COMPANY. BUT DAVID AND
ART PLAYS WITHIN THEIR COMPANY. BUT DAVID AND SUZANNE ALSO ACQUIRE MANY
COMPANY. BUT DAVID AND SUZANNE ALSO ACQUIRE MANY PAINTINGS AND SCULPTURES TO
SUZANNE ALSO ACQUIRE MANY PAINTINGS AND SCULPTURES TO LIVE IN THEIR HOMES,
PAINTINGS AND SCULPTURES TO LIVE IN THEIR HOMES, INCLUDING THE MAIN RESIDENCE
LIVE IN THEIR HOMES, INCLUDING THE MAIN RESIDENCE IN AUSTIN. RANDY MASON PAID
INCLUDING THE MAIN RESIDENCE IN AUSTIN. RANDY MASON PAID A VISIT TO THE LAND OF THE
IN AUSTIN. RANDY MASON PAID A VISIT TO THE LAND OF THE LONGHORNS TO GET A BETTER
A VISIT TO THE LAND OF THE LONGHORNS TO GET A BETTER SENSE OF HOW IT ALL FITS
LONGHORNS TO GET A BETTER SENSE OF HOW IT ALL FITS TOGETHER FOR THEM.
SENSE OF HOW IT ALL FITS TOGETHER FOR THEM. I CALL THIS BASE CENTRAL
TOGETHER FOR THEM. I CALL THIS BASE CENTRAL FOR THE HOUSE, FOR SURE.
I CALL THIS BASE CENTRAL FOR THE HOUSE, FOR SURE. THERE ARE THREE PEOPLE
FOR THE HOUSE, FOR SURE. THERE ARE THREE PEOPLE WORKING TOGETHER, AND IT'S
THERE ARE THREE PEOPLE WORKING TOGETHER, AND IT'S NICE TO BE SURROUNDED BY ART,
WORKING TOGETHER, AND IT'S NICE TO BE SURROUNDED BY ART, WHEN WE CAN IT'S ONLY A FEW
NICE TO BE SURROUNDED BY ART, WHEN WE CAN IT'S ONLY A FEW TPHRAOEULS DAVID AND SUZANNE
WHEN WE CAN IT'S ONLY A FEW TPHRAOEULS DAVID AND SUZANNE BOOTH'S CURRENT RESIDENCE ON
TPHRAOEULS DAVID AND SUZANNE BOOTH'S CURRENT RESIDENCE ON THE SHORES OF LAKE AUSTIN, TO
BOOTH'S CURRENT RESIDENCE ON THE SHORES OF LAKE AUSTIN, TO THE INTERNATIONAL
THE SHORES OF LAKE AUSTIN, TO THE INTERNATIONAL HEADQUARTERS OF DIMENSIONAL
THE INTERNATIONAL HEADQUARTERS OF DIMENSIONAL FUND ADVISERS.
HEADQUARTERS OF DIMENSIONAL FUND ADVISERS. BUT ACCORDING TO THE LADY WHO
FUND ADVISERS. BUT ACCORDING TO THE LADY WHO CURATES THE ART COLLECTION
BUT ACCORDING TO THE LADY WHO CURATES THE ART COLLECTION FOR BOTH, THERE ARE A LOT
CURATES THE ART COLLECTION FOR BOTH, THERE ARE A LOT MORE OPTIONS FOR THE HOME
FOR BOTH, THERE ARE A LOT MORE OPTIONS FOR THE HOME THAN FOR THE OFFICE.
MORE OPTIONS FOR THE HOME THAN FOR THE OFFICE. IT'S A TOTALLY DIFFERENT
THAN FOR THE OFFICE. IT'S A TOTALLY DIFFERENT AESTHETIC, BECAUSE IT'S JUST
IT'S A TOTALLY DIFFERENT AESTHETIC, BECAUSE IT'S JUST FOR OUR FAMILY AND THE WAY WE
AESTHETIC, BECAUSE IT'S JUST FOR OUR FAMILY AND THE WAY WE THINK ABOUT ART OR HISTORY
FOR OUR FAMILY AND THE WAY WE THINK ABOUT ART OR HISTORY AND THE THINGS THAT WE WANT
THINK ABOUT ART OR HISTORY AND THE THINGS THAT WE WANT TO LIVE AROUND.
AND THE THINGS THAT WE WANT TO LIVE AROUND. THE ACQUISITIONS DECISIONS WE
TO LIVE AROUND. THE ACQUISITIONS DECISIONS WE DEFINITELY MAKE TOGETHER.
THE ACQUISITIONS DECISIONS WE DEFINITELY MAKE TOGETHER. WHERE THEY GO IN THE HOUSE, I
DEFINITELY MAKE TOGETHER. WHERE THEY GO IN THE HOUSE, I KIND OF DO IT ON MY OWN.
