WEBVTT 1 00:00:04.680 --> 00:00:06.080 You 2 00:00:40.780 --> 00:00:42.180 I 3 00:01:00.000 --> 00:01:01.320 I 4 00:01:29.620 --> 00:01:31.020 I 5 00:01:31.020 --> 00:01:33.260 I 6 00:02:01.280 --> 00:02:03.760 An auto graveyard in Wisconsin 7 00:02:05.900 --> 00:02:07.760 In Sumner, Mississippi 8 00:02:07.760 --> 00:02:15.260 Moses Wright shakes off 200 years of history and rises to point out the men who came to his house to take the boy 9 00:02:15.260 --> 00:02:19.940 Emmett till a drawing made on assignment for Life magazine 10 00:02:19.940 --> 00:02:22.940 at Les Graz Tavern in Cairo, Illinois 11 00:02:24.460 --> 00:02:26.960 the ghost hunters gather for breakfast 12 00:02:28.640 --> 00:02:29.280 in 13 00:02:29.280 --> 00:02:30.840 Bengal, India 14 00:02:30.840 --> 00:02:33.680 the Indian mystic Vinoba Bhave 15 00:02:34.760 --> 00:02:37.000 Searcher after land for the peasants of India 16 00:02:37.940 --> 00:02:40.040 addresses the assembled throng 17 00:02:41.480 --> 00:02:44.440 This painting appeared in Fortune magazine 18 00:02:45.320 --> 00:02:49.600 Another drawing made that afternoon was published by a World Book yearbook 19 00:02:50.660 --> 00:02:53.120 the insides of a Victor Comptometer and 20 00:02:54.260 --> 00:02:56.120 some of the people that put it together a 21 00:02:56.430 --> 00:03:03.150 Street in Hong Kong. This was a part of a story on population for World Book yearbook and 22 00:03:04.090 --> 00:03:07.610 another Street in Calcutta that was part of the same story 23 00:03:08.810 --> 00:03:09.430 the 24 00:03:09.430 --> 00:03:11.430 Keefauver hearings into professional boxing 25 00:03:13.070 --> 00:03:14.310 Sports Illustrated 26 00:03:15.410 --> 00:03:18.270 Berlin in September of 1961 27 00:03:18.270 --> 00:03:24.670 I was in Berlin three weeks after the wall was erected and the vote pose were stringing the barbwire 28 00:03:25.620 --> 00:03:29.140 Berlin drawings were published by the Chicago Sun-Times 29 00:03:30.160 --> 00:03:33.240 Birmingham, Alabama the head of the Chamber of Commerce 30 00:03:33.240 --> 00:03:35.000 discusses the 31 00:03:35.000 --> 00:03:35.780 freedom riders 32 00:03:35.780 --> 00:03:39.700 invasion of Alabama and the burning of the bus at Anniston and 33 00:03:40.360 --> 00:03:44.960 The businessmen's attempt to set up new lines of communication with the Negro community 34 00:03:46.760 --> 00:03:47.660 in Tokyo 35 00:03:48.420 --> 00:03:52.820 Tatsuo Peter Cardinal Doy officiates at a confirmation ceremony 36 00:03:52.820 --> 00:03:59.480 This is part of a series on Japanese Catholics for Jubilee magazine 37 00:03:59.480 --> 00:04:01.740 board the USS wasp 38 00:04:02.900 --> 00:04:04.940 the recovery of Gemini 4 39 00:04:05.580 --> 00:04:10.260 This painting was made for the National Aeronautics and Space Administration 40 00:04:10.260 --> 00:04:17.260 st. Peters October 11th 1962 the opening procession of Vatican Council to 41 00:04:18.480 --> 00:04:21.300 This was published in the Saturday evening post in 42 00:04:22.120 --> 00:04:27.580 Ansley, Alabama part of the Birmingham Industrial Complex the kids go to school 43 00:04:27.580 --> 00:04:31.260 and on March 15th 1965 a 44 00:04:32.380 --> 00:04:34.420 confrontation in Selma, Alabama 45 00:04:35.100 --> 00:04:41.420 What I'm obviously suggesting here is that the artists should not spend too much time in the studio 46 00:04:41.420 --> 00:04:44.140 You should get out and look around and see what's going on 47 00:04:44.400 --> 00:04:51.620 Too often artists and I'm speaking here of painters and the so-called fine artists and commercial artists as well 48 00:04:52.400 --> 00:04:58.400 Too often it seems to me. We are too concerned with how a picture is done not enough with what it has to say 49 00:04:59.840 --> 00:05:05.020 Painters talking almost always about the surface of the canvas how the paint is applied 50 00:05:05.780 --> 00:05:09.500 And we have the commercial artist. It seems to me doing the same thing 51 00:05:09.500 --> 00:05:11.620 you talk to a group of 52 00:05:11.620 --> 00:05:13.900 Illustrators they don't talk very much about 53 00:05:13.900 --> 00:05:22.620 What's in the picture what the ideas are they