GOOD AFTERNOON AND WELCOME TO ARTS AMERICA, THE PROGRAM THAT BRINGS YOU THE BEST ARTS STORIES FROM ST.

LOUIS AND AROUND THE COUNTRY.

FIRST UP, WE DROP BY ST.

LOUIS' CONTEMPORARY ART MUSEUM TO TAKE A LOOK AT TWO EXHIBITS THAT ARE DEFINITELY WORTH SEEING AND ARE ONLY THERE FOR ANOTHER WEEK, SO IF YOU LIKE THIS STORY - YOU'VE STILL GOT TIME TO CATCH THE REAL THING.

FOR NEW YORK-BASED ARTIST BARNABY FURNAS, THE ON-SITE CREATION OF HIS 50 FOOT PAINTING THE LAST FLOOD IS AS IMPORTANT AS THE FINISHED WORK.

IT'S THE LATEST OF HIS SERIES, RED SEA PAINTINGS IN WHICH HE POURS SWATHS OF PAINT OVER THE CANVAS, STRETCHED OVER A GIANT, TILTED SCAFFOLD.

IT DEPICTS WHAT HE CALLS THE END OF EVERYTHING THAT OFTEN OCCURS BEFORE A BETTER WORLD CAN COME INTO BEING.

FOR THE PAST FIFTY YEARS JOE GOODE, WHO HAILS FROM OKLAHOMA, HAS EXPLORED WAYS TO COMMUNICATE WHAT HE CONSIDERS TO BE THE ESSENCE OF THE MIDWEST - AND IN THIS SURVEY OF HIS WORK CURRENTLY AT CAM, WE SEE IMAGES DEPICTING TORNADOES EXPANSIVE SKIES AND SURFACES RAVAGED BY SHOTGUN BLASTS.

THE RANGE OF HIS WORK IS BROAD.

HIS TORN CLOUD PAINTINGS CREATE IMPRESSIONS BY CUTTING AND TEARING CANVAS TO REPRESENT THE SENSE OF SKIES.

THE BLACK AND TORN SURFACES IN HIS NIGHT TIME SERIES CONTINUE HIS EXPERIMENTS WITH SURFACES AND ARE REFLECTIONS ON DESTRUCTION.

SOMETIMES HE TAKES SIMPLE, COMMON ITEMS AND TURNS THEM INTO LARGER STATEMENTS ABOUT DAILY LIFE, FOCUSING ON THE ORDINARY AND CHANGING THE WAY WE THINK ABOUT THEM LIKE A MILK BOTTLE TRANSFORMED INTO A PIECE OF ART OR A FLIGHT OF STAIRS THAT GOES NOWHERE.

IN HIS SERIES "ENVIRONMENTAL IMPACT", GOODE FIRES A SHOTGUN THROUGH THE SURFACE OF THE PAINTINGS, RELYING ON THE POWER OF THE AMMUNITION TO CREATE COMPOSITION.

AN IDEA HE CLAIMS CAME FROM A FILM HE SAW LONG AGO.

SOUNDBITE ON JEAN PAUL BELMONDO MOVIE "BREATHLESS".

THE WORKS OF JOE GOODE AND BARNABY FURNAS WILL BE ON EXHIBIT AT CAM THROUGH APRIL 11.

NEXT - WE MEET PHOTOGRAPHER STEVE SABELLA - WHO WAS BORN IN JERUSALEM, AND CREATES WORK THAT OFTEN FOCUSES ON HIS PALESTINIAN IDENTITY.

AT A RECENT EXHIBTION IN HOUSTON, SABELLA'S WORK WAS FRONT AND CENTER AS PART OF A SHOW OF CONTEMPORARY ARAB PHOTOGRAPHY.

MOST PEOPLE WOULD LOOK AT THE IMAGES AND TRY TO CONNECT THEM TO REALITY.

THAT'S A MISTAKE.

WE NEED TO LOOK AT THE IMAGES AND SEE HOW THEY TRY TO COMMUNICATE WITH US.

I GREW UP IN JERUSALEM UNDER ISRAELI OCCUPATION.

IT TOOK ME 38 YEARS TO FREE MY IMAGINATION FROM THE ISRAELI OCCUPATION, IN JERUSALEM, IT'S NOT AN EASY LIFE.

MOST PEOPLE, WHEN THEY ARE UNDER OCCUPATION, IT'S PHYSICAL.

I FOUND THAT'S ACTUALLY MENTAL.

