¡Colores!; 1923; New Mexican Painter Eugene Newmann, Shakespeare Uncovered, Violinist Elmar Oliveira, Art Collection of Edward Cecil Guinness

THIS TIME, ON COLORES... NEW MEXICAN EUGENE NEWMANN SHARES HIS VISON OF WHAT IS BEYOND THE NARRATIVE OF A PAINTING WITHOUT DISMISSING THE FAMILIAR. The first hit at a subject was great as a kind of spontaneous thing, as an expression of ... exuberance. AS PART OF SHAKESPEAR UNCOVERED WE SEE HAMLET MEET HIS FATHERS GHOST. Elizabethan society would not have been surprised to see ACCOMPLISHED VIOLINIST, ELMAR OLIVEIRA, INSISTS THAT PLAYING CHAMBER MUSIC WILL HELP A PERFORMER UNDERSTAND ... To immerse oneself in the music, understand not just what it is to play the violin but understand what the composer is doing, understand what's INCLUDING ONE OF REMBRANDT'S LAST SELF PORTRAITS, WE LEARN

ABOUT THE ART COLLECTION OF EDWARD CECIL GUINESS. So I think it's a way of showing you some of the major schools in European art, but also the greatest examples within IT'S ALL AHEAD ON COLORES! EUGENE NEWMAN , SEEKS TO FIND WHAT IT IS THAT REALLY >>EUGENE NEWMAN: One of the problems for contemporary painting is that it leaves the people behind in some way, because they don't know where to get a hold of it. You know, what is going on here? There has been and effort to if there is some kind of new language. The old language is gone. The question is: is there some sort of modern vocabulary that comes from some sort of internal source? Even though I couldn't pursue it

as some kind of identity, I did sort of claim painting some how or other. When I started I was identifying myself as the guy who came from the tropics because I had come from South America and that's what my visual world was, in a way. You know at that time, I probably thought that some extravagant expression was the deal, that is what painting allowed you to do. I was itinerant at the time. Part of the time I was in Mexico. There I was able to paint and hangout with painters, and Mexico was kind of in the middle of its great art period. In any case, I painted there and meet people who, oddly enough and it didn't take much, but they accepted that [Music] I wound up in New York

in the late 50's early 60's, living a kind of picturesque ratty bohemian life, and the stuff was going on all around me. I mean everything was happening. The abstract expressionists had their studios in the same neighborhood. I was exposed to it but I never had a mentor or grounding, I was just sort of finding my way. Most of it was still autobiographical in some way or another. It began to change later when I moved to California and I showed more interest in formal things. The paintings I admire, where the ones that had some kind of big structure. So it was little by little, and I never resolved that actually. In my paintings it is sort of vagrancies from figurations,abstractions. Ultimately I decided that was

a phony art form. It is true that in the 60's and 70's you were almost asked to take sides on the issue of figuration and abstraction. It was a mark of your particular type of courage. Which kind of courage do you have? I finally came to the conclusion there was something wrong with that. The claim of abstractionists was ok. They claimed that there was another way that images read other than just referring you to some narrative. That was important. I agree with that, but limiting things to the refusal to not represent anything seemed [Music] The way the constellation paintings came about was because there was a program to do public work forthe state

of New Mexico. It was part of the tail end of the NI poverty program. You had to give them a proposal of some sort, and most of them had to do with, or asked to have something to do with a New Mexican identity. I didn't have the passion for the landscape of the magical voodoo of the New Mexico. What I did have was, a remote old house my wife and I rented, and the night sky was somethingextraordinary. So I got involved in that and I proposed that, if I did get the grant, I would do images based on the nighttime sky. It started that way because it was the only thing I could offer about my environment in New Mexico. It was the only thing I could relate to in any kind

of intense way.So that is what I started doing. The link between that and contemporary art making and abstraction is that the sky is really a random scattering of points. Yet, there is this irresistible impulse to find [Music] I think at the foundation of all of abstraction, as the twentieth century comes, is the idea that you can look at painting in the fifteenth, sixteenth, seventeenth centuries and not have any emotionalempathy with the subject. In other words, you don't relate to the nativity as part of the Christianworld and all that. Yet you respond to these painting. So what do

you respond to, if you don't havethat kind of emotional connection to the subject? So the idea is that there is some other kind of thing going on in a painting that is not the narrative. That something else is going on that makes people jump to it and relate to it. What it is, is a real mystery, and I'm not sure I understand it, but among artist people have searched for that thing, to connect to that thing that's not the narrative. The multitude of options when you look [Music] The first hint at a subject was great as a spontaneous thing, as an expression of exuberance. There are curtain themes that go

