Spectrum Hawaii; Terence Knapp interviews Frank Hodsoll; Chicago Brass in Transit, Serigraphy The Fine Art of Screen Printing, Hawaiian Leatherwork

The following program is a production of h e t in Honolulu Hawaii Public Television the following program has been funded in part by grants from the Hawaii State foundation on culture in the arts and the people who Chevron in Hawaii. Welcomes Frank Cox. Chairman of the National Endowment for the Arts. Mr. Hudson's leadership has been. One of America's most prominent art funding organizations has brought him into contact with America's best arts institutions and numerous projected activities in film. Video. Which. Pointed by

President Reagan and sworn into office by Chief Justice Warren Burger. Mr. Hudson was the first lawyer to head up the. Welcoming Mr. HUDSON. Today is Terence now distinguished professor of drama at the University of Iowa. Here's Terrance. You you're saying basically that the National Endowment for the arts is barely a quarter of a century old. That's correct. And before that it was basically it was rife Patra was all private some local city patronage very small amount of state public but in the first State Arts Council was in Utah in 1899 1899. But that was unique that was the Mormon Church. And there wasn't another one until after World War II. That was the first institution versus state public. The government says Well New York City in the early days of the 19th century when private patronage were creating institutions like the Metropolitan Opera Metropolitan Museum basically the city put in some money to New York

City put money into the maintenance of the Metropolitan Museum at the beginning along with the private funding but there was no federal or state funding at that point. In the States. Some of the states came later than we came and then all of the states I mean Hawaii the foundation on the arts and humanities was created a year or so after we've very much within the lifetime of young people today. And down into the office started to roll. That's true. And is it going to become bigger and a greater arbiter of taste. Do you think. I mean no I don't think so. Not at all do I think it should become a major arbiter of taste. I don't think it's our tradition to have a ministry of culture etc. and I think it is also I think it's a good thing not to have too much power in any one place so that taste can be can be brokered out in the in a marketplace of intellectual freedom. And I think that's important. You could double our budget and that

would still be possible. So that that is it isn't it. That isn't an argument that we should go down or that we're too high but it's rather an argument that the basic system will remain predominantly a one of private choices and I think that hasn't hurt us at all. We've done pretty well in the artistic field. Did you ever see yourself as the czar of the arts. No and I don't think I am one way or whether I might have seen myself as you know I consider myself a government bureaucrat attempts to run a fair system and hopes to identify with the help of artists in the field the opportunities and where the excellence is. So you don't see yourself in any sense as a general manager like Rudolph being of the Metropolitan for example. No you don't see yourself as an entrepreneur. I do see myself as an entrepreneur in one way and but but but not in the sense of running an institution and directing its agenda. Why would I now if I were Rudolph Bain I would absolutely insist on being

the czar of the Metropolitan Opera because that would be my job. I view. I have a different role. The old story that where a man stands is often a function where he sits where I sit it seems to me my role is to make sure that that we have an opportunity to recognize all of the variety of art forms that exist across the country and to put together a system of judgment. At least with regard to ourselves that is based on an artist's judgment as opposed to the private patrons saying I like this. When the when the president appointed you did he give you a mandate. Not really other than basically to say that the arts are important in this country and we want you to run a fair system. We don't want a politically motivated fund the best as your system sees it and do it on the merits.

Beyond that there were no instructions apparently what little I prefer the earlier question. And did you when you when you you got into the seat of power as it were did you then refocus your own thoughts and feelings about the place of arts in the nation's life and the effect they might have on any given group or individual. Quite an overwhelming volume was there before you write when you sat down in the chair for the first time. Oh absolutely. And that will be quite an extraordinary volume after I've left at least I hope so or else I would've had a very negative effect. But no I think that my view going into the job I asked for it such as a sort of a choice of mine was that we would be a small part and try to help at the edges of the cultural life of the country. I mean after all the down there the cultural life of the country is an awesome

