I WORK WITH A LOT OF TRADITIONAL PATTERNS.

I DON'T DESIGN THAT MUCH ON THE COMPUTER.

I LIKE DESIGNING AT THE DESIGN WALL.

FABRICS TELL ME WHAT TO DO.

MUSIC INSTITUTE THAT'S NOT LIKE ANY OTHER.

WE WANT TO HELP YOUNG MUSICIANS TO UNDERSTAND HOW THE BUSINESS OF MUSIC WORKS.

A TALENTED PAINTER OF MANY STYLES.

I'M NOT CONFINED TO ONE PARTICULAR STYLE.

MAYBE IT HELPS OR HURTS ME BUT I'M JUST IN IT FOR THE ADVENTURE, FOR THE JOURNEY.

POTTERY FROM ANCIENT TIMES.

VERY WELL MADE, WELL DECORATED.

FROM AN ARTISTIC STANDPOINT THEY ARE VERY PLEASING.

THAT'S ALL NEXT ON "ART ROCKS."

"ART ROCKS" IS MADE POSSIBLE BY THE FOUNDATION FOR EXCELLENCE IN LOUISIANA PUBLIC BROADCASTING AND BY VIEWERS LIKE YOU.

HELLO, THANK YOU FOR JOINING US I'M CHELSEA NORRIS OF ANN CONNELLY FINE ART FILLING IN FOR JAMES FOX-SMITH.

TEXTILE ART CAN TAKE MANY FORMS.

BUT THE TRADITION OF QUILT MAKING BLENDS THE IDEAS OF ART AND FUNCTION.

JUDY HOLLY'S QUILTS ARE TRULY UNIQUE WORKS OF FINE ART.

IN 1998 I GOT A QUILT THAT TOOK FIRST PLACE IN EVERY QUILT SHOW I WAS IN INCLUDING NEW ORLEANS, INTERNATIONAL QUILT FESTIVAL.

RASPBERRY PARFAIT IS A NEW YORK BEAUTY BLOCK, SOMETHING I ALWAYS WANTED TO TRY.

I WAS IN A FABRIC STORE AND I SAW SOME 30 PRINTS ON SCALE.

THAT'S ALWAYS A GOOD EXCUSE TO BRING SOMETHING.

ONE OF THE PRINTS ON SALE WAS EXACTLY LIKE THE FABRIC THAT WAS IN MY MOTHER'S KITCHEN WHEN SHE BOUGHT THIS THE OLD '30s HOUSE IN CENTRAL MISSISSIPPI.

IT LOOKS LIKE THE CURTAINS WE TOOK DOWN.

I BOUGHT THAT AND FOR ABOUT A YEAR I GATHERED UP ALL THIS FABRIC THAT WAS DEPRESSION ERA AND MADE HER A NEW YORK BEAUTY QUILT.

OUT OF THOSE DEPRESSION ERA QUILTS.

WHEN YOU LOOK AT ALL THE NEW YORK BEAUTY BLOCKS I ACTUALLY CUT STRIPS SO I'M NOT CUTTING OUT LITTLE PIECES, I'M MAKING THEM FROM STRIPS.

THAT'S A WHAT'S CALLED AN OFFSET LOG CABIN.

I'M ATTRACTED TO CURVED DESIGNS.

WHEN YOU DO AN OFFSET LOG CABIN YOU CAN DO CIRCLES IF YOU CHOOSE TO.

I CHOSE TO DO A CLAM SHELL PATTERN WITH IT.

AT THE TIME MY SON WAS LIVING IN JAPAN, SO I WAS COLLECTING JAPANESE PRINTS.

IT WAS JUST A GOOD EXCUSE TO BUY FABRIC.

SINCE HE LIVED IN JAPAN I MADE THAT QUILT.

THE RAILROAD THROUGH THE ROCKIES PATTERN IS ANOTHER WAY THAT I COULD USE A NEW YORK BEAUTY BLOCK.

IT WAS TRADITIONALLY GAVE YOU A BROAD, OPEN SPACE THAT REPRESENTED THE PLAINS AS THE RAILROAD WENT ACROSS THE COUNTRY.

NICE PLACE TO HAND QUILT.

OR TO SHOWCASE YOUR QUILTING.

