>> I TEACH THREE HOURS A WEEK.

WORK MYSELF DOING IT, AND I MAKE $12,000 A YEAR DOING IT, NOTHING.

AND IT'S -- I AM -- I FEEL LIKE I AM AT MY WIT'S END.

AND I HONESTLY DO.

AND I AM IN CRISIS.

I AM IN CRISIS BECAUSE I STILL ASK MYSELF SOMETIMES, WHAT THE HELM I DOING?

>> TIME IS AN ESSENTIAL ALMOST IN ANY ARTIST'S LIFE, AND THERE IS SO MANY DISTRACTIONS BETWEEN PROFESSIONAL RESPONSIBILITIES, PERSONAL RESPONSIBILITIES, AND FAMILY RESPONSIBILITIES, AND INCOME, AND JOBS, AND WHATEVER.

PEOPLE GET TO COME HERE AND FOR A MONTH THEY DO NOTHING ELSE BUT WORK IN THE STUDIO.

>> THERE IS THREE LECTURES A WEEK, AND THE RESIDENT AND VISITING ARTISTS SHOW THEIR SLIDES AND TALK ABOUT THEIR WORK.

YOU GET TO LISTEN TO SOMEONE DESCRIBE A LIFETIME WORTH OF PASSIONATE INVOLVEMENT, AND IT GIVES YOU A JOLT, IT GIVES YOU THE INSPIRATION TO GO ON BECAUSE WE ALL HIT, GET TO THE POINT LIKE WHAT AM I DOING?

>> ACCESS TO INSPIRATION IS WHAT THE VERMONT STUDIO CENTER IS ALL ABOUT.

SOME 40 STUDENTS AT A TIME, PAINTERS AND SCULPTORS SPENT A MONTH EATING AND SLEEPING AND CHASING THEIR OWN A MOUSSEIV AM.

IT WAS FOUNDED IN 1984 IN A GRISTER MILL ON JOHNSON'S PEARL STREET.

FOR 135 YEARS, THE VILLAGE OF JOHNSON GREW UP AROUND THE GRINDING OF WHEAT AND FLAX IN THIS MILL.

BY THE 1970s, JONATHAN'S AGRICULTURAL COMMUNITY HAD SHRUNK TO THE POINT THAT IT COULD NO LONGER SUPPORT THE GRIST MILL.

THE BUILDING WAS SOLD TO ARCHITECT JONATHAN GREGG, WHO CONVERTED IT INTO AN APARTMENT AND WORK SPACE.

>> WE HAD ABOUT 75 PEOPLE IN THE PAYROLL, AND DOING BIG HOUSES, AND IN THE EARLY 1980s, I LOST A SISTER AND BROTHER WITHIN NINE MONTHS OF EACH OTHER, AND AT THAT POINT, I DECIDED THAT LIFE% WAS SHORTER THAN I THOUGHT IT WAS, AND THE IDEA THAT AT SOME POINT I WOULD PAINT WAS NOT, AT SOME POINT THAT CHANGED RADICALLY IN MY UNDERSTANDING OF TIME.

LOUISE WANTED TO STUDY PAINT, OUR CO-FOUNDER, AND THE DIRECTOR OF THE PENNSYLVANIA ACADEMY, THE OLDEST ART SCHOOL IN THE COUNTRY, SO THE THREE OF US GOT TOGETHER AND WE SAID, LET'S START ONE.

>> TO BRING THE BEST ART CRITICS SEEMS LAUGHABLE.

>> LAUGHABLE BUT TRUE, ARTISTS LIKE WOLF KAHN.

NEAL WELIVER, NATHAN OLIVERRA, AND HELEN FRANKENFALLER.

FRANK STELLA.

AND OTHERS APPEAR ON THE ROSTER OF NATIONAL AND INTERNATIONALLY FAMOUS ARTISTS WHO HAVE LENT THEIR TIME AND TALENTS TO A TINY ART SCHOOL IN VERMONT'S LAMOIL RIVER VALLEY.

>> I DON'T THINK WHEN PEOPLE COME THROUGH JONATHAN, DRIVING THROUGH, OR STOPPING AT SOME OF THE BUSINESSES, NOTICED THAT THE ART SCHOOL IS HERE.