universe. And since I believe in actually my boss the president also believes that civilizations more often than not remembered for their art and they are thought if one looks back to what other civilizations have produced that my role wouldn't be to tamper with that or direct it or to say you know this is OK and that's out but rather to provide a system of support and encouragement for a wide variety of of activity and to bring to bear the recognition of the head of state the president of the United States to do the best and so we've created national metal abides. And we had some white house functions both on television and off to make that clear because in the United States there's probably been less of the tradition of putting the arts at the center where I think they ought to be. I don't quite understand that in part because it seems to me that the glory of America hitherto has been this coming

together of an extraordinary mix of peoples from all over the world. And they brought with them and and their heritage is and their talents. And when you think alone of the import say of Russian musical talent the beginning of the century and the Florida that's happened now for us. You know the present musicians who are playing for example the grandsons of those migrants who came they did in fact have a very hard time of it economically. Right. But for their own persistence something you might live with in other countries it seems to me in Europe especially you have state organizations and institutions States theatres the comedy Francaise the Moscow arts theater. I mean I'm I can refer you to theatrical organizations because I'm a man to give it to myself. But it covers the whole spectrum.

Do you think maybe America has been very slightly at fault in not offering more state. Assistance subsidies stimulus. Well I especially since the middle of this century. Well I think that I'm not sure that that's the case. There's always a question of balance and degree here. But I think ultimately one must say the proof is in the pudding. And certainly from the beginning of the 20th century on that's not to dismiss 19th century artistic accomplishments and certainly think of Mark Twain and Henry James and then quite a lot of others that were quite extraordinary in that period. But certainly from the beginning of the century there has been a flowering of American Art of all kinds even without any any any significant really state subvention. So that doesn't seem to be a necessary connection there. On the other hand it could also be said that the cause of the private patronage in America which has been

remarkable to say the least of it historically and also the work done by the various universities many of them state universities throughout the United States they have in fact provided that so-called national assistance and subsidy here in Hawaii for example. It's very difficult to think of the cohesion of the arts without the assistance of the university. Well you know I think that that's typical isn't it. That is certainly true. Not always the university but here I looked for some other or some other organization. There's no question there's no question that artists from time immemorial either singly or in groups have had to have the patronage of somebody in Bircher. And I think that is audio Michelangelo. They all had patrons. They were poets in those days when they read all the links to the ancient Greek you know the ancient Greeks were interesting. And since you are a man of do to the I you would probably know more about this than I do but you probably know that the age of your repartees

Escalus and so on that the way in which Greek that it was supported was was a partnership between the government and the private sector they had the right. Who were essentially selected and their obligation is to put money into the Greek Theatre and you had governmental support as well. In a way as we've evolved to the later 20th century some of the same elements are true here. And one other thing I would like to say on this and that is that they were critical if you will element and space of art support beyond the popular culture in the United States is the locality it is the city to some extent the state. But but really the city and that's very much like ancient Athens or Shakespearean London or an entity or Perusia and so on and so you know an entity in itself where people live and where they develop pride in those set of artistic expressions that serve to

identify and embellish the city and in which they live. And our system of support really helps as I had a conversation. Oh I don't know. Now about three months ago with the new French minister of culture and they have a very different system over there Francois thereafter. And he's trying to move his system more in our direction to create private support. They've recently had an enormous meeting of major French businesspeople and they like to talk about this. And we were talking about the difficulty for example in the provinces in France of providing for choice individual choice. They're moving more in that direction. Now the bottom line is there's got to be support. There's got to be lots of support if there's really going to be a flourishing of a wide variety of odds. That's not to say that a few poor artists might not be able in the garret to paint the magnificent picture but it is to say that if one is talking about architecture and city planning and orchestras and music and people

general people learning in the schools about their artistic inheritances and all the rest of it that costs money and it can't all be done in the marketplace. There have to be gifts from somewhere and in my view there needs to be more money and the more people that participate in the giving of that money of their own free choice the better the society will be whether any one saw us being the dominant system. And the opportunity for the artistry to flourish or to develop very often is through a particular task right. I mean it seems to me that the WPA the thing that happened after the Depression when President Roosevelt was correct as he guided a plan of subsidy and support which did incredible things it seems to me in terms of not only of painting and of poetry but theater for example as there was the theatre project a great deal of exciting stuff came out of it. Is there any possibility of that sort of

