FREDERICK HAMMERSLEY FOUNDATION... ...NEW MEXICO ARTS, A DIVISION OF THE DEPARTMENT OF CULTURAL AFFAIRS, AND BY THE NATIONAL ENDOWMENT FOR THE ARTS.

...AND VIEWERS LIKE YOU THIS TIME, ON COLORES!

INSPIRED BY NEW MEXICO WILDERNESS, THE FILM "VASTNESS" REFLECTS THE DISCIPLINE AND TALENT OF YOUNG DANCERS AT NDI NEW MEXICO.

"ANIME ARCHITECTURE" SHARES INSIGHT INTO JAPANESE ANIMATION BEFORE THE PROCESS BECAME DIGITAL.

CAPTIVATED BY AN EXTRAORDINARY WORLD, PHOTOGRAPHER STEPHEN FRINK GETS UP CLOSE AND PERSONAL.

COMMUNICATING WITH BRUSHSTROKES, COLOR, PAINT AND ENERGY.

EVERY TWO YEARS THE MUSEUM OF WISCONSIN ART POSTS THE COMPELLING BIENNALE SHOWCASING ARTISTS AND PUSHING THE BOUNDRIES OF IDEAS THAT SHAPE SOCIETY.

IT'S ALL AHEAD ON COLORES!

DANCING THROUGH THE PANDEMIC.

>>THERE IS CONNECTION AND LOVE.

>>THERE IS AN INFINITE AMOUNT OF IT.

>>THERE'S A FEELING WHEN YOU STEP OUT INTO THE DUNES AND JUST YOU REALIZE HOW SMALL YOU ARE IN THE GRAND SCHEME OF THINGS AND THERE ARE A FEW PLACES ON THE PLANET WHERE YOU REALLY GET THAT FEELING AND WHITE SANDS IS ONE OF THEM.

>>EVEN WHEN YOU ARE BY YOURSELF THERE IS CONNECTION AND LOVE.

>>YOU ARE NEVER ALONE.

>>VASTNESS REALLY CAME OUT OF THE RESTRICTIONS OF THIS PANDEMIC YOU KNOW OUR STUDENTS ARE ACCUSTOMED TO PUTTING ON A SHOW AND WE DECIDED THAT WE WOULD DO THAT IN SPITE OF COVID.

>>IT IS A VAST WORLD.

>>VASTNESS WAS BORN FROM DESPAIR.

IT WAS BORN FROM A LOSS OF EVERYTHING AROUND US AND REAL SADNESS AND REAL GRIEF UM BUT AS WE STARTED WORKING WITH THE KIDS MORE SERIOUSLY AND INVITING THEM INTO THE CREATIVE PROCESS WE REALIZED THAT THEY DIDN'T SEE THE WORLD QUITE THE SAME WAY THAT THE ADULTS DID, YOU KNOW, THEY ALWAYS FROM THE BEGINNING HAD A SENSE OF HOPE AND THEY ALWAYS IT SEEMED THEY HAD A FEELING THAT THERE WAS A RESTORATIVE PROPERTY THAT WAS JUST AROUND THE CORNER.

>>THERE WAS A SENSE OF WE'RE ACTUALLY ACCOMPLISHING SOMETHING THAT WE'VE BEEN WORKING TOWARDS WHICH HAD BEEN DISRUPTED WITH COVID AND EVERYTHING CHANGING AND I MEAN DANCE IS A REALLY GREAT WAY TO GET OUT YOUR EMOTIONS THERE'S A SENSE OF FREEDOM BEING OUTSIDE COMPLETELY BY YOURSELF AND THE WORLD.

>>EVERYONE IS BORN DANCING, I THINK THEY JUST DON'T KNOW IT, MOVEMENT IS ONE OF THE FIRST THINGS WE LEARN SO THE LANGUAGE OF DANCE IS THE LANGUAGE OF WHO WE ARE AS PEOPLE.

>>I'VE ALWAYS WANTED TO BE IN THIS GROUP.

I'VE ALWAYS LOOKED UP TO THE DANCERS BECAUSE THEY'RE SO GOOD AT DANCE I WANT TO BE LIKE THEM SOMEDAY.