THEY ARE QUIET AND THEY DON'T CAUSE A LOT OF TROUBLE.

AND THEY FIT INTO THE COMMUNITY.

IT IS HARD TO DESCRIBE BUT THEY ARE HERE AND NOT HERE.

>> DWAYNE IS A LANDSCAPE PAINTER AND TEACHER FROM ANNAPOLIS, MARYLAND.

>> I DECIDED TO COME HERE TO THE VERMONT STUDIO CENTER, PRIMARILY, FOR THE PROGRAM THAT THEY OFFERED.

I WANTED AN OPPORTUNITY TO WORK WITH, TO GENERATE A DIALOGUE WITH THE ARTISTS, THE RESIDENTS, THAT THEY WILL BE HAVING HERE, THAT THEY FEATURED PARTICULARLY FOR THIS PROGRAM, THIS TIME THAT I AM UP HERE.

>> I'VE B BEEN SUPPORTING MYSELF AS AN ARTIST.

IT'S TOUGH.

ONE OF THE OTHER REASONS I CAME HERE WAS FOR AN IMPORTANT KIND OF A CAREER DECISION, A CAREER MOVE.

I LOOK FORWARD TO MEETING PEOPLE LIKE WOLF KAHN AND ROSEMARY BECK, AND I HOPE THAT DOWN THE ROAD, THOSE CONTACTS WILL BE BENEFICIAL.

>> WE SET OUT TO CREATE AN IDEAL ART OF COMMUNITY, AND WE SAID WHAT DOES AN ARTIST NEED?

TIME AND SPACE AND THE ABSENCE OF DISTRACTION, AND WE THREW IN GOOD FOOD BECAUSE EVERYBODY SAYS THAT MAKES LIFE EASIER.

IF THIS WORKS, THE WAY THAT WE HOPE IT WILL WORK FOR YOU, OUT OF THIS MONTH YOU WILL END UP WITH A CHANCE TO TRY NEW THINGS IN YOUR WORK, TO EXPERIMENT, TO EXPLORE, AND TO REACH FOR PLACES THAT, ON OUR OWN YOU MIGHT HAVE DIFFICULT REACHING WITH, AND AT TIMES IN THE STUDIO WHERE YOU WANT TO TRY A NEW DIRECTION OR BREAK THROUGH SOMETHING, AND IT CAN BE DISTURBING AND DISTRESSING, AND WITH THE HELP OF THE CRITICS AND EACH OTHER, THAT'S SOMETHING THAT YOU CAN GET TO HERE.

I THINK THAT ONE OF THE THINGS THAT DEFINES YOU AS AN ARTIST IS HOW -- HOW DO YOU RESPOND TO EAH SITUATION IN AN APPROPRIATE FASHION TO GET THE MEDIUM, TO THE PAINT, TO THE CANVAS, THE LIGHT, AND EVERYTHING TO WORK TOGETHER?

>> A PROMINENT LANDSCAPE PARENT, WOLF KAHN IS A TRUSTEE AND VISITING LECTURER AT THE CENTER.

>> JONATHAN GREGG, THE DIRECTOR CAME TO ME BEFORE THE CENTER EXISTED, AND ASKED ME FOR ADVICE.

I TOLD HIM, WHAT DO YOU WANT TO START AN ART SCHOOL FOR?

THERE IS SO MANY PLACES LIKE THAT WHERE PEOPLE CAN BE DEPRESSED ALL SUMMER LONG.

AND FORTUNATELY HE DID NOT LISTEN TO ME.

I HAVE GOTTEN TO BELIEVE IN THE SCHOOL.

>> I'VE BEEN HERE REGULARLY EVERY YEAR FOR THE WEEKEND IN WHICH THE MEETING IS, AND I COMBINE THAT WITH THE STUDENTS AND A LECTURE.

IT'S AN INTENSE WEEKEND.

I EARN MY CHECK AND USUALLY GIVE IT RIGHT BACK TO THEM.

