Funding for COLORES was provided in part by: Frederick Hammersley Fund, New Mexico PBS Great Southwestern Arts & Education Endowment Fund, and the Nellita E. Walker Fund for KNME-TV at the Albuquerque Community Foundation.

.New Mexico Arts, a division of the Department of Cultural Affairs, by the National Endowment for the Arts.

and Viewers Like You.

THIS TIME, ON COLORES!

SPECIALIST IN MONSTROSITIES, GABRIELA HENNER'S WHIMSICAL MONSTERS INSPIRE KINDNESS NOT FEAR.

DOODLING SINCE HE WAS A KID, EMBRACING HIS VIVID IMAGINATION, AT THE END OF THE DAY SCOTT JEFFERIES IS CREATING A PROTEST OF SMILES.

RECYCLING KNIT FABRICS, HEIDI WINELAND DELIGHTS IN CREATING KNITAGAINS AND INDULGES IN OSCAR FASHION AND THE CULT OF CELEBRITY.

THE FIRST POSTER MUSEUM IN THE UNITED STATES "POSTER HOUSE" EXPLORES THE HISTORY, ART, AND GLOBAL IMPACT OF THE MEDIUM.

IT'S ALL AHEAD ON COLORES!

MONSTER LOVE >>Gaby Henner: This portrait exemplifies the purest love of all.

The unconditional love for oneself.

The green monster hugging the golden monster, which is your inner self, in a warm embrace, is the acknowledgment of her whole being and all of the facets that make her the unique creature that she is.

An inner calm washes over her, as they both join together again in true harmony.

You will always be there for yourself, even when you feel most alone.

For you are your own guiding light.

And look at how cute your inner self is!

>>Gaby Henner: I made this painting originally just for me.

Just to kind of have a visual representation of self-love.

I think that's the most important type of love and the hardest to attain... sometimes.

>>Faith Perez: Why do you think that is?

>>Gaby Henner: I think we aren't taught to love ourselves enough when we're younger and we just kind of get in a pattern of- our whole lives of being critical of ourselves, or internalizing mean things that other people have said to ourselves and that becomes the our own story or our own narrative.

And like I wish when I was a kid, that I had someone- an artist who made art like that.

To show me that like it is important, you can't really love other people if you don't really love yourself.

>>Gaby Henner: The white lily has represented a plethora of meanings in different cultures.

Peace, purity, chastity, sympathy and renewal.

In the Eastern monster cultures of Asia, the white lily has symbolized something else; knowledge and abundance.

The flower is traditionally presented to a young monster on their 12th birthday and its petals are consumed alongside a celebratory chocolate cake.

The blossoming monster is taught that any time in which they feel uncertain, fearful, or doubtful, of their path forward they need only to look inward and focus on their true intentions and desires.

The answer will arise with the memory of the unique taste of the flower petals.

All of the answers you seek are already inside.

One needs only to listen respectfully.

>>Faith Perez: So, then why did you start creating these monsters?

>>Gaby Henner: It's so easy to despair these days.

All it seems like- all we hear is bad news.

And the more I thought about it and the more monsters I created, I realized that I want to create a different world, where we're all a little bit kinder and monsters share the same emotions and feelings that we have.

It's easier for me to portray- like issues that I struggle with, or difficulties in creation of a cuter world.

So, maybe it's easier for us to relate, like "oh, they're dealing with the same stuff but look how cute they are, and they're kind to each other and we could be like that too!"

[Music] >>Gaby Henner: The family depicted in this portrait shows the unique, although somewhat dizzying, background of red and white to symbolize the twists and turns that their monstress life will take.

The young monster is their sole offspring and his crown symbolizes the expectations placed upon him by his parents and ancestors.

No matter where his life path leads, as long as he is true to himself and kind to everyone, they will always love and support him.

>>Faith Perez: Terry and the Positivity Pet, tell me about what inspired you to write that?

>>Gaby Henner: Terry and the Positivity Pet is mainly about anxiety.

And at the time I based it off of my relationship with my dog, Sheila.

She was my positivity pet, although she couldn't verbally give me positive comments, I drew so much comfort from her presence.

I think I realized later on that I was Terry.

I had always wanted to write an illustrated children's book and it took me a very long time for me to actually understand the message that is a part of the book, that is about self- confidence and finding strength within.

