>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE CHEATER COLUMBUS ARTS SEMIFINAL, CELEBRATIONING EXPRESSION, FOSTERING THE TALENT OF COLUMBUS ARTISTS, PERFORMANCES, EXHIBITIONS, CONCERTS, PUBLIC ART AND MORE AT COLUMBUSMAKESART.COM.

FROM THESE CONTRIBUTING SPONSORS AND VIEWERS LIKE YOU.

THANK YOU.

>> THIS TIME ON "BROAD & HIGH," THE BUSINESS OF MEMORY, ANCIENT ART RECLAIMED, POSTER ART FROM MILWAUKEE'S PUNK ROCK SCENE AND MUSIC THAT MAKES YOU MOVE.

THIS AND MORE RIGHT NOW ON "BROAD & HIGH.

>> WELCOME TO "BROAD & HIGH."

I'M YOUR HOST KATE QUICKEL.

A FILMMAKER, AUTHOR AND EDUCATOR WHOSE WORK EXPLORES WHAT IT MEANS TO BE A WITNESS TO KEY EPISODES IN DARKLY IS MAKING ITS DEBUT WITH ARCHIVAL FOOTAGE.

HE TALKED ABOUT HOW HE APPROACH ED HIS CREATION AND WHAT PLACE CONTEMPORARY ART HAS IN RESHAPING A NARRATIVE.

>> THE KENT STATE UNIVERSITY INCIDENT, TELL US WHAT IN YOUR JUDGMENT IS THE PROPER ACTION AND CONDUCT FOR A POLICE FORCE OR A NATIONAL GUARD FORCE WHEN ORDERED TO CLEAR THE CAMPUS AREA AND FACED WITH A CROWD THROWING ROCKS?

>> THE FILM OF MINE THAT IS AT THE CENTERPIECE OF EXHIBITION IS CALLED "THROUGH A MIRROR DARKLY" THE PHRASE COMES FROM THE BIBLE FROM CORINTHIANS WHICH IS THE NAME OF THE OVERALL EXHIBITION, CORINTHIANS.

IT HINGES ON THE IDEA OF THE FACT THAT WHEN YOU SEE SOMETHING IN THE MIDDLE OF MEMORY, THINGS ARE NEVER AS CLEAR AS THEY MIGHT HAVE BEEN WHEN YOU FIRST ENCOUNTERED IT, AND THE FURTHER AWAY YOU GET FROM EVENTS, THE MORE THINGS APPEAR DIFFERENTLY.

THE FILM IS A THREE SCREENS TOGETHER, A MIXTURE OF COB TEMPORARY AND ARCHIVAL FOOTAGE ABOUT THE MAY 4th KILLING OF STUDENTS AT KENT STATE, THE PROTESTS CALLED THE HARD HAT ROY RIOTS IN NEW YORK CITY AND THE KILLING OF STUDENTS AT JACKSON STATE.

I CAME HERE AS AN INTERNATIONAL STUDENT FROM BANGLADESH 30 YEARS AGO.

I WENT TO OBAMAER OBERLIN.

IT WAS A LARGER THAN LIFE EVENT, ALWAYS TALKED ABOUT IN THE CONTEXT OF CONTEMPORARY EVENTS.

MY TIME AT OBERLIN WAS THE FIRST GULF WAR.

PEOPLE WOULD SAY, WELL, THERE WERE POLICE BUT NOTHING LIKE WHAT HAPPENED AT KENT STATE.

IT WAS ALWAYS A REFERENCE POINT.

BUT I NEVER HEARD ABOUT JACKSON STATE.

I ONLY HEARD A BT BOUT THAT IN THE LAST TEN YEARS.

THE DEATH OF TWO BLACK STUDENTS AT JACKSON STATE IN THE SAME MONTH DIDN'T RISE TO THE LEVEL OF NATIONAL HEADLINES.

>> THEY SENT SOLDIERS TO FIGHT IN VIETNAM.