thing happening again. The SEATO was similar was it not. See to see to also provided money of that tangentially was for the arts. But both of those programs. Again Terence were jobs programs and the arts was just one of them that their object was not artistically flourishing their object was to provide jobs and they worked to a degree and to that end though I would note that it was World War II that brought this country out of the depression not the WPA or any of the other. No I understand you know aspects of that. I think that again there needs to be money and it should just repeat it should come from a variety of sources but for many people the arts is seen simply as the artist functioning. I mean a poet attempting to express himself in his Gabbett or his not so

glad that he got it. Who. Needs the support of society in order to be able to function and write poetry doesn't sell in the sort of way that campaigns do know don't really make a living from it. So very few. Yeah right. But it is a viewpoint that I think most people have about the artist as an individual. What I find so fascinating about where you go is that you have a much wider view and a larger view and maybe a view to the future too. Well that depends on my I guess mental capacity and clairvoyance to a degree whether certainly one or two. I'm very very fortunate in having the job that I do because since I'm interested in the arts it does give one that kind of view skilful I am analyzing it predictive. I don't have any idea and others will have to be the judge of it.

However having having said that I do think that if I were to single out one key issue in culture today it all comes down to one word and the word is the word that describes what we're doing right now. That's television television is the dominant the dominant factor in the culture today not only here but throughout the world. Most of the television product that is shown throughout the world is produced in southern California by a group of writers and producers and others who do that. Some of them are very excellent and some of the television product is very excellent. But it is also rather narrow in its artistic content. It doesn't deal with very rare exceptions with the cultural heritage. All of the cultural heritage is plural. And it may exist in the country at any given time. It only deals with a

relatively small slice of contemporary expression. And as one of our studies showed 61 percent of the American people in nineteen eighty two didn't go to any of the things that we support. Generally speaking that means for most Americans art is primetime television the popular music top 20 bestsellers and the like. And what bothers me about all of this is that that's really too bad. For that 61 percent because it means that they don't have a sense of the wide range of artistic expression which civilizations have remembered for what they are. The irony of course of the highest forms of human expression and so when they're done well and. How in this age of television to break through that not to destroy television it's a it's a it's a it's a wonderful boon in many ways it has

many many advantages all of it but rather to give people a sense of all of the choices that they have in their cultural life is important what we're doing at the endowment are two things. One is we start a set of programs to try and reach schools to put the arts as a basic and sequential part along with English math and science. We have the support of the secretary of education the president and a wide variety of state school officers in this. And secondly television to try and create educational programs on television which were in concert with the Getty Trust Fund for this purpose. But. 50 years from now there won't be anybody alive who was alive before the age of television. And that worries some of this extraordinary talent isn't it. Because television also disseminates and informs in an extraordinary way it certainly does may it might go the other way hopefully by it that people would be stimulated by

what they see on television if the content is good right. And then be prepared to get up out of the easy chair take a walk and go to the gallery or to the concert hall or whatever it is. Absolutely and in fact on public television that has happened some of the serious novelists. Right. There is also a broad cause what exact question started on radio. Yes act in the 30s. Great performance right there. We have studies that show for example in dance in America that a wide variety of people went to the Joffrey Ballet for the first time because they had seen it on dance in America. Now those are very useful things. But you know we're talking about things with a 10 or 12 share as opposed to a 30 to 40 share on commercial television and we need to do more of that. And that's the way we need to use television to a great extent. No I am I'm a great fan of television. It can also open up people's lives and with cassettes and home viewing and some of the new technologies there are lots of

opportunities. And one of the great tricks one of the things we're spending a lot of time thinking about we don't quite know what to do is how to use that to create if you will the libraries of the future which visual and moral as well as literary libraries the times other people in the future might not even want to read anymore. Well that's a little disturbing. I would agree I would agree with that though interestingly enough in the last 10 years the Library of Congress reports that we've gone from an average per person per year in the United States of seven and a half books to nine and a half books. But what books and I did comment on them and that takes but didn't for example go to see Les Miserables as a musical. And then I gather were more than happy to buy a reprint paperback of the Duma and read it. And that has happened. Yes that's a take that's taken off since Muser have to write first from France to England and now it's down to New York. So that kind of stimulus actually could be very healthy and very fruitful.