I DECIDED TO USE MY NEW YORK BEAUTY BLOCK IN THAT KIND OF SETTING AND I HAD BOUGHT AN AUSTRALIAN PRINT FOR THE BORDER.

I TAUGHT A LOT OF QUILT CLASSES FOR PROBABLY 25 YEARS THROUGHOUT THE GULF COAST PRIMARILY.

I STARTED SEWING AT 16.

I WAS IN A GIRL'S TRIO FOR SEVERAL YEARS AND WE HAD ALL OF OUR DRESSES ALIKE AND I LIKED MY TRIO CLOTHES.

I DIDN'T LIKE THE ONES THAT WERE STORE BOUGHT.

I LIKED GOING TO THE STORE AND PICKING OUT THE FABRICS AND THE PATTERN.

MY MOTHER MADE MY TRIO QUILT BUT SHE DIDN'T LIKE IT.

MY GRANDMOTHER WAS APPEAR DEPRESSION ERA QUILTER AND HER QUILLS WERE ALL AROUND HER HOUSE.

SHE WAS OLD BY THE TIME I CAME ALONG AND I NEVER ACTUALLY SAW HER QUILTING.

SHE TALKED ABOUT IT.

WE SLEPT UNDER THE QUILTS.

AT ONE POINT WE LIVED IN HER HOUSE AND HER QUILTING FRAME WAS SUSPENDED OVER MY BED.

I NEVER SAW QUILTS IN IT AND I NEVER SAW ANYONE USING IT.

I KNEW IT WAS FOR AND I I SAID ONE DAY I'M GOING TO MAKE A QUILT.

WHEN I WAS 16 I TOOK MY MONEY I GOT FROM MY BIRTHDAY, I LIVED IN CONNECTICUT, RIGHT IN THE MIDDLE OF THE TEXTILE INDUSTRY.

I WILL BOUGHT THE FABRIC AND EVERYTHING I NEEDED.

I SHUT MYSELF YOU HAVE IN MY BEDROOM AND CAME OUT WITH A DRESS.

I MADE MY FIRST QUILT RIGHT AFTER MY SON WAS BORN.

THEN I JUST PLAYED AROUND AT IT.

I DIDN'T ACTUALLY FOLLOW DIRECTIONS, I JUST DID MY OWN THING.

I DID THAT FOR ABOUT 16 YEARS.

FINALLY I DECIDED I WASN'T PROGRESS.

I WAS GOING TO PICK A PATTERN, ACTUALLY READ THE DIRECTIONS AND DO A TRADITIONAL BLOCK.

I BOUGHT A 1970 BOOK, THE ONLY ONE STILL IN PRINT ON QUILTING, PUBLISHED IN 1949 BY MARGARET DICKENS ON THE SHELF THERE.

I WORK WITH A LOT OF TRADITIONAL PATTERNS.

I HAVE A QUILT PROGRAM THAT'S AN ELECTRIC QUILT.

A LOT OF TRADITIONAL PATTERNS.

YOU CAN DRAFT YOUR OWN PATTERNS AND PRINT OUT ANY BLOCK IN ANY SIZE THAT YOU NEED.

I WORK ON THE COMPUTER A LOT.

I DON'T REALLY DESIGN THAT MUCH ON THE COMPUTER.

I DO SOME A LITTLE BIT BUT I LIKE DESIGNS AT THE DESIGN WALL.

I LIKE THE TAB BRICK TO TELL ME WHAT TO DO.

ORIGINALLY I PIECED BY MACHINE AND QUILTED BY HAND.

I DID THAT FOR QUITE A FEW YEARS.

YOU GET TO THE POINT YOU ARE NOT GOING TO BE ABLE TO FINISH THESE QUILTS.

HAND QUILTING TAKES A WHILE.

I DECIDED TO LEARN TO QUILT ON A DOMESTIC MACHINE.

A LOT OF PEOPLE NOW USE A BIG LONG PROFESSIONAL LONG ARM.

I DIDN'T EVEN KNOW WHAT THAT WAS WHEN I WAS LEARNING TO QUILT.

BY THE TIME I WAS AWARE OF WHAT LONG ARMS WERE WAND THEY COULD DO I ALREADY MASTERED QUILTING ON A DOMESTIC MACHINE.

