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

SUPPORTING ARTS, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY TO ARTISTS, EVENTS, AND CLASSES.

AT COLUMBUSMAKESART.COM >>> THIS TIME ON "BROAD & HIGH" -- WE MEET AN ARTIST WHO WANTS US TO THINK, AND NOT JUST REACT TO HIS WORK.

EXPERIENCE UNIQUE WORKS OF ART THAT CREATE A WHOLE NEW WORLD.

LEARN ABOUT PROOF SHEETS THAT DISPLAY ALL THE IMAGES FROM A ROLL OF FILM.

AND LISTEN TO ANOTHER GREAT SONG THAT IS FULL OF LIFE, LOVE, AND GOOD VIBES.

THIS, AND MORE, RIGHT NOW ON "BROAD & HIGH."

♪♪ >>> WELCOME TO "BROAD & HIGH," I'M YOUR HOST, KATE QUICKEL.

MARCUS BLACKWELL IS A LOT OF THINGS.

HE'S A SUPERHERO ILLUSTRATOR, AN ABSTRACT EXPRESSIONIST, AND AN ARTIST WHO FEELS LIKE ALL REACTIONS TO ART ARE VALID.

WE VISITED MARCUS IN HIS 400 WEST RICH SPACE, AND TALKED ABOUT HIS WORK.

♪♪ >> I HAVE A STUDIO AT 400 WEST RICH.

THIS IS A BUILDING FILLED ARTISTS, FOR ARTISTS.

AND AS GREAT OLD BUILDINGS GO, IT'S AN INDUSTRIAL SPACE, SO YOU ARE KIND OF AT THE MERCY OF THE NOISES OF -- OF AN INDUSTRIAL SPACE.

BUT IT'S REALLY NICE TO HAVE A SPACE THAT'S DEDICATED TO CREATING AND THINKING ABOUT CREATION.

♪♪ THE SPACE FOR ME HAS TURNED INTO, SORT OF A FORUM, YOU KNOW, FOR THIS -- THIS ART LIFE THAT I KEEP COMING BACK TO.

♪♪ [ BRUSH SCRAPING, TAPPING ] I WENT TO WORK FOR A LARGE CORPORATION -- I'M NOT GONNA NAME 'EM -- BUT I HAD GOTTEN TO THIS POINT AROUND MY 20th ANNIVERSARY, ABOUT -- MAYBE NOT NECESSARILY A MID-LIFE CRISIS -- BUT JUST TRYING TO FIGURE OUT "WHERE AM I AT?"

AND DURING THOSE YEARS, YEAH, I WAS STILL -- I WAS STILL DOING ART, BUT I GUESS I WASN'T NECESSARILY TAKING IT AS SERIOUSLY AS I SHOULD'VE BEEN.

SO I JUST, SORT OF, LIKE, THOUGHT, "YOU KNOW, LET'S SEE IF YOU CAN MAKE A GO OF -- OF THIS ART THING, YOU KNOW, MAKE A LIFE OUT OF IT."

I LEFT THAT COMPANY IN DECEMBER 2019.

AND THEN BLAM, THE PANDEMIC HITS.

YOU KNOW, AND NOW IT'S LIKE, "OOH."

I STARTED OFF WANTING TO BE AN ILLUSTRATOR.

AND I THOUGHT WHAT I WANTED TO DO WAS DRAW COMIC BOOKS.

AND IN RECENT YEARS, I STARTED GRAVITATING MORE TOWARDS DIGITAL.

MAINLY BECAUSE I CAN TELL QUICK LITTLE STORIES THAT WERE ILLUSTRATIVE FOR PEOPLE TO UNDERSTAND, FOR ME TO UNDERSTAND.

THEN THE PANDEMIC HITS, AND SUPERHEROES DON'T MATTER MUCH ANYMORE.

YOU'RE DEALING WITH ALL THESE DIFFERENT EMOTIONS AND IDEAS THAT DON'T NECESSARILY, UH, LEND THEMSELVES TO THAT ILLUSTRATIVE THING ANYMORE.

BUT THEN I STARTED GRAVITATING TOWARDS ABSTRACT EXPRESSIONISM AND -- AND ABSTRACT WORK.