>> THE FILM DOESN'T HAVE FOOTNOTES.

YOU MIGHT SEE SOMETHING FOR ONE SECOND AND YOU MIGHT STILL BE PUZZLING WHAT'S GOING ON AND THE NEXT SCENE SHOWS UP.

THE FILM WORKS WITH THREE SCREENS AT THE SAME TIME.

SO YOU'RE ACTUALLY RECEIVING A LOT OF MATERIAL.

YOU MIGHT ACTUALLY TIMES MOVE YOUR HEAD FROM THIS SCREEN TO THAT SCREEN AND MISS THAT.

IT MOVES QUICKLY AND IT'S RELATIVELY FAST-PACED EDITING.

>> I STARTED WORKING ON THE FILM OVER FIVE YEARS AGO.

THERE WAS RESEARCH, BUT THERE WAS LOTS OF PAUSES AND INTERRUPTIONS AND ALMOST, WELL, I DON'T KNOW IF I'LL EVER ABLE TO MAKE THIS FILM.

BY THE TIME I STARTED EDITING THE FILM, THINGS CHANGED.

I THINK PEOPLE ARE GOING TO FIND ANALOGS.

THINGS THEY'RE EXPERIENCING NOW ARE NOT REALLY NEW.

THEY ARE PERHAPS PART OF A CYCLE THAT REPEATS.

SO IT'S IMPORTANT TO THINK OF THAT AND HAVE A LONG RETROSPECTIVE AND ALSO THINK ABOUT IF PEOPLE FIND SOMETHING PROBLEMATIC AND THEY WANT TO CHALLENGE IT USING THEIR RIGHT TO FREE SPEECH AND DISOBEDIENT, SOMETHING ABOUT THE PARALLEL I THINK IS USEFUL.

AT THE SAME TIME I WILL SAY I DIDN'T MAKE THE FILM AS A CIVIL LESSON THAT GIVES YOU A TOOL KIT.

>> CORINTHIANS, THE OVERALL EXHIBITION, IS IN TWO PARTS.

ONE IS WHERE THE THREE CHANNEL FILM IS SITUATED.

THEN THE HALLWAY ALL AROUND IS FILLED WITH WORKS FROM THE COLLECTION AND WORKS BORROWED DIRECTLY FROM THE ARTIST OR COLUMBUS MUSEUM OF ART.

THIS HEAVILY FOCUSES ON WORKS AROUND OR INFLUENCED BY THE OPPOSITION TO THE VIETNAM WAR.

MOST OF THESE WORKS ARE MADE BETWEEN 1960 AND 1973, WITH THE BULK IN 1970.

BY 1970, ORARY ART HAS FULLY EMBRACED DEBATES AROUND THE VIETNAM WAR.

AND WITHIN THAT IS ALSO THE WAY THE COUNTRY'S CULTURE HAS DRAMATICALLY CHANGED.

THE '60s ISN'T JUST THE '60s, IT'S EVERYTHING ELSE THAT HAPPENS ON TOP OF THE VIETNAM WAR AND PROTESTS AGAINST THAT.

YOU SEE FRAGMENTS OF THOSE IN ALL OF THESE.

THEN YOU SEE ONE OR TWO WORKS THAT WERE MADE IN '72-'73 WHEN THE VIETNAM WAR IS WINDING DOWN.

BUT THAT QUESTIONING OF NATIONAL IDENTITY, BELONGING, SPIRIT OF CHALLENGE, SPIRIT OF SKEPTICISM OR AT LEAST I WANT TO QUESTION.

HERE I THINK THERE'S ALSO A POSSIBILITY OF NOT EXPLAINING EVERYTHING AND LEAVING IT TO THE AUDIENCE TO START TELLING THEIR OWN NARRATIVE.

