- hace 4 días
Kenny Scharf: When Worlds Collide (2021) is an inspiring documentary that explores the creative journey of artist Kenny Scharf and his vibrant, imaginative works. The film showcases his innovative ideas, unique style, and the colorful worlds he brings to life through art, while highlighting the passion and dedication behind his creations.
With engaging storytelling, fascinating insights, and captivating visuals, Kenny Scharf: When Worlds Collide (2021) offers a thoughtful and inspiring experience for viewers of all ages. The film emphasizes creativity, artistic expression, and the joy of exploring new ideas, making it an enjoyable story for art enthusiasts and families alike.
Kenny Scharf When Worlds Collide 2021, Kenny Scharf movie, Kenny Scharf full movie, Kenny Scharf 2021 full movie, Kenny Scharf documentary, Kenny Scharf HD, art documentary movie, inspiring art film, character driven story, creative journey movie, artistic expression film, innovative ideas movie, vibrant visuals film, colorful worlds movie, engaging storytelling film, all ages movie, family friendly film, imaginative story movie, art inspiration film, creative exploration movie, entertaining documentary movie, 2021 movies, full movie online, free movie, HD movie, English language film, documentary film online
With engaging storytelling, fascinating insights, and captivating visuals, Kenny Scharf: When Worlds Collide (2021) offers a thoughtful and inspiring experience for viewers of all ages. The film emphasizes creativity, artistic expression, and the joy of exploring new ideas, making it an enjoyable story for art enthusiasts and families alike.
Kenny Scharf When Worlds Collide 2021, Kenny Scharf movie, Kenny Scharf full movie, Kenny Scharf 2021 full movie, Kenny Scharf documentary, Kenny Scharf HD, art documentary movie, inspiring art film, character driven story, creative journey movie, artistic expression film, innovative ideas movie, vibrant visuals film, colorful worlds movie, engaging storytelling film, all ages movie, family friendly film, imaginative story movie, art inspiration film, creative exploration movie, entertaining documentary movie, 2021 movies, full movie online, free movie, HD movie, English language film, documentary film online
Categoría
🛠️
Estilo de vidaTranscripción
00:00:00Gracias por ver el video
00:00:30Gracias por ver el video
00:01:00Gracias por ver el video
00:01:32Gracias por ver el video
00:02:02I'm an artist
00:02:07I didn't really think I had much of a choice
00:02:10Just am
00:02:11Born that way
00:02:13And I don't know what else I could have done
00:02:16The art world is too serious
00:02:22In a way
00:02:22And it's about time that a little kind of goofy wind
00:02:26Will come into the art world
00:02:28And sort of shake it up
00:02:29The mad, glad man
00:02:33The glad
00:02:35And the mad
00:02:37The mad glad, the mad glad man
00:02:39In the early 1980s
00:02:56Kenny was a major force
00:02:57In the East Village art scene
00:02:59They've effectively
00:03:00Changed the language
00:03:02Of the art scene in New York
00:03:03In a matter of two or two years
00:03:04In the sense that they've created
00:03:05Tremendous variety of imagery
00:03:07And characters
00:03:08That have appealed
00:03:09To a vast audience
00:03:11To a vast audience
00:03:16In the sense that they're used to saree
00:03:17To a vast audience
00:03:20Did they go
00:03:21To a vast audience
00:03:21Maybe you know
00:03:22Or has bought they
00:03:23That are not the same
00:03:24As a vast audience
00:03:24But there's aимер
00:03:25To a vast audience
00:03:26That helps being effective
00:03:27And Donkey
00:03:29To a vast audience
00:03:29To a vast audience
00:03:30To a vast audience
00:03:30To a vast audience
00:04:58¡Gracias!
00:05:05¡Gracias!
00:05:09Cuando estudes a ser un plumber,
00:05:12eres un plumber, eres un plumber para la vida.
00:05:14Cuando estudes a ser un piloto,
00:05:17tú eres eso.
00:05:18Tú no tienes que volver a la escuela.
00:05:20Pero artistas tienen que rediscover
00:05:26que no se han convertido en el mundo.
00:05:28No se han convertido en el mundo.
00:05:30No se han convertido en el mundo.
00:05:32Tienen que extenderlo.
00:05:34Y creo que Kenny es un ejemplo brillante.
00:05:36Ese es un ejemplo de eso.
00:05:51Él pone, como,
00:05:53las cosas que suceden en el mundo,
00:05:55todo lo que está sucediendo en el mundo.
00:05:57Él es willing
00:05:58para, como,
00:05:59ponerlo en la mezcla,
00:06:01ponerlo en la mezcla.
00:06:03Lo que va a su pintura.
00:06:05Y es como,
00:06:06su vida como artista
00:06:07y su arte es inseparable.
00:06:09Todos mis favoritos artistas
00:06:11embodyan su arte,
00:06:13la forma de que se vean,
00:06:14la forma de que vivan.
00:06:15Spendiendo un tiempo con Kenny
00:06:17es como un emersión
00:06:18de su mundo estético.
00:06:19Es decir,
00:06:21todo el arte,
00:06:22para mí,
00:06:23tiene algún elemento
00:06:24de humor.
00:06:28Kenny
00:06:29era muy, muy influente.
00:07:01Es decir,
00:07:03la vida personal.
00:07:04Sí.
00:07:05Lo que va a hacer es un tipo de cosas.
00:07:06No lo pierdas.
00:07:09No lo pierdas.
00:07:10Tendré.
00:07:11Tendré.
00:07:12Tendré.
00:07:13Tendré.
00:07:14Tendré.
00:07:15Tendré.
00:07:16Tendré.
00:07:17Use everything, not wasting precious plastic, when you can turn it into bathroom sculpture.
00:07:47I mean, who would have thought that a straw and a cup top would make such fantastic sculpture, in my opinion.
00:08:00It's fantastic.
00:08:03Many people think I'm crazy, and I think that's okay.
00:08:17I grew up in Los Angeles, and a lot of people would see where Los Angeles is in the work, a very pop place, especially growing up in the 60s.
00:08:32And I grew up in the valley, and everything is pretty plastic and pop and bright, and there's not too many old things or traditional things.
00:08:45You know, I didn't know anything else, so I would say that that has something to do with what I do.
00:09:00I remember once I was watching him paint, and he took the paintbrush with paint, and he drew a purrfectly straight line, like you put a ruler and would draw.
00:09:12And I said to him, gee, I could never do that.
00:09:15And he said, you don't have to.
00:09:18And it's true.
00:09:20I sometimes wonder, where did he get the talent?
00:09:24Because I really don't know.