AND THAT DEALT MORE WITH THE INNER STUFF -- THE THINGS THAT YOU REALLY CAN'T EXPLAIN IN WORDS, THAT YOU CAN'T EXPLAIN IN A SINGLE REPRESENTATIONAL IMAGE.

THE ABSTRACT FOR ME WAS EMOTION ON THE PAGE, YOU KNOW, AND THAT'S MY EMOTION.

HOW YOU MIGHT DEAL WITH IT MIGHT BE DIFFERENT, BUT, IT JUST SEEMED TO HAVE A WHOLE LOT MORE POSSIBILITIES IN ORDER TO EXPLORE THOSE EMOTIONS THAT I HAD INSIDE OF ME THAT WERE A LITTLE BIT HARD, OR DIFFICULT TO EXPLAIN.

THE THING, I THINK, THAT'S TRUE FOR ME, AND TRUE FOR MOST ARTISTS, IS THAT WE'RE ALWAYS PROCESSING.

WE'RE ALWAYS TAKING THINGS IN, AND WE MIGHT NOT BE ABLE TO EXPRESS WHAT WE'RE PROCESSING AT THE TIME, BUT EVENTUALLY, YOU KNOW, IT -- IT'LL COME OUT IN THE WORK THAT YOU DO.

THIS IS AN EXERCISE WHERE I'M -- I'M EMPLOYING NOT ONLY PAINTING, BUT COLLAGE WORK.

I STARTED OFF WITH JUST BASIC SHAPES IN ACRYLIC PAINT, AND THEN OVERLAYING, UM, SOME PRINTED PAPERS IN VARIOUS SHAPES, TO KIND OF GET SOME TEXTURE GOING.

AND THEN PAINTING OVER THAT.

SO THE WHOLE PROCESS IS PAINT, GEL MEDIUM, COLLAGE, PAINT, MASK WITH LIKE -- ACTUALLY CUT OUT SOME MASKS HERE TO ACTUALLY PROTECT SOME PIECES THAT ARE UNDERNEATH.

ONCE IT'S ALL FINISHED AND I REMOVE THESE MASKS, AND THIS TAPE, YOU'VE GOT AN UNDERPAINTING UNDERNEATH.

AND THEN, SINCE I'M INTERESTED, BASICALLY, IN -- IN JUST SEEING WHERE IT GOES, SEEING WHERE IT GOES AFTER THAT.

SO NOW I'M KIND OF AT THIS PLACE WHERE I'M TRYING TO GET INTO THIS PRACTICE OF DOING THE WORK FOR THE SAKE OF THE WORK, AND NOT NECESSARILY FOR AN EXPLICIT PURPOSE OR FOR A SPECIFIC GAZE, JUST COMING IN HERE AND DOING THE WORK.

AND IT'S BEEN REALLY LIBERATING, IN TERMS OF THE FACT THAT I DON'T HAVE A PLAN.

JUST COME IN AND DO IT, SEE WHAT HAPPENS WITH IT, AND THEN WE'LL GO FROM THERE.

AND THEN YOU'LL LEARN FROM THIS, AND THEN YOU'LL -- YOU'LL MOVE FORWARD.

♪♪ SO THE TWO PIECES ARE CALLED, "UPTOWN" AND "DOWNTOWN."

ANOTHER PART OF THE WHOLE IDEA HAS TO DO WITH SUBURBIA AND -- AND URBAN LIFE.

I LOVE URBAN LIFE.

A LOT OF THE PROCESS STARTS FOR ME, WITH ABSTRACT ART, WITH AN IDEA, PARTICULARLY A COLOR.

AND I'M ALWAYS THINKING ABOUT SYMBOLISM AND HOW TO ACTUALLY INFER SYMBOLS IN THE WORK THAT AREN'T NECESSARILY RECOGNIZABLE, BUT YOU SEE THEM AND YOUR BRAIN IS AUTOMATICALLY GONNA LATCH ONTO 'EM.

WE LIKE TO LATCH ONTO PATTERNS IN OUR SYMBOLS.

AND THEY TAKE ON DIFFERENT MEANING FROM WHOEVER IS VIEWING IT.

I JUST WANTED A PIECE THAT HAD ALL THAT, WHERE IT WAS NOTHING ELSE THAT YOU CAN ACTUALLY CONTRAST IT AGAINST, YOU JUST HAVE TO DEAL WITH ALL THE SYMBOLISM IN ONE PIECE, AND LET THAT SPEAK TO YOU.

