>> from our studios in new york city, this is "charlie rose." charlie: a recent wave of violence has raise tensions in jerusalem. eight israelis were killed in stabbings over the past month. israeli forces responded. the white house announced the secretary of state john kerry will be traveling to the region soon. joining us now from washington is a fellow at the brookings institute and a former advisor to the palestinian leadership. here in new york, the u.s.

editor of an israeli newspaper. i'm pleased to have them on the program. what is going on? >> there has been an outbreak of violence of any kind that even though israel and the palestinians have a lot history of violence, there is always a new. this is very personal, very scary kind of violence. it has to do with stabbings and people literally confront their victim is start hacking away at them. all the while endangering themselves and many of the lending of seriously wounded or dead. this comes against the background backdrop of several issues, the most immediate of which was the provocation on the temple mount. and then a wild exaggeration of what was going on at the temple mount on the israeli side. and then the israeli settler

vigilante-ism has created problems. there is the issue of isis which is all around us. i do not think that these people, these children for the teenagers were carrying out these teenagers care if there is a peace process or not. this is all broken out at once. what everybody mentions is a lack of progress. don't think people care whether there is a peace process or not, that i inc. they do feel a sense of frustration. even those living in jerusalem, those in poverty feel stuck. charlie: the sense of frustration and grievance. what do you think? khaled elgindy: i think that is true. there is a great reservoir of frustration and anger.

but first we have to look at the specific circumstances in jerusalem where most of these attacks are happening. sort of episode of violence exactly a year ago. this has sort of a come at the become- sort of episodic. this is the one area that has been overlooked by the process. it is a peace free zone. not been part of any settlement freezes, at the same time, it is denied services. jerusalem palestinians have a history of separate and unequal treatment. they get much fewer services for the taxes that they pay, something like a 75% poverty rate among palestinians in jerusalem. they are not part of israeli society and they are cut off

from the west bank. this is with settlements and the buildings.her this has been building for probably the last 15 years where israel has intensified grip on jerusalem. it has shut down jerusalem institutions. the sense of despair that all palestinians feel is much more intense in jerusalem. charlie: does this have, as some have suggested, the possibility of becoming another intifada? khaled elgindy: that is certainly a possibility. i think for that to happen there would need to be a couple things that need to happen before then. it would have to be sustained over time, and that requires political organization and mobilization, and a certain level of discipline among the various palestinian factions. we just do not see that right now.

the palestinian political scene is very fragmented and in a sort of state of disarray. previous uprisings sustained themselves mainly because the established political factions were able to sort of organize and coordinate with each other. that hasn't happened. as we have seen elsewhere in the region, when you have a sort of mass mobilization that is leaderless and cannot articulate clear political demands, it does not often succeed. what are the worst fears here? chemi shalev: the worst fear whether general or spirits fear is that there will be increasing radicalization. it will be some incident that sets off the entire territory. i think everyone is worried about one of the possible collapse of the palestinian

authority. there is a fear that we could descend into some kind of military occupation or chaos. ishink that specter of isis all around us, even in the territories. mustisraeli arabs, who also be mentioned, this is concerning them. at least the large majority of people are aware of what is going on around, either the violence in syria or the massive refugee camps. i don't think anybody has a wish to descend into that kind of situation, at least from the israeli point of view. i think the target right now is to get this back under control. i think despite prime minister

-- primeu bosch minister netanyahu's talk, he likes to talk loudly and carry a small stake. -- stick. what they want to do now is stamp it out. but not in the violent sense, they just want to have enough troops on the ground so that no one can move. charlie: short course, not an actual aggressive attack. chemi shalev: you have heard of a summit that may develop, i know that americans have been in touch with king abdullah. they did the same thing last year when they were having trouble in jerusalem. that would not necessarily involve a direct meeting, but it is a kind of festive ceremony that might allow people to step down. charlie: the question is, or -- are these teenagers controllable, and how many of them are there? how many are there that are willing to undertake this very

scary operation? i do not have the answer to that. charlie: and who are they in terms of family? chemi shalev: there are many types. there have been disaffected, unemployed teenagers. there's a famous case of a 13-year-old boy who acclaimed had been executed, and israel celebrated the fact that he was a life in an israeli hospital. perhaps the least to complain about among the palestinians and they are also participating. i think that the core problem is with teenagers somewhere between

