00:08 since the images here are fully clothed 00:12 there's that area of style and fashion 00:15 that catches my eye 00:20 mostly they draw if I were such a matter 00:25 beyond just capturing I have direction 00:34 when I see these pieces I have to say I 00:38 see my family I see my community I see 00:44 what it was like to be a young person in 00:48 the 70s and 80s full of energy and ideas 00:53 and attitude and style the other thing 00:59 that I moved by is that that same energy 01:01 and excitement I believe translates and 01:04 resonates beyond my time there's a 01:08 prasada element or fashion statement 01:13 Mary as how I want to say for me 01:21 Kelly beautiful intensity of what I 01:32 would call the eyes he's he's someone 01:40 who has always sort of fucked the system 01:43 in a way intentionally and 01:44 unintentionally circumstantial and 01:46 intentionally he's never he's never been 01:48 in the mainstream has never been 01:50 accepted in the mainstream largely 01:52 because of who he was painting the 01:53 people he were painting like boy M 01:56 Corbett here were not seen as exemplary 01:58 individuals in society and in the 02:00 tumultuous sort of racial tension of the 02:03 air in the sixties and seventies these 02:05 were fairly fairly subversive paintings 02:14 any particular is is pretty 02:17 straightforward example of Berkeley 02:20 Hendrix use of gold leafing to create 02:24 this iconic figure and create something 02:27 that really looks like a religious icon 02:28 and to use that tradition to 02:33 take people really from his contemporary 02:35 context and you know this animated realm 02:39 it's not it's not Kathleen cleaver it's 02:41 not someone who is revered and society 02:45 that's an average everyday person like 02:46 us you know and even in that era beyond 02:50 that as someone has really been 02:51 overlooked and that's a lot of who 02:53 Berkeley gave representation to well it 02:57 made me take my glasses off so I 02:59 couldn't see and I was in three inch 03:01 heels so I was kind of blind and and 03:04 wobbling but to be perfectly honest it'd 03:07 be amazed how hard it is to stand in my 03:09 heels with your eyes closed you know 03:11 since you don't really have any sense of 03:12 what's going on what's the most fun I've 03:16 ever had with Berkeley yeah the studio 03:20 itself the house is the studio so we 03:22 live in a big old Victorian home three 03:24 floors chock-full and pretty much 03:27 everywhere you turn is a potential 03:30 landscape a potential still life 03:32 potentially everything at Berkeley does 03:40 has more and given the way that he has 03:43 captured or chosen to frame the figure 03:47 you know cropping her just above the 03:49 eyebrow and the way she her hands are 03:52 proposed and she has a lot of attitude 03:55 it's titled Vendetta the woman's name is 03:57 vendetta bitch is written across her 03:59 chest I mean this is a really strong 04:02 powerful portrait it's more than just 04:06 representation of reality it's actually 04:08 the peculiarities that he captures then 04:11 make it 04:12 as real as it possibly could be when 04:15 never sees a marketing help hindrance 04:17 without feeling that he has some sort of 04:20 relationship some sort of connection 04:22 with the subject the painting I'm 04:26 standing in front of was someone he knew 04:28 in New London Connecticut and he 04:30 actually did a number of paintings of 04:31 Angie Johnson and you can see in these 04:35 pictures that he is representing her not 04:40 just in terms of her exterior but he's 04:42 representing her in terms of her 04:44 attitude in terms of her style in terms 04:48 of her what I might call her ill and her 04:50 soul and that's not easy to do you need 04:54 more than just the skills of the Academy 04:58 to do that myself doing what makes me 05:06 what I'd like to because in essence I 05:10 wouldn't do what 05:14 they have now gotten most people that do 05:19 Ares of sadness I like what I do 05:28 forget it for a long time