♪♪ I PREFER TO WORK SMALL, MAINLY BECAUSE I WANT YOU TO COME TO THE PAINTING.

I WANT YOU TO WALK UP ON IT AND LET IT REVEAL.

I THINK SOMETIMES WHEN YOU'RE TALKING ABOUT A BIGGER PIECE, YOU CAN STAND FROM AFAR AND MAKE YOUR JUDGEMENT ABOUT IT, 'CAUSE IT'S THERE.

YOU DON'T HAVE TO -- YOU DON'T HAVE TO GO UP AND ASK IT WHAT IT'S DOING.

BUT WHEN THEY'RE SMALLER PIECES, YOU KNOW, I'VE ALWAYS TRIED TO CRAM AS MUCH INFORMATION AS I CAN, THAT IT CATCHES YOUR EYE AND YOU WANT TO KNOW MORE ABOUT IT SO YOU'RE GOING TO ACTUALLY COME TO IT.

♪♪ I LIKE TO INCORPORATE THESE HUGE MOSAICS OF SYMBOLS INTO ILLUSTRATIVE WORK AS WELL.

AND I DID A SERIES OF THOSE WHERE IT WAS THE SAME REPEATING SYMBOLS THROUGHOUT.

AND THE SYMBOLS WERE SUPPOSED TO BE LIKE, A FOOTNOTE AS TO WHAT'S GOING ON WITH THIS PARTICULAR PICTURE.

AGAIN, TRYING TO CONNECT THE ILLUSTRATIVE TO THE ABSTRACT HAS ALWAYS BEEN, KIND OF MY -- MY GOAL.

HOW DO YOU GET BOTH OF THEM TO KIND OF -- NOT NECESSARILY SAY THE SAME THING -- BUT TO SAY THE SAME THING THAT YOU WANT THEM TO SAY.

♪♪ WHEN I DON'T DO ANYTHING ELSE, IT'S -- IT'S ME SITTING AT THE COFFEE ROOM TABLE WITH A SHARPIE OR A MICRON PEN.

THE THING THAT ACTUALLY GOT ME OUT OF THE FUNK OF THE PANDEMIC WERE THESE, 'CAUSE THEY WERE SO MEDITATIVE, AND I COULD SIT FOR HOURS, AND JUST START WITH A LINE AND SEE WHERE IT GOES, AND NOT HAVE TO WORRY ABOUT THIS -- THIS -- LET THE LINE TELL ME WHAT IT WANTED TO DO, YOU KNOW?

AND WHEN I THINK ABOUT THOSE, I THINK ABOUT THE IDEA OF WHY IS STARTED DOING THEM, IN THE FIRST PLACE.

IT'S LIKE, YOU LET THESE IMAGES, KIND OF, OUT OF YOU.

IT'S NOT THE OTHER WAY AROUND.

YOU LET 'EM COME OUT OF YOU.

YOU KNOW, YOU LET THEM BE WHAT THEY'RE GOING TO BE.

AND I KNOW THAT KIND OF SOUNDS HOKEY, BUT IT'S REALLY SOME -- A LOT OF TRUTH TO THE IDEA THAT THE LINE WILL TELL YOU WHERE IT WANTS TO GO, YOU KNOW, AND YOU HAVE TO KIND OF FOLLOW ALONG WITH IT.

I'VE ALWAYS THOUGHT OF ART AS -- AS A WAY TO WORK OUT PROBLEMS.

IT'S PROBLEM SOLVING.

THE MINUTE YOU DECIDE YOU WANT TO PAINT SOMETHING, YOU'VE ACTUALLY PRESENTED YOURSELF WITH A PROBLEM THAT YOU WANT TO SOLVE.

AND I THINK VIEWING ART, IN MANY WAYS, CAN ALSO BE PROBLEM SOLVING.

AND THAT'S SOMETHING THAT'S SPECIFIC TO THE VIEWER, YOU KNOW.

IF I DID THIS AND YOU COME IN AND YOU SEE THIS, AND I DIDN'T INTEND THOSE NECESSARILY, THAT SAYS SOMETHING ABOUT WHAT'S GOING ON WITH THE VIEWER.