>>SO, DANCING WITH A CAMERA PERSON LIKE MOVING AROUND YOU WAS A LITTLE BIT EXCITING I THINK BECAUSE NORMALLY ON A STAGE IT'S JUST ONE WAY FACING BUT WITH THE CAMERA THE CAMERA WILL MOVE AROUND YOU SO YOU'RE ALMOST LIKE YOU'RE DANCING WITH THE CAMERA.

>>I DON'T THINK THAT I WOULD HAVE LEARNED ALL THAT I'VE LEARNED IN MY LIFE IF IT HADN'T BEEN FOR NDI AND WORKING HERE EVERY DAY BECAUSE WHEN YOU COME INTO A STUDIO AND YOU DANCE AND YOU TRAIN EVERY SINGLE DAY FOR EIGHT YEARS, FOUR YEARS, HOWEVER LONG YOU KNOW THAT TAKES PATIENCE AND THAT TAKES COMMITMENT AND THOSE ARE NOT LESSONS THAT YOU GET WITHOUT THAT COMMITMENT IT JUST TESTS YOU PERSONALLY.

>>FOR SOME OF OUR STUDENTS WHO ARE IN THEIR GRADUATING YEAR THIS YEAR IT WAS EVEN MORE IMPORTANT FOR US TO BE ABLE TO PUT THIS FILM TOGETHER TO SHOW THEM THAT EVEN IN A GLOBAL PANDEMIC WE HAVE A SHOW TO PUT UP AND WE HAVE WORK TO DO NOW.

WE DON'T GIVE UP.

WE DON'T JUST SAY, UH WHATEVER, YOU KNOW ,THE WORLD HAS STOPPED SO WE'RE GOING TO STOP AND WE DON'T GIVE UP ON THEM AND WE DON'T ALLOW THEM TO GIVE UP ON US OR THEMSELVES.

DEVELOPING AN ANIMATED WORLD.

I'M CARLA STANSIFER.

I'M THE CURATOR OF JAPANESE ART AT THE MORIKAMI MUSEUM AND JAPANESE GARDENS.

THIS IS "ANIME ARCHITECTURE."

THIS EXHIBIT FEATURES FOUR FILMS THAT CAME OUT BETWEEN 1988 AND 2004.

THESE FILMS ARE ALL ANIME, WHICH IS THE JAPANESE ANIMATION PROCESS AND THEY ARE ALL SCI-FI AND THEY ALL ALSO ENCAPSULATE A REALISTIC STYLE.

SO THAT'S WHAT EACH OF THE FILMS HAVE IN COMMON.

AND YOU KNOW ANIME IS A MULTIBILLION DOLLAR BUSINESS THE ORIGINAL CURATOR OF THE EXHIBITION, STEFAN RIEKELES FROM BERLIN, HE STARTED THIS PROJECT BACK IN 2008 AND HE WAS FORTUNATE ENOUGH TO GO INTO STUDIOS, MEET WITH THE ANIMATORS AND LOOK AT SOME OF THEIR WORK AND HE WAS REALLY INTERESTED IN THE PROCESS OF ANIME MAKING.

IT'S AMAZING, YOU HAVE HUNDREDS OF ARTISTS WORKING TOGETHER TO CREATE ONE FILM.

AND HE TALKS ABOUT HOW A LOT OF THE ARTISTS WERE HESITANT TO PUT THEIR ART IN FRAMES AND ON THE WALL, THEY DIDN'T SEE IT AS ART.

THEY SAW IT AS JUST A SMALL PART OF THIS WHOLE PRODUCTION.

THE CURATOR WENT WITH THE BACKGROUNDS AND NOT JUST THE FOR EXAMPLE, IN THE JAPANESE ANIME PROCESS, THE VOICEOVERS COME LAST, YOU KNOW, IN A DISNEY PRODUCTION THEY COME FIRST.

BUT IN JAPAN IT'S THE OPPOSITE.

THEY HAVE A MUCH GREATER EMPHASIS ON THE ENVIRONMENT AND MOVEMENT.

"GHOST IN THE SHELL" CAME OUT IN 1995 AND IT'S BASED ON A VERY POPULAR MANGA SERIES.

WE REALLY CAN'T UNDERESTIMATE THE IMPORTANCE OF THIS FILM.

THE PEOPLE WHO CREATED "THE MATRIX" SAY FLAT OUT THAT THIS FILM INSPIRED THEM.