through a lot of stuff. A characteristic of my work is that almost invariably, one way or another, it refers to a body or bodies. [Music] I can explain how I do this, this explanation is not a claim it won't hold up in a court of law. Thepainting, once I do it, is to be judged by the viewer. I cannot control that judgment in anyway. I mean the art is a part of its community and of course the artist has his vocabulary and sentiments that are not totally alien form the world around him. He can't guaranty that the person looking at ithas a frame of reference. So in some ways it is kind

of unfortunate that a lot of artwork is a language of a subculture. Stanley Cavel, he is a philosopher of art, and he said through a book in the 80's, When you have an opening in New York, it is like a great show trial. You don't know whether thework is on trial or the audience. In other words, it has become difficult to understand who is doing what is required. Is the audience not doing what is required or are the artists IN THIS PART OF "SHAKESPEARE UNCOVERED," EXPLORE HOW ELIZIBETHAN SOCIETY MAY HAVE SEEN GHOSTS IN A DIFFERENT WAY. >>DAVID TENNANT: I'm visiting the modern-day replica of the Globe Theatre, on the south bank

of the Thames, where, around 1601, Shakespeare's actors first performed Hamlet. Here today, they are running opening scenes.So this is where we see Hamlet meeting the ghost of his dead father >>HAMLET CLIP: Where will thou lead me? Speak, or I go no further. Mark me. I will. If ever thou didst thy dear father love - Oh, God. Revenge his foul and most unnatural murder Murder? Murder most foul. Haste me to know it. That I with wings as swift as meditation or the thoughts of love may sweep to my revenge. I find thee apt but know thy noble use. The serpent that did sting thy father's life now wears his crown. Oh, my prophetic soul, >>DT: The ghost has confirmed what Hamlet had feared, that his father has been killed

by his uncle. It falls to him to avenge this murder. But is he capable of seeing it >>STEPHEN GREENBLATT: time, as everyone knows now still, that a revenge play - a play in which someone, a son, is called upon to avenge his father - is a play in which a terrible fate will befall the avenger. Hamlet is a dead man from Act >>DT: This call to arms has come from a ghost, a supernatural visitor from the other side. What would this have meant to Shakespeare's audience? I've come to meet historian Justin Champion, who's an expert in the world of 17th

Century religion. >>DT: So what would a ghost audience? >>JUSTIN CHAMPION: Well I think the first thing is an Elizabethan audience wouldn't have been surprised to see a ghost. Ghosts were everywhere. >>DT: So to most members of the audience, ghosts were things that existed? >>JC: Yes, absolutely, so there wouldn't have been the shock - if a ghost walks past us now, we'll be a little bit surprised. >>DT: Well, a little. >>JC: Yeah, a little bit, a little bit surprised. >>DT: Yeah. >>JC: But, for the Elizabethans, ghosts are part of the world they live in. The spirit world and thehuman world are very permeable, so they wouldn't have been surprised at all. They would have asked themselves, what sort of ghost is it, good or bad? ELMAR OLIVEIRA IS THE ONLY AMERICAN TO HAVE WON THE PRESTIGIOUS RUSSIAN INTERNATIONAL TCHAIKOVSKY COMPETITION FOR YOUNG MUSICIANS. OLIVERIA SHOWS US

>>ELMAR OLIVIERA: I started playing the violin rather late for someone who is doing what I'm doing, basically a concert violinist playing concerts. I was nine years old when I actually picked up the instrument and started studying it seriously. Heard the violin everyday while I was growing up in the home so I heard all the violin concerti, recognized them knew them very well. By the time I actually started studyingthe violin I could whistle them sing them and it was a matter of my technique on the instrument catching up to my ear, which it did rather rapidly because at ten years old I gave my first public Oliveira. I'm a concert

violinist. I play concerts all over the world. I have my own recording company which is called Artek Recordings. I also am the Distinguished Artistin Residence at the Lynn University Conservatory of Music in Boca Raton, My main instrument is a very, very great Guarneri del Gesu that was made around 1729, 1730 in Cremona, Italy. It's nicknamed the "Stretton." It's a gorgeous, gorgeous instrument in a wonderful state of preservation. With a very, very great sound and it's the instrumentI've played most of my adult

career. I like to keep my repertoire quite varied. I don't like to specialize in any one particular area so I always make sure I am always playing music that is from the baroque era from the classical era from the romantic era

and in particular I've championed a lot of contemporary pieces. I won the Dee Lee Competition the Naumburg International competition and the probably the biggest one which was the Tchaikovsky International Competition in Moscow and then was awarded the Avery Fisher Prize. All of this happened while I was in Binghamton. In 1978 I went to Moscow

to compete in the International Tchaikovsky Competition. It was an experience I will never forget. I was the first American violinist ever to win a gold medal there. And still the first violinist to this day which is not something that I particularly rejoice about. It would be wonderful if another American violinist would win the Tchaikovsky Competition it hasn't happened yet I'm sure that it will. It was a historymaking event at that time and it opened up a lot of doors for me. I was immediately invited to playwith all the greatest orchestras and all the greatest conductors in all the greatest halls I always encourage my students

to play an enormous amount of chamber music. In fact I insist on it. I don't think that they can become artists without having a tremendous amount of that experience because that's when you really develop the habits that will stay with you the rest of your life. The most important thing really from that point on is to immerse oneself in the music understand not just what it is to play the violin but understand what the composer is doing understand what's in the score. Each student has their own individual personality. In the end it's basically the person is what the person is and as a violinist as a performer that's what's going to project to the audience. That's probably one of the hardest if not the most impossible ART OFTEN TELLS MUCH