I HAD A BEST FRIEND WHO USED TO -- YOU KNOW, HE HATED, HATED MY ART.

HE DIDN'T HATE IT, BUT HE JUST -- LIKE, "I WISH YOU'D GO BACK TO DRAWING SUPERHEROES.

BECAUSE I DON'T UNDERSTAND THIS ABSTRACT STUFF.

YOU KNOW, I JUST REALLY DON'T, YOU KNOW?"

HE GOES, "AND I THINK THAT WHEN I SEE IT, YOU KNOW, I'M SUPPOSED TO UNDERSTAND IT, AND I DON'T, SO I DON'T LIKE FEELING THAT WAY."

AND I SAID, "WELL, YOU -- THAT'S VALID.

THAT'S A VALID REACTION, YOU KNOW?

ALL THAT YOU'VE SAID IS VALID.

YOU DIDN'T -- IT DOESN'T MEAN THAT YOU HAVE TO LIKE IT.

YOU CAN ABSOLUTELY HATE IT.

BUT IT'S UP TO YOU TO FIGURE OUT WHY YOU HATE IT.

AND IT'S UP TO YOU TO FIGURE OUT THOSE EMOTIONS BEHIND THE HATE."

♪♪ THE BOTTOM LINE, I'M TRYING TO GET PEOPLE TO THINK.

YOU KNOW, A LOT OF PEOPLE ARE JUST REACTING AND NOT UNDERSTANDING WHY THEY'RE REACTING TO THINGS.

AND I THINK THAT IF WE HAD MORE THOUGHT BEHIND HOW WE'RE FEELING, IF WE EXERCISED THINKING ABOUT MORE HOW WE'RE FEELING, SOME OF THE ANSWER WOULD BE REVEALED TO US.

♪♪ LET'S FACE IT, ART IS ABOUT COMMUNITY.

YOU KNOW, ABOUT REACHING OUT TO YOUR COMMUNITY, ENGAGING WITH YOUR COMMUNITY, THROUGH THIS AVENUE OF VISUAL ART, BUT BRINGING PEOPLE TOGETHER IN TERMS OF PRESENTING THEM THINGS THAT GET THEIR BRAINS THINKING ABOUT HOW THE WORLD WORKS.

SO FOR ME, I'M LOOKING FORWARD TO THE IDEA OF BEING ABLE TO, KIND OF, ENGAGE MORE WITH PEOPLE THAN I HAVEN'T BEEN -- THAN I HAVE BEFORE.

JUST SITTING AROUND MEETING PEOPLE, TALKING TO PEOPLE, TALKING TO OTHER ARTISTS, AND JUST GETTING THIS TO THIS POINT WHERE WE'VE GOT A COMMUNITY OF DIVERSE INDIVIDUALS WHO ARE INTERESTED IN ASKING THOSE QUESTIONS, YOU KNOW, INSTEAD OF SETTLING FOR THESE ANSWERS.

IT'S A GOOD PLACE TO BE RIGHT NOW.

♪♪ >> TO SEE MORE OF MARCUS'S WORK, AND HIS LATEST CREATIONS, FIND HIM ON INSTAGRAM @BLACKWELLMARCUS.

♪♪ >>> IN THIS NEXT STORY, WE MEET AN ARTIST WHO IS ALSO A SOCIAL MEDIA INFLUENCER.

SARAH HAMBLY HAS COUPLED HER EXPERIENCE AS A PHOTOGRAPHER WITH THE INSPIRATIONAL LANDSCAPES SHE FINDS IN RENO, NEVADA, TO CAPTURE HER UNIQUE CREATIONS.

LET'S TAKE A LOOK.

♪♪ >> HI, MY NAME IS SARAH HAMBLY AND I AM A SOCIAL MEDIA CONTENT CREATORINTERNET INFLUENCER.

SO A SOCIAL MEDIA INFLUENCER IS BASICALLY LIKE, A MARKETING TEAM ERSONALITY ONLINE, SO I DO EVERYTHING FROM GETTING A BRAND DEAL, TO SETTING UP ALL THE PRODUCTS, TO TAKING ALL THE PICTURES, AND THEN PUSHING IT ONTO AN AUDIENCE THAT WOULD ENJOY IT.

♪♪ SO MY ART FORM THAT I CREATE IN, IS I SEW ON THE INTERNET.