TEACHING IS DIFFERENT FROM PAINTING, AND IN PAINTING YOU ARE ALONE IN THE STUDIO AND YOU GET NO FEEDBACK AT ALL.

WHATEVER FEEDBACK YOU GET, YOU GET WAY, WAY LATER.

IN THE FORM THAT IS ULTIMATELY NOT REALLY DIRECTLY SATISFYING.

A PIECE OF PAPER WITH A SUM OF CASH WRITTEN ON IT.

IN A CLASSROOM, YOU ARE SURROUNDED BY NEEDFUL AND AN ADMIRING GROUP OF PEOPLE.

WHO IMMEDIATELY LOVE YOU IF YOU TELL THEM WHAT THEY WANT TO HEAR, AND SOMETIMES YOU ARE ALLOWED TO DO BECAUSE THERE ARE ALWAYS SOME TALENTED PEOPLE THERE, SO TEACHING IS MORE FUN THAN BEING AN ARTIST.

I AM INTERESTED IN THE ONES WHO ARE WORKING HERE BECAUSE THIS IS A LANDSCAPE THAT I KNOW AND THIS IS YOUR -- YOU KNOW, THE LANDSCAPE THAT -- I KNOW IT'S AN AMERICAN LANDSCAPE, AND BECAUSE ONE OF THE THINGS THAT HAPPENS THAT YOU ARE FIXING ON IN YOUR PAINTINGS IS THE FACT THAT THE LANDSCAPE IN AMERICA IS CONSTANTLY IN TRANSITION.

>> AFTER HIS DEMONSTRATION HE SPENDS THE DAY CRIT EASTBOUND -E WORD OF THE STUDENTS WHO INVITED SAYS COMMENTS.

>> THEY ARE FLATTENING OUT AN AREA THAT USED TO BE HILLY, MAKE A SHOPPING MALL.

>> THEY COME IN CONTACT WITH A WIDE OLD OWL WHICH I AM GETTING TO BE OVER THE YEARS.

I KNOW HOW TO SAY THINGS THAT PEOPLE NEED TO HEAR BUT DON'T WANT TO HEAR IN A WAY THAT THEY CAN ACCEPT IT.

>> YOU HAVE TO TAKE IT WITH A GRAIN OF SALT, THAT'S TO SAY THAT WHENEVER ANYONE COMES INTO YOUR STUDIO, I REALLY BELIEVE THAT THEY BRING THEMSEVES, THEIR OWN WORK INTO THE STUDIO WITH THEM.

>> THE CRITIQUE I HAD WITH WOLF, I WAS DELIGHTED WITH.

HE SAID VERY GOOD, CONSTRUCTIVE THINGS TO ME ABOUT THE PAINTING.

>> A STUDIO CENTER PARTICIPANT CAN SPEND THE MONTH WITHOUT A CRITIQUE.

THE DECISION TO ASK OR TO NOT ASK FOR HELP AND ADVICE IS ENTIRELY UP TO THE INDIVIDUAL ARTIST.

PROFESSIONAL CRITICISM IS USUALLY A REWARDING PROCESS, BUT CAN BE AN ARTOUS EXPERIENCE FOR THE STUDENT AND THE CRITIC ALIKE.

CHARLES EXPLAINS.

>> QUITE A WHILE AGO WHEN I WAS TEACHING, I RAN INTO A STUDENT WHO WAS KIND OF A NICE GUY, KIND OF A FUNNY GUY AND A CASUAL ARTIST, AND I WAS PRAISING HIS WORK, AND HE SAID GEE, THIS IS VERY EXCITING.

I SAID WHY IS THAT?

AND HE SAID THIS IS THE FIRST TIME THAT I HAVE EVER GOTTEN ANY POSITIVE FEEDBACK FROM AN AUTHORITY FIGURE.

AND THAT DEPRESSED ME FOR THE REST OF THE DAY.

YOU KNOW.

THAT I HAD FINALLY BECOME AN AUTHORITY FIGURE.

>> IT'S A WONDERFUL STORY THAT JOSEPH CAMPBELL TELLS ABOUT THIS, AND HE SAID THAT EACH NIGHT HAD TO ENTER THE FOREST AT THEIR OWN PATH.