Well and the fact that if the popular culture would take more these great artists and they don't all have to be of the past either. The great artists. We would we would certainly be better off one. Another example is the Oscar winning movie Amadeus. It can be documented that sales of records of Mozart and so on went up by 30 percent the year after the release of Amadeus and even records of Salieri started to appear. But that stemmed in the first place from Peter Sharf his preoccupation with the subject matter was useful to me. Now admittedly when he even when the play was first performed in London or in New York a relatively small number of people saw it. Nevertheless he had the general idea I suppose what preoccupies some people to some extent. How does the playwright in the first instance have the opportunity if it's

necessary to produce his work and I mean that that whole idea of the artist and the guy who wrote it and the seminal thinking before it can be disseminated in this highly populated way seems to be a tremendous gulf sometime. Yeah too I think. I think in the way the age of television is accentuated that you know before back in the in the early part of the 20th century and before when I wasn't alive. I have read and I have heard from people who were alive at least for the early part of the century. There was much less of a gulf between the popular culture and the so-called high culture. I hate that word high culture because I think culture is everything that's good. To me maybe it's out of the boat that you are just making up for it. Oh no said Hawke I thought you said Oh I apologize I didn't hear you

correctly but there seems to be more of a gap today than there was previously in this respect and that's very unhealthy in my view. We try to do a certain amount of damage to bring bring both sides together and and say on the one hand it isn't all schlock on the other hand it isn't all pointy heads in the library doing things and then that may help. That may help a bit. I don't think you're right. Well many of us were very contented and happy man to be you know in the light of a previous experience life is the. Well I've been a very full time lawyer I'm a lawyer too. Yes and as insurers insure actor you know that Shakespeare wrote for Henry the Fourth. The first thing to do is to kill all the lawyers at this hour. That's true. He's been in better boats. But anyway it's also I think a truism that people in the law certainly in Britain are regarded as actors

more. Anyway the church the church the law and the theatre are regarded as a kind of trinity of performance. And I think that's right and one should certainly in politics don't you think that having to plead your case all the time and to yes when you're on you know how long is this visit to Hawaii. Why are you here. Well actually here I am here to learn about all the things that go on in a way to plead my case and to make sure I understand the cases the various cases that are made that I'm here I'm here until Friday and then I go to American Samoa and then to Guam and the Northern Marianas and then to Japan and back. A busy man. And I suppose you've been bombarded by all kinds of requests while you here. No I must say that the Hawaiian people who are and artists and administrators and so on that I've I've met are a very gentlemanly group and they have showed me I think give me a sense

of some of the things that are that are going on but I haven't had my arm twisted but I suspect I'll have some mail when I get home. Have you been able to pick up on anything that is kind of singular about Hawaii in the short time that you've been here. Well I will preface I have I'll tell you what what I think for what it's worth I've also prefaced with what I'm about to say with saying that I probably learned just enough now to be truly dangerous. But in any event I think that the one particular thing that has struck me and actually two particular things that struck me about Hawaii and the odds is first of all for a state one point two million people or thereabouts the extraordinary variety of artistic expression that exists in a highly excellent form as compared to other states with similar population around the country. No I really I really I really mean that.

And secondly I think what has struck me is that here in Hawaii to a greater degree than than most other places one has representation of a variety of cultures as opposed to variations on a theme. The richest island is very rich. It is. It's very very recently and exciting place to be. Oh I think so. I'm still here. But I think that it was exceptionally generous and gracious of you to spare the time to have this conversation with me. Thank you very much for giving us the insights into this extraordinary institution known as the National Endowment it's long may it flood victims of life say thank you. Group will try to survive. And we wish all of you in a way great good fortune with what you're doing. How likely do you think you will be remain in charge.