00:09:27I never thought he was going to be a professional.
00:09:33No, really and truly.
00:09:35Growing up in the typical suburban setting, dad working, mom home.
00:09:42My dad was a sweet man, but I don't really feel like he was there for me.
00:09:49Oh, he had parents?
00:09:52No, any time we had a meal, I would see the family.
00:09:57But we rarely saw them.
00:10:01He started to get his aesthetic back then, ninth, tenth, tenth grade.
00:10:05And there was always an irony in his work.
00:10:07I mean, there was always something kind of sinister or kooky sinister behind the veneer that was trying to be normal.
00:10:22I always felt a little isolated.
00:10:25I never really belonged to any particular group or clique.
00:10:31And just, I felt different from everybody.
00:10:35I was kind of an outsider.
00:10:37I think, you know, that has to do with being an artist as well.
00:10:43Kenny Sharp was a young boy, of course.
00:10:46But as a young boy, he's watching a great deal of television.
00:10:49It was very interesting to see him, to see this young boy in that circumstance.
00:10:54What impact did that on him?
00:10:56And suddenly, all of that became material for him to use in his fantasy art making.
00:11:03Like, sometimes I'll dream things, you know, cartoon imagery or something.
00:11:14Like, stuff I've seen on TV that's now, it's part of my subconscious.
00:11:19Kenny Sharp was very self-conscious, even as a student, of being an artist who's working off the television culture.
00:11:38That, to him, I suppose, is what theology and the cathedrals are to a medieval artist.
00:11:42And so the question is, what do you do with it?
00:11:44You live in it.
00:11:45And it seems to me that what he's done is to try to encourage some kind of intellectual appreciation of what's at stake here in this culture.
00:11:57It was totally dull 70s going on in L.A.
00:12:08And I start really getting into Warhol and the factory and New York.
00:12:14I was like, this is just the most fun thing ever, and I want to go there.
00:12:20So that was basically my fuel for moving to New York, was learning about Andy and how he made art fun.
00:12:50Kenny Sharp first came to the attention of New York in the early 1980s, when he made paintings based on the Jetsons, the Flintstones, and other cartoon imagery found in popular culture.
00:13:03You have lots of religious paintings.
00:13:05Yes, I do.
00:13:06I found that in the trash, that one.
00:13:08You found those in the trash?
00:13:09I found most of them, the religious things, in the trash.
00:13:11I don't like to make any distinction between my art and my life or my surroundings.
00:13:19I try to just be myself, and if this is this kind of thing, which, I don't know, I don't know what you would call it, decoration, or just my apartment, I don't know.
00:13:36I applied to all these art schools, and the only one that would take me was SVA, which was, it took anyone.
00:13:41I happened to be wandering around in the hall, and I heard the Devo music.
00:13:46And so I kind of followed it, and then I came upon Keith painting to the beat of the music in this room, and he was almost finished, except for the corner where he was standing.
00:14:03So he had painted himself into a corner, and I just stood there, and I remember thinking when I saw him, this is the person I've been looking for.
00:14:12This is what I imagined when I went to art school in New York.
00:14:16What's the story with Andy Warhol? What do you think of what he's doing today?
00:14:31I mean, since I came to New York, or even when I learned about art history, it was like, that was like the figure for me.
00:14:38He was like my hero. And then I remember I met him, the first time I met him, it was at Peppermint Lounge, when they opened Peppermint Lounge in Times Square.
00:14:47And he just thought I was like this cute boy, and he was like taking feathers out of this girl's hat and putting them in my hair.
00:14:58And I remember I said to him, I said, you know, we're in the same show together.
00:15:02And he was like, oh, really? What's that? I go, the New York New Wave show.
00:15:06And I said, and I told him my name, and I said, and you'll hear me. You're going to remember that name. You'll hear it again.
00:15:13I knew Ken was going to be famous when the minute I met him.
00:15:18Really? Why?
00:15:21I don't know. I just really, you know, I just, I just knew it really, really did.
00:15:28There was a short period where you and Kenny were hanging out together, right? A very brief period.
00:15:34No, no, no, no, no, not that brief.
00:15:37Not that brief? But you had a falling out.
00:15:40No, we didn't have any falling out, dude. I don't know, you know, I don't know, I don't know what happens.
00:15:47I mean...
00:15:50Well, he said he went tagging with you once around the city.
00:15:52Did he?
00:15:53He had never tagged before, but he borrowed the spray can from you.
00:15:57No.
00:15:58And he did a TV set, and he wrote Flintstones inside of it. This was long before...
00:16:02I don't remember this. But also, but I was on heavy drawers, I don't remember. I don't remember.
00:16:14Sounds good, though.
00:16:17Three artists, Scharf, Basquiat, and Herring, it's kind of one of those quirks of timing, I think, that they all kind of came together at the same moment.
00:16:27And it's kind of fascinating that they all three came from different parts of the country, and they all seem to have just found each other.
00:16:36Some kind of magnets drew them together.
00:16:39They brought a vitality and an energy to art that just hadn't been there.
00:16:44The importance of those three artists, they just seemed to bring the 80s alive, really.
00:16:52Their engagement with the street specifically, making that anyone could see that, right?
00:16:56You didn't have to go into a white cube, you didn't have to go into a museum.
00:16:59Anyone could experience that, and even just there deciding that this is art.
00:17:04This is art as much as, you know, a kind of framed picture within the walls of the Whitney Museum.
00:17:09All of that, the street, these spaces, the use of their imagery felt about this idea of making art less precious and making it more accessible.
00:17:25Can I talk about sex and drugs and rock and roll or no?
00:17:28When I came to New York in the 70s, New York was a great place because it was bankrupt.
00:17:35It was a bankrupt city, so you could move in.
00:17:38You didn't need very little money to survive, and so all the artists came, of course.
00:17:42I mean, everybody came to this village and, you know, you may invent yourself.
00:17:47Well, I created the fantasy person that I wanted to be, and I called myself Jet, Jet Scharf.
00:18:02Ken used to live in this, the back of his building, gave to the back of Klaus Nomi building.
00:18:09I'm Klaus Nomi, I'm from the planet Nomi.
00:18:12So you hear him rehearsing.
00:18:18There was a lot of roof parties at the time. Summertime was roof party time.
00:18:25There was a lot of hanky-panky on the roof.
00:18:29I always remember that as the image of New York in the summer and the roof.
00:18:34I mean, God.
00:18:35I arrived in 77, and I came straight from England, and I was 17.
00:18:41It was just a completely different city than it is now.
00:18:45Downtown was very empty.