THE ENTIRE FILM IS ABOUT ARTIFICIAL INTELLIGENCE IN THE BUT HOW THIS ARTIFICIAL INTELLIGENCE, INTERACTS WITH THE TECHNOLOGY, WITH THE MACHINERY AND, AND REALLY THEY'RE TALKING ABOUT WHAT IT MEANS TO BE HUMAN.

FOR THIS FILM, WE FEATURED SOME OF THE HAND DRAWINGS BY BY TAKEUCHI ATSUSHI, AND THEN WE HAVE THE PAINTINGS OF HIROMASA OGURA, WHICH ACTUALLY APPEAR IN THE FILM.

SO YOU CAN SEE THAT DEVELOPMENT PROCESS, HOW THEY GO FROM THE RAW IMAGES AND IDEAS INTO THE MORE TECHNICAL DETAILS AND DRAWINGS.

AND THEN THE FINAL PRODUCT AND THE FEEL AND THE EMOTION THAT COMES OUT.

IT'S ALMOST AS IF THE BACKGROUND AND THE ENVIRONMENT IS ITS OWN CHARACTER IN THE FILM.

THEY REALLY WANT TO EMPHASIZE THAT.

WE DO HAVE SOME PHOTOGRAPHY AS WELL.

AND LOCATION PHOTOGRAPHY WAS VERY IMPORTANT.

REMEMBER THESE ARTISTS WERE GOING FOR REALISM AND THE DIRECTOR OSHII MAMORU NOT ONLY WORKED ON ANIME, BUT HE ALSO WORKED ON LIVE ACTION.

AND HE THOUGHT, WELL, WHY DON'T WE DO THAT FOR ANIME?

AND I LOVE TO POINT OUT THIS PIECE RIGHT HERE.

HE SNAPPED THIS PICTURE IN A SHOP, AND AFTER HE HAD GONE IN, HIS LENS SORT OF CLOUDED OVER.

AND THEN THIS IS WHAT HIS ART TEAM DID WITH IT.

AND I LOVE IT BECAUSE WE'RE NOT JUST SEEING A COPY, THEY'RE NOT COPYING WHAT THEY SAW.

THEY WERE INSPIRED BY THIS.

AND YOU COULD SEE THEY ADDED SOME SIGNAGE.

THEY ADDED A BUILDING OVER HERE.

I ALSO LIKE TO POINT OUT IN THIS PIECE, AGAIN, IT'S A WATERCOLOR ON PAPER BY OGURA HIROMASA.

AND THIS ONE WOULD HAVE BEEN CAPTURED ON FILM FOR THE FINAL PRODUCT.

YOU SEE THESE DARK COLORS HERE, IT HAS THIS NICE BROODY TONE TO IT.

BUT WHEN THAT TRANSFERS TO FILM, A LOT OF THAT GETS WASHED OUT.

BUT OGURA WAS A MASTER AT FINDING JUST THE RIGHT MIX TO CREATE THESE DARKER TONES AND STILL KEEP THEM VIBRANT.

THIS PIECE HERE IS FROM THE FILM "PATLABOR" WHICH CAME OUT IN 1989.

IF YOU LOOK VERY CLOSELY AT THIS PIECE, YOU'LL SEE A FEW LITTLE BITS OF TAPE ACROSS THE TOP.

AND THAT'S BECAUSE THERE ARE ACTUALLY THREE LAYERS HERE.

AND WHY WOULD THEY DO THAT?

WHY WOULD THEY GO TO ALL THAT TROUBLE?

WELL, IN THIS PARTICULAR SCENE, WE HAVE A FLOCK OF BIRDS THAT FLIES THROUGH THE SCREEN THROUGH THE FRAME, AND SO WE HAD TO HAVE SPACE IN BETWEEN THOSE BUILDINGS AND THEY WERE MOVING AT DIFFERENT CAMERA SPEEDS, THAT'S HOW COMPLICATED IT GETS JUST FOR A FLOCK OF BIRDS TO FLY ACROSS SCREEN.

AROUND 1997, THE ANIME INDUSTRY MOVED TO ENTIRELY DIGITAL PRODUCTIONS FROM CONCEPT DESIGN THROUGH TO THE FINAL PIECE WAS ALL DIGITAL AND IT WAS THIS GREAT WAVE, THIS GREAT CHANGE THAT TOOK OVER THE STUDIOS, ESPECIALLY THROUGHOUT TOKYO.