talk about the surface the wash and how it's applied and whether there's light paint 54 00:05:22.620 --> 00:05:27.760 Over the dark paint and so on seems to me that more important than that is what's in the picture 55 00:05:27.760 --> 00:05:34.500 So I think that most of the painters and the so-called commercial illustrators are closer together than they might ever imagine 56 00:05:34.500 --> 00:05:37.940 In fact, they're each doing the same thing 57 00:05:37.940 --> 00:05:41.000 It's been thought by many people that 58 00:05:41.000 --> 00:05:43.380 Photography would tell the story of our time 59 00:05:43.380 --> 00:05:50.580 There have been dramatic developments in handheld cameras and fast films and there have been dramatic photographers to go along with them 60 00:05:51.540 --> 00:05:55.520 These photographers have approached their subjects with high artistry 61 00:05:55.520 --> 00:06:02.760 But the artist meanwhile has kind of given up and gone back into the studio and is interested mostly in the surface of the canvas 62 00:06:04.320 --> 00:06:07.500 My own work I might say is for magazines 63 00:06:08.320 --> 00:06:10.620 publications annual reports advertisements 64 00:06:10.620 --> 00:06:16.800 In other words, I've been working in the circumstances which are directly parallel with those of a photographer 65 00:06:16.800 --> 00:06:23.640 And I've often been involved with photographers and involved with the same magazines that have so celebrated the photographer 66 00:06:23.640 --> 00:06:26.520 And I've become convinced that when you get to a place 67 00:06:26.520 --> 00:06:32.980 There's a photographic approach to the problem and there's an artist's approach and that the artist hasn't been asked to go 68 00:06:33.240 --> 00:06:40.440 Mostly because he hasn't demonstrated that he's able to pull out the story and second of all because the editors have accepted the viewpoint 69 00:06:40.440 --> 00:06:42.680 That photography is the answer 70 00:06:44.040 --> 00:06:49.000 What I'm suggesting is that there is this second look at a subject a different look and 71 00:06:49.680 --> 00:06:55.760 That this is worth the exploring and that the artist can find out and pull out of the subject things which a photographer cannot 72 00:06:55.760 --> 00:06:58.080 also, I think there are certain 73 00:06:58.080 --> 00:07:00.320 subjects that the 74 00:07:00.320 --> 00:07:06.480 Editors of the big national magazines haven't been covering simply because they're not interesting photographically 75 00:07:07.440 --> 00:07:14.080 It's important for instance to know what's going on down in Birmingham when they turn the hoses on the people but equally important 76 00:07:14.080 --> 00:07:16.060 Perhaps or more important 77 00:07:16.060 --> 00:07:21.580 It's know what's going on in the minds of the people of Birmingham before they get to the stage of turning the hoses on 78 00:07:22.900 --> 00:07:30.300 It seems to me that the artist can explore these more difficult subjects can do something with them can make them more visually interesting 79 00:07:30.320 --> 00:07:32.280 What we've been seeing in the magazines 80 00:07:33.920 --> 00:07:39.000 In other words what an artist does who goes out on a thing like this he heightens the reality 81 00:07:39.000 --> 00:07:42.480 Makes the reality sharper than can be experienced in another way 82 00:07:43.260 --> 00:07:49.440 he walks around the subject takes with him the cubist idea of looking at the subject from all sides and 83 00:07:51.040 --> 00:07:58.060 Showing many facets of it in the same picture. He carries with him the color of the fauves. He can heighten the color 84 00:07:58.060 --> 00:08:03.060 He carries with him the action painters concept of the motion of the idea or the action 85 00:08:03.060 --> 00:08:07.700 Down from the brain down the arm at the end of the brush to the canvas 86 00:08:07.700 --> 00:08:12.360 This is the way an artist works. This is the excitement of art that you sit there 87 00:08:12.360 --> 00:08:15.900 You stand there and you make the picture it happens just that way 88 00:08:15.900 --> 00:08:21.420 But more important perhaps than this action is the interaction of the artist