SO I GREW UP IN MENTAL EXILE IN JERUSALEM.

I SUFFERED A LOT FROM THIS.

SO I NEEDED TO CLEANSE MY SYSTEM FROM THIS OCCUPATION.

ONCE I DID, I WENT BACK ON TRACK TO DECODE WHAT IT MEANS TO LIVE ON THIS WORLD.

WHEN I LEFT JERUSALEM, I FELT COMPLETELY IN EXILE.

LONDON INTENSIFIED THAT FEELING OF ALIENATION.

SO I DID WINDOWS FOR 2 REASONS: LOOK FROM INSIDE OUTSIDE, AND HOW THE WORLD LOOKS AT ME.

BUT I FELT COMPLETELY OUT OF PLACE.

WHERE BELONNED MY BELONGING.

DAYTON PAINTER AMY KOLLAR ANDERSON'S MEDIUM OF CHOICE IS ACRYLICS.

HER PAINTINGS DEPICT NARRATIVES ABOUT OBSESSION - AS SHE EXPLORES ISSUES RELATED TO BEING IN AND OUT OF CONTROL.

NEXT, SHE TAKES US ON A OUR OF HER STUDIO AND HER WORK, WHICH PUSHES SOME UNUSUAL BOUNDARIES.

* I'VE HEARD A VARIETY OF WAYS MY WORK IS DESCRIBED.

SOME PEOPLE SAY THAT IT'S SCARY, WHICH I DON'T AGREE WITH.

THERE TENDS TO BE A LITTLE BIT OF A DARK EDGE TO A LOT OF MY COMPOSITIONS.

SOME PEOPLE SAY WHIMSICAL PLAYFUL, COLORFUL, SURREAL THEY ARE SOMEWHAT OF THIS WORLD BUT THEN TWISTED AND SOMEWHAT NOT OF THIS WORLD.

WORKING FROM A STUDIO IN HER RIVERSIDE HOME, AMY KOLLAR ANDERSON USES A PAINTBRUSH TO BRING TO LIFE PEOPLE AND PLACES THAT SEEM FAMILIAR, BUT ALSO CONTAIN ELEMENTS OF THE UNKNOWN, THE BIZARRE, THE ALIEN.

I'VE ALWAYS BEEN AN ARTIST.

WAS ALWAYS A CREATIVE KID.

I DID, ATTEND THE SCHOOL THE ART INSTITUTE OF CHICAGO.

BUT I FEEL THAT MY-MOST OF MY TRAINING HAS COME FROM RESEARCHING OTHER ARTISTS, TALKING TO OTHER ARTISTS UM, EXPERIMENTING.

I LEARNED WITH OILS, BUT THE SLOW DRY TIME, ALL THE TOXIC SOLVENTS THEY JUST WEREN'T MY FAVORITES.

WITH ACRYLICS YOU DON'T HAVE ANY OF THAT.

YOU KNOW, I CAN DO A LAYER OF PAINT AND WITHIN TEN MINUTES I'M WORKING ON TOP OF IT, AS OPPOSED TO TWENTY-FOUR HOURS WITH THE OILS ACRYLICS ALSO HAVE ALL SORTS OF MEDIUMS.

THERE'S, INTERFERENCE PAINTS AND METALLICS NEONS, JUST A LOT OF THE CRAZY TEXTURES AND COLORS THAT I LIKE TO PLAY WITH.

IN ADDITION TO HER PLAYFUL USE OF COLOR AND MATERIALS, AMY USES HER CANVASES TO CREATE CHARACTERS AND TELL STORIES, FINDING INSPIRATION IN A VARIETY OF PLACES.

THERE'S ALWAYS THESE LAYERS OF NARRATION AND CHARACTER DEVELOPMENT AND SUCH.

ONE OF MY RECENT SERIES WAS BASED ON THE WRITINGS OF LEWIS CARROLL AND HIS ALICE IN WONDERLAND BOOKS.

AND SO I READ THE BOOKS, RESEARCHED THE CHARACTERS AND CREATED DRAWINGS THAT I THEN TRANSFERRED TO THE CANVAS.

IT WAS A LOT OF PREPARATION, A LOT OF PREPLANNING.

AND THEN SOMETIMES I'M INSPIRED BY DREAMS.

SOMETIMES WORKING IN THE YARD I'LL GET AN IDEA SOMETIMES LIFE EVENTS OR, STORIES ON THE NEWS, INSPIRATION CAN COME FROM ANYWHERE AND I LIKE THAT VARIETY.