AND TODAY THERE ARE ONLY FIVE STUDIOS LEFT WHO CAN DO HAND-DRAWN BACKGROUNDS.

IN DEEP AND UP CLOSE.

I CAN'T TELL YOU HOW MANY QUEEN ANGEL FISH I'VE PHOTOGRAPHED OVER THE YEARS, BUT THIS IS THE ONE THAT OF ALL OF THEM RESONATES MORE.

I THINK IT IS BECAUSE THE FISH HAS PERSONALITY.

MY NAME IS STEPHEN FRINK.

I'M AN UNDERWATER PHOTOGRAPHER FROM KEY LARGO, FLORIDA.

I'VE TRAVELED THE WORLD FOR UNDERWATER PHOTOGRAPHY, BUT THIS IS MY HOMETOWN.

I'M ALSO THE PUBLISHER OF ALERT DIVER MAGAZINE.

THE FISH WAS JUST TURNING INTO ME AND I HAD A HUNDRED MILLIMETER MACRO LENS ON IT.

AND YOU KNOW, IT WAS ABLE TO LOCK INTO FOCUS AND THE EYE IT'S NOT LIKE I HAD TO CHASE THIS ANIMAL.

I WAS THERE.

HE CAME TO ME, WE HAD A MOMENT AND HE WAS GONE.

FOR MARINE LIFE PHOTOGRAPHY.

I THINK PROXIMITY IS ONE OF THE MOST IMPORTANT THINGS.

AND I THINK YOU HAVE TO BE ABLE TO PROJECT A BENIGN PRESENCE.

YOU HAVE TO APPROACH THE ANIMAL IN A, IN A FASHION, SO THEY'RE NOT THREATENED.

SO THAT MEANS NOT MOVING TOO FAST SO THAT YOU DON'T PUSH A BIG FORCE FIELD OF WATER.

THEY HAVE TO BELIEVE IN YOU.

AND WE ALSO HAVE TO THINK KNOW A LITTLE BIT ABOUT THE BEHAVIOR SO THAT WE KNOW THAT A BUTTERFLY FISH FOR EXAMPLE, IS PROBABLY GONNA BE LOOKING FOR A LITTLE CREVICE TO FIND LITTLE CRUSTACEANS AND THINGS OF THAT NATURE.

IF YOU KNOW A LITTLE BIT ABOUT THE FISH, IT CAN PREDICT WHERE THEY MAY BE AND YOU CAN PLACE YOURSELF IN THAT POSITION.

THERE'S AN AREA WHERE A FISH MAY FLEE THE FIELD OF FLIGHT.

SO I SET EVERYTHING BEFORE I ENTER THE FIELD OF FLIGHT.

SO I'LL SET THE APERTURE OR THE SHUTTER SPEED.

I'LL THINK IN MY MIND'S EYE, HOW IS THIS PHOTO MEANT TO LOOK?

WHERE SHOULD MY STROBES BE?

SO I TRY TO DO ALL OF THOSE THINGS HYPOTHETICALLY FROM ABOUT SIX FEET AWAY.

SO I'M NOT INSIDE THAT FIELD OF FLIGHT.

YOU KNOW, PEOPLE, I THINK, MAYBE THINK THAT I DIVE ALL THE TIME.

I DON'T, BUT I DIVE, I DIVE A LOT IN CHUNKS OF TIME, YOU KNOW, I'LL GET ON AN AIRPLANE AND I'LL, I'LL GO SOMEWHERE AND I'LL DIVE REAL HEAVY FOR TWO WEEKS.

I TYPICALLY PICK DESTINATIONS BY WHAT IT'S PARTICULARLY GOOD FOR, FOR EXAMPLE, IF I WANT TO SHOOT GREAT WHITE SHARKS, I WOULD EITHER GO TO GUADALUPE IN MEXICO OR SOUTH AUSTRALIA.

I THINK I SPENT MANY YEARS LOOKING AT THE PHOTOGRAPHY OF OTHER PEOPLE AND LOOKING AT THE COMPOSITION.