with a meaningful subject 89 00:08:25.120 --> 00:08:33.260 I've talked to art directors clubs and others often and I 90 00:08:33.260 --> 00:08:37.080 Tell them a Berlin San Diego Acapulco yacht race 91 00:08:37.080 --> 00:08:41.380 Land reform in Iran population problems of Asia 92 00:08:41.380 --> 00:08:44.020 First question they always ask is 93 00:08:44.020 --> 00:08:47.360 What kind of pencil do you use? 94 00:08:48.700 --> 00:08:51.420 Well, it's a it's a 315 very nice pencil 95 00:08:51.420 --> 00:08:52.100 Very black 96 00:08:54.380 --> 00:08:59.320 And I come back into it with a charcoal pencil 97 00:09:00.700 --> 00:09:04.880 When the pencil dulls down I sharpen it with a razor blade 98 00:09:07.800 --> 00:09:11.900 When I sit down I I sit on this 99 00:09:18.630 --> 00:09:19.130 It's 100 00:09:19.130 --> 00:09:24.310 Not too comfortable, but the position of the artist has never been too comfortable in American society 101 00:09:26.290 --> 00:09:29.630 And I'm not I'm not sure you're supposed to be too comfortable 102 00:09:31.090 --> 00:09:34.730 When you're at a place, let's say you're in a political convention 103 00:09:34.730 --> 00:09:40.870 There's a kind of excitement and interaction with those people and the stool like this helps an awful lot when you're teetering on the brink 104 00:09:41.040 --> 00:09:48.180 For instance when they when they carried the seats out at the recent Democratic Convention the Mississippi seats 105 00:09:48.180 --> 00:09:54.000 I was coming back from a rally on the other side of the of the place and suddenly they were carrying the seats out 106 00:09:54.000 --> 00:09:54.680 you know 107 00:09:54.680 --> 00:09:58.400 well, this was to me a big idea was the biggest idea of the convention and 108 00:09:59.520 --> 00:10:03.800 Visually, I mean it's a big visual idea and not only that the guys that were carrying out with Negroes 109 00:10:04.900 --> 00:10:07.240 You don't ask yourself then at that time, you know 110 00:10:07.240 --> 00:10:12.980 Is this the right kind of a piece of paper is this this pencil, right or 111 00:10:13.820 --> 00:10:18.520 I mean they walked out with them and they turn around they came back and they walked out with a few more in other words 112 00:10:18.520 --> 00:10:24.160 It had to be done. It was done at that time because of this kind of excitement of the moment 113 00:10:24.920 --> 00:10:31.760 The Vatican Council for instance the interaction of the place and the artist is a very important 114 00:10:33.320 --> 00:10:40.120 When you're working there's this kind of emotional involvement with the subject that you have because you're there 115 00:10:40.120 --> 00:10:42.760 You simply can't cook up in the studio 116 00:10:43.880 --> 00:10:46.960 This is the death of Pope John 117 00:10:48.880 --> 00:10:55.920 And this is the Capitol Rotunda on the night of November 24th 1963 118 00:10:58.460 --> 00:10:59.100 I 119 00:10:59.100 --> 00:11:02.500 Like to talk today about two stories 120 00:11:02.500 --> 00:11:07.300 Goose hunting in Cairo, Illinois and the European Common Market 121 00:11:07.300 --> 00:11:11.560 I should explain that I'm delighted when somebody calls on the telephone 122 00:11:11.560 --> 00:11:15.240 It's a very exciting moment as it is for most artists 123 00:11:15.240 --> 00:11:17.260 but I 124 00:11:17.260 --> 00:11:22.280 Have two other methods of working and that is to query somebody when I think there's a pretty good idea 125 00:11:22.580 --> 00:11:27.460 And another is to go ahead and do it and then find a place for it 126 00:11:27.460 --> 00:11:30.700 Well in the second category of querying people 127 00:11:32.380 --> 00:11:35.260 Evolved this story of goose hunting in Cairo, Illinois 128 00:11:35.260 --> 00:11:43.140 You know, I bought a new house and I was working with a painter friend of mine. He's not an artist. He's a painter and 129 00:11:44.760 --> 00:11:47.260 And then we went out and we sat on the on the terrace and 130 00:11:48.440 --> 00:11:50.800 Goose came down over the house and went out into the 131 00:11:51.760 --> 00:11:56.020 Lake and he said well boy if I had my gun I'd blast that old honker 132 00:11:56.900 --> 00:12:02.160 