not only paintings and watercolors, but also his notes. we have his journals where he kept records of the prices he was paid for these different works, but "shoshone falls" is a favorite of not only our local audiences here in tulsa, oklahoma, the united dates. -- united states. when henry kissinger has been in town, he likes to sit in front of this work and absorb its beauty, and it really is a work that speaks to the sublime of nature the awe-inspiring beauty of nature. a work can be both awe-inspiring but also terrifying in this case. shoshone falls, known as the niagara of the west. we are in our "focus on favorites" exhibit. these exhibits -- fine art anthropological, archival -- represent the masterworks within the collection. i would like to point out part of our collection that i think is often overlooked is the anthropological collection. by "anthropological," i mean objects of human culture that help us understand people of the americas that have lived here for thousands of years before europeans ever set foot into what they thou

it's my medium just like oils or watercolors.lucky because i'm living in the '90s where i can throw a tape recorder on and record whatever just came through me ♪ rebel is demising. ♪ and listen back to it later on and decide what do i want to piece together, you know, make a song. ♪ each pebble made by mountains. ♪ after you receive something you want to go with, at that point that's where the struggle comes in because it becomes even harder, at that point to have somebody sitting in front of you and still remain unattached from it because i continue at that point, to bring it into the world to birth it. as you raise a child it's not just the parents that raise the child it's the community around the child. so i'm always open to being shown ways to help that song grow. that's bringing it to the band. (dispirito) michael brings a musical idea to the group and everybody sort of puts their twist on it. maybe the groove should move a little over here, or maybe we should put a section in here that emphasizes this or maybe we should en

it was a silk screen watercolor, about 8 feet long.n terms of the flatwork i work with a lot of cloddish. so being able to cut into it come at into it, removed parts it is part of the process of negotiating the final form. >> how do you jump from the two dimensional work that you create to the three-dimensional? maybe going back from the 3f to 2d. >> everything is in the process of becoming. things are never said or settled. the sculptures are being made while i am doing the collages and vice versa. it becomes a part of something else. there's always this figuring out of where things belong or where they could parapets something else. at the end goal is to possibly see one of these collage plans be built out and create a structure that reflects back into the flat work. >> thank you so much for allowing "culturewire" to visit this amazing facility and to learn more about the artists in residence program. is there anything you like our viewers to know? >> we have art exhibitions every four months, and a win by the public to come out. eve

conservators here are responsible for works of art on paper, including prints drawings, photographs, watercolors, pastels-- any work of art that was done on paper. woman: damage caused by light is one of the main problems we have to try to remedy in works of art in our collection. these two drawings by a french artist named ingres are from the 19th century. ingres was a wonderful portrait painter but he made pencil drawings of his subjects before he made the paintings. in this photograph of a drawing, this drawing before treatment you casee how yellow the per got when light hitt. in order to get this discoloration off but not to move or iany way reduce the pencil, we had t vcaful in o trent. the most interesting thing about this from your point of view might be that we had to use sunlight to take away the damage that light had done. we tk these drawin and ry carefully daened them. we put them on a clean white blotter in a tray, and then we put them outdoors. and we stood with them in the driveway for about 4 hours, and the sunlight came and took away the damage that the sun had caused. we think

his paintings, his watercolors, but also his notes.se different works, which should shown he falls is a favorite of not only local audiences but when henry kissinger is in town he likes to calm and sit in front of this work and absorb its beauty. and it really is a work showing the sublime of nature. the all of the beauty of nature and in this case, the terrible sublime. the work can be terrifying. in this case, the waterfall, the falls, known as the niagara of the west. we have our focus on favorites exhibit. whether these are fine art, anthropological, archival, represent the masterworks within the collection. i would like to point out part of our collection -- the anthropological collection. by anthropological, i mean objects within the culture that help us understand people of the americas who have lived here for thousands of years before europeans and went to what they thought was a new world which was in fact a very old world. the case to my right, we have objects from this part of the united states. we have items from the missis

a hopper paintings with watercolors, it's not an easy thing.n, i had a professional with me on the set, from texas, that worked with me and i did my own -- >> there's the photo. >> that's mine. >> you actually painted that. how long did that take you and what skill level does this require? i'm imagining a lot. >> my grandfather was a painter. my father painted. my brother paints. it's a gift the family has to some degree. i did it through half the film i was working on. in order to be in character, to feel the real pressure of trying to duplicate a famous painting, and i just wanted to know what that felt like. i tested myself. >> there's so much going on in this film. another one of the big moments is you come back from prison and your son is dying of a brain tumor and we saw him there in the film. was that difficult for you personally given what you have been through? >> well, you can't help have it reflect on your own life. i try to separate my art from my life when it's that personal. but i believe that, you know, it's hard not to sometimes

don't mind ♪ ♪ ♪ we'll probably never get there bring your sight seer school teachers down it's a watercolorer get there bring your ♪ ♪ candy taster time wasters around and we'll -- with their minds ♪ ♪ the world composes with its shirt tails wrinkled hangin' out bang us together see what sort of sounds ♪ ♪ we make right now the world plays music playing skin on teeth inside of a mouth ♪ ♪ what sort of sounds what lovely sounds come about ♪ ♪ ♪ ♪ we greased all the ropes we'll throw you a line we're gonna break these boulders ♪ ♪ we're gonna pull things out ♪ ♪ we greased all the ropes we'll throw you a line we're gonna break these boulders ♪ ♪ we're gonna travel time ♪ ♪ we're gonna throw a party all the ghosts of trees are coming out don't look any direction ♪ ♪ wait until the light's inside of the clouds you're gonna wanna see this don't bring your ♪ ♪ camera around watch sun and sawdust align ♪ ♪ ♪ [ cheers and applause ] >>> this is a special edition of "nightline." >>> tonight we follow one woman trying to find her birth mother against nearly impossible odds. >> thank you very much. >>

she was apparently pretty good at watercolors. this is one thing here that i think is interesting. this is the monument to her lately departed husband, it stands in hyde park in london. the architect as you can see is george gilbert scott. i hope this will work right. you can see all of the different details. this is one of the things we very frequently think about it we hear the term rhetoric, and overload visually -- an overload visually in any way that you can take it. there are other terms that have also been applied to these years. many years ago, the great american water entitled the book "the brown decades." that was one turn. another was "the mob decades." another term in frequently used is of course, the gilded age. it comes from mark twain and charles dudley warner, a book called "the gilded age" until -- a tale of today. what it is, it is set in washington d.c. anybody read it here? nobody reads it any longer today. it is really a good read. it is a damn good read. we ought to read it more often because it is about corruption in washington, d.c. [laughter] dr. wilson: ri