AND I THINK, YOU KNOW, HOW, HOW DID THEY DO THAT (WATER LAPPING) (SPLASH) SO LONG AS YOU HAVE A, I THINK A GOOD CAMERA AND GOOD LIGHTS, BECAUSE COLOR DOESN'T REALLY EXIST UNDER WATER IN THE ABSENCE OF ARTIFICIAL LIGHT.

ONCE YOU HAVE THE TOOLS, YOU CAN GET A SERVICEABLE PHOTOGRAPH.

I THINK WHAT, WHAT TRANSCENDS A SERVICEABLE PHOTOGRAPH AND INTO ART IS COMPOSITION.

AND THE EYE OF THE ARTIST.

I TEACH UNDERWATER PHOTO SEMINARS, AND THAT'S PROBABLY THE HARDEST THING.

AND WHAT ABOUT COLOR AWARENESS THAT WE TRY TO BRING TO MY STUDENTS AT THE OUTSET THAT, THAT NO PHOTOGRAPH IS, IS WORTH DAMAGING THE MARINE ENVIRONMENT.

IT SHOULD BE NO SURPRISE TO ANYBODY THAT THE OCEANS OF THE WORLD ARE IN TROUBLE.

THERE'S JUST SO MANY THINGS THAT ARE AFFECTING THE OCEAN THAT A VISUAL COMMUNICATOR CAN BRING TO EDITORIAL AWARENESS.

ONE OF THE THINGS THAT I THINK IS REALLY BRILLIANT ABOUT THE WHOLE FLORIDA KEYS, PARTICULARLY THE UPPER KEYS.

WHEN YOU HAVE A MARINE PROTECTED AREA, THE FISH TRUST THE DIVERS, YOU KNOW, THEY, THEY KNOW THAT WE'RE NOT HERE TO SPEAR THEM.

WE'RE NOT HERE TO PULL THEM KICKING AND SCREAMING OUT OF THE WATER TO A DINNER PLATE.

I THINK IN TERMS OF THE FUTURE OF UNDERWATER PHOTOGRAPHY, I THINK WE WERE, WE'RE KIND OF AT A, A THRESHOLD.

SO WHAT'S GOING TO HAPPEN TO MAKE UNDERWATER PHOTOGRAPHY BETTER, UM, FOR AS HEAVY AND BULKY AS THESE HOUSINGS ARE.

IF IT GOT SMALLER, THAT WOULD BE GOOD.

I THINK IT'S BECOME FAR MORE DEMOCRATIC.

ONE OF THE REASONS THAT WHEN I OPENED MY STUDIO HERE, I DID WELL RENTING CAMERAS WAS BECAUSE NOBODY HAD THEM.

IN THE MORNING.

I WOULD RENT MY CAMERA AND IF NOBODY RENTED IT I'D GO DIVING.

SO THAT'S, THAT'S KINDA HOW I STARTED HERE.

IT'S EXCITING.

IF IT WERE NOT FOR UNDERWATER PHOTOGRAPHY, I WOULDN'T BE A DIVER TODAY BECAUSE THAT'D BE BORED, BUT I'M NEVER, EVER BORED DIVING BECAUSE EVEN THOUGH IT'S A, I DON'T KNOW, LET'S SAY A FRENCH ANGEL AND I'VE SHOT 12,000 ANGEL FISH IN MY LIFE, THIS ONE'S DIFFERENT, BUT THERE'S STILL REALLY, REALLY INSPIRING THINGS.

ALL ABOUT SHAPE AND COLORS.

(BRUSHING) I LOVE COLOR.

IT SEEMS TO TALK TO ME WHEN I WORK.

MY NAME IS RUTH GILMORE LANGS.

I'M AN ABSTRACT PAINTER AND MY STUDIO GALLERY IS IN ISLAMORADA, FLORIDA.

I THINK THAT THE KEYS ARE UNIQUE IN THEIR LIGHT.

THE LIGHT IS VERY DIFFERENT HERE.

IT'S VERY ULTRAVIOLET LIGHT AND THAT'S AN INSPIRATION.

AS AN ABSTRACT EXPRESSIONIST I LOVE PAINTING LARGE SCALE.

I LOVE THICK PAINT ALL THE WAY THICK THE THICKER, THE BETTER.

I USE A LOT OF TEXTURE, DEFINITELY.