WHERE THEY GO IN THE HOUSE, I KIND OF DO IT ON MY OWN. AND SOMETIMES, HE GOES OH, I
KIND OF DO IT ON MY OWN. AND SOMETIMES, HE GOES OH, I DON'T KNOW, BUT MOST OF THE
AND SOMETIMES, HE GOES OH, I DON'T KNOW, BUT MOST OF THE TIME, HE IS PRETTY HAPPY.
DON'T KNOW, BUT MOST OF THE TIME, HE IS PRETTY HAPPY. YOU HAVE FEWER BIG WALLS,
TIME, HE IS PRETTY HAPPY. YOU HAVE FEWER BIG WALLS, AND SO IT DEPENDS ON THE KIND
YOU HAVE FEWER BIG WALLS, AND SO IT DEPENDS ON THE KIND OF HOME YOU HAVE, WHAT YOU
AND SO IT DEPENDS ON THE KIND OF HOME YOU HAVE, WHAT YOU CAN PUT IN IT.
OF HOME YOU HAVE, WHAT YOU CAN PUT IN IT. WE'VE BEEN LUCKY IN THE
CAN PUT IN IT. WE'VE BEEN LUCKY IN THE HOUSES WE'VE BEEN IN THAT
WE'VE BEEN LUCKY IN THE HOUSES WE'VE BEEN IN THAT WE'VE HAD GOOD WALLS, SO WE
HOUSES WE'VE BEEN IN THAT WE'VE HAD GOOD WALLS, SO WE CAN -- THIS IS AN EXAMPLE, WE
WE'VE HAD GOOD WALLS, SO WE CAN -- THIS IS AN EXAMPLE, WE CAN PUT TWO NEXT TO EACH
CAN -- THIS IS AN EXAMPLE, WE CAN PUT TWO NEXT TO EACH OTHER, AND THERE ARE FIVE
CAN PUT TWO NEXT TO EACH OTHER, AND THERE ARE FIVE YEARS SEPARATING THE TWO
OTHER, AND THERE ARE FIVE YEARS SEPARATING THE TWO PAINTINGS, SO IT'S NICE TO
YEARS SEPARATING THE TWO PAINTINGS, SO IT'S NICE TO SEE THEY HAVE A CERTAIN
PAINTINGS, SO IT'S NICE TO SEE THEY HAVE A CERTAIN CONVERSATION GOING ON.
SEE THEY HAVE A CERTAIN CONVERSATION GOING ON. SO ARE THERE -- ARE THERE
CONVERSATION GOING ON. SO ARE THERE -- ARE THERE BULLET POINTS OF WHAT YOU DO
SO ARE THERE -- ARE THERE BULLET POINTS OF WHAT YOU DO WANT TO COLLECT?
BULLET POINTS OF WHAT YOU DO WANT TO COLLECT? CAN YOU SAY THIS IS --
WANT TO COLLECT? CAN YOU SAY THIS IS -- WELL, A LOT OF PEOPLE HAVE
CAN YOU SAY THIS IS -- WELL, A LOT OF PEOPLE HAVE BEEN TRYING TO FIGURE THAT
WELL, A LOT OF PEOPLE HAVE BEEN TRYING TO FIGURE THAT OUT FOR YEARS.
BEEN TRYING TO FIGURE THAT OUT FOR YEARS. THERE'S NOT A LOT OF
OUT FOR YEARS. THERE'S NOT A LOT OF FIGURATIVE ART HERE, SO YOU
THERE'S NOT A LOT OF FIGURATIVE ART HERE, SO YOU DON'T SEE A LOT OF
FIGURATIVE ART HERE, SO YOU DON'T SEE A LOT OF PORTRAITURE, OTHER THAN IF
DON'T SEE A LOT OF PORTRAITURE, OTHER THAN IF IT'S THINGS OF OUR FAMILY,
PORTRAITURE, OTHER THAN IF IT'S THINGS OF OUR FAMILY, WHICH IS MORE PERSONAL.
IT'S THINGS OF OUR FAMILY, WHICH IS MORE PERSONAL. CERTAIN LEVEL OF ABSTRACTION,
WHICH IS MORE PERSONAL. CERTAIN LEVEL OF ABSTRACTION, COLOR, THEMES MAYBE WITHIN
CERTAIN LEVEL OF ABSTRACTION, COLOR, THEMES MAYBE WITHIN OUR TIME PERIOD, DIGGING A
COLOR, THEMES MAYBE WITHIN OUR TIME PERIOD, DIGGING A LITTLE DEEPER INTO SORT OF A
OUR TIME PERIOD, DIGGING A LITTLE DEEPER INTO SORT OF A METAPHYSICAL SPACE.