Oh well I am. I'm there for the next two or three years. I have a fixed term as I want and it's over with and I'll be kind enough to make a mark. Well I don't know whether I'm but to really make my mark that will I think be for others to judge. I do know that I've been very fortunate being where I have been while I've been there. Thank you. And I'd like to take this opportunity. Thank you. The audience for tuning in for this episode of spectrum away and we look forward to the next time. Good bye. Bye bye. I have.

A. Boo. Boo. Boo Boo. Boo. Boo Boo. Boo. Boo. Spectrum was funded in part by grants from the people of Chevron in Hawaii and the Hawaii State foundation on culture and the arts. The following program is a production of h each t in Honolulu Hawaii

Public Television the following program has been funded in part by grants from the Hawaii State foundation on culture and the arts and the people who Chevron in Hawaii. To. Spectrum who finds a quintet of snowbirds escaping Chicago play their bras in Waikiki. Beach assistant professor Alan probably returns to nature themes for the art of Griffy. But first Spectrum what looks to John doesn't just hold others who are at home in the field of feathers.

The art of Hawai'ian further work extends to the crafting of such objects as Les's. Headwear. Cloaks capes as seen in this priceless royal cape of King Kamehameha the great. The artist further work in old Hawaii is also the subject of a new literary adventure by author John Donne in this hole. Why the book. Girl. The art of further work and told him. That I felt that. There were so many of these articles of Hawaian for the work here. And in all parts of the world. And. Many many of us. You know I had seen him here or in other places. And wondered about. What.

I about what they meant why they were made why they were used to why they were wrong. Of course the garment was a garment you know. And I thought there were many many unanswered questions why jocular color combinations and capes and cokes. Why would I have one. Pattern. Against another pattern. And all of these kinds of things and I was fascinated by the. Bird. Catching of birds. And. Taking. Over. For the making of. Other objects. Mr. Hoge fascination with the hand crafted further work of the late Johannah clearly led him to purchase her collection and donate it to the schools for all of the ways children to view and study. All of us who. Work. In one area or area of our culture. Have had to. Have had limited

documentary resources to draw from. And at times you've had to I think use our imagination. I have no shame in having. Used my imagination in discussing some of this further work because. It seems to me that they're obviously. Made with such. That they are so beautifully made and then made this was such a depth of female. Thought for the design specs. Of the garment that they must have been made to be used on various vessels. And they must been made to contain. Ours sir. That would be because those of a chief. Who wore that check the teaching of feather lay

making takes place every week at Bishop Museum here in Honolulu. The classes are conducted by Auntie Mary Lou Kiku who for over forty years has shared her knowledge with students of all ages and abilities. Not classes. The thread comes from. Sweden Clippers come from Japan. Needles come from England and a needle thread from Germany. And I fed us from New York and we are doing a Hawaiian art. I've been asked many times if the needlework is dying out. I can say for myself that I have three generations in my home working with a feather so it's not. And we have so many students and now we have so many teachers just classes all over. I've taught on every island Butland. I've taught up on the mainland. I've been to see our. Sister Hawaiians that have been transplanted needed to grow up because of their husband's work or they themselves had gone up to live and I find that up on the mainland they. Band together lots closer than

we do here and they just are hungry for all of this. However. In. Starting a lot of the students have no idea what they're going to do but when they get the feel of a feather and they. Slow down a little ways and they says What do you have another column maybe that I could add and we have a. Different Feddis called accents and that person will create a lot themselves. I really love my little bit of help but then they say well I would think that if I put the feather this way it would look so much better. And I said you know you've got a good idea there. But another thing that helps my students is because we always start with a prayer. Our people always prayed and asked for help and some of my students have come in a little bit late and they said Did you pray. I said yes I did. I'm the biggest fattest mom I can't get it out. Now you would you say a prayer for me because I know I have a bad day the rest of the day. But I said No I said one that included you for people that are

coming and and as such they sit there and they just a beautiful work. It. Make me boy boy Lee which means to tie feathers on to a base for making this particularly hard look. And. What we need to do to begin with is we have a feather a goose feather slate. And. When we cut the feathers. To make our lady. They. Get a feather. Of a contrasting color. And use the Clippers. To cut the feather right here because every feather absolutely has to be the same length. So. We will take the yellow feather to continue this particular design. Place the finger. Under your thumb like this. Pick up your feet. Or the thread. Holder which is used before for