Well, I I'd never heard language like this, you know, and I I said well, what do you mean? 133 00:12:02.160 --> 00:12:07.380 and he said well didn't you ever hear of goose hunting in Cairo, Illinois boy if I 134 00:12:07.380 --> 00:12:09.840 I'd rather be down there than painting this house 135 00:12:10.540 --> 00:12:14.980 so I asked him about and he told me about what where he'd been down there the year before and 136 00:12:15.780 --> 00:12:19.560 We went back to work and about three o'clock. It suddenly began to turn over in my mind 137 00:12:19.560 --> 00:12:22.120 This called the mysterious idea getting process 138 00:12:22.640 --> 00:12:24.480 began to turn over in my mind that 139 00:12:25.080 --> 00:12:27.440 That this would be a pretty good story for Sports Illustrated 140 00:12:28.480 --> 00:12:34.300 Dick Gangl is the art director at Sports Illustrated and he'd been doing some kind of exciting things and I thought this would be 141 00:12:34.300 --> 00:12:41.400 Kind of thing that might interest him. So I dropped a note in the mail to Gangl and and the next day 142 00:12:41.400 --> 00:12:43.440 He was on the phone and said sure that he'd 143 00:12:44.340 --> 00:12:49.120 He'd like to have me do it. I said well you're gonna put a rider on this and 144 00:12:49.560 --> 00:12:52.320 He said oh, no. No, you know all about goose hunting you go ahead and do it 145 00:12:52.960 --> 00:12:57.000 Well, what you do is you get down there and you kind of skulk around, you know 146 00:12:58.340 --> 00:12:58.740 the 147 00:12:58.740 --> 00:13:06.320 First thing you learn is that it's pronounced Cairo. This is Illinois in the Mississippi and not Egypt in the Nile. I 148 00:13:06.320 --> 00:13:08.240 checked into the Chamber of Commerce and then I 149 00:13:09.040 --> 00:13:10.760 Checked in with some of the newspaper guys 150 00:13:10.760 --> 00:13:15.260 it happened that one of the newspaper guys was going out to the hunting clubs to talk to some of the 151 00:13:15.820 --> 00:13:18.020 Fellas out there and he said I'll give you a lift out 152 00:13:18.020 --> 00:13:24.520 So well, this is Horseshoe Lake, which is an ancient turn in the Mississippi and the 153 00:13:25.460 --> 00:13:30.780 Geese come up out of the lake and fly over the hunting club. This is the Hoosier hunting club 154 00:13:30.780 --> 00:13:32.900 Which is run by a fella named 155 00:13:33.700 --> 00:13:35.360 too tall Yates 156 00:13:35.360 --> 00:13:40.840 the hunters put up for the night at the hunting club and the day of the afternoon before they 157 00:13:40.840 --> 00:13:45.220 They stand out and kind of check the geese as they're going over they the geese 158 00:13:46.100 --> 00:13:50.260 Know that this that the daily season is over at three o'clock and at 3 o'clock 159 00:13:50.260 --> 00:13:55.520 they all come up out of the place and fly over to get the corn in the fields, you see so 160 00:13:56.400 --> 00:14:01.900 These guys check them in the way that they're flying the night before determines how they're going to fly the next day 161 00:14:01.900 --> 00:14:07.660 The next morning or well then another thing they do is they plant their their fields in relation to the geese 162 00:14:08.240 --> 00:14:12.140 you can't you can't bait the the blinds, but you can plant the 163 00:14:12.980 --> 00:14:13.460 Proper 164 00:14:13.460 --> 00:14:18.480 Green stuff in and around the blinds and you can adjust your field 165 00:14:18.480 --> 00:14:20.580 You see not so much for the crops that are in it 166 00:14:20.580 --> 00:14:26.000 But for the geese that are going to come over then at 4 o'clock the next morning they get together 167 00:14:26.000 --> 00:14:28.180 some of them for breakfast at Les Gras 168 00:14:29.980 --> 00:14:34.940 This is as you can see a family style breakfast for a dollar 169 00:14:36.800 --> 00:14:43.080 There's a triumvirate of three guys down here that are very important to goose hunting in Cairo, Illinois 170 00:14:43.080 --> 00:14:45.720 baby eights 171 00:14:45.720 --> 00:14:47.560 Spice Yates and two tall Yates 172 00:14:47.560 --> 00:14:52.380 I went over to Spice Yates this place and there were two guys in a pit 173 00:14:52.380 --> 00:14:58.660 This fellow on the left is Tiny Crippen and the guy on the right is Slats Melton 174 00:14:58.660 --> 00:15:05.020 They're two guys from down in Cairo and 175 00:15:05.020 --> 00:15:06.120 And 176 00:15:06.800 --> 00:15:10.080 it's interesting to sit with a couple of guys like this because 177 00:15:10.080 --> 00:15:12.600 they talk, you know about 178 00:15:12.600 --> 00:15:19.820 How's Genevieve and how's Gwendolyn and George still with his wife and so on so forth 179 00:15:21.380 --> 00:15:25.460 They say because of course there's a goose going over and 180 00:15:25.460 --> 00:15:29.800 This upsets you the first time this happens, you know, but 181 00:15:29.800 --> 00:15:32.940 and otherwise gentlemanly conversation and 182 00:15:34.120 --> 00:15:37.980 They did eventually get one and 183 00:15:37.980 --> 00:15:40.900 Tiny said to Slats, oh Slats, I can't get that goose 184 00:15:40.900 --> 00:15:44.920 You better go across the field there and get him. So Slats went across and got him 185 00:15:47.040 --> 00:15:53.040 They come back then to the to the club of course and make fun of the guys that are still out in the pits 186 00:15:53.040 --> 00:15:56.620 they can see the geese flying over the guy's pit and and they 187 00:15:57.620 --> 00:16:02.320 see the guy blasting away, but if he misses the goose, there's a 188 00:16:02.320 --> 00:16:04.160 Jubilation back at the ranch house 189 00:16:06.160 --> 00:16:07.160 This is 190 00:16:07.160 --> 00:16:09.380 Kenneth Martin who makes the goose calls 191 00:16:09.380 --> 00:16:14.540 He's got a place up over his father's a hunting club and he turns these on a lathe and 192 00:16:14.540 --> 00:16:18.080 Tunes them up just so that they're perfect for luring the geese down 193 00:16:20.080 --> 00:16:26.080 This is the game warden checking the geese of a couple of guys it's a Hutchison's goose 194 00:16:26.080 --> 00:16:31.200 I don't know exactly what kind that is, but I guess it was legal. He didn't at least arrest him while I was there 195 00:16:31.200 --> 00:16:33.920 This is mrs. McCoy who picks the feathers 196 00:16:39.000 --> 00:16:43.520 These two people in the back of this Jeep are from Birmingham, Alabama 197 00:16:43.520 --> 00:16:48.020 They were they were up hunting in Cairo people come from all over the country to hunt there 198 00:16:48.600 --> 00:16:55.500 This woman had never been goose hunting before but she said her her husband's daddy and her husband had always been 199 00:16:55.500 --> 00:16:59.680 Goose-hunting and she figured if you can't beat him you join him 200 00:16:59.680 --> 00:17:03.640 and of course in the evening they gather in the Cairo Hotel and 201 00:17:04.860 --> 00:17:12.440 Relive the day's experiences and there's a kind of nightlife down there that makes it important for a lot of these guys to come 202 00:17:13.080 --> 00:17:17.060 As a matter of fact, some think that's the only reason they go down. I 203 00:17:17.060 --> 00:17:19.800 Did make a painting of the keys, but I? 204 00:17:20.700 --> 00:17:27.500 Was more interested in in the people and the guys that come down there and what they what they're up to when they get there 205 00:17:27.500 --> 00:17:28.600 and so on 206 00:17:30.660 --> 00:17:36.480 Another kind of job as I've described is a kind in which you you go ahead and do it 207 00:17:36.480 --> 00:17:38.840 See if you can find somebody interested afterwards 208 00:17:38.840 --> 00:17:46.100 What seemed to me that that an artist report on the European Common Market would be a useful kind of a? 209 00:17:46.140 --> 00:17:50.080 demonstration of a difficult subject and so in 210 00:17:51.880 --> 00:17:54.860 1961 I went to Europe and 211 00:17:54.860 --> 00:17:59.220 Set out to make a series of drawings concerning the European Common Market 212 00:17:59.680 --> 00:18:06.280 Just how to begin is the real problem because you're kind of on your own on the vast continent of Europe trying to figure out 213 00:18:06.280 --> 00:18:13.980 What's visually interesting so I started at the Paris Boors figuring that that the stocks had improved and they had 214 00:18:13.980 --> 00:18:20.420 Because of their relationship to the