I HAD NO DESIRE TO CHANGE.

THIS IS ACTUALLY AN INDUSTRIAL STRENGTH MACHINE BUT THE BATTING DOESN'T CAUSE MUCH ISSUE.

SOMETIMES THERE'S A LOT OF BULK IN THE SEAM ALLOWANCES YOU HAVE TO SEW OVER.

IT'S NOT AN ISSUE.

I HAD ONE MACHINE THAT YOU WEREN'T USING THE EXACT NEEDLE SPECIFIC FOR THAT TECHNIQUE OR THAT FABRIC IT WOULDN'T SEW.

MOST MACHINES ARE NOT THAT PERNICKETY.

I DID USE PREDOMINANTLY COTTON.

SHIRTS ARE GREAT.

USUALLY THAT'S FOR FAMILY MEMBERS.

WHEN I MADE THIS QUILT FOR THE FAMILY AND HE HAD BEAUTIFUL SHIRTS, 100% COTTON, HIGH QUALITY, THEY WANTED THEIR QUILT AND I GOT TO KEEP THE REST OF IT.

I'M ADVENTURESOME.

I WILL STILL USE OTHER FABRIC.

I COLLECT TYPES PEOPLE GIVE THINGS TO ME.

THEY CAN BE ACETATE, POLYESTER, THEY CAN BE WOOL AND SILK BLENDS.

THEY CAN BE COTTON.

YOU ARE PUTTING THEM ALTOGETHER.

YOU HAVE TO WASH IN COLD WATER AND NOT PUT IT IN THE DRIER.

I HAVE A QUILT MADE FROM JAPANESE BROCADE.

IF I'M WORKING NOT STOP ON A QUILT, I WILL HAVE ONE IN TWO WEEKS OR EIGHT HOURS A DAY.

THAT WAS MAYBE 25.

OR A LARGE LAP FOR 10 QUILTING IS COMPULSIVE.

ONCE YOU START IT'S SOMETHING YOU HAVE TO DO.

I HAVE PROBABLY SEWN SOME EVERY DAY TAKING MOMENTS TO SURROUND YOURSELF WITH ARTFUL ENVIRONMENTS IS MORE IMPORTANT THAN EVER.

HERE ARE SOME OF OUR PICKS FOR NOTABLE EXHIBITS AT MUSEUMS AND GALLERIES HERE IN OUR STATE.

FOR MORE ABOUT THESE AND MANY MORE EVENTS IN THE ARTS VISIT LPB.ORG/ARTROCKS.

WHILE THERE YOU'LL FIND LINKS TO EVERY EPISODE OF THIS PROGRAM.

TO SEE OR SHARE ANY SEGMENT AGAIN VISIT LPB.ORG/ARTROCKS.

THE CITY OF DETROIT HAS LONG BEEN RECOGNIZED FOR GREAT MUSIC AND IS THE BIRTHPLACE OF MOTOWN.

LOOKING TO THE FUTURE, THE MOTOR CITY IS DETERMINED AS EVER TO CONTINUE THE TRADITION OF LEADING THE MUSIC SCENE.

THE DETROIT INSTITUTE OF MUSIC EDUCATION, ALSO KNOWN AS DIME, PROVIDES A UNIQUE CURRICULUM THAT CENTERS ON THE CONTEMPORARY MUSIC INDUSTRY.

THE GOAL IS TO PREPARE STUDENTS FOR LASTING ROLES IN TODAY'S MUSIC WORLD.

LISTEN UP!

♪ WHEN YOU ARE AT THE DIME YOU HEAR INCREDIBLE MUSIC.

YOU FEEL THE MUSIC INDUSTRY.

MOST PLACES MEASURE SUCCESS IN MUSIC BY COMPLICATION.

MORE COMPLICATED IS BETTER THAN SIMPLE MUSIC.

IN THE MIEWK INDUSTRY IT'S THE REVERSE.

DETROIT THE GOT THE BEST MUSICAL BONES IN THE WORLD.

THE CHANCE TO BUILD A COLLEGE HERE WAS AN AMAZING THING.