making fishnets go around all of the feathers twice around the figures and a third time. So Forth you go around again. But come through. That loop. And you're actually tying a knot on. Each feather. And you take the feather. Turn it. A little bit towards you. Pick up. Another feather. And. Apply that to. Making that completely. We have 16 strands of. Comparison to the Lee which has only four strands of yarn. But you need the 16. To have this nice thickness in here again taking and twisting twice around all the feathers. Third time around the fingers. And tying the feather. Now to be able to realize when I get up in the morning I have eight hours that I'm going to reach that many more people. To make them realize how

ambitious how ingenious they Hawaiian was and thinking creative and most of all how ambitious they whine was because many people. Do not think this because like the visitors that come to the Bishop Museum feel that the Hawaiian only played music festival ate and drank a lot. And I said we do that. But then there's also a very serious part of the whole. And I'm having a part of this to educate people which gives me a lot of sadness. One sunny day a group of casually dressed visitors checked into the Kahil Bennion hotel in Waikiki Allegro by Antonio Vivaldi from the article Fragoso for strings.

You're right. You are Gozo for strings right. They brought their breast with them. GROSS can say hello. Start with. Yeah we start with all the. Let me do the box sweep and February and living in Chicago except to Hawaii was very welcome and it's something that is the first time for all of the ensemble. They are the Chicago brass quintet on a three week tour of the islands arranged by the University of Hawaii College of continuing education for the Association of Music cissé. The tour is sponsored by the Honolulu chamber music series and Yamaha musical instruments. Our concerts are fun. They're fun for us and they're fun for the audiences. People walk away saying is it all over. Why don't you play more when you come back. That's our job and we really feel the same way. We can't wait to come back to Honolulu we're not going yet.

The International trumpet Guild has praised them as one of the premier ensembles of our time. In return other day were saying you know when I was a young boy growing up in Menasha Wisconsin I never imagined that I'd ever go to Hawaii. Here we are. Rusby Kraft has recorded with the acclaimed Chicago Symphony and his trumpet has been heard on commercials for McDonnell's United Airlines RCA zenith in Syria. He is chairman of the breast department at Chicago's DePaul University. These

five members were all established freelance musicians have been performing together since 1976. But the Chicago brass began years earlier founded by this man James Materne who had been playing with less ogre's dance band in Chicago. It was a very fine band. That was back in 19 about 1960. Two or three. And about that same time as musicians life are very complicated we do a lot of things. I began to form our own brass quintet even though we didn't exactly chime a bell that said this is the official opening of the Chicago brass quintet. It was just a group and shortly thereafter began to play concerts in schools and then begin to tour and here we are 25 years later. They are without their tuxedo. They'll face an audience tonight. But for now the burning foliage and the warm windy afternoon keeps them apart

from the howling fury of a Chicago winter. Bradley Boim is a frequent solo trumpeter and performs with the Chicago City Ballet. Jonathan Bowen also a soloist is taking his French horn across the United States and Europe with the Chicago Symphony. We've all played with the Chicago Symphony we know the people very well and in fact they they were probably the people who inspired me to form this group because they made one of the first records I had ever heard. BECK All must be 35 years ago and I was so moved by it I just said what a great thing this is. Trombonist James return is also a composer and his talents at arranging have considerably large brass repertoire. We have a library of three or four hundred pieces

that plays for just every occasion. But it was not always so. It's been said that there are perhaps only 20 or 30 works composed specifically for brass ensemble. But turn transcribes from pieces originally intended for strings or keyboard. Statistics show and I agree with it that there are about three to five percent of the total population who really get into music as well as their thing. They really love it that's what they they've got to have a certain amount a day. But everybody has the music. I know people close relatives who are tone deaf and everything else deaf but they like the rhythm or they like something about it.