I USED TO BE A WEAVER, UM, WHEN I WAS YOUNGER AND I LOVED THE TEXTURE AND FIBERS AND I THINK IT'S TRANSLATED INTO THE PAINTING.

IT'S NOT UNNATURAL FOR AN ARTIST TO BURST OUT INTO ABSTRACT PAINTING BECAUSE WHAT YOU'RE DOING IS YOU'RE LOSING AN IMAGE AND IT BECOMES ALL ABOUT SHAPES AND COLORS.

AND FOR ME, I SEE IT AS A VERY HIGH FORM OF EXPRESSION AND EXTREMELY CHALLENGING BECAUSE YOU'RE, LOSING THE TREES AND THE OCEAN TRYING TO EMOTE AND COMMUNICATE THROUGH BRUSHSTROKE, COLOR, PAINT, ENERGY.

IN MY HEART AND IN MY SOUL, I'M A STORYTELLER.

AND HOWEVER I, WHATEVER MEDIUM YOU LAND ON AS AN ARTIST, IT'S STORYTELLING.

IF WE'RE LUCKY WE GET TO SHOW, AND SHOWING IS A COMPLETELY DIFFERENT THING THAN PAINTING AND WORKING.

SO SUDDENLY YOU'VE BEEN WORKING ALONE AND WORKING ALONE AND FOCUSING ON YOUR TOPIC AND THEN YOU MOVE IT INTO A STUDIO AND HOPEFULLY HAVE A REALLY BIG FUN PARTY.

I PICK THEMES AND THEN I FOLLOW THEM.

AND THAT'S TRUE FOR THE USA SERIES.

I'VE BEEN FOLLOWING IT FOR 20 YEARS.

AND ONE OF THINGS ABOUT FOLLOWING A STORY, IS THAT IT STARTED WITH 9/11 AND THE SHOCK OF THAT.

THE SHOCK THE WHOLE COUNTRY HAD.

THE WHOLE WORLD HAD.

AND THEN TO FOLLOW THAT SERIES AND TO WHAT AMERICA IS TODAY, THERE'S A STORY THERE AND I'M TELLING IT THROUGH SHAPES AND COLOR, AND WHAT IT'S SAYING IS GOING TO BE...EVERYBODY'S EYES AND EARS TO FIGURE THAT OUT.

FOR ME, THAT PAINTING IS A VICTORY BECAUSE I WAS TRYING REALLY HARD TO EXPRESS, THE BEAUTY OF AMERICA, THE RIVERS, THE SUNSHINE, THE LAND, THE EXPANSIVENESS, ALL THE WHILE WITH THE LIMITATION...WHICH ISN'T THAT BIG OF A LIMITATION.

BUT I WAS ON A 10 AND A HALF FOOT CANVAS TRYING TO EXPRESS OUR HUGE NATION.

THE SECOND PIECE TO THE USA SERIES, WHICH I STARTED AFTER 9/11 IS PROBABLY THE DARKEST PIECE IN THE SERIES.

MOSTLY BECAUSE IT'S BLACK AND WHITE AND, IT'S A REPETITION OF USA.

AND THE NUMBERS 11.

AND AS I BEGAN REPEATING THE NUMBERS 11, IT BECAME OBVIOUS TO ME THAT THAT REPRESENTED THE TWIN TOWERS.

I MYSELF HAVE COME TO SEE THE PAINTINGS AS MIRRORS AND, THEY'RE A REFLECTION AND I THINK THEY'LL OFFER WHATEVER NEEDS TO BE OFFERED TO EACH INDIVIDUAL PERSON BECAUSE WE BRING OURSELVES AS MUCH AS ANYTHING TO THESE PAINTINGS.

THEY WILL GIVE OUT, BUT YOU BRING YOURSELF AND EVERYBODY'S GONNA BRING THEIR OWN HISTORY AND THEIR OWN STORY AND THEIR OWN FEELINGS ABOUT AMERICA, NO MATTER WHERE YOU'RE FROM IN THE WORLD.

AND I THINK THESE PAINTINGS ARE AN ATTEMPT TO EXPRESS IT AND EXPRESS IT THROUGH ABSTRACT EXPRESSIONISM.

HOW LUCKY IS THAT?