00:18:50That's the one thing I remember most about New York at that time,
00:18:53was that you could walk downtown at night, and it was absolutely empty.
00:18:58And it was really, really beautiful and really romantic, you know, really mysterious.
00:19:04And wonderful.
00:19:06It was probably the most creative place in the world at that point.
00:19:11What those guys were doing and what we were all trying to do as artists
00:19:15was to be individual and have our own, like, styles and our own flavours.
00:19:19It was a fresh new idea to this broad canvas, which was New York City.
00:19:23We were all trying to get into the doors of the art world,
00:19:26but also trying to hold the doors open for some other people to come in.
00:19:30I think Kenny was, he was really, really making video art then.
00:19:36I remember meeting him one night with Bruno going over there,
00:19:39and he was editing or something.
00:19:41Me and Kenny went to Scotland to visit Samantha McEwen.
00:19:51And then Kenny decided to make a vampire movie, me being the vampire.
00:19:56And Samantha's father said, you can film anywhere you want except in the cemetery
00:20:06because the whole family is in the cemetery.
00:20:08You don't want to.
00:20:09Of course, the one place that Kenny wanted to film was in the cemetery.
00:20:13Every day, there'd be, like, 200 things he had to go and do,
00:20:25but they weren't, like, normal people's things he had to do.
00:20:28It wasn't, like, go to the office and post the letter and do anything.
00:20:30It was, like, you know, take the vacuum cleaner for a walk,
00:20:33and, you know, like, really unexpected.
00:20:37Most appliances and telephones, et cetera, are really pretty boring,
00:20:43and I transform them into something different.
00:20:49It just changes an average person's life.
00:20:52You're using the telephone.
00:20:54Everyone does it all the time.
00:20:56You don't think about it.
00:20:58Every time you use a phone, if you can, like, put your finger on the jewels
00:21:03and, you know, you pick it up and there's, like, pretty things to look at,
00:21:08it helps, you know?
00:21:10It improves the quality of life.
00:21:14He paints on everything and anything, and he always did, you know, always.
00:21:19And customizing, back then it was customizing TVs and toaster ovens
00:21:23and telephones and, oh, yeah, well, there's no separation
00:21:26between Kenny and his art.
00:21:28What else do you have?
00:21:31I don't think so.
00:21:33Well, look at him, look at him.
00:21:34Your broom even has a ribbon on it.
00:21:36Look at this.
00:21:37Even the broom.
00:21:39Every single thing that Kenny did was not what you expected.
00:21:45Well, you would never have imagined anybody would do that.
00:21:48So, you know, and I think Keith also was, you know,
00:21:52when he started doing the subway drawings and stuff, you know,
00:21:55I mean, it was completely out of nowhere.
00:21:59You know, I think that was the most amazing thing about them,
00:22:03was that they were both completely sort of unexpected.
00:22:07Also, the other thing was very, very, very real about them,
00:22:11was that it was their generation.
00:22:14It was their work, their life, their idea.
00:22:17It had absolutely nothing to do with what was going on
00:22:22in the galleries at that time.
00:22:24You love this song?
00:22:33It's beauty, Popeye.
00:22:34I wrote it.
00:22:35You did?
00:22:36Yeah, I wrote this song.
00:22:37You wrote this one?
00:22:38This song.
00:22:39Among others, but yes.
00:22:41Yeah, that looks cool, right?
00:22:43Okay.
00:22:44So, living with Keith, being with Keith, like, I was just wondering,
00:22:56because I know that there was a really beautiful relationship,
00:22:59but then an undercurrent sometime of…
00:23:01Well, it was hard for me.
00:23:03When Keith and I were roommates, that's when he started doing his subway drawings,
00:23:08and it just kind of exploded for him, like, really exploded.
00:23:13And I remember the first couple times people came over, it was like my work was invisible.
00:23:23I remember the feeling of, like, what am I going to, you know?
00:23:27So, yeah, it was hard on the ego, for sure.
00:23:30It didn't even really sink in that, yeah, here I am, like, four years later,
00:23:34doing drawings of the Whitney, and you have all these new things
00:23:37keep on top of you that you're supposed to deal with and be responsible for.
00:23:40And it's supposed to become this sort of role model for all these other people.
00:23:45Because it's sort of a big responsibility to be the one person that is signaled out,
00:23:50because all these other people, I mean, hundreds of other people
00:23:54that supposedly would like to be in your shoes,
00:23:56but they, you know, obviously are not going to be given a chance,
00:23:59because at any one time there's only a handful of people that get to do it.
00:24:04He and Keith were absolutely like brothers, you know,
00:24:08and, you know, but fiercely competitive.
00:24:13I mean, very seriously competitive.
00:24:15And I think Kenny's process wasn't there yet.
00:24:22I mean, I don't know what Kenny's, you know, feelings are about that era,
00:24:26but I do know, I do remember it being, witnessing this incredible struggle in himself
00:24:33to sort of, to become the next thing that he needed to become.
00:24:38I remember going to Clifty Seven, like we just went there and hung out,
00:24:57and listened to the jukebox and drank.
00:24:59Teenage nuts.
00:25:00This crowd was the first crowd to really completely embrace popular culture, right?
00:25:07Mm-hmm. I guess so, we didn't realize it.
00:25:09The first downtown hip scene to really get into it.
00:25:13TV.
00:25:14You guys weren't aware of that at the time?
00:25:17Hm?
00:25:18You weren't conscious of that?
00:25:19Sort of, yeah, but we were doing it because it was fun.
00:25:21Yeah, we were.
00:25:22It was like what we grew up on, too.
00:25:24It was like summer camp.
00:25:25It was saturated with television.
00:25:26It was like fun.
00:25:27Dressing her up.
00:25:28The beat nickname.
00:25:29Yeah, every night was a new thing to me.
00:25:31Channel.
00:25:32It was very mysterious.
00:25:34It wasn't exactly clear what Club 57 was.
00:25:38It was completely under the radar.
00:25:41I became Kenny's girlfriend for about two years.
00:25:46He eventually took me down there because finding it was very difficult.
00:25:50It was in a church, so you could actually look for it and not realize
00:25:55that that's where you were supposed to be going for a long time.
00:26:12It was a petri dish for experimenting with an audience that was supportive.
00:26:21And you didn't have to worry about doing something terrible and then you'd get bad reviews or ruin your career
00:26:30because there was no career.
00:26:32There was no money.
00:26:33I'm just so excited ever since I came to New York.
00:26:36Well, I just never thought I'd find myself here.
00:26:39Well, back on the farm, I used to always dream about being some kind of animal, but I never thought I'd be a bunny.