LITTLE DEEPER INTO SORT OF A METAPHYSICAL SPACE. BUT NOT ALWAYS.
METAPHYSICAL SPACE. BUT NOT ALWAYS. I'M LOOKING AROUND AND THERE
BUT NOT ALWAYS. I'M LOOKING AROUND AND THERE ARE ALL SORTS OF THINGS, EVEN
I'M LOOKING AROUND AND THERE ARE ALL SORTS OF THINGS, EVEN IN THIS SPACE.
ARE ALL SORTS OF THINGS, EVEN IN THIS SPACE. THAT'S A TAPESTRY BY
IN THIS SPACE. THAT'S A TAPESTRY BY BOITE, ITALIAN.
THAT'S A TAPESTRY BY BOITE, ITALIAN. THESE WERE ROBSON KHRAPBLGS
BOITE, ITALIAN. THESE WERE ROBSON KHRAPBLGS -- COLLAGES, AND THESE ARE
THESE WERE ROBSON KHRAPBLGS -- COLLAGES, AND THESE ARE LIT FROM SOLAR PANS ON --
-- COLLAGES, AND THESE ARE LIT FROM SOLAR PANS ON -- PANELS ON THE ROOF.
LIT FROM SOLAR PANS ON -- PANELS ON THE ROOF. TIM HAWKINSON IS ONE OF THOSE
PANELS ON THE ROOF. TIM HAWKINSON IS ONE OF THOSE INCREDIBLY TALENTED ARTISTS
TIM HAWKINSON IS ONE OF THOSE INCREDIBLY TALENTED ARTISTS THAT EVERYTHING HE DOES LOOKS
INCREDIBLY TALENTED ARTISTS THAT EVERYTHING HE DOES LOOKS DIFFERENT BUT THERE'S SOME
THAT EVERYTHING HE DOES LOOKS DIFFERENT BUT THERE'S SOME THREAD THROUGHOUT TWO IT ALL.
DIFFERENT BUT THERE'S SOME THREAD THROUGHOUT TWO IT ALL. A LOT OF PEOPLE DON'T SEE
THREAD THROUGHOUT TWO IT ALL. A LOT OF PEOPLE DON'T SEE THIS, WHEN THEY LOOK AT THIS,
A LOT OF PEOPLE DON'T SEE THIS, WHEN THEY LOOK AT THIS, THEY THINK IT'S SOMETHING --
THIS, WHEN THEY LOOK AT THIS, THEY THINK IT'S SOMETHING -- SOME OF THESE GLADDEN YOUR
THEY THINK IT'S SOMETHING -- SOME OF THESE GLADDEN YOUR HEART MORE THAN OTHERS?
SOME OF THESE GLADDEN YOUR HEART MORE THAN OTHERS? THE HOKCNEY DIRECTLY
HEART MORE THAN OTHERS? THE HOKCNEY DIRECTLY ACROSS FROM THE VICTOR AMUSES
THE HOKCNEY DIRECTLY ACROSS FROM THE VICTOR AMUSES ME BECAUSE I CAN'T IMAGINE
ACROSS FROM THE VICTOR AMUSES ME BECAUSE I CAN'T IMAGINE THEM BEING IN A CONVERSATION
ME BECAUSE I CAN'T IMAGINE THEM BEING IN A CONVERSATION EXCEPT FOR THIS WAY.
THEM BEING IN A CONVERSATION EXCEPT FOR THIS WAY. HAVE YOU HEARD INTERESTING
EXCEPT FOR THIS WAY. HAVE YOU HEARD INTERESTING SOUNDS COMING FROM THOSE
HAVE YOU HEARD INTERESTING SOUNDS COMING FROM THOSE CONVERSATIONS NOW THAT YOU'VE
SOUNDS COMING FROM THOSE CONVERSATIONS NOW THAT YOU'VE PUT THEM IN THERE?
CONVERSATIONS NOW THAT YOU'VE PUT THEM IN THERE? I'VE INTRODUCED A CALDER
PUT THEM IN THERE? I'VE INTRODUCED A CALDER IN THERE, A KAPOUR.
I'VE INTRODUCED A CALDER IN THERE, A KAPOUR. THERE'S A LOT OF CHATTERING
IN THERE, A KAPOUR. THERE'S A LOT OF CHATTERING GOING ON MOST OF THE TIME.
THERE'S A LOT OF CHATTERING GOING ON MOST OF THE TIME. BUT THEY'RE NOT NOISY.
GOING ON MOST OF THE TIME. BUT THEY'RE NOT NOISY. THEY ARE JUST LIKE -- THIS IS
BUT THEY'RE NOT NOISY. THEY ARE JUST LIKE -- THIS IS OUR DINING ROOM.