My friend has a- I believe he's three years old, he has one of- a copy of my book, and he thinks that the book was written for him.

Which I think is the cutest thing in the world.

So, I- I hope he always thinks that.

[Both Faith and Gaby Laughs] >>Faith Perez: So, what makes them monsters?

>>Gaby Henner: Originally, I just- I didn't want to call them creatures and I didn't- they weren't animals.

But, I think I did intentionally choose the term "monster" because when you think of the word monster you think of something terrifying, or something that inspires fear or disgust.

But these, I wanted to create monsters that are intentionally cute.

Maybe as another way for us to relate to them, but to realize like everyone says that they have a monster inside them or that they're trying to work on and you are just as cute and cuddly as they are!

[MUSIC] SOUL DOODLER I find favorite faces, you know, and I know for a fact I won't touch this guy here because I love him.

My name is Scott Jeffries and I'm a painter.

I call myself a soul doodler.

You know, I've been doodling my whole entire life.

These paintings now, this art now is really what I've been doing since I was a little kid.

And I started doodling when I was probably five or six and I doodled all through it through elementary school and, and high school and law school.

And because of COVID, I was able to.I got laid off from my job at a law firm.and then was kind of like pushed into a dream of, of being a full-time artist.

And that's.

I've been doing that for the past six or seven months.

And it's been an amazing thing because I've been able to focus on what I've been wanting to do my whole life.

I don't create any colors.

I just grab.

I go to the paint store and I will just grab paints.

People give me paints for Christmas.

I have old paints that someone gave me.

I just pick whatever's close.

And that will be the paint that's available.

My grandmother was a painter, so I painted for a long time.

And you know, when I was 13 we were at my grandmother's funeral.

And my, my mother, we were standing in her studio in her, in her basement, in the Bronx.

And I remember my mother saying to, to basically to out loud, what am I gonna do with all this stuff?

All her paint brushes and all her paints and all her, you know, all the materials that she had and, and I was like, I'll take them home with me.

And I took them home and I started to paint sort of then.

And, you know, from that point on, I was always painting just, just to paint.

But the main thing always is, try not to have two colors that are the same next to each other.

That's my only real rule.

It doesn't matter really if it's perfect, you know, everything, it's there.there are no mistakes in my art.

It's not for somebody else's approval.

It's for, you know, it's just for me.

If you like it, you like it.

If you don't like it, you don't like it.

You know?

And I think a lot of artists struggle with.which I don't struggle with.

is perfectionism.

Never went to art school, you know, I went to law school years ago.

And you know when people talk about my art, sometimes you're like, Oh, you're such a great colorist.

You know, I never thought that, you know, that this color and this color could go together.

And for me, I never thought about that.

I think, thank God I didn't, I didn't know what the, what a color wheel was.

Fun thing will be is that, you know, when I stepped back and looked at it, I like, Hmm, that's interesting.

And I'll scratch sometimes and give it some life.

My art's meant to be fun, you know, and enjoyed and accessible, you know, and more than anything, you know, I would love people to.

You know, people ask me a lot.

What does that, what does it mean?

You know, what does that mean?

I'm like, Hmm, what do you see?

That's, that's the key.

These paintings lately means something different than they meant years ago.

You know, someone had asked me, you know when George Floyd was killed and all these protests were going on, they wanted me to, to give them a diversity painting for their kids.

All of a sudden it started to become like diversity paintings, because they showed that the difference in humanity, the different colors that, that, that are in the rainbow, you know, the reds, the yellows, the blues, the browns.

At the end of the day, these are protests of, you know, I call them protests of smiles more than anything.

It's just, it just was an amazing process for me to start to think about these things at a deeper, deeper level over time.

And sometimes they're just, you know, meant to make you smile.

You know, there's no, like, deeper meaning, you know, I paint these, I paint these fish, you know, and they're just.they're just fish!

I spend some time with younger people, working with them.

And I hear all the time, they say, I can't do that.

I can't paint.

I can't do that.

I can't.

And it's like, I encourage anyone that's an artist just to stop with that negative thinking, because you're never going to be satisfied.

You know, I love my art, you know, not my art is not for everybody, you know, but I know one thing, it's for me.

SEEING NEW LIFE >>Heidi Wineland: My father was a painter and an advertising executive.