17-20 who have been the core of this campaign. i do not know how many of them they are. charlie: you do not believe it is the people who were doing this on the palestinian side, and are not in a sense, this is not about a peace treaty, it is about personal grievance. chemi shalev: and might even be, for some of them, a personal grievance and a fashion. itthis is the first intifada , is the first series of incidents that are mainly based on social media. there is a lot of facebook and blogs and secret places that they go to. it has been called in israel the iphone intifada even though it has not been declared as an intifada. they are open and they see what is going on all around. they take inspiration from isis or other radical groups. an iphone ford

that. i don't think israelis have recognized central control yet. they are accusing the palestinian authority of inciting these problems along with hamas. that there has been no accusations that this is somehow being managed from headquarters anywhere. it is spontaneous. charlie: khaled, what do you think? khaled elgindy: invoking isis, fears of isis is a little bit exaggerated. isis does not have a foothold, isis is not a factor in the very large protests that are happening in jerusalem, in the west bank, and even among palestinian citizens of israel.

isis is a very marginal influence and all of this for you what this really is is about occupation. israeli occupation that is deepening every day and is intense in jerusalem because of the special circumstances that abide there. you have this generalized anger, and as we have seen in other protests elsewhere in the region, it is usually the teenagers and those in their early 20's who are at the forefront of this mass mobilization. part of it is dissatisfaction with their conditions, but it is also dissatisfaction with their political leadership. whether the established political groups in palestine, whether it is hamas in gaza, or the fatah and pa in the west bank. they are making the point that this is not driven by factions, unlike past uprisings in and as he says, there is no central had

orders to they may emerge at a certain point, but we have to distinguish between a couple different things. there are, of course, the stabbings, which are important bhorrent, and the other attacks on civilians. majority of the unrest is the standard palestinian protest of stonethrowing at is really troops at checkpoints and other places that we have seen in the past. so this is not new. but having said that, i agree that there are some new dimensions to this. obviously the technology is a slice of things in a way that we have not seen before. that is true across the organization elsewhere in the world. but there is another thing that i think is overlooked. that is the israeli side of this. there is a radicalization and

extremism that has taken root in israeli society, and it has sort of become normalized. it is no longer just in the margins. we see really horrific types of violence. just this past summer, before the current clashes in the latest crisis erupted, we had this family that was burned to death by israeli settlers in the west bank. and so that is, if you look at the israeli discourse on social media, again, social media, these trends apply on both sides. the commentary that you see in the israeli social media arena is quite frightening and bloodcurdling.

it outright calls for murder. we see videos that are making their way around social media a palestinian young man who was killed by various jewish parading hiso are body with pieces of pig meat. these are some gruesome things. there is real radicalization but it is happening of both sides are at on the israeli side is actually influencing policy choices and in some ways limiting them. chemi shalev: i agree there has been a radicalization of israelis on the right wing side of israeli society and some of the things that you see on social media are horrendous. some of the things that we have seen you would not have seen 38

years -- 30 years ago and you would have just not hear about them. but there is a vicious circle here. the palestinian violence and the lack of any belief that the palestinians are willing to enter into a peace process on the israeli side, and isis, and the horrendous things we have seen from isis, all of these have radicalized israeli society and has turned the right-wing part of it has turned it perhaps even more violent, and has turned public opinion generally -- the right-wing has become radical right where the moderate center is gone to the right when there's a small left-wing left. the leader of the labour party find himself calling for tougher measures. and even though he is still wanting to see a two state solution the rhetoric is becoming harsher on both sides. i think mahmoud abbas is not

helping and he has not been helping in the past few weeks. i think that this incident with the 13-year-old boy that he claimed was that has done him real damage in the public opinion. not the part of public opinion that did not want to have anything to do with him in the first place, that the portions of the center that still believe in the possibility. i do not see right now where is the deus ex machina that is going to come and save us. things go from bad to worse. palestinians become more violent israelis become more partial. where is the sunshine that is going to break this darkness? charlie: thank you for coming. a pleasure to see you. back in a moment. ♪ charlie: pablo picasso was the

most dominant artist of the 20th century. his groundbreaking work changed the course of modern art and he was a devoted sculptor throughout his lifetime. a new exhibition in the museum of modern art focuses on his work in three dimensions. its main figures spans years of 1902 to 1964.