THEY ARE JUST LIKE -- THIS IS OUR DINING ROOM. AND THIS PIECE IS BY A
OUR DINING ROOM. AND THIS PIECE IS BY A CALIFORNIA ARTIST BY THE NAME
AND THIS PIECE IS BY A CALIFORNIA ARTIST BY THE NAME OF PAYNE LITE.
CALIFORNIA ARTIST BY THE NAME OF PAYNE LITE. SHE WANTED TO DO A PORTRAIT
OF PAYNE LITE. SHE WANTED TO DO A PORTRAIT OF OUR FAMILY.
SHE WANTED TO DO A PORTRAIT OF OUR FAMILY. THESE WERE INITIALLY
OF OUR FAMILY. THESE WERE INITIALLY INSTALLED IN GRADADING SIZES.
THESE WERE INITIALLY INSTALLED IN GRADADING SIZES. THEY ARE LIKE CELESTIAL
INSTALLED IN GRADADING SIZES. THEY ARE LIKE CELESTIAL BODIES.
THEY ARE LIKE CELESTIAL BODIES. ANOTHER WORK IS A JAMES
BODIES. ANOTHER WORK IS A JAMES TERRELL, A SEQUENCE THAT
ANOTHER WORK IS A JAMES TERRELL, A SEQUENCE THAT CHANGES THROUGHOUT THE DAY,
TERRELL, A SEQUENCE THAT CHANGES THROUGHOUT THE DAY, AND SO ANY TIME YOU LOOK AT
CHANGES THROUGHOUT THE DAY, AND SO ANY TIME YOU LOOK AT IT, IT COULD BE A GRADATION
AND SO ANY TIME YOU LOOK AT IT, IT COULD BE A GRADATION OF A COLOR, FROM WHAT IT WAS
IT, IT COULD BE A GRADATION OF A COLOR, FROM WHAT IT WAS A FEW MINUTES BEFORE, OR
OF A COLOR, FROM WHAT IT WAS A FEW MINUTES BEFORE, OR TOTALLY ON A NEW CYCLE.
A FEW MINUTES BEFORE, OR TOTALLY ON A NEW CYCLE. NOTHING INTERFERES WITH
TOTALLY ON A NEW CYCLE. NOTHING INTERFERES WITH YOU BEING ABLE TO HAVE A NICE
NOTHING INTERFERES WITH YOU BEING ABLE TO HAVE A NICE MEAL.
YOU BEING ABLE TO HAVE A NICE MEAL. YOU CAN LIGHT CANDLES AND
MEAL. YOU CAN LIGHT CANDLES AND EXPERIENCE THE SPACE, WELLS
YOU CAN LIGHT CANDLES AND EXPERIENCE THE SPACE, WELLS THE -- AS WELL AS THE ART.
EXPERIENCE THE SPACE, WELLS THE -- AS WELL AS THE ART. IT'S PART OF THAT LIVING WITH
THE -- AS WELL AS THE ART. IT'S PART OF THAT LIVING WITH THE ART, BEING ABLE TO
IT'S PART OF THAT LIVING WITH THE ART, BEING ABLE TO EXPERIENCE IT IN A DINING
THE ART, BEING ABLE TO EXPERIENCE IT IN A DINING ROOM, A BEDROOM, WHEREVER YOU
EXPERIENCE IT IN A DINING ROOM, A BEDROOM, WHEREVER YOU ARE.
ROOM, A BEDROOM, WHEREVER YOU ARE. DO PEOPLE COME IN AND FEEL
ARE. DO PEOPLE COME IN AND FEEL IT?
DO PEOPLE COME IN AND FEEL IT? CAN YOU WATCH PEOPLE AND KNOW
IT? CAN YOU WATCH PEOPLE AND KNOW YOU'VE MADE THAT GOOD
CAN YOU WATCH PEOPLE AND KNOW YOU'VE MADE THAT GOOD CONVERSATIONAL CHOICE?
YOU'VE MADE THAT GOOD CONVERSATIONAL CHOICE? NOT EVERYONE COLLECTS THIS
CONVERSATIONAL CHOICE? NOT EVERYONE COLLECTS THIS WAY.
NOT EVERYONE COLLECTS THIS WAY. MOST PEOPLE ARE VERY FOCUSED
WAY. MOST PEOPLE ARE VERY FOCUSED IN WHAT THEY COLLECT.
MOST PEOPLE ARE VERY FOCUSED IN WHAT THEY COLLECT. IF IT'S MINIMALISM, YOU ARE
IN WHAT THEY COLLECT. IF IT'S MINIMALISM, YOU ARE GOING TO SEE THINGS TOTALLY
IF IT'S MINIMALISM, YOU ARE GOING TO SEE THINGS TOTALLY MINIMALIST, AND THEN IT JUMPS
GOING TO SEE THINGS TOTALLY MINIMALIST, AND THEN IT JUMPS CENTURIES.
