Can art amend history? | Titus Kaphar

242,125 views ・ 2017-08-15

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00:12
I love museums.
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Have you guys ever been to the Natural History Museum?
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In New York City?
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(Applause)
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So one of the things that I do is I take my kids to the museum.
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Recently I took them to the Natural History Museum.
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I had my two sons with me, Sabian and Dabith.
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And we go into the front entrance of the museum,
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and there's that amazing sculpture of Teddy Roosevelt out there.
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You guys know which one I'm talking about.
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Teddy Roosevelt is sitting there with one hand on the horse,
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bold, strong, sleeves rolled up.
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I don't know if he's bare-chested, but it kind of feels like it.
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(Laughter)
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And on the left-hand side of him is a Native American walking.
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And on the right-hand side of him is an African-American walking.
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And as we're moving up the stairs,
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getting closer to the sculpture,
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my oldest son, who's nine, says,
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"Dad, how come he gets to ride,
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and they have to walk?"
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It stopped me in my tracks.
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It stopped me in my tracks.
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There was so much history
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that we would have to go through to try to explain that,
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and that's something I try to do with them anyways.
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It's a question that I probably would have never really asked.
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But fundamentally what he was saying was,
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"That doesn't look fair.
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Dad, that doesn't look fair.
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And why is this thing that's so not fair
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sitting outside of such an amazing institution."
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And his question got me wondering,
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is there a way for us to amend our public sculptures,
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our national monuments?
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Not erase them,
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but is there a way to amend them?
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Now, I didn't grow up going to museums.
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That's not my history.
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My mother was 15 years old when I was born.
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She is amazing.
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My father was struggling with his own things
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for most of my life.
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If you really want to know the truth,
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the only reason I got into art is because of a woman.
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There was this amazing, amazing, fantastic, beautiful, smart woman,
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four years older than me,
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and I wanted to go out with her.
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But she said, "You're too young
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and you're not thinking about your future."
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So I ran on down to the junior college,
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registered for some classes,
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ran on back,
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and basically was like, "I'm thinking about my future now."
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(Laughter)
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"Can we go out?"
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For the record, she's even more amazing.
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I married her.
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(Applause)
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So when I randomly ran down to the junior college
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and registered for classes,
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I really wasn't paying attention to what I was registering to.
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(Laughter)
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So I ended up with an art history class,
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and I didn't know a thing about art history.
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But something amazing happened when I went into that class.
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For the first time in my academic career,
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my visual intelligence was required of me.
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For the first time.
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The professor would put up an image,
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bold strokes of blues and yellows, and say, "Who's that?"
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And I'd go, "That's Van Gogh. Clearly that is Van Gogh.
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I got this."
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(Laughter)
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I got a B in that class.
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For me, that was amazing.
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In high school, let's just say I wasn't a great student. OK?
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In high school, my GPA was .65.
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(Laughter)
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Decimal point first, six five.
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So me getting a B was huge, huge,
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absolutely huge.
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And because of the fact that I realized that I was able to learn things visually
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that I couldn't learn in other ways,
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this became my strategy, this became my tactic
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for understanding everything else.
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I wanted to stay in this relationship. Things were going well.
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I decided, let me keep taking these art history classes.
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One of the last art history classes, I will not forget, I will never forget.
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It was one of those survey art history classes.
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Anybody ever have one of those survey art history classes,
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where they try to teach you the entire history of art
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in a single semester?
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I'm talking about cave paintings and Jackson Pollock
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just crunched together all in the same --
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It doesn't really work, but they try anyway.
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Well, at the beginning of the semester,
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I looked at the book,
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and in this 400-page book was about a 14-page section
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that was on black people in painting.
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Now, this was a crammed in section
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that had representations of black people in painting
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and black people who painted.
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It was poorly curated, let's just put it that way.
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(Laughter)
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Nonetheless I was really excited about it,
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because in all the other classes that I had,
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we didn't even have that conversation.
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We didn't talk about it at all.
