>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL.

SUPPORTING ARTS, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY TO ARTISTS.

EVENTS AND CLASSES AT COLUMBUSMAKESART.COM.

>> THIS TIME ON "BROAD & HIGH" -- WE MEET A LOCAL PROFESSOR WHO HAS EXPANDED A CHILDHOOD PASTIME INTO HIS LATEST ARTISTIC EXPRESSION.

A FLORIDA-BASED VOCAL ENSEMBLE PREFORMS SONGS FROM MEDIEVAL TO MODERN WORKS.

WE VISIT ARTISTS FROM TWO OHIO STUDIOS WHO SERVE THOSE WITH DEVELOPMENTAL DIFFERENCES.

AND A LOCAL ARTIST DISCUSSES HER WORK AS CONCEPTS IN UNITY, SOLIDARITY, AND CLASS CONSCIOUSNESS.

THIS AND MORE, RIGHT NOW ON "BROAD & HIGH."

♪♪ ♪♪ >> WELCOME TO "BROAD & HIGH."

I'M YOUR HOST KATE QUICKEL.

COLUMBUS COLLEGE OF ART AND DESIGN PHOTOGRAPHY PROFESSOR HIROSHI HAYAKAWA HAS MANY PASSIONS, INCLUDING DRAWING, PAINTING, AND SCULPTURE.

BUT OVER THE YEARS, HIS CHILDHOOD LOVE OF ORIGAMI AND PAPER CRAFT DESIGN HAS BEEN EXPANDED TO INCLUDE BOTH PAPER FOLDING AND CUTTING TECHNIQUES TO CREATE WHIMSICAL ANIMALS AND BOLD MASKS.

WE MET UP WITH HIROSHI TO LEARN HOW HE CREATES HIS CLEVER DESIGNS.

♪♪ >> THE PAPER CRAFT PROJECT, I STARTED DOING THIS MID-'90s WHEN THE CCD HAD A HEAD LIBRARIAN, MS. YU.

SHE USED TO HAVE THIS CHINESE NEW YEAR'S PARTY EVERY YEAR.

AND SHE ASKED ME ONE DAY TO MAKE AN ANIMAL FROM THE CHINESE ZODIAC OUT OF PAPER, SO SHE COULD DECORATE HER DINNER PARTY TABLES.

AND THEN GRADUALLY THE NUMBER OF ANIMALS EXPANDED.

♪♪ I PUBLISHED FOUR BOOKS.

AND THEY'RE ALL SMALL TABLETOP-SIZED ANIMALS.

♪♪ SO, THIS WAS THE VERY FIRST BOOK I MADE.

START WITH THE INSTRUCTION, THEN START WITH A SIMPLER, EASIER PROJECT.

AS YOU GO THROUGH THE PAGES, THAT LEVEL GETS HIGHER AND HIGHER, MORE ADVANCED.

AND THEN, THE VERY END OF THE BOOK HAS THESE TEMPLATES.

SO, YOU CAN TAKE THIS BOOK TO A COPY STORE AND MAKE YOUR OWN TEMPLATES.

TURN THEM INTO AN ANIMAL.

I USED CARDSTOCK PAPER, WHICH IS THE BEST MATERIAL TO USE FOR THIS KIND OF CRAFT.

AND THEN IN ORDER TO MAKE PROJECTS SORT OF MORE COLORFUL, I STARTED TO PAINT.

♪♪ ♪♪ THESE PAPER ANIMAL NIGHTLIGHTS ARE MORE RECENT PROJECT.

IT IS TECHNICALLY A COMBINATION OF PAPER FOLDING AND THEN PAPER CUTTING, BOTH.

ALL THE PROJECTS ARE CONSTRUCTED OUT OF TWO SHEETS OF PAPER.

AND THE REASON IS SO THAT THE LIGHT WILL GO THROUGH IN BETWEEN THOSE TWO LAYERS THAT CREATE INTERESTING PATTERNS.

LIKE A RADIATING FROM THE CENTER.

THE OTHER REASON IS IT'S EASIER TO DESIGN THAT WAY.

THIS IS A TEMPLATE FOR GIANT PANDA.

SO, I'M GONNA START WITH SCORING THE LINES.