00:26:46We will have wonderful entertainment for all you friends out there.
00:27:01Well, the great thing about Club 57 was that it really was this incubator of talent and that there were no boundaries.
00:27:07And that whole punk aesthetic of do it yourself and you can do anything prevailed.
00:27:19So people ended up taking to the stage like a duck takes to water and creating performance art kind of in the style of the Dadaists that everyone had studied in art school,
00:27:28but also with a nod towards Andy Warhol and the happenings of the sixties and then just incorporating other elements that made it our own.
00:27:40Kenny was always in the middle of that.
00:27:42That was our whole life. It was party all night, go out all night to clubs.
00:27:54And then we'd get up somehow in the morning and go to school and then do the whole thing all over again.
00:28:01We went out every single night.
00:28:03We just created a family where we felt we were understood and accepted for who we are.
00:28:21Kenny was very, very much part of the New York club scene.
00:28:35And that club scene evolved into an art scene.
00:28:40That was a very important move that happened that the club scene become an art scene.
00:28:45To boil Kenny down, the word would be compulsion.
00:28:55You cannot take Kenny away from the paint.
00:28:57You go to the studio, you can see it's just that he's fucking compulsive, you know?
00:29:02And you can see that in Kenny.
00:29:04Some people call it genius, you know?
00:29:07And a lot of people like to pass that compulsion off as genius.
00:29:11And I guess you could say in Kenny's case, probably that is a genius.
00:29:14Sometimes I start with an image and then work around that.
00:29:27And sometimes, like on these paintings over here, I'm just cleaning my brushes.
00:29:32And I let the drips and I let them form a background or maybe I let them...
00:29:37I make a weird shape and then it looks like something else and then I make into something else.
00:29:43There's a few different ways I started painting.
00:29:46And just everything actually evolved by itself and it's just a mixture of everything.
00:30:00I really felt that all the Kenny stuff was like not of this earth, you know?
00:30:04Like his stuff came from another planet.
00:30:07Kenny had his own unique, unique world to present to us.
00:30:13I know our viewers are like really anxious.
00:30:30They're all writing in.
00:30:31They want to hear about Jetsonism.
00:30:33What is Jetsonism?
00:30:36Well, Jetsonism is a part of the whole religion of Hanna-Barbarism.
00:30:43And the Jetsonism section is the Nirvana part, the really fun heaven part where you get to go.
00:30:51And that entails, I understand, I read your thing and it's something about the nuclear holocaust about to consume us all.
00:31:03Well, it's on our minds, definitely, you know?
00:31:06Uh-huh.
00:31:07Definitely on the minds of everyone.
00:31:09We live in a world in which the great powers have poised and aimed at each other horrible missiles of destruction, nuclear weapons that can in a matter of minutes arrive in each other's country and destroy virtually the civilized world we live in.
00:31:27There is no substitute for victory.
00:31:30Mr. President.
00:31:32A lot of the artwork, particularly Kenny's, was obsessed with this concept of nuclear annihilation.
00:31:39The feeling of me and my friends and the New York club scene was that we were just about to explode.
00:31:48And so it was actually, let's party now and just have as much fun as we can because it's all going to be over tomorrow.
00:31:57I don't know.
00:31:58I don't know what to do.
00:31:59I have nothing to believe in.
00:32:00Stop.
00:32:01Are you confused?
00:32:02With Club 57, with some of those energies going on downtown, there was a lot of infantilism.
00:32:18There was a lot of regressive, really childish behavior that really, you know, you could push it so far, but in ways where absurdity could be embraced beyond just experimenting.
00:32:35I think that there was a reason for that.
00:32:37It was sort of, you know, we were promised a great world and then all of a sudden it was like Ronald Reagan and whatever.
00:32:45It was all this, you know, it was, it wasn't the Jetsons.
00:32:54A lot of people don't take jokey art seriously.
00:32:57It's, it's not what he's depicting so much as the style of the depiction.
00:33:04I suppose you could say is a little adolescent or nostalgic for adolescence or the different time when things were a little less troubled or complicated.
00:33:16You know, their fantasies.
00:33:19It was fun.
00:33:20It wasn't meant to be taken seriously, but that it was done very, I mean, they were serious about what they were doing and it was communicating to a lot of people.
00:33:31You can't beat abstract expressionism for being a beautiful decoration in a bank lobby or maybe the waiting room in a hospital.
00:33:40You can't beat that because it doesn't say anything.
00:33:43It's calm and it's tranquil and it, you know, it doesn't violate the environment.
00:33:49Like one of Kenny's paintings or one of mine would challenge the environment.
00:33:53So it would be very challenging to an environment.
00:34:01Oh, look, another heart.
00:34:06Ooh.
00:34:13Ooh.
00:34:14There.
00:34:16That's good, right?
00:34:19Ooh, maybe that.
00:34:21That looks good right there, huh?
00:34:23It has to be smaller.
00:34:25Oh, wow.
00:34:30There we go.
00:34:32I knew that hole was meant for something.
00:34:34So is this, what do you consider serious art?
00:34:36This is serious art to me.
00:34:40It's all serious.
00:34:41I wouldn't be doing it all the time if it wasn't serious.
00:34:44And some people don't like that.
00:34:46Because I've always had that thing.
00:34:48I'm like, people thought I was obnoxious because I probably was.
00:34:51But, you know, sometimes you just have to be yourself, right?
00:34:56And if you're screaming out all the time,
00:35:00and that's who you are,
00:35:04and you do things loudly,
00:35:06what are you going to do?
00:35:07What are you going to do?
00:35:37This particular generation of artists,
00:35:40these were individuals who could dance.
00:35:44Who could dance.
00:35:47Whereas generation of artists before,
00:35:49they couldn't dance for jack shit.
00:35:52Big difference.
00:36:08And the first thing that happened is Jean-Michel became very rich
00:36:11and successful and all that.
00:36:12Kenny and him always had this weird thing going on.
00:36:16It was sort of love-hate,
00:36:18but he would sometimes have a bit of an attitude.
00:36:23Kenny just had a very unique, kind of fun-loving, effervescent,
00:36:28happy-go-lucky personality.
00:36:30And perhaps that rubbed Jean the wrong way.
00:36:34And then Keith made it very, very big,
00:36:36and all of a sudden he became rich,
00:36:38which was great for him.
00:36:39We were so happy for him and all.
00:36:41But Kenny was, he was like moving, you know,
00:36:45heaven on earth.
00:36:46He was obsessed.
00:36:47He had to make it.
00:36:48Otherwise, you know, he would be the one who didn't.