I DON'T WANT TO JUST MAKE THE SAME THING ALL THE TIME.

I LIKE THE CHALLENGE OF NEW DIRECTIONS AND NEW MATERIALS.

AS FAR AS COMPLETING A PAINTING, IT TAKES ANYWHERE FROM, OH GOSH, FIFTY HOURS TO TWO HUNDRED HOURS DEPENDING ON THE SIZE AND THE LEVEL OF COMPLEXITY I DO HAVE A YOUTUBE CHANNEL.

I'VE BEEN POSTING TIME-LAPSE VIDEOS I'VE LEARNED THROUGH TRIAL AND ERROR, TO SET UP THE CAMERA AND THE TIMER GOES OFF EVERY MINUTE.

SO I'VE HAD A LOT OF FUN PLAYING WITH TIME IN THERE, WHETHER IT'S SHOWING PARTS OF THE WINDOW IN THE FRAME OR SHOWING MY CATS FLIPPIN' AND FLOPPIN' AS THEY SLEEP OR SHOWING CLOCKS TICK AWAY THE MINUTES.

IT ACTUALLY HELPS THE PAINTINGS MOVE A LITTLE BIT QUICKER EVEN, WHICH IS STRANGE 'CAUSE IT JUST KEEPS ME FOCUSED.

AMY'S PAINTINGS HAVE BEEN EXHIBITED IN GALLERIES AND JURIED SHOWS THROUGHOUT OHIO AND ACROSS THE UNITED STATES.

IN THE WINTER OF TWO-THOUSAND FOURTEEN, SHE CREATED A SERIES OF ENTIRELY NEW WORKS FOR IDENTIFICATION, A SOLO SHOW AT ARTSTREET STUDIO D GALLERY, ON THE UNIVERSITY OF DAYTON CAMPUS.

I WAS ASKED BY BRIAN LADUCA THE DIRECTOR OF ART STREET TO PARTICIPATE THIS YEAR'S THEME, IN GENERAL, WAS ON HUMAN RIGHTS.

SO, BRIAN AND I TALKED ABOUT WHAT DIRECTIONS THE SHOW COULD TAKE.

AND, THAT'S WHEN I DECIDED I WANTED MY SHOW TO BE ABOUT EMPATHY AND JUST CONNECTING WITH OTHER PEOPLE.

THERE WERE SIX PAINTINGS IN THE SHOW.

AND THOSE WERE MORE OF THE INTERNAL SORT OF, LOOKING INWARD.

THE PALETTE WAS ALSO VERY, VERY DIFFERENT FROM WHAT I'VE NORMALLY DONE.

MY WORK HAD BEEN VERY LOUD AND IN SOME CASES A LITTLE OBNOXIOUS, A LITTLE FLASHY, AND THIS WORK WAS VERY QUIET AND SOFT, LOTS OF GREYS AND MUTED BLUES AND SILVERS, SO IT WAS JUST A LOT QUIETER.

THERE WERE TWO FACE PANELS ON EITHER SIDE OF THE GALLERY SPACE AND I HAD THE FACES OF FAMILY MEMBERS, LOVED ONES, FRIENDS, PEOPLE THAT I'VE HAD REALLY GREAT CONVERSATIONS WITH.

BASICALLY THE FACES WOULD TRANSITION DOWN INTO PEBBLES AND THEN THE PEBBLES WOULD GO ACROSS THE FLOOR THE PEBBLES REPRESENTED, SORT OF THE NAMELESS, FACELESS OTHER.

AND, AS THEY TRANSITIONED INTO THE PEOPLE THAT YOU KNOW AND LOVE, THEY GO FROM BEING THESE ELEMENTS THAT YOU CAN IGNORE AND PRETEND AREN'T THERE TO ELEMENTS THAT YOU'RE YOU WOULD DO ANYTHING FOR.

IN THE CENTER OF THE GALLERY, WE HAD THE INTERACTIVE WORK STATION AND I CREATED THESE CANVAS PEBBLES THAT PEOPLE COULD DRAW OR WRITE ON ANY SORT OF SITUATION WHERE THEY'VE LEARNED EMPATHY OR WHATEVER THEY WANTED TO TALK ABOUT THAT TIED INTO THAT IDEA WITH CONNECTING WITH OTHERS.