AND THE REASON WHY I'M DOING THAT IS THAT WAY WHEN THESE ARE TURNING TO THREE-DIMENSIONAL STRUCTURES, I WILL HAVE A NICER, NEATER FOLDING LINE.

SO, I'M GONNA GO OVER ALL THE FOLDING LINES WITH THIS TOOL.

I'M JUST ADDING THE LIGHT PRESSURE.

I'M NOT REALLY FOLLOWING THE TRUTHFUL REPRESENTATION OF ANIMALS, BUT THEY'RE MORE STYLIZED VERSIONS OF IT.

SO, I DO HAVE SOME SOURCE MATERIAL TO LOOK, LIKE ONLINE OR BOOKS.

THEN ONCE YOU'VE GOT THAT SORT OF ESSENCE OF THE ANIMAL DOWN, THEN I CAN USE MY ARTISTIC LIBERTY TO, YOU KNOW, MANIPULATE THE SHAPE A LITTLE BIT.

THE NEXT STEP IS CUTTING THE TEMPLATE OUT.

SO, I WILL USE THIS CRAFT KNIFE.

OR YOU CAN USE ANY KNIFE, LIKE X-ACTO KNIFE.

SO, I'M GONNA START WITH THE EYES.

CUT THE EYEBALL OUT.

THEN I WILL TAKE THIS ROLLED UP SANDPAPER TO SMOOTH OUT THE OPENING.

THE SIMPLICITY AND COMPLEXITY, I TRY TO TARGET SOMEWHERE IN BETWEEN.

THE SHAPES ARE SIMPLE ENOUGH FOR THE PEOPLE TO CUT OUT.

BUT THE WAY THOSE PAPERS ARE FOLDED AND CONSTRUCTED TOGETHER IS MORE COMPLEX.

SO THAT IS SORT OF A BRAIN TEASER.

THESE TWO TEMPLATES, FRONT-SIDE AND BACK-SIDE ARE CUT OUT.

SO, NOW I CAN TURN THIS INTO THREE-DIMENSIONAL OBJECT.

OKAY, THE FRONT SIDE IS FINISHED.

SO, NOW I'M GONNA OPEN THE BACK TEMPLATE, WHICH IS JUST ONE FOLDING AROUND THE EARS.

LIKE THIS.

AND LIKE THAT.

NOW, I CAN PUT THESE TWO TEMPLATES TOGETHER.

INSERT THIS TAB INTO THIS CUT I MADE EARLIER.

I'LL APPLY A LITTLE GLUE TO THE END OF THE Q-TIP.

OKAY.

THEN I'M GOING TO WORK ON THESE TWO JOINTS NEXT.

I'M GONNA INSET THIS TAB INTO THIS CUT RIGHT HERE.

AND THIS TAB INTO THIS ONE.

THEN AGAIN, I'M GONNA GLUE THESE TWO TABS TO THE FRONT TEMPLATE.

LET'S USE -- NOW THESE TWO TABS ARE GLUED TO THE BACK.

AND NOW THIS GIANT PANDA IS COMPLETE.

♪♪ I DID A COUPLE OF WORKSHOPS.

I REMEMBER ONE PARTICIPANT SAID SHE ENJOYED IT SO MUCH BECAUSE IT'S REALLY CALMING.

SO, I THINK THERE IS, YOU KNOW, AN ELEMENT OF THIS KIND OF A PAPER CRAFT THAT PUTS PEOPLE INTO THE MOOD OF SORT OF A CONTEMPLATIVE, MEDITATIVE.

YOU KNOW, BECAUSE YOU WORK WITH THE HANDS SO THAT IS -- KIND OF STIMULATES THE BRAIN.

PUT PEOPLE INTO SORT OF A ZONE.

I'D LIKE TO CONTINUE WORKING ON ANIMAL NIGHTLIGHTS.

THEN, HOPEFULLY, TRYING TO FIND SORT OF A DISTRIBUTION NETWORK, SO PEOPLE CAN MAKE THEIR OWN ANIMALS.

♪♪ >> TO SEE MORE OF HIROSHI'S WORK, VISIT HIROSHI-HAYAKAWA.COM.

>> IMAGINE A PIANO WITH ONLY WHITE KEYS IN A TIME WHEN MUSICAL NOTES WERE WRITTEN DIFFERENTLY THAN THEY ARE NOW.