I TEACH D.I.Y.

TUTORIALS.

I MAKE THINGS FROM REALLY BEAUTIFUL FABRICS, AND I MAKE THINGS FROM BEDSHEETS OR BAGS.

♪♪ I GOT INTO SEWING IN A REALLY, KIND OF ROUNDABOUT, WEIRD WAY.

I HAVE MY DEGREE IN PHOTOGRAPHY, I WAS WORKING AS A PHOTO-EDITOR IN LOS ANGELES, AND MY DAD PASSED AWAY REALLY SUDDENLY.

IT WAS SUGGESTED TO CHANNEL MY GRIEF INTO SOMETHING TOTALLY NEW, YOU KNOW, SO I DIDN'T JUST GO TO WORK, COME HOME, CRY, TYPE OF SITUATION.

SO I PICKED UP SEWING THROUGH THAT.

[ SEWING MACHINE MOTOR ] THE CONCEPTION OF THE PROJECT STARTS WITH USUALLY FINDING INSPIRATION EITHER IN MY MIND, OR FROM LIKE, A TELEVISION SHOW, OR FROM MOVIES.

AND THEN IT GOES DOWN ON PAPER.

SOMETIMES THE IDEA IS SO CLEAR THAT I DON'T NEED TO PUT IT ON PAPER.

AND THEN COMES THE PROCESS OF LIKE, "DO I ALREADY HAVE A PATTERN THAT I'VE MADE, THAT I CAN MODIFY TO MAKE THIS DRESS, OR DO I HAVE TO START FROM SCRATCH?"

MOST DRESSES THAT I CREATE CAN BE ANYWHERE FROM A FEW HOURS TO MANY MONTHS.

THIS ONE BEHIND ME, THIS WAS THREE OR FOUR DAYS TO DO, MOSTLY BECAUSE I HAD TO REALLY ACCOMMODATE THE BEADWORK ON THERE.

SO IT REALLY DEPENDS ON LIKE, THE COMPLEXITY LEVEL OF WHAT I'M DOING.

♪♪ MY SOCIAL MEDIA JOURNEY IS KIND OF YOUR TYPICAL, LIKE, OVERNIGHT TYPE SITUATION.

I WANT TO SAY OCTOBER 2019, IS WHEN I LIKE, REALLY STARTED TO FOCUS ON POSTING THE DRESSES I MAKE.

'CAUSE BEFORE THEN, I WOULDN'T SHARE THEM.

A FRIEND OF MINE GOT ME INTO TIKTOK -- FILMING THE PROCESS AND EVERYTHING.

AND IT JUST KINDA SNOWBALLED FROM THERE.

♪♪ AROUND MARCH 2020, WHEN THE PANDEMIC STARTED, I HAD A LOT OF FREE TIME, AS MOST PEOPLE DID.

AND SO, I DECIDED TO TRY AND REMAKE ARIANA GRANDE'S GRAMMY DRESS THAT SHE WORE THAT YEAR.

AND I THOUGHT, "THAT'D BE REALLY FUN, TO LIKE, ATTEMPT TO REMAKE."

SO I DID PART ONE, AND I ENDED UP WITH 35 MILLION VIEWS, PRETTY MUCH OVERNIGHT, AND WENT FROM LIKE, 100,000 FOLLOWERS TO 1.5 MILLION.

♪♪ THE IMPACT OF SOCIAL MEDIA THESE DAYS IS HUGE.

I DIDN'T REALIZE THAT IT'S ITS OWN INDUSTRY.

I USED TO SELL FOR OTHER PEOPLE, I USED TO DO COMMISSIONS, AND WEDDING DRESSES, AND I DID MS. NEVADA RODEO.

♪♪ WHEN I STARTED POSTING ON SOCIAL MEDIA, AND GAINED A FOLLOWING, I GAINED A NEW CAREER.

♪♪ ♪♪ BY WHAT'S CALLED "ROYALTYCORE" WHICH IS AN AESTHETIC ONLINE.

♪♪ I WAS REALLY INSPIRED BY LIKE, THE WHOLE CONCEPT OF LIKE, FLOWING GOWNS AND RUNNING THROUGH CASTLES AND THOSE KIND OF, YOU KNOW, IMAGERY THAT YOU GET IN YOUR MIND.