THAT THAT'S MY TOOL.

A RICH DIVERSITY.

>>GRAEME REID: THE MUSEUM OF WISCONSIN ART IS AN INSTITUTION THAT'S BEEN AROUND SINCE 1961, AND OUR FOCUS IS 100% ON THE ART AND ARTISTS OF WISCONSIN, NOT ONLY HISTORICALLY BUT ALSO, AS THE CASE HERE WITH THE BIENNIAL, VERY MUCH WITH CONTEMPORARY ARTISTS OF WISCONSIN.

2020 IS THE FOURTH YEAR THAT WE HAVE DONE THE BIENNIAL IN OUR NEW BUILDING.

WE ARE THE PERMANENT HOSTS, SO IT'S A COLLABORATION BETWEEN US AND WISCONSIN VISUAL ARTISTS TO DO THIS EVERY TWO YEARS.

WHEN THE JURORS SELECT THE ARTWORK, WHICH THEY DO DIGITALLY, THEY CAME IN WITH 42 WORKS BY 39 ARTISTS.

YOU WILL SEE LITERALLY ALL, ALL MANNER OF MEDIA.

YOU'LL SEE TRADITIONAL PHOTOGRAPHY, VIDEO, YOU WILL SEE TWO-DIMENSIONAL, THREE-DIMENSIONAL.

YOU'LL SEE SCULPTURE, BUT WHAT WAS INTERESTING THIS YEAR IS OUT OF THE 39 ARTISTS THAT WERE SELECTED, 19 OF THEM WERE ACTUALLY FIRST TIME BEING ACCEPTED INTO THE BIENNIAL, WHICH I THINK SPEAKS VOLUMES FOR WHAT AN ATTRACTIVE EXHIBITION IT IS.

THE WAY THE GALLERY'S LAID OUT IS THAT THERE WILL CONSTANTLY KIND OF BE SURPRISES.

THAT'S REALLY WHAT ARTISTS ARE BRINGING TO THE TABLE, IS THAT THEY'RE BRING THEIR DIFFERENT PERSPECTIVES ON THE WORLD, ON ISSUES WITHIN THEIR OWN LIVES, ISSUES NATIONALLY, ISSUES EVEN INTERNATIONALLY, SO JUST BECAUSE IT'S A WISCONSIN BIENNIAL, THE PARAMETERS OF THE SHOW GO FAR BEYOND THE STATE.

THE FIRST PLACE PRIZE WAS NINA GHANBARZADEH.

SHE'S ORIGINALLY FROM IRAN.

SHE WORKS VERY MUCH WITH THE PEN AS BLACK AND WHITE, AND THEY'RE VERY SUBTLE WORKS.

YOU'VE REALLY GOTTA GET CLOSE TO THEM, AND THEY'RE ABOUT CURRENT POLITICAL ISSUES.

XIAOHONG ZHANG, WHO IS FROM CHINA, HER WORK, THE THREE ROUND PIECES, THEY'RE ABOUT WATER, AND YOU KNOW, THAT'S A GLOBAL ISSUE.

I REALLY ENJOY MARTHA COATY'S PHOTOGRAPHS.

I MEAN, THEY'RE JUST VERY SUBTLE, BEAUTIFULLY COMPOSED, AND SHE'S AN ARTIST WE'VE WATCHED FOR SEVERAL YEARS.

ONE OF THE GREAT THINGS ABOUT THE BIENNIAL IS YOU GET INTRODUCED TO YOUNGER ARTISTS OR ARTISTS THAT YOU'RE NOT FAMILIAR WITH, AND YOU CAN KIND OF FOLLOW THEIR WORK SO YOU CAN SEE HOW AN ARTIST'S WORK DEVELOPS OVER THE YEARS.

>>TYLER FRIEDMAN: THE PREVIOUS WINNER OF THE LAST BIENNIAL GETS A SOLO EXHIBITION.

IT'S AN OPPORTUNITY TO ELABORATE ON THE WORK THAT THEY HAD DONE THAT PLACED THEM AT THE VANGUARD OF ART IN WISCONSIN.

SO THIS YEAR, WE HAVE MARK KLASSEN, WHO WAS THE 2018 TOP PRIZE WINNER FOR THE BIENNIAL.