Materne faced formidable resistance in the pursuit of his career. I lead a life that everybody said I couldn't do. I mean people said don't go into music you can't do it and they're just too much competition. Too much stress all these things and it's just not true. An unusual early aspect to Minturn's career was the time he played for famed football coach Vince Lombardi of the Green Bay Packers. Known as a football player but as a band called the lumberjack band Vince Lombardi was really a great man very versatile and you know he said that he treated every person equally like dogs and that wasn't really true. He treated some people like dogs because that's the way they want to be treated. But he

also treated other people with great tenderness. Anyway he turned what was a mess and getting back into a dynasty and then he quit and it's now it's a mess again. You.

Do. Behind this Picasso stands I would probably scream better.

I like to screen print because for me it's a medium that expresses an aesthetic terms that which interests me. Translucence light color. You can use. In a variety of different ways you can create an image with a very sharp character to it with very crisp edges and you can really use it to do very fluid and painterly things with it you can create very bizarre images you can create very pristine and very subdued images and that range of possibilities. That's what interests me. That range of possibilities is not without a sense of humor. This is a route that I've printed on my office floor. With. The illusion. Of a third dimension that I've gotten out of this scrub. The process is basically a process of stencilled making sure

your design was cut into. A heavy piece of paper or cardboard and ink and printing compounds of some kind. We're going to get. Salt. And resulted in the ability to replicate an image. Around 500 A.D. The Japanese introduced a mesh surface made of human hair floating pieces of a stencil in place. This allowed for more intricate designs to be possible and paved the way for a whole new art for. Silk and more recently the polyester is replaced with here. But it was really 20th century technology it turns green printing on in previous times the stencil was made by hand. And it had to be cut by hand. That was a very laborious and tedious kind of labor. In the beginning of this century. Light sensitive emotions were developed so that's a

sensitive because my ultraviolet lights and as soon as this medium happens expedient way of cutting Stenzel the whole industry just burgeoned. There are. Stencil. Of the finest detail now that were not possible in previous times photographic images. Halftone. Dots can be applied to a. Standstill. And. Drawings can be transferred to a stem cell. And the way that were not previously possible. So. Yes. I think the remarkable thing about. Screen printing today for the artist printer is that he has all of the technology that the commercial printers have at his disposal. And he can create. And use. Or he can use these products to create his more artistic and aesthetic. Creative endeavors. This.

What I'm doing is putting me. In the street. So that I can pass. Through this. I'm. Going to freeze my first. Piece of. The. Day. So tell me where I. Got. My CD print. DAVID Well. And he's placing it on these

registration posts right here. That keeps my print. Stable in one position to check my registration to make sure. That my image goes where I wanted to go. I'm looking at this line along here to see if the stencil printing on the top of this print is lined up with the print that's underneath. And I've made a try it that and it doesn't it doesn't seem to be exactly where I wanted so I'm going to have to change my registration pin so that I can move my print. Very very slight to create better registration. So. You know with all the technical details satisfactorily it's time for Alan Bromley the artist to get down to work. I choose my subject matter by. My

environment. Basically it's I've lived in Hawaii for a long time. I love. The beauty of the islands and I love the nature. And so I draw a large amount of my inspiration from the contacts that I have with nature. If I go for a hike on the volcano. I have you know hiking print if I go into a forest I can. Usually come up with a friend. That. Stands for. The kind of inspiration that I get from light and shadows and from being in the forest. In. More recent times I've been involved with making social statements about the development of the island and the pros and cons of that development. And something that we. As old timers in the I'm. Sorry sea change. Address or fine art screen prints are the result of many screens or layers

of color each printed on top of the other. Print. We've been following this already some 20 layers the. Completed Ellich probably can easily run in excess of 50 screens. Take five weeks to finish. And as the printer is the artist she's free to refine her work as she goes. Not. A. Guy. Who's. Next Door. To. The. Point. That. I'm. Over the top of my. Head again. I know. Bit. Right. This one is better because it's just slightly off register so there's more color showing is a little richer.

And then the hard work pays off. The eye of the artist is seen in the nuances the colors and the images of Griffy the fine art of screen printing. Spectrum was funded in part by grants from the people of Chevron in

Hawaii and the Hawaii State foundation on culture and the arts.