ABOUT A TIME PERIOD AND SOME OF HISTORY'S GREATEST ARTISTIC WORK FROM THE EARLYENLIGHTENMENT RESIDES >>VO: What does a Flemish portrait, an English landscape and an old Dutch master have in common? They're all part of an incredible exhibit at the Milwaukee Art Museum. "Rembrandt, Van Dyck, Gainsborough: The Treasures of Kenwood House" was collected by a member of a famous brewing family. >>CATHERINE SAWINSKI:/e Edward Cecil Guinness was the heir to the Guinness brewing company in Ireland and he collected this artwork to decorate his London townhouse, he decided that it was time for him to move into London society after spending most of his life to basically amass an art collectionto decorate his home. >>WILLIAM KEYSE RUDOLPH: Lord Ivan was interested in several things. He loved seascapes, landscapes, and so that led him toward Dutch pictures, which prominently feature those.

And he loved portraiture, particularly 18th Century British portraiture, so there are extraordinary examples of works by Sir Joshua Reynolds, ThomasGainsborough, George Romney in the collection. >>VO: So how did a collection of this magnitude find itself across the pond? >>CS: Kenwood House, where the collection is usually on display, it had to be closed for renovations. Theyneeded to repair things like the roof and upgrade the air handling system. So they decided since the paintings had to be moved out of the house anyway, they would pack them up and send them to the United States. >>VO: But why Milwaukee? >>WKR: Milwaukee has the great honor of having a world-class building, our 2001 Santiago Calatrava designedQuadricci Pavilion and in the 11 years since we opened this pavilion, people really like to see their art in it. And we like to present it here. So I think the building and our beautiful gallery spaces are a draw, but we also have a really

sophisticated audience that's hungry for arts, for theater.I think Milwaukee is a great cultural city in America and I think people are aware of that mix. >>VO: The collection is filled with a mix of rich landscapes and elegant aristocrats. The highlight of theexhibition is Rembrandt's "Portrait of the Artist." It is one of this last self-portraits and one of only a few to show him painting. >>WKR: When the viewer comes to the exhibit, he or she is going to get a crash course in some of the major schools of art history - Dutch and Flemish painting, British painting - and really exposure to some of the best of the best. So if you like landscapes you'll see exactly how Dutch artists were able toplay with the atmospherics of light and shadow. If you like portraiture you'll get a variety of ways of suggesting character or the lack of character in sitters. So I think it's a way of showing you some

of the major schools in European art, but also the greatest examples within those schools. >>CS: My favorite piece in the exhibition is a painting by Sir Joshua Reynolds. It's "Mrs. Musters as 'Hebe.'" It's a full-length just very dramatic painting of an upper-class woman who is shown as a Roman goddess, which I think is just fabulous because he's not only trying to make his portraits as dramatic and as impressive as possible, he's also making a comment on how Mrs. Musters is goddess like herself. So it's a fantastic painting. >>WKR: I love a piece that was actually not part of the original upper crust, it was acquired later. It's called "Dressing Dolls" by Joseph Wright of Derby. It's a wonderful and eerie and strange painting oftwo little girls who have taken the clothes off their doll by candlelight - the artist loved working in candlelight - and of course are trying to put the costume of the cat.

And it reminds me of my own childhood because you see the cat and you see the doll clothes and you think, what a match made in heaven. It never is. It always ends badly. So I love this picture because it reminds me of my own childhood and it's delightful and it's a little sinister too. And I really encourage visitors to take NEXT TIME ON COLORES! ALBUQUERQUE POET CARLOS CONTRERAS SHARES HOW WORDS AND POETIC INSIGHT CAN MAKE REAL CHANGE. I care because somebody has ROSIE HERRERA USES HER LIFE EXPERIENCES, MEMORIES AND EMOTIONS IN HER CHOREOGRAPHY. Every aspect of where you live affects your work, whether you realize it or not. DIRECTOR OF "LIFE OF PI", ANG LEE TALKS ABOUT MAKING

THE FILM AND HOW HE WAS ABLE TO CAST A LEAD ACTOR WHO HAD NO EXPERIENCE. That he is willing to believe. That's one of the rare talents. The best talent I could ever see UNTIL NEXT TIME, THANK