MINIMALIST, AND THEN IT JUMPS CENTURIES. AND WE ENJOY DOING THAT.
CENTURIES. AND WE ENJOY DOING THAT. THAT'S BRINGING SOMEONE WHO
AND WE ENJOY DOING THAT. THAT'S BRINGING SOMEONE WHO COULDN'T POSSIBLY HAVE KNOWN,
THAT'S BRINGING SOMEONE WHO COULDN'T POSSIBLY HAVE KNOWN, LIKE A GIOVANNI DEPAULO INTO
COULDN'T POSSIBLY HAVE KNOWN, LIKE A GIOVANNI DEPAULO INTO YOUR HOUSE, AND THEY COULD
LIKE A GIOVANNI DEPAULO INTO YOUR HOUSE, AND THEY COULD HAVE NEVER HAVE KNOWN
YOUR HOUSE, AND THEY COULD HAVE NEVER HAVE KNOWN HOCKNEY, VICTOR, OR THESE
HAVE NEVER HAVE KNOWN HOCKNEY, VICTOR, OR THESE GUYS, BUT THEY CAN BE
HOCKNEY, VICTOR, OR THESE GUYS, BUT THEY CAN BE COMPATIBLE.
GUYS, BUT THEY CAN BE COMPATIBLE. SOMETIMES IT DOESN'T WORK
COMPATIBLE. SOMETIMES IT DOESN'T WORK AT ALL.
SOMETIMES IT DOESN'T WORK AT ALL. YOU CAN MOVE THAT AROUND AND
AT ALL. YOU CAN MOVE THAT AROUND AND SAY OH NO, THAT'S NOT GOING
YOU CAN MOVE THAT AROUND AND SAY OH NO, THAT'S NOT GOING TO MAKE IT.
SAY OH NO, THAT'S NOT GOING TO MAKE IT. HOW LONG DO YOU GIVE IT
TO MAKE IT. HOW LONG DO YOU GIVE IT BEFORE YOU DECIDE?
HOW LONG DO YOU GIVE IT BEFORE YOU DECIDE? NOT TOO LONG.
BEFORE YOU DECIDE? NOT TOO LONG. A FEW DAYS, A WEEK, SOMETHING
NOT TOO LONG. A FEW DAYS, A WEEK, SOMETHING LIKE THAT.
A FEW DAYS, A WEEK, SOMETHING LIKE THAT. THEN THE STAFF GETS A
LIKE THAT. THEN THE STAFF GETS A CALL?
THEN THE STAFF GETS A CALL? YEAH, OTHERWISE, I JUST
CALL? YEAH, OTHERWISE, I JUST PICK IT UP AND MOVE IT.
YEAH, OTHERWISE, I JUST PICK IT UP AND MOVE IT. NOT SURPRISINGLY, THE ART
PICK IT UP AND MOVE IT. NOT SURPRISINGLY, THE ART HERE IS VERY WELL CARED FOR.
NOT SURPRISINGLY, THE ART HERE IS VERY WELL CARED FOR. UV PROTECTION ON THE WINDOWS
HERE IS VERY WELL CARED FOR. UV PROTECTION ON THE WINDOWS AND FOR GLASS AND FRAMES.
UV PROTECTION ON THE WINDOWS AND FOR GLASS AND FRAMES. NOT TO MENTION STRATEGIC
AND FOR GLASS AND FRAMES. NOT TO MENTION STRATEGIC PLACEMENT FOR THINGS LIKE THE
NOT TO MENTION STRATEGIC PLACEMENT FOR THINGS LIKE THE RENAISSANCE PAINTINGS AND OLD
PLACEMENT FOR THINGS LIKE THE RENAISSANCE PAINTINGS AND OLD MASTER DRAWINGS THEY ALSO
RENAISSANCE PAINTINGS AND OLD MASTER DRAWINGS THEY ALSO COLLECT.
MASTER DRAWINGS THEY ALSO COLLECT. AFTER ALL, SUZANNE'S
COLLECT. AFTER ALL, SUZANNE'S BACKGROUND IS DEEPLY ROOTED
AFTER ALL, SUZANNE'S BACKGROUND IS DEEPLY ROOTED IN ART CONSERVATION.