SO, IT WAS REALLY EXCITING TO SEE THE PIECE EVOLVE THROUGHOUT THE MONTH AND SEE THESE PEBBLES, MULTIPLY AND THEY WERE ABLE TO SORT OF SHIFT AND TURN AND JUST SORT OF DANCE IN THE SPACE IT WAS VERY MEDITATIVE AND I REALLY ENJOYED HOW IT CAME TOGETHER.

ORIGINALLY A NATIVE OF THE CHICAGO AREA, AMY MOVED TO DAYTON IN THE NINETEEN NINETIES.

SINCE THEN, SHE'S DEVELOPED STRONG TIES WITHIN THE LOCAL ART SCENE, AND NOW FINDS HERSELF PLAYING A SPECIAL ROLE FOR A COMPANY THAT'S PART OF THE CITY'S REINVENTION.

DAYTON HAS BEEN GROWING AND CHANGING OVER THE LAST EIGHTEEN YEARS WARPED WING BREWERY IS ONE OF THE NEWEST BREWERIES IN TOWN.

I'M CONSIDERED THEIR OFFICIAL BREWERY ARTIST AND I DO ALL THE SPECIALTY BEER DESIGNS.

IT'S BEEN FUN WORKING WITH THE GUYS AND DOING A LITTLE MORE GRAPHIC WORK.

WITH THESE WARPED WING PROJECTS I'M USING SOME OF THOSE SKILLS OF THE GRAPHIC DESIGN BUT I'M NOT APPROACHING IT LIKE IT'S A GRAPHIC DESIGN PROJECT.

THESE ARE WORKS OF ART IT'S VERY EXCITING TO BE A PART OF IT AND GET TO SEE, GET TO TASTE THE FINAL PRODUCT AT THE END AND HOW ALL THE VISIONS AND CONCEPTS AND EVERYTHING KINDA COME TOGETHER.

LETS TAKE A LOOK AT THE ARTS CALENDAR AND GET SOME IDEAS ON PLACES TO GO AND THINGS TO SEE AROUND TOWN.

* FOR MORE INFORMATION ON THESE AND OTHER EVENTS, CHECK OUT OUR WEBSITE AT NINENET.ORG/ARTS AND CULTURE.

YOU CAN ALSO SEE PAST SHOWS ON OUR ARCHIVE.

NEXT, WE MEET PAMELA GLOSE, A CENTRAL FLORIDA ARTIST WHO IS INSPIRED BY THE BRIGHT COLORS SHE FINDS IN NATURE.

THOSE INSPIRATIONS TAKE FORM IN ELABORATE AND COLORFUL FIGURES THAT SHE PAINTS ALL ON SILK.

* I DISCOVERED SILK PAINTING BACK IN 1996 WHEN I TOOK A COLLEGE COURSE AT THE UNIVERSITY OF CENTRAL FLORIDA.

I WANTED TO LEARN HOW TO WEAVE.

I HAD NEVER EVEN HEARD OF SILK PAINTING AND IT WAS INTRODUCED IN THAT CLASS AND THE FIRST TIME I SAW THE DYE HIT THE SILK, I WAS IN LOVE.

I FELL HARD AND THAT'S WHAT I WANTED TO DO.

I'M A FLORIDA RESIDENT AND HAVE BEEN FOR MOST OF MY LIFE.

THE THINGS AROUND ME ARE FASCINATING.

THE FLORIDA BUTTERFLIES THAT WE HAVE AND THE ORCHIDS, AND THE FLOWERS, AND THE WILDLIFE; AND ESPECIALLY THE MARINE LIFE AND THE FISH.

THINGS THAT ARE COLORFUL ARE JUST SO INSPIRING TO ME.

WILDLIFE ESPECIALLY, AND THINGS THAT AREN'T COLORFUL, I JUST MAKE THEM COLORFUL.

WHEN I FIRST STARTED TEACHING, I WAS TEACHING BUSINESS.

I TAUGHT BUSINESS EDUCATION TO EIGHTH GRADERS FOR THIRTEEN YEARS AND THEN I GOT INTO TEACHING ART.

I TAUGHT ART FOR A COUPLE OF YEARS AND THEN I DECIDED I WANTED TO DO MY OWN ART AND CHANGE THINGS.

I LIKE TO SWITCH THINGS AROUND.

AFTER I GOT MARRIED, THAT'S WHEN I QUIT TEACHING AND I HAD THE OPPORTUNITY TO START DOING SILK PAINTING ON MY OWN, ONCE I DISCOVERED IT.

THAT'S ALL I WANTED TO DO.