ONE OF THE EXPERIENCES THAT I HAVE THAT IS QUITE WONDERFUL WHEN IT DOES HAPPEN IS IF YOU ARE IN A EXHIBITION AND YOU QUIETLY SIT IN THE CORNER OVERHEARING THE CONVERSATION AND AN AUDIENCE MEMBER IS GIVING AN INTERPRETATION OF SOMETHING THEY'VE SEEN IN YOUR WORK AND IT'S COMPLETELY UNRELATED TO ANYTHING YOU THOUGHT, THEY MIGHT EVEN BE REFERENCING A FILM YOU'VE NEVER SEEN.

THAT'S REALLY BEAUTIFUL WHEN THEY COME UP WITH A NEW MEANING.

>> SOME PEOPLE THINK IT IS.

>> TO LEARN MORE FIND HIM ONLINE AT -- > >> TO FIND OUT ABOUT THE LATEST EXHIBITS AT THE WEX, CHECK THEM OUT ONLINE AT WEXART.

ORG.

> >> AFTER MOVING TO CLEVELAND IN 2019, RHETT BUSH WAS FEELING CULTURALLY DISCONNECTED FROM HER TRIBE IN MICHIGAN.

IT PROMPTED HER TO RETURN TO HER PRACTICE OF INDIGENOUS BEING AND LEARN THE ANCIENT ART OF QUILL WORK.

TODAY BUSH HAS NOT ONLY RECONNECTED TO HER HERITAGE, SHE'S ALSO AN AWARD- WINNING ARTIST.

>> TO ME, IT'S IMPORTANT.

IT'S A WAY OF ME RECLAIMING WHAT WAS TAKEN FROM US.

>> QUILL ART IS BASICALLY HISTORICALLY WE USE EVERY PART OF AN ANNAL IMAL WE CAN.

SOMEONE DISCOVERED THAT IF THEY TOOK THE QUILLS OFF A PORCUPINE, THEY COULD WEAVE THEM, BRAID THEM.

IT'S THE OLDEST DECORATION THAT WE HAVE.

IT WAS OUR FIRST WAY OF DECORATING LIKE OUR MOCCASINS AND OUR COATS, OUR BAGS.

IT WAS PREVAILING BEFORE THE FUR TRADE CAME.

SOMETHING THAT WE KEEP ALIVE AND CONTINUE TO DO.

WHAT WE USE TO DECORATE NOT ONLY CLOTHING BUT ALSO BASKETS, HOUSEHOLD ITEMS.

TO UNDERSTAND WHO YOU ARE TODAY YOU NEED TO UNDERSTAND WHERE YOU'VE COME FROM.

>> IT GOES BACK TO MY ANCESTORS A LOT.

IT GOES BACK TO THE BOARDING SCHOOLS.

THEY FOUND OUT THAT THERE WAS UNMARKED GRAVES IN CANADA WHERE THERE WAS A BOARDING SCHOOL.

AND I HAD BEEN JUST SITTING AROUND HERE AND NOT DOING ANYTHING CULTURALLY.

SO WHEN I HEARD THAT, IT REALLY TOUCHED MY HEART, AND I PICKED UP MY BEADS.

MY DAD HAD PASSED AWAY SO I PUT ALL MY STUFF AWAY.

THEN I STARTED FRESH AND TRIED TO HONOR THEIR SPIRIT.

WITH THAT, I FOUND OUT MY OWN GRANDMA AND GRANDPA, THEY KEPT IT FROM US, YOU KNOW?

IT REALLY TAUGHT US ABOUT THEIR EXPERIENCES.

IT WAS LIKE A BIG, BIG INFLUENCE ON MY ART.

HE WAS SO PROUD OF ME.

I TRY TO DO THAT FOR THEM.

I HAD A HARD LIFE BEFORE.

ART HAS REALLY HELPED ME.

I WAS THINKING ABOUT WHAT WAS TAKEN FROM THEM, AND THEN I PICKED UP THE QUILLS.

I PUT DOWN THE BEADS.

YOU KNOW, THAT'S MY FIRST MEDIUM.

I TAUGHT MYSELF HOW TO WORK WITH PORCUPINE QUILLS, BECAUSE I WANTED THAT CONNECTION.