it anew york times" calls unprecedented event. i am pleased to have our experts at the table. what wonderful titles. [laughter] >> we are very proud of them. charlie: you should be. so, why now? because everyone is raving about this. .icasso attracts a crowd it is such brilliance and there is diversity in his work and there has been changing in his work. and sculpture is such an important part of his work. and it has not been here in 50 years. >> i think that the general fact knownt sculpture is less and less thought about than painting because it is harder to

make a scene. istakes up more space, it more trouble to transport, it is harder to arrange and a gallery, so therefore, across the board, sculpture is less well-known, but particularly with picasso. at sculpturegood was picasso? [laughter] >> as good as he was at everything else that is one of the revelations of the show. charlie: that is what someone said to me. i had no idea he was as good a sculpture as he was a painter. >> that is the fun part. charlie: did he sculptor until the end of his life? >> no, he did not. except for the last decade, and of his very last works, sheet

metal sculptures from 1960-1961, were converted into public monuments. he watched from his home as there were 50 foot sculptures arising from his designs. charlie: how do you define his greatness? >> i don't know. charlie: i will tell you one thing i have always been impressed by. i have done lots of television programs of all kinds. retrospectives of all kinds of portrait tours. everything. the thing that impresses me most about his genius is how passionate and obsessive he was and how hard he worked at it. would say the endless invention, right? endless and unstoppable and there is no idea and there is no thing that is not worth working on and remaking. charlie: he would even excuse from dinner parties to go paint. >> yes.

the one exception to that, with sculpture in particular, is carving marble. you think about the traditional image of a sculpture like michelangelo patiently working away at carving stone. that picasso had no patience for, it was too slow. charlie: so how did he do it? ann temkin: much more impatiently. he did not date them with the year, but the day he made it. the same with sculpture. charlie: it characterized primarily by the sheer pleasure of invention and experimentation. anne umland: i think that comes through in the show. you just go from gallery to gallery and each time any new set of materials, a new subject

matter, a new way of making. it is just hard to believe that in some cases comes from one artist. there is that much range. charlie: someone writing in the "times" said that the exhibition raises the question of whether also was a better sculptor or painter. we have already touched on that. he was great at each. there are just so many people who know so little about him as a school term. anne umland: an important point was he was trained as a painter. with new school for years to learn to paint. his father was a painter. he had no schooling in culture, no training whatsoever. when he approached it right from the start it was as a self-taught artist borrowing materials, using friends' studios and equipment, and he kept that spirit his whole life. there was nothing to unlearn.

the freedom which came to him anyhow came. whereas he sent his paintings to shows, he did not have that with sculpture. charlie: it is said that it was deeply personal to him. anne umland: you can see a constant back-and-forth, a dialogue. but yes, that is right. that would be between the pictorial and the sculptural. picasso would never want to stay in one category or other, cuc in -- so you see him literally applying paint to his sculptures from day one. and some of the same subjects are there in the sculptures. i think conversation is a good word. i don't think he ever worked

from his sculptures like a model. but there is certainly an interchange between the two. charlie: how did his sculptures influence others who followed him? >> from the start, if you look through this exhibition, even watching visitors in the show, people will be dropping names. different moments -- charlie: they can see the influence? ann temkin: yes. charlie: does his early work have some relationship to greek sculpture? ann temkin: not his early work, that is something he came to later in life. from his very earliest moment when he was painting what we think of as the chapters of the blue period, he was looking at the most famous sculptor of that

time, rodin. he had about classes -- he did nothing about classicism until a few decades later. charlie: but he studied them? ann temkin: informally. he only let him african work. that was the biggest impact. tremendous admiration. both formally, in african masks you might have shells and nails and all sorts of other heterogeneous materials that he imitated. but also the idea that sculpture had a magical presence and had some kind of force or power within itself that was virtually animate. that he wanted for his sculptures. charlie: did it change during the war? i think so.

umlund: he famously chose to say on occupied paris. he makes some of his most somber in mood works at that moment. charlie: you can see that in the paintings as well. anne umland: you can, but you can see the sculpture of the death bed for instance. but at the same time he also made one of his most iconic handlebars and bicycle seat sculpture. charlie: don't some people say after the war, as a sculptor, he became more childlike feeling. anne umlund: yes, he to the south of france and remained there for the next 30 years of his life. he was down in the sun, on the beat, and you feel that strongly. and given the father of two little kids. there is a playfulness and a joy in that later work that is him discovering his own childhood again. charlie: let's take a look at some of these images. describe this. tell me about this.