BECAUSE IF YOU ENTERED ON SOMEBODY'S PATH YOU WERE AND SOMEONE IN THE AUDIENCE ASKED, WHAT ABOUT INSTRUCTION?

AND HE SAID THERE IS NO INSTRUCTION, ALL YOU CAN DO IS GET CLUES FROM PEOPLE WHO ARE FURTHER ALONG THE PATH, THAT'S WHAT WE ARE DOING HERE.

WE ARE LETTING PEOPLE COME AND BE WITH SENIOR PRACTITIONERS IN THEIR FIELD WHO CAN GIVE THEM CLUES ABOUT WHAT THEIR OWN LIFE HAS BEEN ABOUT, WHAT IT'S BEEN LIKE TO BE PAINTING FOR 30 OR 40 YEARS, AND HOW YOU KEEP UP THE DISCIPLINE AND HOW YOU KEEP UP THE WORK IN THE SPACE OF HOW HARD IT IS TO BE AN ARTIST IN OUR TIME.

>> I'VE BEEN HERE A WEEK NOW, AND IT'S GREAT.

IT'S A VERY DYNAMIC ENVIRONMENT.

THEY HAVE CONSTRUCTED A PROGRAM TO THAT WE HAVE A GOOD RANGE OF VISITING ARTISTS WHO COME AND TALK TO YOU ABOUT IT, NO ISSUE IS OUTSTANDING, I DON'T THINK THAT THIS IS ENOUGH DIVERSITY IN THE ARTIST THAT THEY CAN ALL BRING A VERY MUCH POINT OF VIEW.

IT'S EXHAUSTING AND EXCITING.

IT REALLY IS, AND YOU ARE HERE FOR THE PROGRAM.

THERE IS A LOT GOING ON.

THERE IS A LOT TO PARTICIPATE IN, AND YOU DON'T WANT TO MISS ANY OF IT, SO YOU REALLY TEND TO DRIVE YOURSELF AND YOU GET VERY CHARGED BEING HERE.

>> MANY STUDIO CENTER PARTICIPANTS CHOOSE TO JOIN IN A NUMBER OF OFFERINGS SUCH AS THE WELL ATTENDED EARLY MORNING SESSIONS IN THE CENTERS DRAWING STUDIO, FORMALLY JOHNSON'S TOWN HALL AND OPERA HOUSE, AND THIS MONTH'S DRAWING CLASS IS BEING TAUGHT BY ROSEMARY BECK, WHOSE WORK IS EXHIBITED AT SUCH PRESTIGIOUS GALLERIES AS THE WHITNEY AND HERBHORN.

THE TEACHING CREDITS ARE COOPER UNION AND PARSONS SCHOOL OF ART.

>> I AM TELE SELF TAUGHT.

I NEVER HAD CLASSES, OR VERY FEW, I DON'T MEAN THAT I DIDN'T LISTEN TO PARENTS AND STUDY ART, I MAJORED IN ART HISTORY, BUT I DID NOT HAVE THE KIND OF FREEDOM THAT THE PEOPLE ARE GETTING HERE TO WORK IN FRONT OF OTHERS.

IN THE STUDIOS WHERE PEOPLE COME IN AND SAY GREAT, NOT SO GOOD.

THE SHAMELESSNESS.

I DON'T THINK IT IS POSSIBLE FOR ME TO WORK IN PUBLIC.

I PROMISED A YOUNG GIRL WE WOULD GO OUT AND MAKE COWS TOGETHER AND SUDDENLY A LITTLE, OH, I DON'T KNOW IF WE ARE GOING TO DO T WHAT IF I DID A BAD COW, YOU KNOW.

I DON'T THINK I CAN DO IT IN FRONT OF HER.

I WOULD HAVE TO GET BEHIND THE EASEL.

IT'S THAT VANITY THAT COMES FROM NOT BEING EXPOSED TO THE WAY THAT THEY ARE.

IF WE LOOK AT THE DIAGONALS AND THESE MOVEMENTS AND THE FIGURES IN THIS ON THIS PLANE, AND THE OTHER PLANE IS THE BOTTOM OF THE FIGURES, SEE.