AND I FOUND THAT, YOU KNOW.

>> SHE HAS REALLY LEAPS AND BOUNDS HONED HER SKILL WITH QUILL WORK.

SHE'S WILLING TO DO THINGS THE RIGHT WAY.

>> WITH THE QUILLS IT'S SUCH A LONG PROCESS.

THE QUILLS I HAVE COME FROM MONTANA.

I TRADE MY EARRINGS FOR THESE QUILLS.

AND THEN I TAKE THE QUILLS, I WASH THE QUILLS, I DYE THE QUILLS, I SORT THE QUILLS AGAIN.

THEN I CHOOSE THE BEST THAT I LIKE.

IT'S JUST A LITTLE TINY BIT AFTERWARDS.

IT'S REALLY A ABOR OF LOVE.

>> IT'S A LOST ART HERE ESPECIALLY IN THE CITY.

A LOT OF YOUNG PEOPLE ARE DISCOVERING IT, TAKING IT UP AGAIN.

THEY'RE GETTING BOOKS.

>> I READ BOOKS ABOUT QUILL WORK, BECAUSE SO MANY OF OUR TECHNIQUES WERE LOST TO US THROUGH THE BOARDING SCHOOL ERA.

EVEN IN THESE BOOKS THEY'RE FROM LIKE 1919.

AND THEY TALK ABOUT HOW THE EXAMPLES ARE DETERIORATED, SO THERE'S NO EVIDENCE OF THEM.

SO WE'RE JUST TRYING TO BRING IT BACK.

>> SHE TAKES HER IDEAS FROM NATURE.

THE WAY IT SHOULD BE DONE.

>> TO GET INSPIRATION, I GET OUTSIDE AND I GET TO BE WITH NATURE.

I STARTED EXPLORING THE METRO PARKS.

THAT IN ITSELF IS HEALING.

CLEVELAND, THIS IS WHERE I STARTED MY ART FOR REAL.

I'LL SEE SOMETHING OR I'LL HAVE A DREAM, AND THEN I'LL PUT THAT INTO MY DESIGN.

THAT ONE, I MADE THAT FOR MY SON.

WE WENT TO OKLAHOMA.

WE WERE OUTSIDE FOR A POWWOW.

AND THERE WAS GRACKLES EVERYWHERE.

IT WAS THE FIRST TIME WE ENCOUNTERED THEM.

I MADE THEM THAT MEDALLION, A LITTLE PIECE OF THAT MEMORY IN THAT PIECE.

>> SHE HAS SOME VERY INNOVATIVE IDEAS.

SHE'S MIXING SOME MODERN IDEAS WITH TRADITIONAL IDEAS, SUCH AS HER RABBIT.

YOU'LL SEE PICTORIALS OF THE OLD RABBITS ON A LOT OF THE CAVES, ESPECIALLY IN NORTHERN ONTARIO.

>> I STARTED APPLYING FOR GRANTS, AND I WON.

THAT FUELLED ME TO MAKE MORE QUALITY ART, I GUESS YOU'D SAY.

IT GAVE ME THE FUNDS FOR IT.

AND CONTINUED TO GO TO INDIANAPOLIS TO THE MARKET AT THE MUSEUM.

I WAS AWARDED --AWARD.

THAT WAS AWESOME.

IT'S IN THE MUSEUM NOW.

OTHER PEOPLE GET TO SEE IT, AND THAT'S REALLY COOL.

I FOUGHT DEPRESSION FOR A LONG TIME.

ART IS EXPRESSION INSTEAD OF DEPRESSION.

I'VE HEARD THAT A LOT.

IT HEALS ME BECAUSE IT LETS ME EXPRESS WHAT I WANT TO IN COLORS, IN SHAPES, IN LINES.

I GET TO SHARE THAT WITH EVERYBODY.

SOMETIMES I'M AMAZED THAT PEOPLE LIKE MY WORK SO MUCH.

IT REALLY FLOORS ME.