IN 2001 IN ENGLAND WE BUILT FIVE COLLEGES THERE SO YOUNG PEOPLE HAD AN ECONOMIC PATH THAT VALUED MODERN MUSIC AT THE SAME LEVEL AS TRADITIONAL MUSIC.

WE REALLY WANTED TO HELP YOUNG MODERN MUSICIANS, ENTREPRENEURS AND SONGWRITERS UNDERSTAND HOW THE BUSINESS OF MUSIC WORKS AND THAT WAS REALLY THE MOTIVATION ABOUT DIME.

DIME IS DIFFERENT.

IT FOCUSES ON CONTEMPORARY MUSIC INDUSTRY.

A LOT OF UNIVERSITIES YOU DO A CLASSICAL TRACK OR JAZZ TRACK.

DIME IS MORE FIT FOR STUDENTS WHO WANT TO DO POP MUSIC OR ANYTHING ALONG THOSE LINES BEING IN THE CONTEMPORARY MUSIC INDUSTRY.

MUCH BETTER.

OK?

IT'S JUST AMAZING HOW YOU REALLY GET INTO IT, LIKE, AS FAR AS YOUR CHARACTER HOW MUCH IT HELPS.

WHAT YOU GET AT DIME IS THE REAL DEAL.

WHAT IT'S REALLY LIKE EVERY DAY AND HOW YOU ALSO HAVE TO HAVE ENTREPRENEURIAL SKILLS TO SURVIVE IN TODAY'S INDUSTRY.

WE WANT YOUNG PEOPLE TO UNDERSTAND IT'S NOT JUST ABOUT PLAYING GUITAR IN YOUR BEDROOM.

OR BEING THE BEYONCE.

IT'S EVERYTHING IN BETWEEN.

THERE WILL BE SOME SINGERS WHO REALIZE THEY ARE NOT AS GOOD AS OTHERS IN THEIR CLASS AND THAT'S OKAY.

THINK HOW YOU CAN FIND YOUR PATH IN THE MUSIC INDUSTRY.

IT DOESN'T MEAN THAT YOU WILL NEVER SING AGAIN, IT JUST MEANS THAT YOU MIGHT DO SOMETHING ELSE AS YOUR PRIMARY SOURCE OF INCOME AND THAT WILL ALLOW YOU TO CONTINUE YOUR SINGING PASSION.

GOOD.

VERY GOOD.

NOW AS WE GO -- [SINGING] MAKE SURE WE HAVE A NICE, BLENDED SOUND.

ALL RIGHT?

MOST OF OUR FACULTY MEMBERS, IF NOT ALL, ARE PRACTICING MUSICIANS.

AND SO WE'RE ALL FAMILIAR WITH WHAT IT TAKES TO HAVE A CAREER, HAVE YOUR 9:00 TO 5:00 AND PURSUE THIS DREAM.

WHEN I LEAVE CLASS MOST TIMES I'M GOING TO THE AIRPORT TO CATCH A FLIGHT TO GO ON A TOUR DATE WITH FROM ONE OF THE ARTISTS I WORK WITH SO I'M ABLE TO BRING THAT EXPERIENCE BACK TO THE CLASSROOM MONDAY MORNING.

THAT'S ONE OF THE THINGS THAT SEPARATES DIME AND MAKES IT UNIQUE.

THEY GET A BACHELOR OF ART IN COMMERCIAL MUSIC PERFORMANCE OR SONG WRITING OR MUSICAL STUDIES AND THE DEGREES ARE AWARDED THROUGH METROPOLITAN STATE UNIVERSITY OF DENVER.

IF YOU'RE A PERFORMANCE MAJOR, YOU WILL TAKE A CLASS CALLED LIVE PERFORMANCE WORKSHOP WHERE YOU HAVE TO LEARN A DIFFERENT SONG EACH WEEK.

IN SONG WRITING THEY TAKE CLASSES LIKE LYRIC WRITING, FOUNDATION WRITING, WRITING FOR ARTISTS.

AND THEN FOR MUSIC INDUSTRY STUDIES SOME.

THEIR CLASSES ARE DOMESTIC MIEWK MARKET, INTERNATIONAL MUSIC, ESTABLISHING AN ARTIST.

JUST KIND OF LIKE IN THE FEEL FOR DIFFERENT ASPECTS OF BEING HAWTHORNE BRIDGED THE SCENES AND NOT BEING ON STAGE.