THIS IS PARADISE FOR A YOUNG ARTIST.

THEY ARE THINKING OF NOTHING BUT PAINTING, AND THE PROGRESS MADE IN THE SEVERAL WEEKS IS ASTONISHING TO ME.

THEY ARE NOT THINKING ABOUT THE CHECKS COMING IN, THE TELEPHONE, THE BABIES, MAKING A LIVING OR OTHER TROUBLES, THEIR TROUBLES ARE INVENTING IN THE STUDIO, AND THEY ARE SOLVABLE IN A WAY.

LIFE PROBLEMS ARE NOT SOLVABLE.

ART PROBLEMS ARE MORE OR LESS SOLVABLE.

YOU INVENTED THEM.

>> NO MATTER WHAT PROBLEMS YOU INVENTED ON PAPER, IT'S NICE TO MANG OUT BEFORE LUNCH WITH SOMEONE WHO UNDERSTANDS.

>> IT IS IMPORTANT THE WORK SEEM TO BE EASY BUT THERE IS HAS TO BE SOMETHING UNDERNEATH THAT MAKES US FIGHT FOR IT, OR YOU CAN'T GO FROM SUMMIT, MOUNTAIN TOP OF EASE AND SPONTANEITY TO ANOTHER MOUNTAIN TOP OF EASE AND SPONTANEITY.

BUT, OF COURSE, YOU MAY BE FOOLING US AND WORKING LIKE A FLBLOODY DOG.

>> IT FEELS LIKE IT.

>> THERE ARE THESE THINGS -- THERE IS EGOS HERE, IN OTHER WORDS, THERE IS A NICE, KIND OF A WORKING TRUST, I THINK, THAT GETS ESTABLISHED HERE.

THERE ARE INDIVIDUALS THAT ARE APPROACH BE THAT I CAN TALK TO, AND THIS ENVIRONMENT REALLY DOES FOSTER THAT, TOO.

WE SIT DOWN WITH THE GUYS AND HAVE DINNER WITH THEM AND JUST CHEW THE FACTS.

>> THEY WORK HARD AT THE PAINTING AND SCULPTURE, SO THIS IS A SPECIAL THING FOR THEM.

IT IS THEIR ENTERTAINMENT, IN A SENSE SO I BECOME PART OF THAT, I GUESS, AND THAT'S PROBABLY ONE REASON FOR THE POPULARITY.

WE BAKE ALL OUR BREADS, FOR LUNCH AND DINNER BREADS, AND MAKE OUR OWN DESSERTS, AND FRESH VEGETABLES.

IT'S PART OF THE EXPERIENCE OF BEING HERE RATHER THAN JUST A NOURISHMENT.

>> WHEN YOU SIT DOWN AT THE DINING HALL, THE PEOPLE UNDERSTAND THE SEARCH AND THE STRUGGLE AND THE PROCESS I'VE BEEN INVOLVED IN.

>> SO THE TIME PASSES.

WITH EACH DAY, THE MUSE COMES MORE CLEARLY INTO VIEW.

♪ >> YOU KEEP WORKING, AND THE INN THE PROCESS YOU DISCOVER THINGS ABOUT THE WORK, ABOUT YOURSELF, ABOUT THE HUMAN NATURE, AND IF IT'S WORKING WELL, IT'S A CONTINUOUSLY EXHILARATING AND FASCINATING PROCESS BECAUSE YOU ARE LEARNING THINGS ALL THE TIME.

>> I HAD A MENTOR BACK IN HIGH SCHOOL.

HE WAS A PRETTY EXTRAORDINARY INDIVIDUAL, AND INSOFAR AS HE WAS ABLE TO TAKE ART, IDEAS OF PHILOSOPHY, POPULAR CULTURE AND PUT THEM TOGETHER.

IT REALLY INDICATED TO ME THAT ART WAS A VEHICLE TO UNDERSTAND THE WORLD.

DURING THAT TIME I WAS A JUNIOR IN HIGH SCHOOL.

I WENT TO A VAN GOGH EXHIBITION.