BACKGROUND IS DEEPLY ROOTED IN ART CONSERVATION. IT WOULD BE REALLY
IN ART CONSERVATION. IT WOULD BE REALLY DIFFICULT FOR ME TO WANT TO
IT WOULD BE REALLY DIFFICULT FOR ME TO WANT TO COLLECT ANYTHING THAT WAS NOT
DIFFICULT FOR ME TO WANT TO COLLECT ANYTHING THAT WAS NOT MADE WITH THE IDEA OF
COLLECT ANYTHING THAT WAS NOT MADE WITH THE IDEA OF LONGEVITY IN MIND.
MADE WITH THE IDEA OF LONGEVITY IN MIND. I MEAN, HOW ARTISTS CHOOSE
LONGEVITY IN MIND. I MEAN, HOW ARTISTS CHOOSE THEIR MATERIALS AND HOW THEY
I MEAN, HOW ARTISTS CHOOSE THEIR MATERIALS AND HOW THEY AGE IS VERY IMPORTANT TO ME
THEIR MATERIALS AND HOW THEY AGE IS VERY IMPORTANT TO ME AS A CONSERVATOR.
AGE IS VERY IMPORTANT TO ME AS A CONSERVATOR. I WANT TO BE ABLE TO RESPECT
AS A CONSERVATOR. I WANT TO BE ABLE TO RESPECT THE ARTIST AND THEIR CHOICES.
I WANT TO BE ABLE TO RESPECT THE ARTIST AND THEIR CHOICES. AND IT USUALLY, WHAT ARTISTS
THE ARTIST AND THEIR CHOICES. AND IT USUALLY, WHAT ARTISTS TRAIN TO KNOW ABOUT IS WHAT
AND IT USUALLY, WHAT ARTISTS TRAIN TO KNOW ABOUT IS WHAT THEY ARE DOING, WITH A
TRAIN TO KNOW ABOUT IS WHAT THEY ARE DOING, WITH A CERTAIN EMPHASIS ON
THEY ARE DOING, WITH A CERTAIN EMPHASIS ON CREATIVITY AND PUSHING THE
CERTAIN EMPHASIS ON CREATIVITY AND PUSHING THE PACKAGE.
CREATIVITY AND PUSHING THE PACKAGE. I ADMIRE THAT.
PACKAGE. I ADMIRE THAT. WHEN I WAS -- AS AN ART
I ADMIRE THAT. WHEN I WAS -- AS AN ART HISTORIAN, A CONSERVATOR, I
WHEN I WAS -- AS AN ART HISTORIAN, A CONSERVATOR, I CAN'T HELP IT.
HISTORIAN, A CONSERVATOR, I CAN'T HELP IT. IT'S WHAT I DO.
CAN'T HELP IT. IT'S WHAT I DO. IT'S HOW I SPEND EVERY DAY.
IT'S WHAT I DO. IT'S HOW I SPEND EVERY DAY. IT'S WHAT I DO.
IT'S HOW I SPEND EVERY DAY. IT'S WHAT I DO. SOME PEOPLE COLLECT ART, THEY
IT'S WHAT I DO. SOME PEOPLE COLLECT ART, THEY ARE COMING FROM BEING AN
SOME PEOPLE COLLECT ART, THEY ARE COMING FROM BEING AN ATTORNEY OR A LIFETIME OF
ARE COMING FROM BEING AN ATTORNEY OR A LIFETIME OF SOMETHING ESAND THEY TURN TO
ATTORNEY OR A LIFETIME OF SOMETHING ESAND THEY TURN TO ART FOR DIFFERENT REASONS.
SOMETHING ESAND THEY TURN TO ART FOR DIFFERENT REASONS. THIS HAS ALWAYS BEEN IN MY
ART FOR DIFFERENT REASONS. THIS HAS ALWAYS BEEN IN MY DNA.
THIS HAS ALWAYS BEEN IN MY DNA. SO I CAN'T IMAGINE NOT HAVING
DNA. SO I CAN'T IMAGINE NOT HAVING IT.
SO I CAN'T IMAGINE NOT HAVING IT. AS HARMONIOUS AS THE
IT. AS HARMONIOUS AS THE CONVERSATIONS MAY BE, A BIG
AS HARMONIOUS AS THE CONVERSATIONS MAY BE, A BIG CHANGE IS ON THE HORIZON.
CONVERSATIONS MAY BE, A BIG CHANGE IS ON THE HORIZON. EARLY NEXT YEAR, THE BOOTHS
CHANGE IS ON THE HORIZON. EARLY NEXT YEAR, THE BOOTHS WILL PACK UP ALL THIS ART AND
EARLY NEXT YEAR, THE BOOTHS WILL PACK UP ALL THIS ART AND MOVE ACROSS THE LAKE TO A NEW
WILL PACK UP ALL THIS ART AND MOVE ACROSS THE LAKE TO A NEW HOME, DESIGNED BY ARCHITECT
MOVE ACROSS THE LAKE TO A NEW HOME, DESIGNED BY ARCHITECT MICHAEL MALLSEN.