THE FOUNDER AND ARTISTIC DIRECTOR OF FLORIDA'S SERAPHIC FIRE DESCRIBES THEIR ENDEAVORS AS A MUSICAL ARCHELOGY.

THIS ENSEMBLE'S WIDE-RANGING REPERTOIRE ATTRACTS ATTENTION AND ADMIRATION.

THEIR PERFORMANCES ARE FULL OF ARTISTRY AND STYLE.

LET'S TAKE A LISTEN.

♪♪ >> HILDEGARD IS THE FIRST KNOWN COMPOSER.

SHE'S THE FIRST PERSON THAT HAS HER NAME WRITTEN ON A PIECE OF MUSIC THAT WE CAN TRACE IT BACK TO A HISTORICAL PERSON.

EVERYONE BEFORE HER WAS GROUPED UNDER THE SAME TITLE AS "ANONYMOUS."

♪♪ MY NAME IS PATRICK QUIGLEY.

I AM THE FOUNDER AND ARTISTIC DIRECTOR OF SERAPHIC FIRE.

♪♪ THIS IS IN FACT THE OPENING OF OUR 18th SEASON.

WE'RE QUITE A VERSATILE ENSEMBLE, SO WE PERFORM MUSIC FROM THE MEDIEVAL ERA -- STARTING SOMEWHERE IN 800 A.D. -- BUT ALSO FROM THE BAROQUE, CLASSICAL, ROMANTIC, AND MODERN PERIODS.

A LOT OF WHAT WE DO IS TRYING TO MAKE THE MUSIC SOUND LIKE WHAT THE COMPOSER THOUGHT IT WOULD SOUND LIKE.

WE DO NOT PERFORM WITH AMPLIFICATION.

WE'RE AN ENTIRELY ACOUSTIC ENSEMBLE.

♪♪ WHENEVER WE'RE PERFORMING MUSIC THAT IS MORE THAN, SAY, 500 YEARS OLD, WE HAVE TO PARTICIPATE IN SOME SORT OF MUSICAL ARCHELOGY.

THIS IS PARTICULARLY APPROPRIATE FOR THIS CONCERT.

HILDEGARD OF BINGEN WAS BORN AT THE END OF THE 11th CENTURY.

THIS PIECE WAS WRITTEN PROBABLY SOME TIME BETWEEN 1140 AND 1150 A.D. AT 8 YEARS OLD, HER PARENTS COMMITTED HER TO RELIGIOUS LIFE.

IT WAS WRITTEN FOR A COMMUNITY OF WOMEN THAT HILDEGARD WAS THE LEADER OF.

AND SO, SHE WAS A VISIONARY.

SHE HAD RECEIVED ECSTATIC VISIONS.

AND ONE OF HER VISIONS WAS THAT SHE SHOULD TAKE HER WOMEN OUT OF THE MONASTERY THAT WERE SHARING WITH A GROUP OF BENEDICTINE MONKS AND MOVE IT TO THE RUINS OF AN OLDER MONASTERY.

THIS PIECE, WE THINK, WAS WRITTEN FOR THE DEDICATION FOR THAT NEW MONASTERY.

♪♪ IT'S WRITTEN IN A STYLE, IN A MUSICAL LANGUAGE THAT WE DON'T HAVE THE KEY TO ANYMORE.

WE KNOW THE NOTES THAT SHE WROTE AND WE KNOW THE ORDER THAT THEY COME IN.

AND WE KNOW THE WORDS THAT WERE UNDERNEATH THEM.

BUT EVERYTHING ELSE IS SOMETHING THAT WE'VE HAD TO RECONSTRUCT.

HILDEGARD ONLY WROTE ONE LINE OF MUSIC.

AT THE TIME THAT HILDEGARD WAS WRITING, WE HADN'T ACTUALLY GOTTEN TO THE POINT WHERE WE HAD MULTIPLE LINES OF MUSIC BEING WRITTEN ON TOP OF EACH OTHER.

THE VOCAL QUALITY OF WOMEN SINGING IN UNISON CREATES THIS SORT OF OTHERWORLDLY SOUND.

♪♪ PARTICULARLY WHEN ALL OF THEM ARE SINGING THE EXACT SAME NOTES AT THE SAME TIME, WHICH IS VERY DIFFICULT.