I HAD BEEN LOOKING FOR A NICHE IN ART FOR A LONG TIME.

I HAVE TAUGHT MANY PEOPLE HOW TO PAINT SILK AND IT'S ALWAYS A JOY TO SEE SOMEBODY PAINT SILK FOR THE FIRST TIME BECAUSE THEY DON'T THINK THEY CAN, AND WHEN THEY DO THEY'RE JUST AMAZED.

IF YOU CAN'T DRAW, YOU CAN STILL TRACE AND I WOULD JUST HAND THEM DRAWINGS AND THEY WOULD TRACE THEM THROUGH THE SILK, PUT ON THE GOUDA, PUT ON THE DYES AND THEY WOULD JUST BE FLOORED.

MY LESSONS ARE ALL NOW DIGITAL.

EVERYTHING THAT I TAUGHT IN THE CLASSROOM, I NOW TEACH IN MY E-BOOKS.

ONE OF THE THINGS ABOUT MY E-BOOKS THAT I BELIEVE MAKES THEM STAND OUT IS, THAT THEY INCLUDE VIDEO CLIPS TOO.

AND THE BEST WAY TO TEACH SOMEONE SOMETHING IS TO SHOW THEM HOW TO DO IT.

SALT GRAIN IS SITTING.

IT CAUSES THE DYE TO DRY FASTER RIGHT THERE AT THAT ONE LITTLE POINT.

SO YOU GET THESE REALLY COOL LITTLE PULLING MARKS.

THEY LOOK LIKE LITTLE COMETS IN THE DYE.

AND AS I WORK ON THE REST OF THIS PIECE YOU DON'T HAVE TO GO ONLINE AND LOOK FOR THIS ASPECT OF IT AND THAT ASPECT OF IT.

I GIVE YOU EVERYTHING YOU NEED FROM START TO FINISH.

FROM THE BEGINNING, WHERE TO FIND YOUR SUPPLIES, TO HOW TO PUT THE RESIST DOWN ON THE SILK AND THE TECHNIQUES ON HOW TO PAINT THE SILK, AND HOW TO STEAM AND PROCESS THE SILK.

FROM BEGINNING TO END, IT'S ALL THERE FOR YOU.

IT'S SO WONDERFUL TO HAVE THE INTERNET AVAILABLE AND TO BE ABLE TO SHARE IT WORLDWIDE.

I GET COMMENTS FROM ALL OVER THE WORLD.

PEOPLE SEND ME EMAILS AND MAKE COMMENTS, AND I GET TO HELP THEM WITH THEIR QUESTIONS AND IT'S JUST GREAT.

AND WE WRAP UP OUR SHOW TODAY WITH ANOTHER STORY FROM FLORIDA - WHERE THIS TIME WE CHECK OUT SOME CHALK ARTISTS WHO ARE TAKING TO THE STREETS.

* WELL, WHEN I WAS LITTLE, I ALWAYS SAW MY DAD DRAWING AND STUFF LIKE THAT.

AND HE STARTED DOING- CREATING CHALK ARTS AND MY SENIOR YEAR IN HIGH SCHOOL I ACTUALLY STARTED DOING IT WITH HIM, AND THEN TWO YEARS AFTER THAT I STARTED DOING IT BY MYSELF.

YOU KNOW WHAT WE DO BASICALLY IN CHALK ART, WE'RE A PERFORMANCE ART.

WE PERFORM FOR THE PEOPLE AROUND.

AND THIS TYPE OF PROCESS, YOU CAN WATCH ART BEING PRODUCED ALL THE WAY FROM YOUR SKETCH ALL THE WAY UP TO FINISHING A LARGE PIECE.

I WAS BASICALLY WORKING IN THE STUDIO WITH ACRYLIC PAINT FOR ABOUT THREE YEARS BEFORE I STUMBLED ACROSS STREET PAINTING.

AND I THOUGHT, WOW THIS IS REALLY COOL MEDIUM AND I REALLY COOL WAY TO DO THE ART WORK IN FRONT OF PEOPLE.

I WAS ALREADY PAINTING IN LARGE FORMATS BECAUSE I PAINTED MURALS SO I THOUGHT WOW LET'S GIVE THIS A TRY.

BECAUSE I'M USED TO PAINTING REALLY BIG SO WE'RE GONNA DO IT ON THE GROUND NOW.

FOR ME AS AN ART TEACHER, IT'S VERY DIFFICULT TO FIND THE TIME ON MY OWN TO DO SOME ART WORK.