HOME, DESIGNED BY ARCHITECT MICHAEL MALLSEN. I'M TRYING TO THINK ABOUT
MICHAEL MALLSEN. I'M TRYING TO THINK ABOUT HOW THAT ALL IS GOING TO
I'M TRYING TO THINK ABOUT HOW THAT ALL IS GOING TO WORK.
HOW THAT ALL IS GOING TO WORK. BECAUSE IT'S ALSO COMBINING
WORK. BECAUSE IT'S ALSO COMBINING VERY INNOVATIVE ARCHITECTURE.
BECAUSE IT'S ALSO COMBINING VERY INNOVATIVE ARCHITECTURE. IN THIS CASE, THIS IS
VERY INNOVATIVE ARCHITECTURE. IN THIS CASE, THIS IS CREATING ARCHITECTURE, THIS
IN THIS CASE, THIS IS CREATING ARCHITECTURE, THIS IS, YOU KNOW, TEXAS, BUT IN
CREATING ARCHITECTURE, THIS IS, YOU KNOW, TEXAS, BUT IN THE CASE OF OUR NEW HOUSE,
IS, YOU KNOW, TEXAS, BUT IN THE CASE OF OUR NEW HOUSE, THIS IS GOING TO BE PRETTY
THE CASE OF OUR NEW HOUSE, THIS IS GOING TO BE PRETTY SPECIFIC, POST-MODERN
THIS IS GOING TO BE PRETTY SPECIFIC, POST-MODERN INNOVATIVE ARCHITECTURE, SO
SPECIFIC, POST-MODERN INNOVATIVE ARCHITECTURE, SO THE ART IS GOING TO HAVE A
INNOVATIVE ARCHITECTURE, SO THE ART IS GOING TO HAVE A DIFFERENT KIND OF DIALOGUE
THE ART IS GOING TO HAVE A DIFFERENT KIND OF DIALOGUE GOING ON.
DIFFERENT KIND OF DIALOGUE GOING ON. TAKING THE DIALOGUE BEYOND
GOING ON. TAKING THE DIALOGUE BEYOND THE HOME AND EVEN THE OFFICE
TAKING THE DIALOGUE BEYOND THE HOME AND EVEN THE OFFICE HAS ALSO BEEN PART OF THE
THE HOME AND EVEN THE OFFICE HAS ALSO BEEN PART OF THE BOOTHS' MISSION.
HAS ALSO BEEN PART OF THE BOOTHS' MISSION. SUZANNE'S FOCUS HAS FALLEN
BOOTHS' MISSION. SUZANNE'S FOCUS HAS FALLEN LARGELY ON RICE UNIVERSITY.
SUZANNE'S FOCUS HAS FALLEN LARGELY ON RICE UNIVERSITY. NOT JUST THE MAGNIFICENT
LARGELY ON RICE UNIVERSITY. NOT JUST THE MAGNIFICENT TERRELL SKY STATION
NOT JUST THE MAGNIFICENT TERRELL SKY STATION INSTALLATION, BUT OTHER
TERRELL SKY STATION INSTALLATION, BUT OTHER PUBLIC ART PIECES SPRINKLED
INSTALLATION, BUT OTHER PUBLIC ART PIECES SPRINKLED AROUND THE CAMPUS.
PUBLIC ART PIECES SPRINKLED AROUND THE CAMPUS. FOR DAVID, THE HOLY GRAIL HAS
AROUND THE CAMPUS. FOR DAVID, THE HOLY GRAIL HAS BEEN DR. NAYSMITH'S ORIGINAL
FOR DAVID, THE HOLY GRAIL HAS BEEN DR. NAYSMITH'S ORIGINAL TWO-PAGE DOCUMENT AND
BEEN DR. NAYSMITH'S ORIGINAL TWO-PAGE DOCUMENT AND EVENTUALLY, HEADED FOR THE
TWO-PAGE DOCUMENT AND EVENTUALLY, HEADED FOR THE HALLS OF ALLEN FIELDHOUSE.
EVENTUALLY, HEADED FOR THE HALLS OF ALLEN FIELDHOUSE. THEY ARE ACTUALLY NOT THAT
HALLS OF ALLEN FIELDHOUSE. THEY ARE ACTUALLY NOT THAT DIFFERENT.
THEY ARE ACTUALLY NOT THAT DIFFERENT. THEY ARE BOTH IN A WAY ICONIC
DIFFERENT. THEY ARE BOTH IN A WAY ICONIC AND IMPORTANT FOR THE PLACES
THEY ARE BOTH IN A WAY ICONIC AND IMPORTANT FOR THE PLACES THAT THEY WILL RESIDE.