>> this is a sculpture called a glass of absence from 1914. -- absinthe from 1914. it is one of a group of six cast in bronze, but typically picasso undoes everything. as you can see with this one and its five companions, decorated surface, covered in paint, added a real absinthe spoon. it is a found object. spoon, and i suppose the funny thing with capasso -- picasso is this whole idea of taking a transparent glass, as a subject for sculpture, and not making something opaque and also the context is liquid but he renders it in solid form. i think throughout his career,

he loves to play with how can you make something absolutely the opposite of what you think it should be. charlie: the next is in paris in 1924. there he is one more time returning to the image of the guitar. what was that about? anne: i think here you have a great example of how paintings and sculpture were in many ways back and forth. this guitar hangs on the wall and yet it comes in and out, there is solid and void, there there are straight -- solid and and, there are straight wrinkled forms in there, there are wires as the strings. it is a playful object done as a serious sculpture. charlie: how many of these pieces are part of the permanent collection? anne: in the show there are 11. charlie: the next one is woman in the garden. this is from 1929-1930.

anne: this was the last of a number of works custom-made as proposals for a graveside marker for his dear friend. picasso received a commission to design a tombstone marker. it is one of the great chapters in 20th century art history in terms of all of the things that were rejected by the committee and including this one. charlie: this was rejected. anne: they all were. that was not a onventional thought of a marker. it is one of the things that he made working in collaboration gonzalez. charlie: does this reflect his

admiration for african figures? anne: absolutely. all of the works from this moment have -- they are almost african and african objects themselves. charlie: this is from 1933. the warrior motif. anne: this is one of the works in the moma permanent collection. this was given as a gift he made by his widow after he died. this in the first studio that he actually had first culture, in his chateau in normandy. he bought it at age 50. one of the things we love, you see that eyeball next to that large nose, we x-rayed that underneath it is a tennis ball. he had a tennis court on the property. charlie: the next is vase,

woman, in 1948. >> one of the ways he reinvents his practice after the war, he learns how to make ceramics. himself.f apprentices and of course they began with picasso. he learns how to throw pots, and thrown forms and proceeds to do everything to them that you shouldn't and the owner of the ceramic workshop where he worked was famously said if he had been his real apprentice he would have been fired. charlie: because he lacked what? anne: because he was irreverent. he took a nice vase and squished it to make a body. charlie: what does it say about his depiction of women? >> traditional. that he could make something or a figure out of anything.

charlie: the next one is she-goat, this is from 1950. >> a very well-known -- it has been in the moma sculpture garden since 1959. one of the things he said about this very proudly is that she is more real than a real goat. there is an incredible amount of life-likeness. even though it is a wicker basket for the frame. he loved this and he would keep this in his yard and he had a pet goat he would tether to it in a leash. charlie: the next one is baboon and young and this is from 1951. >> this is a work made when picasso is a father of a young boy named claude. this is one that he pilfered two of his toy cars for and put them together to make this baboon's head. there are any number of photographs holding his young

son to his chest in the way that this baboon, which has been identified as a female baboon in the past, but reads as a self-portrait. charlie: also, another example of his commitment to naturalism isn't it? [laughter] >> a self-portrait, yes. charlie: the next one is a flowering watering can from paris in 1952. yes, typically picasso would use a real watering can, so he used these fragments from his pottery experiments and things like real nails. there was a junk heap in between his studio and his home and he would go walking there.

charlie: the next one is bull, this is from cannes in 1958. >> another work from the moma collection. here you see picasso going back to working with wood, something that happened early in the cubist years. these flat forms. what is so great about it in real life is if you look, it has these nail heads. it is so picasso to make pictorialthat has a sparkle to it by using utilitarian things. seend the branches that you making the horizontal and vertical lines are just from a palm tree from his backyard. charlie: and the next slide. >> his last campaign of sculpture was in 1960-61. he began making works in sheet metal. this is an example of those, just taking in his hands

cardboard, folding it, cutting it. charlie: early frank gehry. >> yes. he would give them to his collaborator who made them into sheet-metal works. he would bring them back to picasso and picasso would approve or disapprove and in many cases he would paint them. he made over 120 sheet metal sculptures. charlie: how hard was it to bring the pieces together? >> we relied on the kindness and generosity of a lot of people. charlie: including family, including museums in paris? >> yes, musee picasso in paris was our real partner in this project. over 50 sculptures. charlie: 50 from them. >> out of 141. >> picasso kept his sculptures with him for most of his life and after his death when they settled the estate those works became the core of the collection.