00:36:51They just had this incredible energy.
00:36:54They were just absolutely hell-bent
00:36:58on making the next piece or making the next picture.
00:37:01And that drive, in a way,
00:37:03was really, really about their own life.
00:37:06It wasn't any more about the group or the, you know,
00:37:10it stopped being so playful.
00:37:13I mean, everyone became like career.
00:37:16Exactly.
00:37:17Everyone that was doing things then just started doing it more professional.
00:37:22It started...
00:37:24It got tired of not having money after a while, too.
00:37:26I mean, people did just...
00:37:28Yeah, when you see other people that are in your same group that are going places,
00:37:34you say, you know, I want to go there, too.
00:37:36So everyone got real serious.
00:37:37Graffiti was so monumentally significant when you were in New York,
00:37:44when it was really happening, when it was happening on the trains
00:37:47and when some of those artists were making the effort to get their work out on canvas
00:37:52and, you know, where they weren't just writing their names anymore.
00:37:55They were really trying to be artists.
00:37:56It was so...
00:37:57It was such an insanely powerful moment
00:38:02that any other artist was going to be affected by it.
00:38:06So Kenny, like Keith and a few other artists,
00:38:09became inspired and started doing work on the street.
00:38:11Now, it wasn't graffiti.
00:38:12It was like something which now that we have Banksy and Shepard Fairey
00:38:16and stuff like that, we can call it street art.
00:38:20It's all part of the philosophy that we all believe in this whole group of us
00:38:24that art was not only for the gallery wall, the museum wall.
00:38:31Art should be for everybody.
00:38:43With this generation coming along,
00:38:45they were already finding themselves in a landscape in New York
00:38:50whereby the streets were littered
00:38:52and yet, within that, they had the energy,
00:38:57the need, the desire, the original drive
00:39:01and also their emotion, their ability of flexibility
00:39:04of working in the streets.
00:39:07And then Kenny, working with him, the response was extraordinary
00:39:11and more importantly, even the Whitney Museum immediately responded so positively
00:39:15that they purchased one of the largest paintings that Kenny Sharp did.
00:39:24The main way to communicate was to get out on the street.
00:39:28And the message got out there and of course the attention came and then,
00:39:33then it started to unravel a bit.
00:39:34when the success, the money, the fame, when the uptown world started paying attention to the downtown world.
00:39:42Some of that wonderful, naive idealism was lost.
00:39:45Time's change a lot and to deal with success is not an easy thing.
00:40:03You know, people trade you, so you become a commodity.
00:40:11The 80s became very, you know, dark.
00:40:16The drugs are getting very heavy.
00:40:18Everybody thinks of the 80s as this happy, crazy, fun.
00:40:23It was none, none of that.
00:40:25.
00:40:38.
00:40:48No, no, no, no, no.
00:41:19And then we took a plane from Rio to Salvador.
00:41:21We were going there for Carnival.
00:41:23And then we got on the plane, and I saw her sitting in the front.
00:41:28And I looked at her, and she looked at me, and I smiled, and she smiled back.
00:41:32And that was it.
00:41:33I met her on the plane.
00:41:35Bruno was really jealous because we were smitten.
00:41:39Next thing I knew, I was off on a honeymoon with her.
00:41:42I don't know, I abandoned Bruno.
00:41:44And the two of us went to this incredible place in the middle of nowhere called Canoa Quebrada.
00:41:53And then, like, oh, literally two weeks later, she's, like, asking me to have her baby, and I'm agreeing to it.
00:42:02In retrospect, it's insane.
00:42:05And it is.
00:42:06But we have Xena.
00:42:07So, no regrets.
00:42:13With this young lady, in a hut on the water, with the Amazon jungle, three feet behind him,
00:42:22no neighbors, no roads there, no electricity, and no telephone.
00:42:30He bought that land.
00:42:33It's important to know that background, because not too many artists did that.
00:42:38And he went back there, and he made many paintings there.
00:42:42So there's a background to this adventure.
00:42:45There's a reality to these colors and all of these things going on here.
00:42:50And that is what is the magic with Kenny.
00:42:53I'm in love with nature, and I'm embracing the beauty of nature, and the beauty of painting, actual paint, colors, that whole thing.
00:43:17I, you know, love nature.
00:43:19That is my religion, really.
00:43:21I mean, I think nature is God, I guess, you know.
00:43:36It seems to have a lack of warm colors.
00:43:39Right?
00:43:39It's all, like, greens and...
00:43:41Yeah, they use a lot of green.
00:43:44Here's one.
00:43:44I travel everywhere, from all over the world, and I found the best trash.
00:43:52That's the only reason I go there.
00:43:54Yeah, it's because it's the best trash.
00:43:56Where?
00:43:57Bahia.
00:43:59That's where it is?
00:44:00You have a house there?
00:44:01Yeah, I got it, because the trash on the beach is like no other.
00:44:07I mean, really.
00:44:08So, you went to Brazil, and you got, what did you just gather, what do you do?
00:44:16I clean the beach.
00:44:19I clean the beach.
00:44:21First, they're in front of our house, and then I start going north and south along the beach.
00:44:30And then I go to, like, the riverbeds, where the rivers, like, run into the water, because that's where all the stuff comes out.
00:44:39And I take a lot of the garbage.
00:44:48I've been doing it probably for about 30 years.
00:44:54Oh, yeah?
00:44:54Around.
00:44:55You look like you're, like, having a fire take on the trash.
00:45:05I am, actually.
00:45:07There.
00:45:08How's that look?
00:45:11Does that look gorgeous?
00:45:15There.
00:45:16That's gorgeous.
00:45:21Wow.
00:45:23Yeah.
00:45:25You can't, you can't, you can't, you can't see it.
00:45:27I'm seeing it.
00:45:28Okay.
00:45:31One, two, three.
00:45:33Bahia Motor Hotel, where the family comes to play, when sunshine comes your way.
00:45:47Bahia Motor Hotel, in Mission Bay.
00:45:53Yeah.
00:45:54Bahia Motor Hotel, in Mission Bay.
00:45:57I think when Keith was around Kenny, Keith was sillier than he was around other people, as we all were around Kenny, because Kenny just brought it out in you.
00:46:07They were both getting more serious, because the whole art world and their careers were more serious than they had been when they started out, but I'm playing the whole art world game.
00:46:19But Kenny helped keep Keith's sillier side going.
00:46:25We all were at the tail end of the baby boomer generation, so we'd grown up with Vietnam, but we were too young to have been drafted into it.
00:46:43So, almost breathing a sigh of relief, wow, you know, at least we didn't have a war.