AND IMPORTANT FOR THE PLACES THAT THEY WILL RESIDE. FOR BASKETBALL, IT'S PERFECT,
THAT THEY WILL RESIDE. FOR BASKETBALL, IT'S PERFECT, AND IT'S ALSO VERY EXPANSIVE
FOR BASKETBALL, IT'S PERFECT, AND IT'S ALSO VERY EXPANSIVE IN THE CASE OF THE RULES OF
AND IT'S ALSO VERY EXPANSIVE IN THE CASE OF THE RULES OF BASKETBALL AT KU, AND RICE
IN THE CASE OF THE RULES OF BASKETBALL AT KU, AND RICE UNIVERSITY, WITH THE TERRELL.
BASKETBALL AT KU, AND RICE UNIVERSITY, WITH THE TERRELL. WE INVITE PEOPLE TO COME IN
UNIVERSITY, WITH THE TERRELL. WE INVITE PEOPLE TO COME IN AND LEARN AND EXPERIENCE
WE INVITE PEOPLE TO COME IN AND LEARN AND EXPERIENCE SOMETHING.
AND LEARN AND EXPERIENCE SOMETHING. ONE OF THE REAL JOYS OF MY
SOMETHING. ONE OF THE REAL JOYS OF MY JOB IS THE CHANCE I HAVE TO
ONE OF THE REAL JOYS OF MY JOB IS THE CHANCE I HAVE TO MEET OTHERS WHO SHARE MY
JOB IS THE CHANCE I HAVE TO MEET OTHERS WHO SHARE MY PASSION FOR EITHER MAKING OR
MEET OTHERS WHO SHARE MY PASSION FOR EITHER MAKING OR BRINGING GREAT ART TO OTHERS.
PASSION FOR EITHER MAKING OR BRINGING GREAT ART TO OTHERS. THE BOOTHS CERTAINLY HAVE
BRINGING GREAT ART TO OTHERS. THE BOOTHS CERTAINLY HAVE EXTENDED THE POSSIBILITIES
THE BOOTHS CERTAINLY HAVE EXTENDED THE POSSIBILITIES FOR PEOPLE TO ENCOUNTER SOME
EXTENDED THE POSSIBILITIES FOR PEOPLE TO ENCOUNTER SOME OF THE VERY BEST EXAMPLES OF
FOR PEOPLE TO ENCOUNTER SOME OF THE VERY BEST EXAMPLES OF ART BEING CREATED TODAY.
OF THE VERY BEST EXAMPLES OF ART BEING CREATED TODAY. DAVID AND SUZANNE ARE BOTH
ART BEING CREATED TODAY. DAVID AND SUZANNE ARE BOTH VERY LOYAL TO THEIR ALMA
DAVID AND SUZANNE ARE BOTH VERY LOYAL TO THEIR ALMA MATERS, AND TO THE BUSINESS
VERY LOYAL TO THEIR ALMA MATERS, AND TO THE BUSINESS THAT HAS MADE THEIR
MATERS, AND TO THE BUSINESS THAT HAS MADE THEIR COLLECTING POSSIBLE. AS WE
THAT HAS MADE THEIR COLLECTING POSSIBLE. AS WE WRAP UP THIS INSTALLMENT OF
COLLECTING POSSIBLE. AS WE WRAP UP THIS INSTALLMENT OF ART TASTING, LET ME REMIND
WRAP UP THIS INSTALLMENT OF ART TASTING, LET ME REMIND YOU THAT WE'LL BE BACK AGAIN
ART TASTING, LET ME REMIND YOU THAT WE'LL BE BACK AGAIN NEXT TIME TO EXPLORE THE
YOU THAT WE'LL BE BACK AGAIN NEXT TIME TO EXPLORE THE SPIRITUAL SIDE OF ART WITH
NEXT TIME TO EXPLORE THE SPIRITUAL SIDE OF ART WITH CURATOR LEESA FANNING FROM
SPIRITUAL SIDE OF ART WITH CURATOR LEESA FANNING FROM THE NELSON-ATKINS MUSEUM.
CURATOR LEESA FANNING FROM THE NELSON-ATKINS MUSEUM. I'M JULIAN ZUGAZAGOITIA.
THE NELSON-ATKINS MUSEUM. I'M JULIAN ZUGAZAGOITIA. THANK YOU FOR STOPPING BY.
I'M JULIAN ZUGAZAGOITIA. THANK YOU FOR STOPPING BY. CAPTIONING PROVIDED BY
THANK YOU FOR STOPPING BY. CAPTIONING PROVIDED BY CAPTION ASSOCIATES, LLC
CAPTIONING PROVIDED BY CAPTION ASSOCIATES, LLC WWW.CAPTIONASSOCIATES.COM