♪♪ WHEN I DO PHOTOGRAPH THESE, I TRY AND CREATE A WHOLE WORLD, LIKE A WHOLE CONCEPT, SO IT'S NOT JUST THE DRESS, IT'S LIKE, PROPS, IT'S THE BACKDROP.

♪♪ I WILL DO, LIKE, PHOTOSHOOTS AROUND RENO.

AND I'LL GO TO LIKE, PARKS, OR I'LL GO AND LIKE, HIKE A TRAIL.

AND I DID ONE DOWN IN DAVIS CREEK CAMPGROUND AREA, WHERE I HAD LIKE, A GIRL ON A HORSE IN THE DRESSES, AND PEOPLE JUST LOVED IT.

♪♪ I THINK WE LIVE IN A REALLY BEAUTIFUL, UNIQUE ECOSYSTEM HERE.

HAVING THE ABILITY TO SHARE BOTH THE DESERT AND THE MOUNTAINS WITHIN RELATIVE POSTS ONLINE -- SO LIKE, I COULD GO AND DO SOMETHING IN THE DESERT AND THEN POST SOMETHING IN THE MOUNTAINS, AND I'VE ONLY DRIVEN AN HOUR.

THAT'S FANTASTIC.

THERE'S LIKE, NO PART OF THE DAY WHERE I DON'T FEEL LIKE THE WORLD THAT I'M IN IS INSPIRING.

♪♪ >> TO SEE MORE OF SARAH'S COUTURE GARMENTS, FIND HER ON TIKTOK OR INSTAGRAM @OFFICIALHAMBLY ♪♪ >>> NEXT, WE VISIT THE CLEVELAND MUSEUM OF ART, TO LEARN MORE ABOUT CONTACT SHEETS.

EVEN THOSE OF US WHO CAN REMEMBER TAKING PICTURES WITH SOMETHING OTHER THAN OUR PHONE MAY NOT KNOW WHAT AN IMPORTANT PART OF 20th CENTURY PHOTOGRAPHY THESE WERE.

LET'S TAKE A GLIMPSE INTO THE MINDS AND METHODS OF THE PHOTOGRAPHERS FEATURED IN THIS EXHIBIT.

>> FOR MUCH OF THE 20th CENTURY, PHOTOGRAPHERS WORKED WITH CONTACT SHEETS TO DEVELOP AND SELECT THEIR IMAGES.

>> EVEN WHEN CONTACT SHEETS WERE ESSENTIAL, AND AN EVERYDAY PART OF PHOTOGRAPHY, PEOPLE WHO WERE OUTSIDE OF THE WORLD OF PHOTOGRAPHY NORMALLY DIDN'T SEE THEM, BECAUSE THEY WERE PART OF THE WORKING PROCESS.

>> CONTACT SHEETS PROVIDE A PEEK AT HOW PHOTOGRAPHERS WORK.

LIKE IN THIS PROOF OF PHOTOS BY LARRY FINK, CAPTURED AT A NEW YORK GALA.

>> SO WE HAVE THE FINISHED PRINTS FROM THIS SHEET, BOTH OF WHICH ARE LESS THAN THE FULL NEGATIVE.

BUT ALSO, BOTH OF WHICH ARE THE SAME SQUARE SHAPE AS THE FULL NEGATIVE.

>> IT'S INTERESTING THAT BOTH OF THOSE ARE SO TIGHT ON THE EMOTION AND ACTION.

>> WELL, AND HE'S -- HE'S FEELING THAT HE CAN MAKE AN EXPRESSIVE PICTURE, WITHOUT BASICALLY HAVING TO HAVE THE EXPRESSIONS OF THE PEOPLE'S FACES.

IT CAN BE DONE THROUGH THEIR PHYSICAL GESTURES.

>> "PROOF: PHOTOGRAPHY IN THE ERA OF THE CONTACT SHEET" FEATURES MANY FAMILIAR FACES, INCLUDING IMAGES OF MARILYN MONROE FROM EARLY IN HER CAREER.

>> PHILIPPE HALSMAN, WHO IS ONE OF THE LEADING MAGAZINE PHOTOGRAPHERS OF THE TIME, WENT OUT TO HOLLYWOOD TO PHOTOGRAPH HER.

IT WAS A LARGE STUDIO APARTMENT, BUT IT WAS STILL ONE ROOM.