♪♪ THE STORY IS ABOUT A WOMAN WHO IS TRYING TO CHOOSE BETWEEN A LIFE OF THE WORLD AND A LIFE WITH THE VIRTUES, WHO ARE IN A MORE CELESTIAL REALM.

IT'S REMARKABLE, BECAUSE IT'S SO HIGH.

IT'S A VERY, VERY HIGH PIECE OF MUSIC.

♪♪ AND IT'S IN A DIFFERENT MODE.

AT THE TIME THAT HILDEGARD WAS COMPOSING, WE DIDN'T HAVE KEYS IN THE WAY THAT WE HAVE LIKE C-MAJOR OR C-MINOR, OR D-MAJOR, OR D-MINOR.

THEY ONLY HAD THE WHITE KEYS ON THE PIANO.

♪♪ SING INTO THE INTERESTING THINGS ABOUT YOUR LIFE.

I DON'T THINK THAT WE'VE EVEN COME CLOSE TO SCRATCHING THE SURFACE OF ALL THE ARTISTIC THINGS THAT WE CAN DO.

ONE OF THE REALLY UNIQUE THINGS ABOUT SERAPHIC FIRE IS THAT WE DON'T REALLY REPEAT REPERTOIRE.

IN THIS PERFORMANCE, ONE OF THE REASONS THAT WE'RE DOING IT IS NOT ONLY BECAUSE IT'S A GREAT PIECE OF MUSIC, BUT IT'S PERFORMED SO SELDOMLY THAT WE HOPE THAT OUR PERFORMANCE AND OUR RECORDING OF IT WILL BE SOMETHING THAT WILL ENCOURAGE OTHER PEOPLE TO TAKE THIS ON AS A PROJECT.

AND IT SHOWS JUST HOW MUCH THE CONTRIBUTION OF WOMEN TO MUSIC WAS BEING MADE, EVEN IN THE 12th CENTURY.

♪♪ [ CHEERS AND APPLAUSE ] >> TO LEARN MORE ABOUT SERAPHIC FIRE, INCLUDING UPCOMING PERFORMANCES AND WHERE YOU CAN PURCHASE THEIR RECORDINGS, VISIT SERAPHICFIRE.ORG.

>> OUR NEXT STORY IS A GREAT REMINDER THAT ART IS ABOUT EXPERIMENTATION AND MAKING DREAMS TANGIBLE.

WE TRAVELED TO THE PASSION WORKS STUDIO IN ATHENS, OHIO AND THE GOODWILL ART STUDIO IN GRANDVIEW TO VISIT WITH ARTISTS WHO PRESENTED IN A GROUP EXHIBITION.

"SHARED VISION" AT THE OHIO CRAFT MUSEUM PUT ARTISTS WITH DEVELOPMENTAL DIFFERENCES AT THE FRONT AND CENTER TO SHOW WHAT'S POSSIBLE.

>> SO, MY NAME IS TROY GOINS AND I'M AN ARTIST HERE AT PASSION WORKS STUDIOS.

♪♪ I LIKE COMING HERE TO GO AND MAKE ART AND TRY AND MAKE PEOPLE HAVE BETTER DAYS WITH IT.

♪♪ >> WELL, WELCOME TO PASSION WORKS STUDIO.

YOU ARE AT THE HEART OF ATHENS, OHIO, WHERE WE COLLABORATIVELY MAKE WITH OUR COMMUNITY.

EVERYONE IS WELCOME IN THIS SPACE TO MAKE.

>> AS OF LATELY I'VE BEEN ALSO WRITING A SPEECH OF SORTS FOR TEDx.

IT'S ABOUT HOW ART EMPOWERS PEOPLE WITH MENTAL, DEVELOPMENTAL, AND PHYSICAL DISABILITIES.

IT EMPOWERS ME BY SHOWING PEOPLE THAT UNDERNEATH THE EXTERIOR OF MYSELF, WHICH KIND OF LOOKS UNASSUMING, IS SOMEONE WHO IS PASSIONATE AND CREATIVE ABOUT HIS ART.

>> WELL, OUR FRIENDS AT THE OHIO CRAFT MUSEUM, THEY INVITED US TO DO A SHOW.

WE'VE BEEN TALKING ABOUT IT FOR YEARS.