WE WANT STUDENTS IN THE FIRST WEEK THEY ENROLL IN THE PROGRAM TO FEEL LIKE THEY HAVE ALREADY ENTERED THE MUSIC INDUSTRY SO IT WAS REALLY IMPORTANT TO BUILD A BUILDING THAT FEELS INSPIRING, FULL OF MUSIC, THAT HAS VINTAGE AND NEW EQUIPMENT THAT STUDENTS CAN TRY AND TEST.

WE DON'T HAVE CLASSROOMS, WE HAVE STUDIOS.

WHEN WE GO IN THE STUDIO WE'RE WORKING, REVIVING, STRULD WE'RE COLLABORATING.

WE OFTEN DESCRIBE DIME LIKE A DEVELOPMENT BUILD.

WE SAY DURING YOUR FOUR YEARS COME HERE, MAKE ALL YOUR MISTAKES.

USE DIME, THE PROGRAM AND YOUR STUDIES TO FIGURE OUT WHO YOU WANT TO BE SO WHEN YOU GRADUATE, YOU ARE GOING TO GET THAT JOB THAT YOU WANT.

YES, COME ON.

THERE WE GO!

I TRY TO BE RELENTLESS MAKING SURE I EMPOWER THEM TO KNOW THAT YOU CAN MAKE MUSIC, YOU CAN TURN THIS MUSIC INTO A PASSION AND MAKE IT A CAREER.

IT'S REALLY IMPORTANT FOR US TO OPEN OUR DOORS TO THE CITY.

WE WANTED DIME TO FEEL LIKE ANYONE IN THE CITY IS WELCOME IN THESE FOUR WALLS.

WE SAW THE BASEMENT HERE.

AND BECAUSE I'M FROM -- WE MODELED THIS ON CHARLIE PARKER'S.

THAT SPEAK EASY, OPEN DOOR, ANYONE CAN WALK IN OFF THE STREET.

ALL OUR EVENTS ARE FREE.

IF SOMEONE ENJOYED THE SHOW WE HAVE A STUDENT SCHOLARSHIP FUND THEY CAN CONTRIBUTE TO TO SAY THANK YOU.

WE ARE THE DETROIT INSTITUTE OF MUSIC EDUCATION.

WE ARE TAKING THAT TAG LOIN ALL AROUND THE WORLD WITH US.

SO WE HAVE NOW JUST BUILT A COLLEGE IN DENVER CALLED DIME DENVER, BUT IT IS POWERED BY THE DETROIT INSTITUTE OF MUSIC EDUCATION SO WE ARE TRYING TO FLY THE FLAG FOR ALL DETROIT PERFORMERS WITHIN DETROIT AND ALSO OUTSIDE OF DETROIT AND TELL THE WORLD WHAT INCREDIBLY TALENTED MUSICIANS THERE ARE.

WE ALSO HAVE DIME ONLINE WHICH IS IN 23 COUNTRIES RIGHT NOW.

THAT'S ALSO POWERED BY -- BY DETROIT.

BY DETROIT.

ONE OF OUR MOTTOS IS SIMPLE DONE WELL.

BEING ABLE TO REALLY TAKE ON A SONG AND COMMUNICATE IT TO THE POINT WHERE IT FEELS LIKE YOU'RE HAVING A GOOD TIME AND YOU'RE TOUCHING THE PERSON WITH YOUR MUSIC.

YOU HAVE ALL THE TOOLS TO MAKE IT LOOK EFFORTLESS.

I THINK THAT THAT IS ONE OF THE THINGS THAT WE TRY TO GET ACROSS HERE AT DIME.

♪♪ ♪♪ FROM THE PERFORMING TO THE VISUAL ARTS KENNETH YOUNG IS A TALENTED PAINTER WHO ENJOYS EXPLORING MANY DIFFERENT STYLES.

WE VISITED THE ARTIST AT HIS HOME IN GHENT, NEW YORK, TO SEE WHAT HE'S CURRENTLY WORKING ON AND TO LEARN MORE ABOUT HIS PERSONAL JOURNEY AS A CREATIVE.

PERSONAL JOURNEY AS A CREATIVE.CREATIVE.