SO, FOR ME THIS BECAME A WAY FOR ME TO REALLY EXERCISE MY ARTISTIC TALENTS AND CREATIVITY AND IT REALLY BECAME SOMETHING MORE.

I JUST FELL IN LOVE WITH A SPORT.

ONE OF THE COMMON QUESTIONS PEOPLE ASK WHEN YOU'RE CHALKING IS OH, MY GOSH, DON'T YOU FEEL SO BAD AND SAD WHEN IT GETS WASHED AWAY AT THE END?

OR WHAT HAPPENS WHEN IT'S OVER?

WELL, THEY COME AND THEY WELL, THEY COME AND THEY PRESSURE CLEAN IT.

.OH, MY GOSH, THAT'S JUST TERRIBLE AND I'M LIKE NO, NO, NO.

THIS IS A PERFORMANCE.

I'M HERE FOR YOU.

I'M HERE TO DO MY ART WORK AND FOR YOU TO SEE WHAT I'M DOING WHILE IT'S ALL HAPPENING.

THAT'S THE EXCITEMENT OF IT.

AND WHEN IT'S ALL DONE, I WALK AWAY FROM IT JUST AS IF I WALKED OFF THE STAGE.

AND NOT HAVING THE SPACE IN YOUR HOUSE TO ACTUALLY CREATE SOMETHING THIS BIG, IT'S GREAT TO BE ABLE TO JUST GO OUT THERE AND DO IT.

AND YOU GET TO TALK TO EVERYBODY AND THE KIDS REALLY ENJOY SEEING WHAT YOU DO.

THEY HAVE SO MANY DIFFERENT QUESTIONS LIKE WHY DO YOU NOT HAVE SHOES ON?

WHY DO YOU HAVE CHALK ALL OVER YOUR HAND?

WHY'S THIS CHALK DIFFERENT FROM THE CHALK WE USE?

AND SO I LOVE HEARING ALL THE QUESTIONS AND ANSWERS AND THE KIDS FASCINATION WITH OH I WANT TO CREATE CHALK LIKE THAT WHEN I'M OLDER.

FOR ME THERE'S CERTAIN ARTISTS THAT FROM THE PAST THAT I'M REALLY DRAWN TO.

AND I'M USUALLY DRAWN TO.

AND I'M USUALLY DRAWN TO THE ARTISTS THAT HAVE A LOT OF COLOR, A LOT OF INTRICATE DESIGNS AND I WANT TO EDUCATE PEOPLE ABOUT THOSE ARTISTS OF THE PAST AND KIND OF GET THEM INTO ART AND GET EXCITED ABOUT IT JUST THROUGH MY ART WORK.

YOU TEND TO LOOK AT DOING SMALLER PIECES.

YOU CAN SEE IT, YOU CAN FOCUS ON IT.

A LARGER PIECE, YOU CAN'T GET AWAY FROM IT.

TO SEE IT AS WELL SO IT'S JUST A CHALLENGE.

EVERY CONCRETE IS DIFFERENT.

THIS CONCRETE IS BARELY NEW CONCRETE, PROBABLY ABOUT FIVE OR SIX YEARS OLD.

VERY NEW CONCRETE IS VERY DIFFICULT TO GET THE CHALK TO STAY DOWN.

THERE HAVE BEEN SOME AREAS, WE'VE DONE IT ON BRICKS BEFORE, SO IT'S ALWAYS A CHALLENGE.

OR ON THE ROADS.

SO, YOU HAVE TO DEAL WITH OIL STAINS OR THE YELLOW MARKS IN THE MIDDLE OF THE ROAD.

YOU HAVE TO TAKE THE CHALLENGES THAT MOTHER NATURE OR WHAT WE DO AND PUT THEM FOR YOUR ART THAT A NORMAL CANVAS WOULDN'T PROVIDE.

ARTS AMERICA.

THAT'S IT FOR THIS EDITION OF ARTS AMERICA.

THANKS FOR JOINING US.

WE'RE HERE SATURDAYS AT 3:30 AND SUNDAYS AT 1:00 - AND WE INVITE YOU TO JOIN OUR WEBSITE ANYTIME AT NINENET.ORG/ARTS AND CULTURE, WHERE YOU CAN GET ALL KINDS OF GOOD INFORMATION ON ST.

LOUIS ARTS AND WATCH OLD ARTS AMERICA EPISODES.

TILL NEXT TIME, I'M PATRICK MURPHY.