AND WE SAID, WE WOULD LOVE TO DO A SHOW.

BUT WE'D ALSO LOVE TO DO A SHOW TO INVITE OTHER SISTER STUDIOS IN OHIO TO ILLUSTRATE WHAT IS HAPPENING HERE IN OUR FABULOUS STATE.

IT'S CALLED "SHARED VISION" AND BASICALLY THAT WE RECOGNIZE EACH OTHER AS COLLEAGUES AND THAT WE HAVE THE SAME INTENTION OF BRINGING PEOPLE WITH DEVELOPMENTAL DIFFERENCES AT THE FOREFRONT AND CENTER OF ART MAKING AND COMMUNITY.

AND TO SEE WHAT'S POSSIBLE WHEN WE CREATE THESE MAKING PLACES.

♪♪ >> I'M HELEN TAYLOR.

I'M 72 YEARS OLD.

THIS IS "HELEN'S MOUNTAINTOP COLLAGE."

>> ONE OF THE GREATEST THINGS ABOUT THE STUDIO IS THAT IT'S A SPACE WHERE WE HAVE ALL THIS STUFF AND YOU CAN REALLY EXPERIMENT.

AND THAT'S WHERE I THINK THE FUN OF MAKING ART REALLY IS IS IN EXPERIMENTING.

AND SO WE'RE GOOD AT THAT.

>> BEFORE I CAME TO ART, I FELT HOPELESS.

I DIDN'T THINK I COULD DO STUFF.

I DIDN'T HAVE ANY DREAMS.

BUT NOW SINCE I'VE BEEN DOING THIS FINE ARTWORK, I GOT A LOT OF DREAMS.

AND NOW I KNOW THAT THEY CAN COME TRUE.

>> CHARLOTTE McGRAW IS -- GOSH, HER ART PRACTICE IS SO MANY DIFFERENT THINGS.

BUT PRIMARILY SHE'S THE MAYOR OF CHARLOTTESVILLE.

♪♪ >> CHARLOTTESVILLE IS A COMMUNITY WHERE PEOPLE COME AND THEY'RE LOVED IN CHARLOTTESVILLE.

THEY'RE NOT -- THEY'RE NOT LOOKED AT AS BEING DIFFERENT.

CHARLOTTESVILLE IS A GOOD PLACE TO GO.

IF YOU WANT ENCOURAGEMENT, AND YOU WANT LOVE AND BEING CARED ABOUT, IT'S RIGHT HERE.

THIS STUDIO, AND THE PEOPLE IN IT, AND THE INSTRUCTORS MEAN THE WORLD TO ME, AND I WOULDN'T KNOW WHAT TO DO IF I DIDN'T HAVE THIS.

WHEN I TOOK A BIG BUMP ON THE HEAD, IT MADE ME REALIZE THAT YOU HAVE TO TAKE LIFE SERIOUSLY, BECAUSE YOU DON'T KNOW FROM ONE DAY TO THE NEXT IF YOU'RE GONNA BE THERE.

AND WHEN I GOT HIT BY THE CAR, IT MADE ME THINK ABOUT LIFE TOTALLY DIFFERENT.

I NEVER THOUGHT THAT I WOULD BE HERE.

ALL THE ART INSTRUCTORS IN HERE GAVE ME MY LIFE BACK.

THEY GAVE ME MY LIFE BACK.

>> THE COMMUNITY NEEDS TO KNOW THAT THERE'S THIS WONDERFUL, NOT ALWAYS RECOGNIZED OR SEEN CREATIVE PEOPLE THAT ARE DYNAMIC.

AND THEY VIEW THE WORLD IN DIFFERENT WAYS.

AND I THINK THE MORE PEOPLE CAN BE EXPOSED TO OTHERS THAT HAVE DIFFERENT VIEWS OF THE WORLD IS A GOOD THING.

>> NO MATTER WHAT THE PROBLEM IS, NO MATTER WHAT THE DISABILITY IS, YOU CAN DO ANYTHING YOU PUT YOUR MIND TO.

AND WITH THE RIGHT SUPPORT, YOU CAN'T GO WRONG.

YOU CAN'T GO WRONG.

>> I THINK ANYBODY WHO ENTERS THIS SPACE WILL LEAVE AS A DIFFERENT HUMAN.