Common Market and also that on the on the Paris Stock Market 215 00:18:20.420 --> 00:18:24.280 They were listing more stocks from other countries than previously 216 00:18:24.380 --> 00:18:33.260 Then I went to Brussels where I made this drawing of a department store the fact was that at that time a woman could buy 217 00:18:33.260 --> 00:18:38.760 Paris ready-made gowns in a Brussels department store at approximately 30% less 218 00:18:38.760 --> 00:18:45.940 Than she would have bought it before the Common Market mechanism reduced the tariffs between these two countries in 219 00:18:46.820 --> 00:18:54.360 Luxembourg I made this drawing of an outdoor market Italian fruit and French cheese and so forth the traffic on the rime 220 00:18:54.380 --> 00:18:57.580 was of course to me an important picture because 221 00:18:59.160 --> 00:19:03.360 I've just done some drawings in the Mississippi, and this is a great and wonderful river 222 00:19:03.360 --> 00:19:08.060 But until you've seen the traffic on the Rhine this artery that joins up all of these 223 00:19:08.060 --> 00:19:14.460 Countries you don't feel what a what a river really means to the economy of a nation and a group of nations 224 00:19:15.200 --> 00:19:18.160 this is the euro mast in 225 00:19:18.160 --> 00:19:20.140 Rotterdam the 226 00:19:20.140 --> 00:19:21.280 Dutch have 227 00:19:21.280 --> 00:19:26.200 Decided that Rotterdam will be the port of Europe and have opened euro port and 228 00:19:27.180 --> 00:19:31.560 The mast is put there to symbolize this port in 229 00:19:32.480 --> 00:19:37.560 Luxembourg the new products are traveling over the ancient routes and 230 00:19:38.660 --> 00:19:46.020 In Luxembourg as well on the French border is the border crossing idea guys who work in one country and live in another 231 00:19:46.760 --> 00:19:52.340 This customs guy here didn't check anybody until he saw I'd made a drawing of him sitting there smoking his pipe 232 00:19:52.340 --> 00:19:57.440 And then he jumped up and stopped a couple of guys who were so surprised that they'd never been stopped before I think 233 00:19:58.260 --> 00:20:00.980 more important of course than than just these 234 00:20:02.020 --> 00:20:07.340 Exterior visual ideas is who are who are the guys who are the the Europeans? 235 00:20:07.740 --> 00:20:14.240 I use the word European as a guy who has adjusted himself to being a citizen of Europe 236 00:20:14.240 --> 00:20:17.640 He's no longer just a Frenchman or a German or a Belgian 237 00:20:17.640 --> 00:20:21.820 We think of Europe as Europe, but the Europeans clearly haven't thought of it that way 238 00:20:22.440 --> 00:20:22.960 so 239 00:20:22.960 --> 00:20:30.240 There was a meeting going on and what happens at these meetings is they don't they don't let you make a draw drawings during the meeting 240 00:20:30.240 --> 00:20:37.160 But you can go in in the five minutes before the meeting and quick make a drawing before they throw you out 241 00:20:37.160 --> 00:20:42.300 I was aiming for drawing of the major Europeans who were attending the meeting 242 00:20:42.300 --> 00:20:48.140 They were they're discussing at this time whether Britain should be allowed to make overtures toward joining the common market 243 00:20:48.140 --> 00:20:50.380 It wasn't a question of whether Britain was going to get in 244 00:20:50.380 --> 00:20:53.700 It was a question of whether they would allow her to even think about it 245 00:20:53.700 --> 00:21:01.540 The one of the important Europeans was of course Paul-Henry Spock who was a Belgian foreign minister and 246 00:21:03.580 --> 00:21:04.620 a significant 247 00:21:05.540 --> 00:21:12.240 European another is professor Walder Hallstein here on the left. He's president of the common market 248 00:21:12.300 --> 00:21:17.380 What happens is while you're making these drawings most of the time you're skulking out in the hall 249 00:21:17.380 --> 00:21:21.480 you know because they won't let you in and and the guys come out and they talk to 250 00:21:21.480 --> 00:21:28.620 The press and then the press spends 20 minutes discussing it among themselves to see what the guy just said. I 251 00:21:28.620 --> 00:21:33.020 