I WENT AROUND THE SHOW AND SAW VAN GOGH, AND WAS REALLY FLOORED.

I WAS KNOCKED OVER THE HEAD.

I WENT OUT AND BOUGHT EVERYTHING I COULD GET ON VAN GOGH, READ IT, AND INVESTED 60 HARD EARNED DOLLARS IN HIS COMPLETE LETTERS, AND I DECIDED THAT I KNEW THIS MAN WAS MY BROTHER, THAT THAT WAS HOW I GOT INTO PAINTING.

>> FOR ANY ARTIST, THERE IS AN IMPORTANT LESSON IN THE DIFFERENCE BETWEEN PRODUCT AND PROCESS.

THE ARTISTIC IDEAL IS THAT PROCESS FAR OUTWEIGHS THE CREATION OF A PRODUCT THAT CAN BE SUCCESSFULLY EXHIBITED OR MARKETED.

>> I LIKE TO WORK LISTENING TO BRUCE SPRINGSTEEN.

♪ >> THERE IS SOMETHING HAPPENING IN THE MORNING UNTIL 10:30 AT NIGHT SEVEN DAYS A WEEK.

PEOPLE TAKE AS MUCH OR LITTLE ADVANTAGE OF THAT AS THEY WANT.

OUR JOB IS TO SUPPLY TRCHL THE .

THIS IS BEEN DESCRIBED AS A BOOT CAMP AND A MONASTERY.

I WANT TO PUT THE FIGURE IN LANDSCAPE.

IN MY FACE IT IS NOT A NUDE WOMAN.

>> PUT A FIGURE IN A GROUND.

AN OBJECT AND THE SURROUNDINGS.

>> YOU KNOW WHY I MADE THAT SUGGESTION IN THE FIRST PLACE?

TO REMOVE ANY ONE OF THOSE MACHINES AND STUDY IT AND ENLARGE IT?

WELL, AGAIN, WHAT I THOUGHT IT WAS -- >> UNLIKE THE FACT THAT HE LISTENS AND RESPONDS AND DOES SOMETHING.

THERE IS THE POSSIBILITY OF MEETING A STUDENT ANYWHERE IN THE WORLD, DOESN'T CARE TOO LISTEN OR RESPOND AND DOES NOTHING.

SO HE'S THE REVERSE, AND I APPRECIATE IT BECAUSE I COME IN AND EXPECT TO BE ABLE TO TALK WITH THEM, AND I CAN TALK WITH THEM.

HE SAID I AM PLEASANT TO WORK WITH, SO IT'S A MONTH.

AN INTERESTING, LIVELILY, INTENSE MONTH, THE FIRST WEEK, ESPECIALLY INTENSE BECAUSE EVERYTHING WAS NEW, AND WE WERE ALL RARING TO GO AND THE AIR WAS CRISP AND THE FOOD WAS GOOD AND THE LAUGHTER RANG OUT IN THE HILLS AND WE DID IT, AND THE SECOND WEEK WE ACTED LIKE HUMAN BEINGS AND WE CALMED DOWN A BIT AND THE THIRD WEEK WE HAVE NOT GONE TO SLEEP BUT THINGS HAVE SETTLED INTO THE PLACE, AND THE FOURTH WEEK WE WILL HAVE OUR HANDKERCHIEFS OUT TO DRY OUR TEARS BECAUSE I THINK THAT WE ALL LIKED IT.

>> THE SIZE OF THE COMMUNITY IS WONDERFUL, AND PEOPLE GET TO BE CLOSE TO EACH OTHER AND CARE ABOUT EACH OTHER AND THERE IS A WONDERFUL BOOK, SMALL IS BEAUTIFUL, AND WE USE THAT AS A MODEL SAYING THIS IS NOT ABOUT HOW BIG THAT WE CAN GET.

BECAUSE I THINK THAT WE CAN GET, YOU KNOW, AT THE RATE THAT WE ARE GOING WE CAN GET LARGER IF WE WANTED TO.

IT'S ABOUT HOW GOOD WE CAN GET.

>> IN THE SESSIONS LAST WEEK PREPARATIONS BEGAN FOR THE FINAL EXHIBITION, AS THE MONTH DRAWS TO A CLOSE THOUGHTS TURN TO THE FUTURE.

