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Tribute to Chicago painter and piano player Eddie Balchowsky.
Professor John Nef explained that Marc Chagall came from an environment of nothing. From his dreams, Chagall created joy in his pieces of art. Nef lets the audience know that Chagall said he still has a lot of unfinished artwork to complete. The 3rd and last part of this program is a colloquy. Again, through another translator, Chagall’s words are translated. Chagall said his life’s purpose is art. Chagall said any man could be a bad artist but that no man can be an artist unless he is in fact, a good man.
Professor John Nef explained that Marc Chagall came from an environment of nothing. From his dreams, Chagall created joy in his pieces of art. Nef lets the audience know that Chagall said he still has a lot of unfinished artwork to complete. The 3rd and last part of this program is a colloquy. Again, through another translator, Chagall’s words are translated. Marc and Valentina Chagall speak French.
Interviewing Ted Coe, James Speyer, and Wayne Thibaud : Jurors of the 1965 Art Institute Show. They discuss art exhibitions at the Art Institute of Chicago, visual arts, and art critics.
Studs Terkel interviews the artist Gene Hall who created "The Black Christ Not Worthy Of Its Cross" and the head of the Loyola University Sociology Department, Dr. Paul Mundy, who used the title and painting reproduction to spark classroom discussions. Hall describes the creation of his 6 ft tall by 2 1/2 feet wide painting and how seeing the color of Christ diminishes Christ. You don't see Christ when you see color. Hall uses barbed wire instead of thorns in the painting to signify there is no time in painting, it is up to date.
Studs Terkel interviews the artist Gene Hall who created "The Black Christ Not Worthy Of Its Cross" and the head of the Loyola University Sociology Department, Dr. Paul Mundy, who used the title and painting reproduction to spark classroom discussions. Hall describes the creation of his 6 ft tall by 2 1/2 feet wide painting and how seeing the color of Christ diminishes Christ. You don't see Christ when you see color. Hall uses barbed wire instead of thorns in the painting to signify there is no time in painting, it is up to date.
Presenting at the Picasso unveiling: dedication ceremony and comments 30th anniversary.
Studs Terkel presents the unveiling of the Chicago Picasso on August 15th, 1967, asking bystanders for their opinion on the new sculpture.
Discussing the book "Stephen Deutch, Photographer: From Paris to Chicago, 1932-1989" (published by the Tri-Quarterly) with photographer Stephen Deutch.
On the day before the opening at the Museum of Contemporary Art, Sibyl Moholy-Nagy, talks about the art of her husband, Laszlo Moholy-Nagy. Mrs. Moholy-Nagy said her husband believed in self discipline and the sacrifice to learn. In addition, she explained that her husband didn't believe in focusing on one type of material for his art but rather he worked with different types of materials like oil on canvas, steel, and plexiglass.
Shel Silverstein discusses his books "Lafcadio: The Lion Who Shot Back" and "Uncle Shelby's ABZ Book".. Shel Silverstein discusses his books, children's literature, and cartoonists.
Sebastiao Salgado, a Brazilian documentary photographer and photojournalist, converses with Studs about his book "Workers: An Archaeology of the Industrial Age". Mr. Salgado shares stories with Studs of the people he has photographed, and the things he has learned about the perseverance of human nature. Several songs are interspersed;
Artist and author Scott McCloud discusses and reads from his book “Understanding Comics: The Invisible Art.” This discussion focuses heavily on the history of comics, or sequential art, and notable figures using this artform. Studs plays "Seven Studies on Themes of Paul Klee: 4. The Twittering Machine" - Gunther Schuller (1966).
Art historian Roxana Robinson discusses and reads from her book “Georgia O'Keeffe: A Life.” Robinson discusses the different eras of painting O’Keeffe went through during her lifetime and the outside forces that inspired these changes in subject matter, such as her attending the Art Students League of New York, her moving to Santa Fe, and her relationship with Alfred Stieglitz. Studs plays “Tosca, Act II: Vissi d’arte, vissi d’amore” - Renata Tebaldi, George London, Francesco Molinari-Pradelli (1959).