My mother was a professional seamstress and very much a folk artist and a needle worker herself, and so I grew up just with everything all around all the time that it, that it was just free to us.

I also had a really good arts program in the school system where I was and so now that I'm an art teacher in the public schools.

I'm really geared towards making sure my students have as mush experience, with as many materials as possible.

I'm Heidi Wineland and I'm an artisit.

I make rag baskets.

I make something called Knitagains.

Which are made.

They're little creaures made from recycled sweaters and they were made from knit fabric.

So they were knit and now they are knit again.

I make a lot of jewelery, I do some painting.

I do a lot of embroidery.

I'm very much into needlework and I'm always experimenting, trying new things.

Years ago I was doing craft fairs.

I've always have had a lot of odds and ends and different things but really stuglling to find.

You know, the thing And there were a lot of people a that time who were knitting and felting and that seemed really interesting but I didn't want to take the time to knit so I just went to the Goodwill and just bought the sweaters and felted those.

I was making bags and hats, but then one day.

I had a little scrap and I didn't want to waste it and I just made it into a little oval and put eyes on it.

and suddenly there was my new friend.

and that took off as soon as I started selling those.

I just couldn't keep them in stock.

Even though they all have the same basic shape and they all have these, you know, very simple circle eyes, they all have their own personalities and people are really strangely drawn to them.

>>Elizabeth Cooper: I love seeing kids, adults, families, everyone sees her pieces, they turn a corner and a smile just hits their face.

>>Heidi Wineland: For 30 years, I've been working on a project I call the Academy Award Action Figures, which are miniature replicas of Oscar fashion.

I've always been interested in film history, but I'm also very interested in fashion and the cult of celebrity.

And then one night I couldn't sleep, and I had this idea that I could make these dresses in miniature.

Now, I'm not a doll person, didn't play with Barbies, didn't have any dolls.

The dolls are really just hangers for the clothes.

So I only do the Academy Awards because the Academy Awards is the highest pinnacle of celebrity.

What you wear to the Academy Awards, that photograph is the photograph that's going to be published over and over again.

It's the dress that people recognize the celebrity.

And so it's, for me, it's both a critical commentary on the cult of celebrity, on how we make idols of movie stars and, you know, want to emulate what they wear.

And at the same time, I actually am making idols to, you know, celebrities.

So this I don't sell.

This is just for me.

So the Knitagains and the Oscar dolls are really the two things I spend the most time on and they seem very different, but they're both examples of they're strange, they're small, I make them because they make me happy and I really pride myself on using scraps, leftover materials.

For instance, for the dolls I never, other than that, that first one that I tried, I never buy new dolls.

So if you look closely, a lot of them have, you know, chewed on hands or, you know, some of them have stains on them.

It's just a matter of looking at something and seeing new life in it.

I've had the opportunity to have, you know, an actual away from home art studio before, and it's always seemed so appealing, but then I think I would never go there.

I really like to work on my lap.

I like to work in small, comfortable spaces.

I like to watch television while I work.

And I think that's a reflection of how folk art has always been made.

It's always been made while you're rocking the baby or, while dinner is cooking.

>>Elizabeth Cooper: I think folk art is more relevant today than it's ever been because the world is so complex.

Folk art brings us back to something simple.

It's very simple.

It's very nostalgic.

It's something that we can process pretty easily and add beauty to our life.

>>Heidi Wineland: As an artist and as a teacher, I am really invested in the idea that art is not just painting and drawing, and I've been teaching primarily adults for years, and I encounter people all the time who say, oh, you made that?

I wish I could be an artist.

And I say, well, of course you can.

It doesn't have to be oil painting on canvas.

It could be a doll, a basket, a quilt and to come to realize that they're really doing this already.

You know, even if it's cooking or decorating that there's something in us that wants to make our surroundings nicer, more comfortable, more visually appealing.

And I want people, especially my students, to realize that's within their power.

POSTERS THROUGH TIME >>Angelina Lippert: Hi, I'm Angelina Lippert the Chief Curator of Poster House.

The first museum in the United States dedicated to the art and history of the poster.

A poster is a public facing notice meant to persuade that marries word and image.

This phenomenon really began in the late 1860s when Jules Chéret the father of the poster perfected the already existing color with the graphic process.

So the posters could be made cheaply and quickly using the full spectrum of the rainbow.