>> IT'S NICE TO SEE A YOUNG PEOPLE TAKING THIS ART FORM UP AND USING IT FOR EDUCATIONAL PURPOSES WITH OTHERS.

>> MY MAIN GOAL IS TO TEACH PEOPLE SO THEY CAN TEACH OTHER PEOPLE.

YOU KNOW, THERE'S NOT A LOT OF PEOPLE WHO DO IT.

IT NEEDS TO BE BROUGHT BACK.

BECAUSE I KNOW HOW MUCH IT HELPED ME WITH MY DEPRESSION, AND IT'S GIVEN MY SELF-CONFIDENCE.

I KNOW IT CAN HELP OTHER PEOPLE TOO.

>> IT'S WHO WE ARE.

IT'S PART OF OUR HISTORY.

IT'S PART OF OUR CULTURE.

IT'S WHY WE WORK SO HARD TO KEEP OUR CHILDREN INVOLVED IN IT SO THEY UNDERSTAND THIS IS WHO YOU ARE.

THIS IS WHAT YOUR PEOPLE DID LONG BEFORE THERE WERE ANY SETTLERS HERE.

>> THEY SAY WE WALK IN BEAUTY.

THAT'S WHAT WE TRY TO DO, WALK IN A GOOD WAY THAT WOULD MAKE OUR ANCESTORS PROUD OF US.

> >> TO SEE MORE OF HER WORK, FIND BETH ON FACEBOOK.

> >> NEXT, WE TAKE A TRIP TO ART GALLERY ON MILWAUKEE'S HISTORIC MITCHELL STREET FOR THE EXHIBITION "GIGS UP, 50 YEARS OF MILWAUKEE PUNK POSTERS. "

THE SHOW IS GRITTY, BRAZENLY AUTHENTIC AND A LITTLE BIT WEIRD.

IT MIGHT EVEN CHALLENGE WHAT YOU THINK ART CAN BE.

> >> WHAT PEOPLE SEE WHEN THEY SEE ART IS WHEN THEY SEE SOMETHING MADE BY HAND, THEY SEE THAT POTENTIAL FOR SOMETHING NOT BEING PERFECT, FOR IT TO BE CLUMSY, FLUID, BROKEN, ACCIDENTAL, GOING IN DIRECTIONS IT'S NOT SUPPOSED TO.

PEOPLE LIKE TO SEE THINGS A LITTLE ASKEW.

THAT'S WHY THIS IS SO AWESOME.

>> THE SHOW, IT'S HISTORY OF PUNK, POST PUNK AND ALTERNATIVE MUSIC IN MILWAUKEE, VIS-A-VIS THE PLAY BILLS THAT WERE USED TO ADVERTISE THOSE SHOWS.

IT'S BECOME HONESTLY MORE THAN THAT.

>> IT'S BECOME LIKE A COMMUNITY CENTER AND A CULTURE.

THE VAST MAJORITY ARE LOCAL PUNK AND -- [ INDISCERNIBLE ] IT'S RAW, IT'S REAL, IT'S WORKING CLASS.

IT'S NOT LIP SERVICE.

YOU KNOW, MILWAUKEE HAS THAT IN SPADES, LIKE ONE OF THE MOST BEAUTIFUL THINGS ABOUT THIS CITY.

AND THE PUNK SCENE, THERE'S NOT A MILLION PRODUCERS AND TRILLIONS OF DOLLARS LIKE HANGING OUT OF REACH.

MILWAUKEE HAS THIS KIND OF REALLY PURE, ISOLATED, ALMOST LIKE GALAPAGOS CULTURE.

MOST OF IT IS KIND OF OLD LOOK, EARLY '80s PUNK.

THEN IT MOVES INTO SOME OF THE NEWER STUFF BECAUSE THE CRAMPS AND JACK WHITE.

IN THE VERY BEGINNING IT WAS JUST AN ONGOING WAY TO PRESERVE A CULTURE THAT WAS VERY ORGANIC.