HE WON WITH A PIECE CALLED "AIR CONDITIONER", WHICH IS ALSO IN HIS SOLO EXHIBITION.

THE EXHIBITION IS ENTITLED "COMBUSTIBLE DUST".

>>MARK KLASSEN: THE TITLE OF "COMBUSTIBLE DUST" THAT EVERYTHING AROUND US HAS THE POTENTIAL OF HARMING US IN SOME WAY AS THESE SORT OF SUBTLE ANXIETIES THAT WE HAVE ABOUT OUR ENVIRONMENT OR OUR WORLD.

>>TYLER FRIEDMAN: MARK KLASSEN PRIMARILY WORKS WITH SCULPTURE, AND MANY, IF YOU ENCOUNTER THEM ON DAY-TO-DAY BASIS, YOU MIGHT OVERLOOK THEM.

THERE AN INTERESTING SORT OF UPDATE ON THE "TROMPE L'OEIL" MEANING "FOOL THE EYE", WHICH HAS TRADITIONALLY BEEN WHAT'S UNIQUE ABOUT MARK'S TAKE ON THIS IS THAT HE'S DOING IT WITH SCULPTURE.

SO HE HAS A VIRTUOSIC COMMAND OF WOOD THAT ALLOWS HIM TO FOOL US INTO THINKING THAT THIS IS ACTUALLY AN AIR CONDITION, THIS IS ACTUALLY A FOAM FINGER.

>>MARK KLASSEN: THE NATURE OF MAKING ART AND MAKING THESE OBJECTS OUT OF WOOD, YOU ARE STUDYING THESE OBJECTS AND YOU'RE APPLYING SOME CRAFT AND ATTENTION TO FIGURE OUT HOW TO DECONSTRUCT A COMMERCIALLY MADE OBJECT AND THEN RE-CREATE THAT OBJECT IN WOOD.

I THINK THEY LOOK A BIT LIKE CLIPART BECAUSE THEY DON'T HAVE THAT KIND OF FINE PATINA OF A REAL OBJECT.

THEY LOOK LIKE AN OVERSIMPLIFIED VERSION OF THAT, WHATEVER THAT OBJECT IS THAT I'M CREATING OUT OF WOOD.

IT'S A REALLY GREAT OPPORTUNITY TO EXHIBIT IN THIS KIND OF CAPACITY FOR AN ARTIST PARTICULARLY BECAUSE IT'S ONLY IN A SOLO EXHIBITION WHERE YOU GET KIND OF THE BREADTH OF SOMEBODY'S WORK.

>>TYLER FRIEDMAN: AND I THINK THAT PEOPLE WILL THE OCCASIONAL CHALLENGE IN TRYING TO INTERPRET WHAT MARK WAS GOING FOR AND HOW IT RELATES TO THE OVERALL THEMATICS OF THE EXHIBITION.

>>TYLER FRIEDMAN: I'M PROUD OF THE DIVERSITY OF WORKS, OF ARTISTS' BACKGROUNDS, OF THE MEDIA THAT THEY'RE WORK WITH, OF THE THEMES, OF THEIR RELATIONSHIP TO ART HISTORY.

IT'S A REALLY RICH CROSS-SECTION OF WHAT'S HAPPENING IN THE STATE.

>>GRAEME REID: PEOPLE ARE APPRECIATIVE THAT THERE IS A MUSEUM WHOSE MAIN FOCUS IS TO CARE ABOUT WHAT THEY ACTUALLY DO AND WHAT THEY PRODUCE HERE IN THE STATE OF WISCONSIN.

TO VIEW THIS AND OTHER COLORES PROGRAMS GO TO: NEW MEXICO PBS DOT ORG AND LOOK FOR COLORES UNDER WHAT WE DO AND LOCAL PRODUCTIONS.

ALSO, LOOK FOR US ON FACEBOOK AND INSTAGRAM.

"UNTIL NEXT WEEK, THANK YOU FOR WATCHING."

FUNDING FOR COLORES WAS PROVIDED IN PART BY: FREDERICK HAMMERSLEY FOUNDATION... ...NEW MEXICO ARTS, DIVISION OF THE DEPARTMENT OF CULTURAL AFFAIRS, AND BY THE NATIONAL ENDOWMENT FOR THE ARTS.

...AND VIEWERS LIKE YOU