TO UNDERSTAND THE POSSIBILITY WITHIN THIS HUMAN EXISTENCE, WHEN THE OPPORTUNITY AND ANTICIPATION OF GREATNESS IS OFFERED TO OUR COMMUNITIES.

>> IF YOU WANT TO SEE MORE FROM THESE DYNAMIC ARTISTS, CHECK OUT THE PROGRAMS AT GOODWILLCOLUMBUS.ORG AND PASSIONWORKS.ORG.

♪♪ >> PHOTOGRAPHY, LIKE ALL OTHER ART FORMS, NOT ONLY DOCUMENTS HISTORY, BUT OFTEN ALSO SERVES AS A SOCIAL COMMENTARY.

LaTOYA RUBY FRAZIER SPENT SEVERAL MONTHS IN THE HOMETOWN OF ONE OF THIS COUNTRY'S LARGEST INDUSTRIAL EMPLOYERS AS ITS PLANT WAS CLOSING.

HER INTIMATE LOOK INTO THIS COMMUNITY GAVE THEM A VOICE.

LET'S TAKE A LOOK AT THIS POIGNANT STORY.

>>> MY NAME IS LaTOYA RUBY FRAZIER AND I'M A VISUAL ARTIST THAT HAS A SPECIFIC PRACTICE IN PHOTOGRAPHY.

I'M MENTORED AND TRAINED BY ARTISTS THAT USE THE CAMERA TO MAKE SOCIAL COMMENTARY ON THE UNITED STATES, OUR HISTORY.

♪♪ I GREW UP NEXT TO ANDREW CARNEGIE'S FIRST STEEL MILL, THE ECKERT-THOMPSON PLANT IN BRADDOCK, PENNSYLVANIA, RIGHT NEXT TO THE MONONGAHELA RIVER.

SO, BECAUSE OF MY UPBRINGING AND MY GRANDMOTHER RAISING ME NEXT TO ANDREW CARNEGIE'S STEEL MILL, I'M VERY SENSITIVE TOWARDS WORKING CLASS PEOPLE, COMMUNITIES, AND THEIR FAMILIES.

AND I'M ALSO SENSITIVE TO THE IMPACT OF ECONOMIC POLICIES OR WHEN CORPORATIONS ABANDON COMMUNITIES AND PEOPLE LOSE THEIR JOBS.

THE WORK HERE'S THAT'S ON VIEW, "THE LAST CRUZE," THAT WAS NINE MONTHS OF SHOOTING.

>> BECAUSE THE WORK FOCUSES ON THE STORIES FROM THE PEOPLE FROM LORDSTOWN, OHIO WHERE THE GM PLANT WAS BEING UNALLOCATED.

>> I KNEW THAT MASS MEDIA WASN'T GOING TO DO JUSTICE TO ALLOWING US A GENERAL PUBLIC TO HEAR DIRECTLY FROM THESE AUTOWORKERS, AND UNION MEMBERS, AND THEIR CHILDREN AS TO WHAT THIS UNALLOCATION MEANT TO THEM.

WHAT THAT WORD MEANT TO THEM.

AND THEN LEADING UP THAT LAST CRUZE ROLLING OFF THE ASSEMBLY LINE AND THEN ALSO AFTER.

>> SO, LaTOYA SPENT A LOT OF TIME IN LORDSTOWN, OHIO.

ABOUT NINE MONTHS MEETING THE PEOPLE AND HEARING THEIR STORIES.

>> WHERE I'D THEN, OPPOSITE OF A JOURNALIST, DEVELOPED A VERY INTIMATE RELATIONSHIP WITH THE UNITED AUTOWORKERS OF LOCAL 112 AND 1714.

SO, THIS IS VERY DIFFERENT FROM PHOTOJOURNALISM, BECAUSE YOU'RE NOT SUPPOSED TO GET SO INTIMATELY, AND EMOTIONALLY, AND PSYCHOLOGICALLY INVOLVED.

YOU'LL SEE AND HEAR FROM THEM WHAT THE UAW HAS DONE FOR THIS COUNTRY IN TERMS OF YOUR EIGHT-HOUR WORK WEEK, YOUR LUNCH BREAK, YOUR TIME OFF.