charlie: why did he keep them with him until his death? obviously you could say he loved them. >> one could speculate endlessly. i think he likes living with them. clearly from photographs he arranged them around his space. i do believe they had personalities and were company for him. and there are all sorts of wonderful letters in our archives from alfred far to picasso asking him. charlie: the artistic director of moma? would, and he would ask, he part with sculpture x, y, z and by and large the answer was no, no, and no. charlie: thank you. >> thank you for having us. charlie: it will be there until february. it is something you don't want to miss. an extraordinary thing. it happens every 50 years. [laughter] thank you for joining us. back in a moment. stay with us. ♪ charlie: cary fukunaga is here,

he is the director of his first feature film by the screening website netflix. "beasts of no nation" stars

idris elba in the story about a young orphan groomed to become a child soldier. here is the trailer for the film. ♪ >> what is this doing thing here? >> what are you doing here? who is responsible for this thing? what are they calling you? i saved your life. i saved your life. i saved your life. go.

all of you, you know how something that stands for you. it has put the weapons of the war back in the hands of you. the young, the powerful. >> i will always protect you. because you are my son became -- son. a son always protects the father. my men, you will remember me. [singing] >> we are family. are you ready to fight? >> yes, sir.

>> victory. victory. ♪ charlie: cary fukunaga also directed the first season of the acclaimed hbo series "true detective" in which he received an emmy. i am pleased to have met the director at this table for the first time. what is it you want us to understand about child soldiers and "beasts of no nation?" cary: i don't want it to be a didactic film. it is a departure for most watching in their everyday life, transporting them to another part of the world and becoming emotionally connected to a kid who i think but otherwise be a headline in the news. and there is something indelible about emotional memory and it changes the way we look at the world.

charlie: where did you find abraham? cary: he was street casted. we didn't have a traditional auditions. we tried. people didn't come. we had to find kids who might be interested in acting in a film. abraham was playing football on a pitch. harrison nesbitt, our casting director, approached him and abraham thought he was being scouted for football. he was excited at first. turned out it was only for a movie. charlie: did you know you had to make it into a film, did it affect you that way? it took him many years? cary: almost 10 years. i read the book in 2005. i had already been working on the subject for five years before that. it has been near and dear to me

for 15 years. charlie: why? cary: i studied history and political science in college. it was there when i first learned about the wars in africa and sierra leone. the images that i saw children holding weapons, not only being inflicted on them but the violence they are inflicting on others was too hard to fathom. charlie: you saw firsthand refugee camps. cary: i learn more details about the wars. i stayed with a defense at tesh attache there and i had access to certain parts of the country. at this part the war was over and there was disarmament. trying to create peace and reconciliation. i got firsthand accounts of that particular war. when i read the novel i felt like it wasn't specific to any one nation. it is -- it tries not to go in

the context of any country's history. it is more of a human story than a political story. charlie: were you more interested in the children or the militia leaders? cary: sometimes the children become the militia leaders. i think that i am interested in everything about it. how the cycle works. why these wars take place. why these children decide to join forces and leaders, these charismatic military types, what with their lives have been like if they had applied all of their talents to something more productive? charlie: your father was born in an internment camp. your grandfather was japanese.

cary: born on a plantation. charlie: did the influence any of this career in movies and this desire to tell this story? cary: it is funny, growing up i think it drove my grandparents crazy asking them questions about our family history, their lives. i think they felt there was nothing interesting or important about their life. charlie: you convince them otherwise? cary: final think i ever everdon't think i convinced them. there was something about the mystery of it that i found intriguing. i don't know where my interest in storytelling really came from. my 80d spend time with center storytelling and i would spend the entire day in the multiplex watching every movie. i suppose the travails of my family have definitely influenced and affected me and also has driven me as well in terms of knowing how much they sacrificed. charlie: are you in the back of