Felt that this was an important symbol of the complication of this matter 252 00:21:34.120 --> 00:21:39.760 Jean Monnet has been called by many the father of the common market. I went to see him 253 00:21:39.760 --> 00:21:45.980 I wasn't able to make a drawing inside so I made the drawing of the building with Monet coming out 254 00:21:46.720 --> 00:21:55.200 This is a young man from Italy working in the German at the crop plant in Essen the idea of importing 255 00:21:55.200 --> 00:21:57.840 labor from other common market countries and 256 00:21:59.120 --> 00:22:00.680 This is the Court of Justice in 257 00:22:01.980 --> 00:22:06.660 Luxembourg where they settle the disputes of the common market 258 00:22:09.920 --> 00:22:14.200 What happened though is that I ended up with a whole series of drawings and 259 00:22:14.200 --> 00:22:19.960 I still felt that I needed some drawing that was symbolized and what is this Europe idea 260 00:22:19.960 --> 00:22:25.520 Well, there's a press relations guy there. I met with this guy and we talked about the drawings 261 00:22:25.520 --> 00:22:29.460 He liked the drawings and so on but he didn't seem to be coming up with anything 262 00:22:29.460 --> 00:22:33.600 well, he got a phone call and and he turned and he answered the phone and 263 00:22:34.340 --> 00:22:37.280 Riley was talking on the phone. I looked out the window and 264 00:22:38.120 --> 00:22:45.300 When he turned back I said to him well what's on the back of the car there and he said it is nothing 265 00:22:45.300 --> 00:22:53.280 It's the European license plate. Well, what this means is that a guy who has decided that he's a European 266 00:22:53.280 --> 00:23:00.200 That he's no longer only a citizen of Belgium or Germany or so forth puts on his car a European license plate 267 00:23:00.200 --> 00:23:05.160 It's a symbol of this. Well, clearly you see this was it was a big visual idea 268 00:23:05.160 --> 00:23:09.700 And if the guy hadn't gotten a phone call, I don't know if I'd ever seen it 269 00:23:09.700 --> 00:23:14.480 It seemed to me that this was the key drawing of the series. This is the reason you go 270 00:23:14.480 --> 00:23:20.260 This is the reason you keep your eyes open and it's and it's a kind of sudden and exciting payoff 271 00:23:20.260 --> 00:23:25.260 I was making the drawing he got another call. I started making the drawing while he was still on the phone 272 00:23:25.980 --> 00:23:28.100 So you ask yourself? Well, okay 273 00:23:28.600 --> 00:23:31.900 These are guys who are for the common market who's against it 274 00:23:31.900 --> 00:23:37.220 Well, I happen to be going to London and so I I heard the name of Lord Hinchingbrook 275 00:23:37.780 --> 00:23:42.380 Well, I figured in the whole world if there's anybody who would be against something like this 276 00:23:42.380 --> 00:23:47.660 It would be Lord Hinchingbrook who was in fact a conservative member of Parliament 277 00:23:47.660 --> 00:23:53.860 I went to London and talked with Lord Hinchingbrook and he turned out to be a perfectly wonderful guy 278 00:23:54.800 --> 00:24:00.840 Severe but pleasant and served excellent sherry what happens when you're working on something like this 279 00:24:00.840 --> 00:24:06.140 You not only make the drawing but you you write down what he says. It's kind of like a comic strip 280 00:24:06.140 --> 00:24:09.760 There's a balloon up over his head and I made two drawings 281 00:24:09.760 --> 00:24:13.120 They're loaded with notes on either side concerning his views 282 00:24:13.120 --> 00:24:17.720 He said I'm fundamentally of the view that the common market will 283 00:24:18.340 --> 00:24:22.800 Break up owing to the residual nationalism of the constituent countries 284 00:24:22.800 --> 00:24:26.640 these British guys do in fact talk this way and he said the 285 00:24:26.800 --> 00:24:32.120 New generation is superficially international with their travel and schools and so forth 286 00:24:32.120 --> 00:24:38.400 But the common market is the ideal of pre-war statesmen who have entered into it as an act of contrition 287 00:24:38.900 --> 00:24:42.980 this of course was a mouthful and I quick scribbled it down