00:46:49And then the threat of nuclear annihilation was always hanging over you, particularly after Reagan got elected.
00:46:59But we never dreamed that there would be this microbe that would be our Vietnam, our hydrogen bomb.
00:47:06Scientists at the National Centers for Disease Control in Atlanta today released the results of a study which shows that the lifestyle of some male homosexuals has triggered an epidemic.
00:47:29It is about health, about attitudes, about looking at life in these United States.
00:47:34For the first time, the number of AIDS cases passed the 100,000 mark.
00:47:37There's a new AIDS death every half hour.
00:47:40The federal government has been accused of discrimination by lack of funding for research.
00:47:43The fact that it has taken the president five years to begin to even address this problem publicly demonstrates that this administration hasn't given it the level of commitment that it deserves.
00:47:53It was very, very scary because nobody knew how it was transmitted, you know, and on one hand, you don't want to, you didn't want to, like, reject your friends who were ill, but then you were, like, thinking, well, am I going to get it if I touch them?
00:48:07AIDS killed off a good third of the creative energy of that time and forced us all to grow up.
00:48:16AIDS killed off a good third of the creative energy of that time and forced us all to grow up.
00:48:46AIDS killed off a good third of the creative energy of that time and forced us all to grow up.
00:48:48AIDS killed off a good third of the creative energy of that time and forced us all to grow up.
00:48:49AIDS killed off a good third of the creative energy of that time and forced us all to grow up.
00:48:50AIDS killed off a good third of the creative energy of that time and forced us all to grow up.
00:48:51AIDS killed off a good third of the creative energy of that time and forced us all to grow up.
00:48:52AIDS killed off a good third of the creative energy of that time and forced us all to grow up.
00:48:53AIDS killed off a good third of the creative energy of that time and forced us all to grow up.
00:48:55AIDS killed off a good third of the creative energy of that time and forced us all to grow up.
00:48:56AIDS killed off a good third of the creative energy of that time and forced us all to grow up.
00:48:57It's all to grow up.
00:48:58Sí, eso es difícil.
00:49:00Así que estaba ahí.
00:49:04No podía hablar.
00:49:06No podía abrir sus ojos.
00:49:08Era muy agitado.
00:49:12El cuerpo estaba como...
00:49:14Estaba combatiendo, ¿sabes?
00:49:16Estaba combatiendo...
00:49:18Y yo estaba solo.
00:49:22No había nadie alrededor.
00:49:24I held his hand and I said...
00:49:28It's time for you to relax and just let it go.
00:49:32I said, you...
00:49:34Everything you've done...
00:49:42Everything you've done will go on
00:49:44and be more and more influential and powerful
00:49:48and you have done an amazing thing
00:49:52and you can really let it go and relax.
00:49:57And he did.
00:49:58I could feel his whole body just...
00:50:00relax.
00:50:02And I knew he heard me.
00:50:06I told him I loved him.
00:50:11And then, you know, I left.
00:50:12And then he died.
00:50:14You know, it was the end.
00:50:18And...
00:50:19And Kenny had babies.
00:50:20You know, we all have children.
00:50:22So...
00:50:23It was a very strange way of living.
00:50:26Are you Zen of the baby?
00:50:28Sometimes...
00:50:29Sometimes it would be just so harsh
00:50:32and so cruel
00:50:34and so depressing.
00:50:38And then you come home
00:50:39and then there are these...
00:50:41these children
00:50:42and they are innocent
00:50:45and full of life and full of joy.
00:50:48And really, they helped me
00:50:50in a major way
00:50:51of getting through
00:50:53that horrible time.
00:50:55and they hurt me.
00:50:57Ahhh!
00:50:58I sell the kids.
00:50:59I want them to go
00:51:00first
00:51:02I want to make that
00:51:04twists
00:51:05at both
00:51:07Of all
00:51:08It's going through
00:51:08It's going through
00:51:10the
00:51:15The
00:51:18Gracias por ver el video.
00:51:48Gracias por ver el video.
00:52:19I can't pay the bills, what am I going to do?
00:52:22We had everything traded.
00:52:24I had my rent traded, my studio, I had the dentist traded for art.
00:52:29I had that credit card I had, which was pretty much our groceries.
00:52:34You know, growing up with him working as an artist, there were moments that it was really scary.
00:52:43And we wouldn't really know if and where, you know, we would be able to take care of things and pay for things next time.
00:52:53He really sheltered us from that.
00:52:55We never really knew exactly what was happening when it was happening.
00:52:59But I remember feeling that, okay, things are hard right now.
00:53:02I had this idea that once money came, that meant it was always going to come.
00:53:13Like, if people were going to get behind your paintings right away, like, as soon as that happened, they would always be behind you.
00:53:19You'd never get abandoned.
00:53:21And I really believed that.
00:53:22So I just spent money, I didn't save it, thinking that it was always there to stay.
00:53:27And then it stopped coming.
00:53:31I think about sometimes what would have happened if we had stayed in New York and kind of, like, pushed through.
00:53:38I almost kind of feel like it would have been more beneficial for him to actually face some of the things that were coming up inside of him instead of running away.
00:53:48I have a balancing act between being a responsible adult and the Peter Pan syndrome because I just feel like life is so much about the moment.
00:54:07So I want every moment fun and beautiful and full of...
00:54:10That's not really the way life works.
00:54:12No, it's not.
00:54:12And it's not reality.
00:54:14Oh, I like the book.
00:54:17That's the fear of growing up.
00:54:25Because reality is reality.
00:54:27So you don't have to give up the play in order to be serious.
00:54:30You don't have to give up the play in order to grow up.
00:54:34Kenny was so disorganized.
00:54:37He could never find his checkbook, his passport, you know.
00:54:41And it was getting to be a problem.
00:54:43And I said, look, Kenny, I'll help you out.
00:54:45Like, let me help you get organized.
00:54:47And he had gotten a studio.
00:54:50So he needed help.
00:54:51So during that time, Kenny's...
00:54:53If you look at his work during that time, there's a lot of kind of dark paintings.
00:54:59I'm into pop art, but the reason I feel it's different now than the pop art of the 60s is pop art from the 60s was more of a stance, like from far away.
00:55:20What I'm doing is more taking these things out of my own subconscious that I grew up on.
00:55:28And so it's kind of surrealism in a way that...
00:55:32Not surrealism, but just natural, organic, just from my own imagination.
00:55:36At a certain point, those of us who are overly identified with the East Village, look, all that stuff had helped us.
00:55:47There was that 80s moment where we were all pushed probably more than we should have been.