THERE'S A LOT TO BE SAID ABOUT BECOMING KNOWN FOR CERTAIN STYLES.

SOMEONE SAYS, YOU KNOW, YOU LOOK AT THAT YOU KNOW IT'S A VAN GOGH, A RENOIR.

BECAUSE HE HAS A DISTINCTIVE STYLE ABOUT MILLENNIUM.

AND I REALLY DON'T THINK I HAVE -- I HAVE A DISTINCTIVE STYLE.

I THINK IT'S BECAUSE EACH WORK TO ME IF THERE'S A CERTAIN FEELING OR CERTAIN MOOD I'M TRYING TO CONVEY, IT HAS ITS OWN STYLE THAT I NEED TO DO TO ACHIEVE THAT.

I THINK THE PAINTING I'M WORKING ON RIGHT NOW IS NOT LIKE ANY OTHER PAINTING BECAUSE IT'S ANOTHER FEELING I'M HAVING.

I'M NOT CONFINED TO ONE PARTICULAR STYLE.

MAYBE IT HELPS OR HURTS ME BUT I'M LOOKING FOR THE ADVENTURE, FOR THE JOURNEY.

FOR THE JOURNEY.FOR THE JOURNEY.

WHEN I WAS IN HIGH SCHOOL, I WAS PRESENT WHEN YOU HAVE YOUR PHOTO TAKEN FOR THE YEARBOOK.

I SAYS, WHAT DO YOU THINK ABOUT DRAWING A SELF-PORTRAIT?

I DID END UP GETTING TWO SCHOLARSHIPS TO GO TO AN ART CLASS, BUT I MADE A DECISION BACK THEN IT WAS ANOTHER FASCINATION THAT I STARTED TO GET.

I STARTED TO BE FASCINATED WITH STUDYING THE BIBLE, AND I WAS GETTING REALLY RELIGIOUSLY INCLINED.

AT THAT POINT I MADE A DECISION TO GO IN THAT DIRECTION INSTEAD OF TAKING THE SCHOLARSHIPS.

I GUESS I WAS STRUGGLING WITH THE TYPE OF ARTIST I WANTED TO BE.

I DIDN'T WANT TO BE IN COMMERCIAL ART.

I WANTED TO BE A PAINTER.

AND I DIDN'T KNOW -- I THOUGHT IT WAS RISKY TRYING TO BE A PAINTER AND MAKE A LIVING AT IT.

I GOT MARRIED.

THEN RESPONSIBILITIES, WE HAD A CHILD.

I JUST HAD TO STOP PAINTING FOR A WHILE BECAUSE IT JUST WASN'T PRACTICAL.

THAT SPAN OF TIME PROBABLY ABOUT 15 TO 20 YEARS WHERE I DID NOTHING.

I THINK ANOTHER SPARK STARTED FOR ME WHEN I WENT TO VISIT THE CLARK ART INSTITUTE IN WILLIAMSTOWN.

TO ACTUALLY BE IN FRONT OF RENOIR OR REMINGTON OR MONET, SERGEANT, SEEING THOSE WORKS IN PERSON, IT JUST BLEW ME AWAY.

THE FIRE WAS STARTING ALL OVER AGAIN AND I WANTED TO PAINT.

HERE IT IS IN THE '90s, 30 YEARS OUT OF HIGH SCHOOL.

AND I DID THIS SELF PORTRAIT.

LIKE TELLING, KEN IS STILL HERE.

KEN IS STILL PAINTING.

IT WAS A PORTRAIT OF MYSELF, A TAKE ON THE ROCKWELL SELF-PORTRAIT WHERE HE PAINTS HIMSELF AND HE'S LOOKING IN THE MIRROR AT HIMSELF WHILE HE'S PAINTING.

FRIENDS SAW THAT, WHAT ARE YOU DOING?

YOU GOT TO SHOW THIS STUFF!

PEOPLE JUST KEPT ENCOURAGING ME TO CONTINUE TO PAINT.

ONE DAY I WAS DRIVING THROUGH HUDSON, IT WAS RAINING, AND RAINY DAYS DIDN'T APPEAL TO ME AT ALL.

GRAY.

NOT MUCH COLOR GOING ON.

