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