AMERICANS WILL BE CONFRONTED WITH REMEMBERING LIKE, OH, THIS IS THE UNION -- THIS IS THE LABOR UNION THAT DID THIS.

♪♪ THIS SHOW IS ABOUT THE CONCEPT OF UNITY, OF SOLIDARITY, OF CLASS CONSCIOUSNESS.

AND THE ONLY WAY TO REMIND PEOPLE OF THAT IS WHEN YOU TAKE A SLOW LOOK THROUGH PORTRAITS AND INTERVIEWS OF PEOPLE.

>> AND THOSE ARE ACTUALLY PRESENTED ON -- WE'VE BEEN CALLING IT A KIND OF ARMATURE, BUT IT REPLICATES WHAT THE AUTOMOBILES, WHAT THE CARS GO THROUGH IN THE FACTORY.

AND SO IT'S ACTUALLY ABOUT THE SAME SHAPE, AND SIZE, AND COLOR AS WHAT YOU WOULD SEE IN THE ACTUAL GM FACTORY.

AND SHE'S USED THAT AS A WAY TO BRING THE KIND OF FACTORY FEELING INTO THE EXHIBITION.

>> AND MOST AMERICANS HAVE NEVER SEEN INSIDE OF A CAR PLANT AND HOW IT'S MANUFACTURED AND HOW IT'S BUILT.

AND SO I WANTED TO BRING THAT PRESENCE OF THE ASSEMBLY LINE TO THE VIEWER.

♪♪ ALSO THE FACT THAT THIS EXHIBITION SPECIFICALLY HAS THE REAL LAST CRUZE IS MONUMENTAL.

AND THAT'S WHY THIS BODY OF WORK, IT'S A MEMORIAL AND A MONUMENT.

THE SPACE IS DESIGNED SO THAT IT'S HALF HOLY, HALF ASSEMBLY LINE.

WHEN VIEWERS ARE IN IT, THEY'RE GONNA FEEL THAT ENERGY AND THAT SPIRIT.

AND IT ALLOWS THEM TO SEE THE ACTUAL COMPACT CRUZE SEDAN WHERE THE WORKERS WHO ARE ALL IN THE PHOTOGRAPHS, ARE THE ONES THAT METICULOUSLY MADE WITH THEIR BARE HANDS.

>> LaTOYA THINKS THAT'S REALLY IMPORTANT THAT THIS IS A WORK OF ART AND THAT THESE PEOPLE WHO BUILT IT ARE ACTUALLY ARTISTS.

>> AND I THINK WHAT'S A DIRECT INTERESTING INTERSECTION FOR ME AS A CONTEMPORARY ARTIST, IS THAT THE UAW ACTUALLY REPRESENTS ALL THE WORKERS AT THE MUSEUM OF MODERN ART.

SO, THAT'S A DIRECT CONNECTION THAT I THINK IS EXCITING FOR THE ART WORLD TO ACTUALLY HAVE TO ACKNOWLEDGE.

THIS EXHIBITION REALLY DOES SHOW AND IT PROVES TO OHIO, ALL THE WAY TO WASHINGTON, D.C. THAT ARTISTS PLAY AN ENORMOUS ROLE IN SOCIETY.

SO, THIS IS THE POWER OF PHOTOGRAPHY'S ABILITY TO BRING SIGHT, AND VISION, AND INSIGHT.

AND A FULLER BREADTH, A LARGER PICTURE OF THE SYSTEMIC, SOCIAL, CULTURAL, AND POLITICAL ISSUE THAT IS AT STAKE.

THAT IS STILL UNFOLDING AND IMPACTING THE STATE OF OHIO.

♪♪ >> TO SEE MORE OF HER WORK, VISIT LATOYARUBYFRAZIER.COM.

>> WELL, THAT'S OUR SHOW.

REMEMBER, YOU CAN FIND ALL OF OUR STORIES ONLINE AT WOSU.ORG, AS WELL AS ON OUR YOUTUBE CHANNEL.

FOR ALL OF US HERE AT WOSU, I'M KATE QUICKEL.

THANKS FOR WATCHING.

♪♪ ♪♪ ♪♪ ♪♪ >> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL.

SUPPORTING ARTS, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY TO ARTISTS.

EVENTS AND CLASSES AT COLUMBUSMAKESART.COM.