BUT DRIVING THROUGH THE CITY IN THE RAIN I NOTICED THE WAY THE CITY AND ALL THOSE BUILDINGS AND CARS AND PEOPLE LOOKED LIKE THROUGH THE WET WINDSHIELD.

THERE WAS ALL THIS DRIZZLY COLOR IN MOTION HAPPENING.

I WANTED TO DUPLICATE THAT ON CANVAS.

I TRIED AND TRIED REAL HARD UNTIL I COULD GET TO WHERE IT LOOKED LIKE IT WAS LOOKING THROUGH WET GLASS.

SO I DID A WHOLE SERIES, ABOUT 24 PAINTINGS, AND IT TRANSFORMED THOSE BUILDINGS AND PEOPLE AND AUTOMOBILES INTO SOMETHING MAGICAL TO ME.

I VIEW ART AS NOT JUST A NICE THING IN MY LIFE, TO ME IT IS MY LIFE.

AND I JUST WANT TO CONTINUE REACHING OUT TO PEOPLE THAT CAN CONNECT WITH IT AND I WOULD ENCOURAGE ANYBODY THAT WOULD LIKE -- IT'S NEVER TOO LATE TO TRY.

MY LIFE HAS BEEN VERY COMPARTMENTALIZED.

YOU HAVE CERTAIN THINGS THAT HAVE TO BE DONE AND YOU HAVE PRIORITIES IN LIFE.

I KNOW IN THAT 20-YEAR SPAN ART COULDN'T BE A PRIORITY BECAUSE THERE WERE OTHER THINGS.

BUT DON'T LET THAT STOP YOU FOREVER.

YOU COULD PICK IT UP AND YOU CAN DO IT.

JUST DON'T SAY I CAN'T BECAUSE THAT IS THE WORST THING.

LEAVING NEW YORK NOW FOR FLORIDA, NEXT WE ARE GOING TO TAMPA BAY TO LEARN ABOUT A SINGULAR STYLE OF POTTERY CREATED IN PREHISTORIC TIMES.

TAKE A LOOK BACK TO THE ARTS AND THESE CREATIONS OF EARLY MAN WE HAVE I-THE PRESERVE IS A LITTLE OVER 3,000 ACRES.

THERE'S HIKING TRAILS, CANOE AND KAYAK TRAILS.

THERE'S WHEATON ISLAND CULTURAL HISTORY CENTER WHICH HAS A SMALL MUSEUM.

IT HAS THE WHEATON ISLAND COULD KNEW DISPLAY.

JUNIOR ARCEOLOGY CAMP FOR KIDS.

SO THERE'S A VARIETY OF ACTIVITIES OUT HERE THAT THE PUBLIC CAN PARTICIPATE IN.

THE WHEATON ISLANDS POTTERY IS PROBABLY -- AND THIS IS THE OPINIONS OF A VARIETY OF PEOPLE BESIDES ME, PROFESSIONAL GEOLOGIST, PROBABLY HAS SOME OF THE MOST WELL MADE AND DISTINCTIVE POTTERY IN THE SOUTHEASTERN UNITED STATES.

IT'S VERY WELL MADE, VERY WELL DECORATED.

AND FROM AN ARTISTIC STANDPOINT THEY ARE ARTISTICALLY AND AESTHETICALLY VERY PLEASING.

ARCHEOLOGICALLY, THEY WERE FOUND AT WHEATON ISLAND, ANYWAY, IN A BURIAL MOUND THAT WAS EXCAVATED BY THE SMITHSONIAN IN THE 1920s.

THEY KIND OF FORMED THE BASIS FOR WHAT'S NOW CALLED THE WHEATON ISLAND CULTURE.

SINCE THAT POTTERY HAS BEEN FOUND ALL OVER FLORIDA AND THE LOWER SOUTHEAST AS FAR WEST AS I THINK IN ARKANSAS AND GEORGIA AND ALABAMA.

WE ALL RECOGNIZE WHITE TON ISLAND POTTERY WHEN WE SEE IT BECAUSE IT'S SO DISTINCTIVE IN TERMS OF THE UNIQUENESS OF THE APPLICATION, THE ELABORATENESS.

THERE ARE A LOT OF NATURALIST ELEMENTS REPRESENTED IN THE POTTERY.