00:55:53You know, we probably weren't all that great.
00:55:56We got a lot of hype and a lot of love, and it was very helpful for us to have that so young in life.
00:56:01But conversely, when that moment was over, it was passe.
00:56:08And so what was once a badge of honor and recognition became a stigmata.
00:56:15So then he had to deal with a really, really rough period where I don't think that guy could have gotten run over by an ice cream truck on a nice day in Soho kind of thing.
00:56:25He really... His market dried up.
00:56:29Whatever, the interest dried up.
00:56:31He was sort of like yesterday's news.
00:56:32I remember someone once said, someone came down from New York.
00:56:56And they were like, oh, Kenny Sharp, I thought you were dead.
00:57:00And I was like, almost like, not only I thought you were dead, but you're supposed to be dead.
00:57:06I did internalize all these feelings of failure, of being a has-been.
00:57:12I didn't know really what to do.
00:57:15I don't really know anything else.
00:57:17You know, I'm not like a great businessman, so the only way I knew how to make money was making art.
00:57:23Now, Kenny's in the same boat with me to a certain extent.
00:57:37And here's the boat we're in.
00:57:38After the Second World War, New York became the center of the world art capital.
00:57:45The mode that it used to do it with was abstract expressionism.
00:57:50It was a new, fresh world.
00:57:52And Jackson Pollock was the premier star of that.
00:57:57There was a whole plethora of other characters that pulled in on that, just like they did the graffiti movement.
00:58:02So this reigned for a long, long time, for 30 years or so, this philosophy.
00:58:10And you would think, well, pop art would be the breakthrough, but pop art immediately took on the aspect of being appropriation art.
00:58:21So you weren't free there either.
00:58:23But with graffiti that Kenny was in, you could slip back into a form of realism, a cartoon form of realism.
00:58:33So me and Kenny have this brotherhood of being cartoon-oriented.
00:58:39And it's still to this day disregarded, still to this fucking day disregarded as sophisticated art.
00:58:48Cartoonie sometimes makes things more accessible to more people.
00:58:53You can get away with things in animation that you couldn't with real people.
00:58:59You can say and do and depict situations and people and be very straightforward in your criticism and your social critique.
00:59:10But somehow confined to a canvas, it loses a dimension somehow.
00:59:17I don't know, that doesn't make any sense, but that's how it feels.
00:59:20It doesn't leave the viewer a lot of room to exercise his or her own imagination.
00:59:27I think all the things which make Kenny's work important and attractive, there are also reasons for skeptics to say, well, this is not important.
00:59:41You know, it's not profound.
00:59:42I think many artists whose work is appealing, it's easy to take that appeal and turn it around and use it as a justification to dismiss the work.
00:59:59I think I think I have a syndrome.
01:00:07It's a syndrome where you see faces in everything.
01:00:11You know, when I look at houses, the windows, and then I just see faces everywhere.
01:00:16When I look at flowers, whatever, you know, I'm always seeing faces, eyeballs, nose, and mouth.
01:00:24I'm always making faces.
01:00:25I think maybe I think that everything is like a person in a way.
01:00:31So I think everything has a personality, and that's why I see faces like it kind of conveys that personality and not only every living thing, but every even inanimate object to me has personality.
01:00:48Well, yeah, I came up with the idea I was going to do an animation and pretty much moved to L.A. to do it.
01:01:03I thought, well, this is, I'm, it's not like I wanted to stop being in the art world.
01:01:11I just thought I need to branch out.
01:01:13So that was my, a big dream of mine, and I realized that I want to pursue it, and I did.
01:01:22We moved to L.A., and he came here with that dream that he was going to be able to make it happen.
01:01:30He actually worked with Cartoon Network.
01:01:33The cartoon did happen.
01:01:34And he, I think he played a couple of times in Cartoon Network, but it wasn't really, you know, it didn't, it didn't really make it.
01:01:50You know, if you can hang on by your fingernails, that is the creative process.
01:01:55All you need are the fingernails, right?
01:01:57You're still hanging on.
01:01:59Most people, what is it, the odds of even having a successful career?
01:02:04It's infinitesimal.
01:02:11You know, there are a lot of people that do it for a minute and a half, and Kitty's been doing it for 40 years.
01:02:17Artists have a hard time whether it's in the beginning of their career, the middle of their career, the end of their career.
01:02:22No one escapes, but if you make your art from love, you're fine.
01:02:28I'm not going to lie, I was on the 15 bus going across, and I seen him just working right here, and I'm just like, yo, that's, that's too cool.
01:02:35Like, I need, I need that.
01:02:37I need something, I need that.
01:02:38I need anything.
01:02:40Okay, before I do it, do you want, like, a monster or, like, happy?
01:02:43Happy, really?
01:02:44It's all about happy and love.
01:02:45Happy.
01:02:46Peace, man.
01:02:46Peace.
01:02:52Okay, check it out.
01:02:55Don't, don't.
01:02:56You got it.
01:02:58There you all got it, smiley fingers.
01:03:03Oh, big joke, bring it in, bring it in, bring it in.
01:03:06Something very important that's going on is this increasing merger of progressive popular culture and fine art culture.
01:03:16So, Kenny was in the forefront of that, and we see that this is really defining progressive culture today more and more.
01:03:27There's a group that resists that, and Kenny, as much as any other artist, is fusing the two together.
01:03:35Art's always done such a good job at speaking to citizens.
01:04:05Such a small number of people.
01:04:08Kenny is a real populist.
01:04:10He's happy with it being on the street, but for people to go, like, wow, that's kind of cool.
01:04:15What's that advertising?
01:04:17It's like, oh, nothing.
01:04:18It's advertising free thinking.
01:04:20I mean, what a subversive message to put out in our culture.
01:04:23Well, I think that street art does not have to be filtered through an academic power system or a critical art power scene.
01:04:36It is right what it is, and it's direct to the people.
01:04:39Yeah, I mean, it's great when you make work on the street.
01:04:42There's no red tape.
01:04:42There's no committee.
01:04:43There's no, like, front.
01:04:46Like, there's, it's just, you have it.
01:04:48You think about it.
01:04:49You leave your house.
01:04:50It comes to fruition.
01:04:52You see it the next day.
01:04:53I like cartoons because I think of them sort of, like, as actors that never get old, and you can kind of create these compositions with them, and, you know, like, in different countries, you can, you can not speak the same language, but you could have grown up on the same thing.
01:05:08He's guilty of engaging in the F word, fun, and so you see that instantly in his work.
01:05:18He's not out of control. Sometimes he has this out-of-control appearance to his work, but it's always in control at the same time, and so there's a definite discipline that you see in his work with each one of his pictures.