>> IT'S HARD TO MAKE A LIVING IN PAINTING, ESPECIALLY THESE DAYS, AND THERE ARE NO TEACHING JOBS AVAILABLE, AND THINGS ARE A LITTLE SLOW IN SALES AND THINGS, I BELIEVE.

BUT, I THINK, FROM OUR STANDPOINT, THE BIGGEST THING THAT THEY TAKE OUT OF HERE IS TO KEEP PAINTING.

IT'S A LIFE AMBITION.

IT IS NOT A DAY-TO-DAY THING.

>> IT'S HARD TO BE A SERIOUS ARTIST.

IT'S ALMOST LIKE SAYING HOW HARD IS IT TO BE A PLAYER IN THE NBA?

MICHAEL JORDAN GETS A LOT OF COVERAGE.

MOST PEOPLE WHO PLAY BASKETBALL DON'T PLAY IT AT THAT LEVEL.

AND IT'S THE SAME WITH ANY DISCIPLINE AND PAINTING SO MOST PEOPLE PAINT IN OBSCURITY BECAUSE THEY NEED TO PAINT.

AND IT'S MORE SOMETHING THAT DEALS WITH THEIR HEART THAN DEALS WITH THEIR MIND OR THEIR CAREER.

AND EVEN HAVING A CAREER, THAT CAN BE A TRAP BECAUSE YOU CAN BE DOING A CERTAIN TYPE OF PAINTING AND YOU HAVE A DEAL WHICH SAYS, I BUILT UP A FOLLOWING FOR YOU OF THESE PAINTINGS AND IF YOU WANT TO CHANGE, YOUR DEALER MAY SAY THAT I CAN -- YOU CAN'T CHANGE.

YOU HAVE GOT TO KEEP DOING THIS BECAUSE THIS IS WHAT I CAN SELL, SO WE TAKE 50 PEOPLE A MONTH, AND A LOT OF THEM WILL COME BECAUSE THEY ARE LOOKING FOR SUPPORTIVE ENVIRONMENTS IN WHICH TO GO UP IN A NEW DIRECTION IN THEIR OWN WORK.

AND THEY WON'T NECESSARILY FIND THAT SUPPORT IN THE ENVIRONMENT THAT THEY ARE IN, EVEN IF THEY ARE DOING WELL AS AN ARTIST.

ONE OF THE COMMENTS THAT I HEARD WAS THAT I AM AN AMBITIOUS PAINTER.

I HOPE I AM.

I WOULDN'T WANT TO BE ANYTHING LESS BECAUSE I INTEND TO MAKE THIS MY LIFE, AND IN ANY CASE, NOW, AND I HAVE TO SAY THANKS TO MATT PHILLIPS, WHO JUST KEPT HAMMERING INTO ME THE IDEA THAT I NEEDED TO SIMPLIFY THINGS.

I THINK THAT THAT'S WHAT I HAVE DONE.

I THINK THAT THIS PAINTING RIGHT HERE OF THE EARTH MOVER IS A KIND OF STEP FOR ME.

IT'S A STEP IN THE RIGHT DIRECTION.

IT IS -- IT HAS BEEN SIMPLIFIED.

I DON'T KNOW THAT I WILL BE ABLE TO DO THAT ON A LARGER SCALE.

THAT'S THE CHALLENGE.

>> THE IDEAL THING THAT COULD HAPPEN TO A PERSON WHO COMES TO WORK HERE FOR THE FIRST TIME, WOULD BE THAT THEY LEAVE AFTER A MONTH OR TWO WEEKS, AND USUALLY PEOPLE STAY HERE A MONTH, AND THAT THEY LEAVE AFTER THAT TIME, AND TOTALLY REFRESHED, AND WITH IS A NEW SLANT ON THEIR WORK.

AND HAVING FOUND OUT THINGS ABOUT THEIR WORK THAT THEY DID NOT KNOW WERE THERE.

>> THE CHALLENGES FACING DEPARTING STUDENTS ARE AS VARIED AS THE CREATIVE CRISIS THAT ORIGINALLY BROUGHT THEM HERE.