AND THEN THIS IS THE PICTURE THAT HE CHOSE, AND YOU SEE AT THE TOP THERE, IT'S THE HINGE ON THE DOOR.

IT'S SUCH A GREAT PICTURE.

IT LOOKS LIKE ONE OF THE GREAT HOLLYWOOD STUDIO PORTRAITS MADE IN THE -- WITH CONTROLLED LIGHTING.

IT'S IN HER APARTMENT!

AND THEN OF COURSE WHEN IT APPEARS ON THE COVER OF "LIFE," THEY AIRBRUSH THE HINGE AWAY.

♪♪ THE EXHIBIT INCLUDES AROUND 180 PROOFS, AND OTHER WORKS, COLLECTED BY THE LATE CLEVELANDER AND MUSEUM TRUSTEE, MARK SCWARTZ.

>> AS FAR AS I KNOW, NOBODY HAS EVER MADE A COLLECTION LIKE THIS BEFORE.

>> SCWARTZ'S WIFE, BETTINA KATZ, SAYS HER HUSBAND'S COLLECTION BEGAN WITH ONE CONTACT SHEET IN 2002.

>> AND THAT IMAGE WAS OF DIANE AND ALLAN ARBUS.

I DON'T THINK THE ARTIST WAS OF PARTICULAR SIGNIFICANCE, BUT IT WAS A SHOOT FOR "VANITY FAIR."

AND I REMEMBER WHEN HE BOUGHT THIS.

AND, AS MANY THINGS IN MY HUSBAND'S LIFE, YOU KNOW, WHEN WE GETS AN IDEA IN HIS HEAD, OR A COLLECTING IDEA, AND THEN IT JUST TOOK OFF.

>> DID YOU EVER THINK THAT THIS COLLECTION WOULD BECOME AN EXHIBIT?

>> I KNEW HE WAS ONTO SOMETHING.

YOU KNOW, HE WAS A REALLY SMART MAN.

AND HE STARTED TO PURSUE ARTISTS TO CREATE IMAGES FOR HIM, NOT JUST THOSE THAT WERE USED IN THE DARKROOM.

HE HAD AN IDEA ABOUT THIS.

SO NOW, I'M ACTUALLY NOT VERY SURPRISED THAT IT'S AN EXHIBITION.

WHAT IS SURPRISING TO ME IS THE INTEREST AROUND THIS, KIND OF NOSTALGIA, LOOK BACK, AT FILM PHOTOGRAPHY.

>> ONE OF SCWARTZ'S SPECIAL REQUESTS OF AN ARTIST, WAS FOR RICHARD AVEDON TO ENLARGE A CONTACT SHEET FROM HIS PHOTO SHEET WITH THE ACTOR GROUCHO MARX.

>> AFTER AVEDON HAD AGREED TO MAKE THESE FOR MARK, MARK PROPOSED TO HIM "WELL, WOULD YOU CONSIDER MAKING A BIG ONE?

LIKE, SIX FEET TALL?"

AND EVENTUALLY, AVEDON AGREED.

>> WAS THAT A COMMON THING?

>> NO.

COMPLETELY UNCOMMON.

ALTHOUGH -- AVEDON HAD BEEN ONE OF THE PEOPLE WHO PIONEERED VERY LARGE PRINTS.

BUT OF INDIVIDUAL FRAMES.

NOT OF A CONTACT SHEET.

EVEN THOUGH HE INCLUDED CONTACT SHEETS IN HIS EXHIBITIONS, BUT NOT THAT SIZE.

I THINK IT WAS PART -- PARTLY THE REASON HE SAID YES WAS BECAUSE HE WAS INTERESTED.

HE WAS INTERESTED IN THE CONTACT SHEET AS A -- AS A TRACE OF THE PHOTOGRAPHER'S PROCESS, WORKING PROCESS.

SO HE DID AGREE.

BUT THERE'S ONLY ONE OF THOSE.

>> YEAH.

AND THAT IS RIGHT THERE.

>> AND IT'S HERE.

>> END OF THE -- END OF THE SHOW.

♪♪ >> VISIT CLEVELANDART.ORG FOR INFORMATION ABOUT THEIR CURRENT AND UPCOMING EXHIBITIONS.