SOME OF THEM ARE PURELY ABSTRACT BUT THE ONES THAT WE CAN WRAP OUR HEADS AROUND BETTER THERE SEEM TO BE A LOT OF REPRESENTATIONS OF ANIMALS, ESPECIALLY BIRDS, NOT ONLY IN THE FORM OF SOME OF THE POTS BUT IN THE DESIGNS.

THERE ARE DESIGNS THAT LOOK LIKE BIRDS WIPTION AND BIRDS HEADS OR REPRESENTATIONS OF THE WIND MAYBE FROM THE FLUTTER OF BIRLD WINGS 678 ANOTHER ANIMAL REPRESENTED SEEMS TO BE ONE OF THE MORE COMMONLY REPRESENTED.

SOME OF THEM PROBABLY REPRESENT SORT OF MORE COSMOLOGICAL SCENES LIKE MOVEMENT OF THE SUN, MOVEMENTS OF THE MOON.

EVEN STARS PERHAPS.

WHEATON ISLAND IS ONE OF THE MOST DISTINCTIVE POTTERY TYPES CERTAINLY IN EASTERN NORTH AMERICA JUST BECAUSE OF THEIR SIZE AND DESIGNS.

THE UNUSUAL VESSEL FORMS.

WE SEE CERTAIN ELEMENTS OF THIS POTTERY THAT SHOW UP ELSEWHERE IN DIFFERENT TYPES AND PLACES.

WE NOT ONLY RECOGNIZE LIKE 100 YEARS AGO A REALLY DISTINCTIVE TYPE OF POTTERY EVEN BEFORE THEY HAD THE NAME WHEATON ISLAND.

THE POTTERY HAS EVOLVED MOST RECENTLY IN THE PAST 50 YEARS.

THERE ARE DIFFERENT WAYS TO MAKE THINGS OUT OF CLAY.

THE WHEEL IS MOST COMMONLY KNOWN BUT PEOPLE STILL DO PINCH POTTERY.

THEY TAKE A BALL OF CLAY AND PINCH IT WITH YOUR HANDS.

PEOPLE WILL MAKE COILS OUT OF CLAY.

THEY WILL ROLL THEM AND STACK THEM.

POTTERY IS MORE THAN JUST A FUNCTIONAL VESSEL.

IDEAS, SOMETHING THAT GETS ART INTO HOMES.

SOMETHING SPECIAL THAT WE NEED.

I THINK POTTERY IS SOMETHING THAT LIKE SECOND SATURDAY EVENTS WE PROBABLY GET 100 TO 200 PEOPLE COMING THROUGH EVERY SECOND SATURDAY TO LOOK AT THE NEW SHOWS WE HAVE, SHOWCASE ARTISTS AROUND THE COUNTRY AND AROUND THE WORLD.

FROM ONE OF THE THINGS THAT I THINK ARTISTS TODAY COULD TAKE FROM LOOKING AT WHEATON ISLAND POTTERY IS UNDERSTANDING THAT CONNECTION THAT PEOPLE HAVE WITH THE NATURAL WORLD AND DRAWING INSPIRATION FROM THAT.

I THINK A LOT OF ARTISTS DO THAT, BUT THINKING ABOUT THAT FROM THE PERSPECTIVE OF NATIVE AMERICANS AND THE CONNECTIONS TO LANDSCAPES AND ALL THE ABOUTINGS IN THE LANDSCAPES IS SOMETHING THAT ARTISTS CAN DRAW INSPIRATION.

THAT'S GOING TO DO IT FOR THIS EDITION OF "ART ROCKS."

YOU CAN ALWAYS WATCH EPISODES OF THE SHOW AT LPB.ORG/ARTROCKS AND REMEMBER, COUNTRY ROADS MAGAZINE IS A GREAT PLACE TO FIND OUT ABOUT WHAT'S GOING ON WITH THE ARTS ACROSS THE STATE.

UNTIL NEXT TIME, THANKS FOR WATCHING.

"ART ROCKS" IS MADE POSSIBLE BY THE FOUNDATION FOR EXCELLENCE IN LOUISIANA PUBLIC BROADCASTING AND BY VIEWERS LIKE YOU.

ARE