ONE COMMON DENOMINATOR AMONGST MOST ARTISTS IS THE STRUGGLE FOR I'D Y-- IDENTITY FOR SELF-ESTEE.

>> IT DOES NOT SOLVE ANY PROBLEMS.

IT WILL NOT, YOU WILL NOT ELECT A SUPREME COURT JUDGE OR DO ANYTHING GOOD FOR ANYONE EXCEPT OTHER ARTISTS AND THOSE WHO HUNGER FOR THIS DEGREE OF ABSTRACTION FROM REAL LIFE.

>> I DON'T KNOW THAT ONE CAN SAY WHY ONE WISHES TO BECOME A PARENT.

I CERTAINLY DON'T HAVE A MORAL OR A RELIGIOUS CAUSE OR REASON.

I DON'T DEFEND IT, BUT IT IS SELF FULFILLING AND SEEMS TO HAVE GIVEN MANY PEOPLE PLEASURE AND SATISFACTION, TOO, BECAUSE THEY FOUND THEIR WAY INTO PUBLIC MUSEUMS, WHICH I THINK IS THE IDEAL PLACE AND REWARD FOR ANY ARTIST.

>> WITH MY WIFE'S HELP BEING ABLE TO SUPPORT OURSELVES AND RAISE THE CHILDREN.

I THINK THAT THAT'S HOW I WOULD GAUGE SUCCESS IN TERMS OF THE MARKET.

IN TERMS OF MY PAINTING I WOULD SAY THAT I FEEL THAT I, I KNOW MORE ABOUT PAINTING AND I KNOW MORE ABOUT MYSELF.

AND MYSELF BEING THE IMPORTANT THING TO KNOW ABOUT.

AND PAINTING IS MY WAY OF FINDING OUT WHO I AM AND WHY AND WHAT.

>> I'VE BEEN SURPRISED THAT ART IS SUCH A CENTRAL CORE FOR WHAT MAKES THE WORLD GO AROUND.

I THINK A LOT OF PEOPLE THINK THAT ART IS PERIPHERAL, YOU KNOW.

YOU HAVE TO EAT MEAT AND POTATOES AND ART IS ON THE SIDE.

THAT'S NOT TRUE.

ART IS VERY, VERY CENTRAL.

HOW THINGS ARE MADE, IF THEY ARE NOT MADE WITH ACTOR THEY DON'T GROW OR HAPPEN.

I THINK THAT ART IS INTEGRAL IN THE VERY MANY OF EVERY INDIVIDUAL.

>> WHAT WE ARE DOING IS NOT SOLELY A PROGRAM ABOUT PAINTING SCULPTURE.

IT HAS SOMETHING MORE TO DO ABOUT A MODEL FOR AN IDEAL COMMUNITY OR JUST THE WAY THAT HUMANS CAN INTERACT AT THE HIGHEST, CREATIVE, FUNCTIONAL, SPIRITUAL, HARD WORK LEVEL.

THIS CTHIS COULD BE ABOUT PAINTA SCULPTURE, BANKING, BASKETBALL, IT DOES NOT MAKE ANY DIFFERENCE WHAT IT'S ABOUT.

YOU GET THE BEST PEOPLE IN THE FIELD, YOU BRING THEM SOMEWHERE, AND OTHER PEOPLE WILL COME AND HANG OUT WITH THEM.

JUST BECAUSE THE WAY THAT I THINK THAT WE REALLY LEARN SOMETHING IS BY BEING AROUND PEOPLE WHO ARE GIVING OFF SPARKS.

WHO ARE SO COMMITTED TO THEIR ACTIVITIES, EVEN THOUGH OUR FUNDRAISERS SAY YOU CANNOT TALK ABOUT BUILDING UTOPIA BECAUSE PEOPLE DON'T THINK IT CAN EXIST.

IT'S STILL FUN, AND SO FAR IT SEEMS TO BE WORKING OUT.

>> FOR MORE CLASSIC PROGRAMS, VISIT VERMONTPBS.ORG/FROMTHEARCHIVES.