and 288 00:24:42.980 --> 00:24:44.720 came back to the States I 289 00:24:46.480 --> 00:24:49.520 Stopped off in New York and showed this around 290 00:24:49.520 --> 00:24:56.680 Real question is now you've got all these drawings. What are you going to do with them? You know, I talked with several people fortune 291 00:24:56.800 --> 00:25:03.800 Life look so forth others art directors. The fact is that most of the art directors I was talking to hadn't the 292 00:25:04.640 --> 00:25:11.000 foggiest notion there was such a thing as a common market or if they did they weren't confronted with that problem at that particular week 293 00:25:12.400 --> 00:25:17.400 Dave's statured life is a good friend of mine and he's the kind of a guy who call in an editor 294 00:25:17.400 --> 00:25:21.340 Called in his foreign editor was of course well aware of the whole thing 295 00:25:22.320 --> 00:25:26.760 They they kept the thing for quite a while and I began to get a little panicky about it 296 00:25:26.800 --> 00:25:33.560 But they didn't they didn't publish it thing is life after all is pretty well committed to photography 297 00:25:34.180 --> 00:25:40.620 And group journalism this kind of one-man effort doesn't doesn't fight its way in there too often 298 00:25:40.620 --> 00:25:42.920 But then there was something else that took place 299 00:25:43.620 --> 00:25:51.120 President Kennedy about the first of the year gave a kind of major speech in which he discussed American involvement with the common market and 300 00:25:52.140 --> 00:25:55.620 Shortly after that fortune decided to publish my drawings 301 00:25:56.260 --> 00:25:59.220 The layout was made by Walter owner 302 00:25:59.820 --> 00:26:01.420 fortunes art director 303 00:26:01.420 --> 00:26:07.520 They let off with the license plate the one I've described as being the most important in my opinion 304 00:26:08.980 --> 00:26:15.380 Spock you see and Hallstein Monet below modern goods traveling over the ancient routes 305 00:26:16.580 --> 00:26:19.700 Euromast border crossing idea and the Paris Boors 306 00:26:21.600 --> 00:26:27.980 Traffic on the Rhine the Luxembourg outdoor market and the Brussels department store 307 00:26:28.940 --> 00:26:32.780 And they closed with these guys trying to figure out what the whole thing was all about 308 00:26:33.680 --> 00:26:35.440 Lord Henshingbrook in fact 309 00:26:35.440 --> 00:26:38.620 Never got into the story as a drawing 310 00:26:39.220 --> 00:26:46.700 But he did make the copy the editor in writing the lead-in said it began as the hope of a small group of men 311 00:26:46.700 --> 00:26:50.420 Others called it an act of contrition by pre-war statesmen 312 00:26:50.420 --> 00:26:58.460 So you see the interview with Henshingbrook did pay off it became a useful part of the story. I 313 00:26:58.460 --> 00:26:59.700 Think you understand what it is 314 00:26:59.700 --> 00:27:04.020 I've been trying to say that the artist should do what he can to get out of the studio 315 00:27:04.020 --> 00:27:07.300 Not every artist will want to go to Hong Kong or Thailand 316 00:27:07.300 --> 00:27:11.620 Not all artists are interested in such things as the common market and land reform 317 00:27:11.620 --> 00:27:15.060 But there are things in need of interpretation right here at our doorstep 318 00:27:15.060 --> 00:27:18.120 Look at the people you see on the way to work or to school 319 00:27:18.120 --> 00:27:20.160 Draw them 320 00:27:20.660 --> 00:27:22.820 Go down to the bus depot to the airline terminal 321 00:27:23.680 --> 00:27:28.460 Into the hotel lobby draw them. Look at the people right here in this room 322 00:27:29.660 --> 00:27:31.780 Are these the people you see in the magazines? 323 00:27:33.280 --> 00:27:35.060 Are these the people you see on TV? 324 00:27:37.040 --> 00:27:39.920 Look at them closely draw them 325 00:27:56.000 --> 00:27:57.400 Oh 326 00:28:15.060 --> 00:28:17.560 And I'd really like to know 327 00:28:18.700 --> 00:28:19.160 Yes 328 00:28:20.460 --> 00:28:21.000 watercolor 329 00:28:21.000 --> 00:28:27.480 Well, I don't mean that I don't 330 00:28:29.780 --> 00:28:35.560 Oh, you're not 331 00:28:45.060 --> 00:28:46.100 You