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So imagine my surprise
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when I get to class
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and on the day that we're supposed to go over that particular chapter,
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my professor announces,
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"We're going to skip this chapter today
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because we do not have time to go through it."
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"Whoa, I'm sorry, hold on, professor, professor.
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I'm sorry. This is a really important chapter to me.
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Are we going to go over it at any point?"
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"Titus, we don't have time for this."
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"I'm sorry, I'm sorry, I'm sorry, I'm sorry,
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please, I really need to understand.
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Clearly the author thinks that this is significant.
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Why are we skipping over this?"
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"Titus, I do not have time for this."
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"OK, last question, I'm really sorry here.
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When can we talk, because we need to talk."
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(Laughter)
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I went to her office hours.
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I ended up getting kicked out of her office.
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I went to the dean.
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The dean finally told me, "I can't force her to teach anything."
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And I knew in that moment if I wanted to understand this history,
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if I wanted to understand the roles of those folks who had to walk,
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I was probably going to have to figure that out myself.
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So ...
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above you right here on the slide
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is a painting by Frans Hals.
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This is one of the kinds of images
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that was in that chapter.
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I taught myself how to paint
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by going to museums and looking at images like this.
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I want to show you something.
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I made this.
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I --
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(Applause)
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I made some alterations.
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You'll see there are some slight differences in the painting.
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All this art history that I had been absorbing
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helped me to realize that painting is a language.
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There is a reason
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why he is the highest in the composition here.
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There is a reason
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why the painter is showing us this gold necklace here.
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He's trying to tell us something about the economic status
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of these people in these paintings.
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Painting is a visual language
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where everything in the painting
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is meaningful, is important.
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It's coded.
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But sometimes, because of the compositional structure,
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because of compositional hierarchy,
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it's hard to see other things.
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This silk is supposed to tell us also that they have quite a bit of money.
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There's more written
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about dogs in art history
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than there are about this other character here.
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Historically speaking, in research on these kinds of paintings,
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I can find out more about the lace
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that the woman is wearing in this painting --
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the manufacturer of the lace -- than I can about this character here,
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about his dreams, about his hopes,
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about what he wanted out of life.
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I want to show you something.
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I don't want you to think
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that this is about eradication.
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It's not.
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The oil that you saw me just put inside of this paint
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is linseed oil.
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It becomes transparent over time,
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so eventually what's going to happen
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is these faces
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will emerge a little bit.
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What I'm trying to do,
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what I'm trying to show you,
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is how to shift your gaze just slightly,
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just momentarily,
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just momentarily,
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to ask yourself the question,
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why do some have to walk?
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What is the impact of these kinds of sculptures at museums?
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What is the impact of these kinds of paintings
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on some of our most vulnerable in society,
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seeing these kinds of depictions of themselves all the time?
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I'm not saying erase it.
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We can't erase this history.
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It's real. We have to know it.
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I think of it in the same way
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we think of --
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Let me step back a second.
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You remember old-school cameras,
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where when you took a picture, you actually had to focus. Right?
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You'd put the camera up,
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and if I wanted you in focus,
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I would move the lens a little to the left
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and you would come forward.
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I could move the lens a little to the right,
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and you would go back and the folks in the background would come out.
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I'm just trying to do that here.
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I'm trying to give you that opportunity.
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I'm trying to answer that question
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that my son had.
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I want to make paintings,
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I want to make sculptures
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that are honest,
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that wrestle with the struggles of our past
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but speak to the diversity and the advances of our present.
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And we can't do that by taking an eraser and getting rid of stuff.
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That's just not going to work.
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I think that we should do it in the same way
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the American Constitution works.
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When we have a situation
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where we want to change a law in the American Constitution,
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we don't erase the other one.
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Alongside that is an amendment,
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something that says,
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"This is where we were, but this is where we are right now."
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I figure if we can do that,
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then that will help us understand a little bit
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about where we're going.
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Thank you.
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(Applause)
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