your mind thinking about making the defining movie about the interment process and impact? cary: i would love to tell that story. i am not sure we can talk about how the studio system is changing but in the current system i'm not sure how i could get that movie financed on the scale you would need to show these camps and therefore the budget you need to make this movie. charlie: you were the director of the first season of "true detective," which i loved. it had an autuer feeling. you had two wonderful actors and you had this sort of experience of the land and it just was -- cary: it was a fun -- charlie: what was it for you? cary: in hindsight it was fun. in the moment, it was a very difficult project. part of that is that i stumbled

into it with this naive idea it would be much quicker to do then it was. i don't think i really registered what a 450 page script meant in terms of what it was going to mean from me. endurance and stamina. charlie: then you great two great actors. cary: and they are in every scene. the whole thing rests on their shoulders. charlie: and then you get to work with idris, a huge powerful presence. as well as actor. what was your connection, why was he the instant choice for this? cary: he was pretty much the only choice. i was still shooting "true detective." one of the producers was talking and waiting for set up to get done. he asked me what i was going to do next, and i said "east's

"beasts."he says you should get -- he asked me what i was going beasts."xt and i said " he says you should get idris elba to do it. i didn't think we would get it. a tiny budget, someone of his stature. his star was rising. the general public is becoming more aware of him. a lot of people think he is unattainable. i was able to get him on the phone. he signed on the phone call. charlie: in the phone call. cary: in the phone call. i got him on board. charlie: had he read it? cary: he read the script. the world was not beefed up as it was. charlie: you got a good actor. cary: he elevated what i wrote. i sort of made him a more central figure. i think having him just come on board changed the themes of it more and made it more of the father-son dynamic that developed.

charlie: is at the dynamic of the movie? cary: i think so. there are many dynamics taking place. but in that particular one, the patriarch system. charlie: what does he mean, the kid mean to him? the commandant? what does he see? cary: at one point in the story remind me of me when i was younger." i don't think he is lying. he believes he sees something. but these children, i remember speaking to a minister of parliament when we were setting up a moving, a commander and lord, and he said without any filtering, as if i was a journalist, child soldiers were his best soldiers. the most loyal, the most eager to please, the most fearless. i think it is the same thing.

he has all these young men and adults he is working with. there are the politics and a movement but the kids just do his bidding. there is a lot of power in that. charlie: do they see such gruesome things that it changes their soul, their psyche? cary: without a doubt. i don't think anyone who sees that violence, they are altered. charlie: that level of violence? : i don't know, permanently. from those experiences. in abraham's case that is what it gets to, the heart of the story when he is speaking to the aid worker. sorry, that is a spoiler. but it is what he says to her and what his experience has been so far. how he understands his place in the world and the future is not certain, but he has optimism

about it knowing that everything is done. but he will always carry that shadow. charlie: here's the scene between the commandant and him. >> my father and my brother, and my father told me to run into the bush. >> how does the commandant look? >> what are they calling you? you must say it like you are proud of. one more time. well, that is what i will be calling you. leave this one under my charge.

i will be training him to be a war hero. there you go. you were almost moved there. cary: that was my first day. charlie: what were you remembering? cary: that was one of the first days they worked together. he was having a hard day. we had him walk through the valley.alk through the he hates snakes, terrified. his nerves were on edge from that. in that scene the cap shooting shooting it kept over and over again. it was an oppressively hot day. you felt like you were in a sauna. you might as well have been on drugs. he got emotional. it was the first time that i saw this kid can do it.

i wasn't certain before that. we were shooting chronologically. charlie: this convinced you. cary: in the edit we just let the camera run on him. eventually, idris is also amazing and we had to cut to him. charlie: what you are doing with netflix, you think this is where they are going? cary: i don't want to pretend i can see the future. i see from the writer-director's perspective, the amazing potential here. i kind of feel like we are back in the 1960's, shaking up the system in terms of hollywood and how movies are made. charlie: why is that? what is it that you have? cary: you have a subscription service getting involved. which means the subscription service is the brand. so the box office, when it comes into cinema is not the most critical factor to remaining in the cinema. so that changes everything. just the facts. because they have

people paying $8.00 a month? cary: exactly. charlie: thank you for coming. cary: thank you for having me. charlie: see you next time. ♪

announcer: "brilliant ideas," powered by hyundai motors. narrator: the contemporary art world is vibrant and booming as never before. it is a global industry in its own right. "brilliant ideas" looks at contemporary artists with a unique power to push boundaries and ask questions. the artist getting on top of his work in this program is subodh gupta. ♪