♪♪ >>> IN OUR NEXT INSTALLMENT OF "BROAD & HIGH PRESENTS", WE HEAR A SONG BY THE FLOORWALKERS.

"YOUR WAY" COMBINES ELEMENTS OF CLASSIC ROCK WITH 60s SOUL.

TAKE A LISTEN.

♪♪ ♪ OH YOU CAN DO WHAT YOU WANNA DO ♪ ♪ AND SAY WHAT YOU NEED TO SAY ♪ ♪ I WON'T TRY TO CHANGE A THING ♪ ♪ NO I WON'T GET IN YOUR WAY ♪ ♪ IN THIS TOGETHER NOW ♪ ♪ WE CAN RIDE ALL THE BAD WEATHER OUT ♪ ♪ WHEN LINES ARE DOWN AND LIFE ISN'T FAIR ♪ ♪ FAIR ♪ ♪ THERE'S SO MUCH TO SEE AND DO ♪ ♪ AND YOU KNOW I BELIEVE IN YOU ♪ ♪ AND YOU KNOW I WILL ALWAYS BE THERE ♪ ♪ OH YOU CAN DO WHAT YOU WANNA DO ♪ ♪ AND SAY WHAT YOU NEED TO SAY ♪ ♪ OH I WON'T TRY TO DRIVE YOUR CAR ♪ ♪ NO I WON'T GET IN YOUR WAY ♪ ♪ WITH YOU NO MATTER WHAT ♪ ♪ WE'LL TAKE THE WORLD BABY WE'LL LIGHT IT UP ♪ ♪ WE'RE BRIGHT ENOUGH TO SHINE THROUGH THE DARK ♪ ♪ DARK ♪ ♪ WE'RE IN IT TOGETHER NOW BABY ♪ ♪ LET'S DO WHAT WE DO WE'LL GO CRAZY ♪ ♪ WE'RE MOVING ALL THE MOUNTAINS APART ♪ ♪ AH ♪ ♪ ALWAYS BE GOOD TO YOU ♪ ♪ I'LL DO ALL THE THINGS THAT I SHOULD FOR YOU ♪ ♪ WHEN LINES ARE DOWN AND LIFE ISN'T FAIR ♪ ♪ FAIR ♪ ♪ THERE'S SO MUCH TO SEE AND DO ♪ ♪ YOU KNOW I BELIEVE IN YOU ♪ ♪ YOU KNOW I WILL ALWAYS BE THERE ♪ ♪ OH YOU CAN DO WHAT YOU WANNA DO ♪ ♪ AND SAY WHAT YOU THINK YOU NEED TO SAY ♪ ♪ NO I WON'T TRY TO SLOW YOUR ROLLIN' ON DOWN ♪ ♪ NO I WON'T GET IN YOUR WAY ♪ ♪ NO I WON'T GET IN YOUR WAY ♪ ♪ NO I WON'T ♪ ♪ YOU KNOW I'D NEVER DO YOU NO HARM ♪ ♪ NO I NEVER WANT TO BRING YOU DOWN ♪ ♪ DOWN ♪ ♪ YOU KNOW I KNOW THAT YOU ARE THE STAR YEAH ♪ ♪ LIGHT AS IN THE LIGHT ON THE TOWN ♪ ♪♪ ♪♪ ♪ YOU CAN DO WHAT YOU WANNA DO ♪ ♪ AND SAY WHAT YOU THINK YOU NEED TO SAY ♪ ♪ NO I WON'T TRY TO SLOW YOUR ROLLIN' ON DOWN ♪ ♪ NO I WON'T GET IN YOUR WAY ♪ ♪ NO I WON'T GET IN YOUR WAY ♪ ♪ NO I WON'T GET IN YOUR WAY ♪ ♪ NO I WON'T GET IN YOUR WAY ♪ ♪ NO I WON'T GET IN YOUR♪ ♪ WAY ♪ ♪♪ ♪♪ [ APPLAUSE ] >>> WELL THAT'S OUR SHOW.

REMEMBER YOU CAN FIND ALL OF OUR STORIES ONLINE AT WOSU.ORG, AS WELL AS ON OUR YOUTUBE CHANNEL.

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

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

SUPPORTING ARTS, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY TO ARTISTS, EVENTS, AND CLASSES.

AT COLUMBUSMAKESART.COM