Prior to this time, posters were primarily text- based so they were broadsides and that required that you had to be literate in order to understand them posters do away with that.

You just see an image and you understand the purpose of the poster right away.

In fact, that's what makes a good effective poster.

If a poster doesn't communicate its purpose to you in less than a second it's failed.

Poster House typically has two or three exhibitions on view at any time, in addition to our permanent poster history timeline, which you can see behind me.

At the beginning of this timeline starts with the father of the poster, Jules Chéret So because the earliest posters are done via stone lithography, every single color making up that poster would have to be printed separately and by combining those colors, that's how you get the full rainbow effect in any given poster.

And that's what Jules Chéret invented.

and what makes this poster incredibly special is it's actually a progressive proof.

A progressive proof is really, really rare because a printer would typically only make one.

And it was a way for a printer to determine if all the different colors separated out line Chéret originally designed this for a department store.

However, it rejected it.

We don't know why because it's a beautiful image, The next stop on the poster history timeline focuses on Leonetto Cappiello the father of modern advertising.

One of the things you'll notice in this poster is that the background is a flat saturated black.

He was the first poster designer to really to offset a central image with a sharp, flat saturated background.

He puts a woman in a green dress on a red horse, but what does that have to do with chocolate?

This poster is for Chocolate Klaus.

And that was the entire point.

This is the first time we see a mascot born in advertising.

In fact, people were so captivated by this beautiful image, that they would go to their local store.

And instead of asking for the chocolate by name, they within said, stay up, you know, can you give me the, the, you know, the lady on the red horse.

And that's how that brand became memorable and known, throughout Paris.

The next step on our timeline is Marcello Nizzoli poster for Campari.

Campari has one of the richest histories and posters.

They've created hundreds, literally hundreds of posters, all are standout.

This is very interesting because it's Italian Art Deco.

Italian Art Deco in advertising, combined a lot of different styles.

So you'll get elements or futurism of cubism And also, the Italians love to play with shadow, and really deep, rich colors in their posters.

So you'll get a lot of that in this design.

This is one of my favorite posters in the collection.

It's by the Stenberg brothers, it's for the film, the last flight now poster design in Russia at this time under Lennon was a hotbed of creativity.

These designers rarely saw imported films before creating the posters for them.

They would just get the title maybe a film still very minimal information.

I also often have to tell people that this is not photo montage.

The ability to insert a large photograph into posters was not really available at this time, Instead, what the Stenbergs would do is project a film still onto the wall of their studio, and then trace over that figure, And also this style of art would be made completely illegal under Stalin so it's a really short, beautiful, and important period in poster history.

After that, we look at it, the mid-century posters of Switzerland and the international typographic style.

These posters are amazing because you get an array of printing techniques all in one poster.

After that, we focus on psychedelic posters where we have nine amazing examples of the most important psychedelic poster artists from 1966 to 1970, an incredibly short, explosive period in poster design.

All of these posters advertise the main venues for psychedelic music at that time.

So the Fillmore, the Winterland, the Avalon, as well as a ton of bands that you will absolutely know like Big Brother and the Holding Company.

After that, we focus on Paula Scher and her remarkable contributions to the Public Theater in what is now almost 30 years of advertising for one single institution.

She helped redefine how theatrical advertising was done in New York, making it as vibrant and explosive as the theater itself.

For the letter press process, we focus on Amos, Paul Kennedy, Jr. a favorite designer of mine.

He combines a layering technique that makes his posters completely unique, He's a contemporary letter press printer working in Detroit, which means he's making his living, making posters today, which is amazing.

Poster House is still collecting important posters made today.

We actively collect posters from all around the world from all major and minor ad agencies.

So please stop by and see them.

TO VIEW THIS AND OTHER COLORES PROGRAMS GO TO: New Mexico PBS dot org and look for COLORES under What We Do and Local Productions.

Also, LOOK FOR US ON FACEBOOK AND INSTAGRAM.

"UNTIL NEXT WEEK, THANK YOU FOR WATCHING."

Funding for COLORES was provided in part by: Frederick Hammersley Fund, New Mexico PBS Great Southwestern Arts & Education Endowment Fund, and the Nellita E. Walker Fund for KNME-TV at the Albuquerque Community Foundation.

.New Mexico Arts, a division of the Department of Cultural Affairs, by the National Endowment for the Arts.

and Viewers Like You.