01:05:36He's always kind of done the things he wanted to do and not really played along the, you know, there's, a lot of times there's, like, a comfort zone within the art world that a lot of people don't want to move past.
01:05:46And another thing's exclusivity.
01:05:50You know, he'll do a museum show, but then he'll go and paint all these cars for people that he meets randomly, you know, that show up.
01:05:57And so that might work against, you know, the sort of preciousness of what a lot of people like to sort of pigeonhole art into.
01:06:06But at the same time, he's reaching a whole different group of people, and I think for him, that's what's fun, that's what's interesting, and that's what he goes towards.
01:06:15I get included a lot in the street art type of place of exhibitions and things where I'm, it's me and a lot of, I guess, more traditional type of graffiti, graffiti art.
01:06:32But in a way, I weirdly feel like I am the kind of clowny gay element, the only clowny gay element that exists.
01:06:43I actually never really felt like I belonged in any of the defined groups, which I still don't belong in any particular group.
01:06:55I'm not that, and I'm not that, and I'm not that.
01:06:58I'm kind of like all of it, and there isn't really a group for all of it.
01:07:02I think the kids call it now, don't they call it fluid?
01:07:08Isn't that what the younger kids call?
01:07:11Sexuality, your sexuality is fluid.
01:07:13I'd say it was challenging for me when I was younger, when I was still kind of questioning myself, and I was concerned with what other people might think about me.
01:07:30And now that I'm older, I don't really care about that.
01:07:35It's not easy.
01:07:37Living in this world, it's not.
01:07:43Take a shelfie?
01:07:49A shelfie?
01:07:51Take a shelfie.
01:07:55Or trashy?
01:07:59Well, that isn't really funny, a shelfie.
01:08:05It's all personal consumption.
01:08:07And then it gets used in other stuff.
01:08:09I'm obsessed with garbage.
01:08:15I'm obsessed with plastic, mostly.
01:08:21Plastic garbage.
01:08:22The impact it has on our world.
01:08:24There's hardly any place on the globe that you can go to where you won't see some kind of garbage, some trash.
01:08:33One of the things that I like to do is take this element that I find dangerous and turning it into something that I find attractive.
01:08:43That is interesting to me.
01:08:47I love the idea of taking the discarded, the unwanted, and turning them into something else.
01:08:57Yeah, he's got a particular attraction to cast off items.
01:09:02And he likes these old devices.
01:09:06Give him a prince's telephone and it's going to become something else.
01:09:09Give him a prince.
01:09:39I love you.
01:10:06Bueno, un punto que creo que tiene que ser señalado por Kenny Scharf es la importancia de la performance.
01:10:15Y en una manera, él es realmente un poco de un showman.
01:10:17Él es un artista, pero también es un maestro de ceremonias.
01:10:22Y creo que esa es una parte de su generosidad como un artista que la mayoría de las personas no vean o entienden.
01:10:36Gracias por ver el video.
01:11:06Creo que el tiempo está empezando a ser correcto para todo lo que he querido por un tiempo.
01:11:13Parece que el resto del mundo finalmente va a encontrar conmigo.
01:11:21No es sobre ser una estrella o ser una persona famosa.
01:11:27Es solo sobre ser un artista y creativo.
01:11:36¿Están emocionados a ver la pintura?
01:11:50¿Están emocionados a ver la pintura?
01:11:56¿Cuándo fue la última vez que vimos la pintura?
01:12:01Cuando hicieron la pintura en la antigua antigua?
01:12:07¿Cuándo fue la pintura?
01:12:18¿Cuándo fue la pintura?
01:12:19So what was your idea behind it?
01:12:31Was there something that conceptually you were feeling?
01:12:35Yeah, I think it's like
01:12:36the combination of
01:12:40tranquility and chaos
01:12:44all in one.
01:12:49When the worlds collide, it's like everything is existing together at the same time.
01:12:58And that you can be calm and have tranquility inside chaos.
01:13:08The most important thing for Kenny is his family.
01:13:11There's nothing goes after, you know, which saves him.
01:13:15It makes him a man, it makes him a good person, you know.
01:13:19And, but he, I mean, he loves his family more than anything and I,
01:13:24and, uh, when I understand it.
01:13:32He loves his family.
01:13:37Ow!
01:13:39Okay.
01:13:41Two headphones like you.
01:13:45Yeah!
01:13:46I think it was me.
01:14:00We're going.
01:14:02¡Gracias!
01:14:32¡Gracias!
01:15:02¡Gracias!
01:15:32¡Gracias!
01:15:34¡Gracias!
01:15:36Scharf's work is really
01:15:38underlying the fragile state
01:15:40of the world's
01:15:42environment.
01:15:44He's one of the few artists that
01:15:46puts the kitchen sink
01:15:48into his work.
01:15:50Totally American in many ways
01:15:52and it's
01:15:54just like the
01:15:56the noise of life
01:15:58lives in his paintings.
01:16:00There has to always
01:16:02be someone who does too much.
01:16:04He's too much.
01:16:06And that's what makes him a genius.
01:16:08He takes that practice
01:16:10and takes it to such an extreme
01:16:12that you go, oh my god
01:16:14who does this?
01:16:16It's like
01:16:18a visionary, only a visionary.
01:16:20He can make it like this
01:16:22very fun comic-y
01:16:24visual pastiche
01:16:26but within there
01:16:28he's working out
01:16:30not just his demons
01:16:32but a larger collective demonology
01:16:34of what's going on in our culture.
01:16:36So, there's that freedom
01:16:42and spontaneity and aliveness
01:16:44that's actually in our nature.
01:16:46A healthy part of aging
01:16:50is to become more playful again
01:16:52and to let go, as you let go
01:16:54of the burdens, you become more childlike
01:16:56again in a certain sense.
01:16:58And the word play
01:17:00I mean
01:17:02that's what artists do
01:17:04they just play
01:17:06and musicians
01:17:08they play music
01:17:10you know, so that
01:17:12that sense of childlike
01:17:14creation, creativity
01:17:16is precisely, I think
01:17:18why we turn to artists.
01:17:20I think they preserve or they express
01:17:22that part of us
01:17:24that most of us have lost.
01:17:52Also,
01:17:54you know,
01:17:56you don't know
01:17:58what you thought
01:17:59about the story
01:18:00that is,
01:18:02you know,
01:18:04I think they come to your
01:18:20Gracias por ver el video.
01:18:50Gracias por ver el video.
01:19:20Gracias por ver el video.
01:19:50Gracias por ver el video.
Comentarios