A LOT OF THEM THEY SELECTED FOR THE BANDS BUT DIDN'T KNOW THE ARTIST.

IN SOME CASES THE ARTISTS ARE REALLY IMPORTANT BECAUSE THEY WERE DESIGNED AS PIECES OF ART.

ERIC -- USED AN AMAZING, EMOTIONALLY HONEST CONNECTED GUY.

AS AN ART, THAT'S WHAT MAKES PEOPLE GOOD ARTISTS, BECAUSE THEY'RE NOT OUTSIDE OF THEMSELVES.

THEY'RE LIKE A FULL POINT OF VIEW THAT'S GROWING AND CHANGING AND TRYING TO GET TO SOMETHING.

THOSE PEOPLE ALWAYS MAKE GREAT ART BECAUSE THEY'RE GROWING AND LEARNING AND DEVELOPING.

AND YOU SEE IT IN HIS WORK.

>> THE PLAN FOR THIS WAS TO KIND OF KEEP IT AS IF IT WOULD BE LIKE ON A CONSTRUCTION SITE LIKE AS PEOPLE REALLY DID POSTER WHICH WAS IRREGULAR AND ALL OTHER.

IN SOME CASES WE CURATE IT MORE LIKE A GALLERY.

WE CURATE THIS ORGANICALLY THROUGH HOW IT FELT.

WE'RE STARTING GENERALLY NEWER TO OLDER.

THIS IS '70s TO NEWER THINGS.

YOU TEND TO SIGH EE MORE PRODUCTION AS WE GET INTO COMPUTERS.

WHAT MAKES A GOOD POSTER?

SOME BIG, BOLD, STRAIGHTFORWARD.

[ INDISCERNIBLE ] BAND, VENUE, DAY.

BUT SOMETIMES IT'S SUCH A RADICAL IMAGE, PEOPLE GO, GRAB THAT POSTER.

[ INDISCERNIBLE ] THE PEOPLE THAT COME IN HERE, THEY'RE TRUE WEIRD, WONDERFUL, AWESOME UNICORNS.

THIS IS WHAT WE SHOULD BE STRIVING FOR.

THIS IS THE KIND OF THING WE SHOULD WANT IN THE WORLD.

I THINK WE SHOULD BE STRIVING TO FIND REAL AUTHENTIC CULTURE THAT FORCES US TO THINK ABOUT HOW WE LIVE BETTER.

OF COURSE I WANT THEM TO LOVE MILWAUKEE PUNK AND MUSIC AND WHATEVER.

EVEN DEEPER THAN THAT, I WANT THEM TO ENGAGE WITH THINGS THAT ARE STRANGE AND DIFFERENT AND KEEP THEIR MIND CRACKLING AND KEEP THEIR FEET MOVING IN WEIRD DIRECTIONS.

>> CHECK OUT THE LATEST AT THE GALLERY AT -- > >> WHETHER YOU'RE AT YOUR DESK, IN YOUR CAR OR ON THE DANCE FLOOR, THE MUSIC OF HOPE SALAH IS SURE TO GET YOU MOVING.

WHILE PERSONAL IN NATURE, HER PROSE IS DEFINITELY RELATABLE.

TAKE A LISTEN.

>> TO HEAR MORE, CHECK HER OUT AT HOPE SALAH DOTCOM.

>> WELL, THAT'S OUR SHOW.

REMEMBER, YOU CAN FIND ALL OF OUR STORIES ONLINE AT WOSU.

ORG AS WELL AS OUR YOUTUBE CHANNEL.

FOR ALL OF US HERE AT WOSU, I'M KATE QUICKEL.

THANKS FOR WATCHING.

>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL.

CELEBRATING EXPRESSION, FOSTERING TALENT, AND CONNECTING COMMUNITY TO COLUMBUS ARTISTS, PERFORMANCES, EXHIBITIONS, CONCERTS, PUBLIC ART, AND MORE AT COLUMBUSMAKESART.COM.