[00:00:31.280] 
[music]

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The following program is produced by

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Community Video Services
of Durham Technical Institute.

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[music]

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Good evening. I'm Cynthia Watts
and welcome to the Arts in Durham.

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Tonight, I'm going to be talking with
an artist who all started right here.

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And we're talking with Steven Miller,

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a local artist by way of Rock Hill,
South Carolina.

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This evening I'll be talking with Steven

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about his technique,
style, and life as an artist.

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Steven, as I quote from Sam [?], 

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breezed back into Durham
recently after ten years.

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He came to Duke as
a freshman with a van load

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of paintings for a one person show
at the Durham Arts Council.

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He is also his own promoter and says,

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"No one can sell my work better than me

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 because no one knows it better."

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I will also share with you some footage
of Steven Miller's exhibition that is

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presently hanging in the galleries
of the Durham Arts Council.

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And now this word from DTI.

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Are you looking for a career with job
security and good earning potential?

[00:02:40.800] 
Check out the opportunities
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[00:02:43.040] 

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by using hand and machine tools.

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Durham Tech's program includes
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Expanding industries in the Triangle
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[00:02:57.160] 
If you're looking for a career
with opportunities, 

[00:03:00.480] 
contact Durham Tech's
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[00:03:03.880] 
Plan your future now.
Start with Durham Tech.

[00:03:08.320] 
Welcome back. And I would
now like to introduce you

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to a very energetic young
artist, Steven Miller.

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- [Cynthia] And Steven, I want to
welcome you to the Arts in Durham.

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Thank you.

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- [Cynthia] I want to talk about Steven.

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First, I want to tell the audience
that when Steven left New York 

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to come to Duke to school

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he thought he was going
to become a chemist.

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Then when Steven enrolled at Duke,

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he decided that I'm going
to major in psychology.

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After spending two years in psychology,

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Steven decided,
I'm going to be an artist.

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So today,
Steven Miller is an artist.

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I want you to tell
me about Steven Miller.

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I know that your work is very realistic,

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it's very contemporary,
and it's today's modern art.

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So I want to know
all the things about Steven Miller

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from the time of 1969
up until the present time.

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Those ten years that

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 Steven breezed back
into Durham and now has

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six pieces of work

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hanging at the Durham
Arts Council's galleries.

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I know that last year you painted
59 paintings in 1979.

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I also know that you received three first
prize awards in one show

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and you've done some other
dynamite things in your life.

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- [Cynthia] How does Steven Miller feel
about Steven Miller at this point?

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Tell me about the life at Duke

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your work in New York,

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and what you're doing in
Rock Hill, South Carolina.

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Well as you said,

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I came to Duke in '69
and by the time of my junior year

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I decided that I didn't want
to study psychology anymore.

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I thought I might become

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a photographer but I decided
instead to try painting.

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My senior year I took a
great deal of art courses

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and worked in zinc etchings
and drawings and oil paintings.

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And then I stayed in Durham
for the following year using

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the printmaking studio at Duke
and working on my own.

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Then in the summer of '74,
I went to Colorado to study there.

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It kind of all happened in a short time.

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I became interested
in opaque watercolors.

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Which is what I've been using almost

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exclusively the last few
years called gouache.

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And I also became
interested in photography

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as a means for deriving an image. 

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I wasn't very good at drawing.

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- [Cythia] I read somewhere where

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Steven Miller's sketchpad is his camera.

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- [Steven] Yes, that was something

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that Henri Cartier-Bresson said.
A very famous photographer.

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And

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for me, it's a similar situation
in that the camera can stop action

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and enable you to work
with it later in your studio.

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It also enables you to save a lot of time
in the initial sketching in that you can

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take a series of photographs

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and decide which one you'd like to paint

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as opposed to sitting there and
rendering sketches for days and days 

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before you come up with something
that you'd like to work with further.

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Let's talk about the 54
paintings that you did in 1979,

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you have over one hundred
pieces in private collections.

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Yes.

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How long did it take you to do

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54 paintings last year?

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Was it a very rigid schedule?

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I don't have a
specifically rigid schedule.

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I work when I can.

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When I finally get to working

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I work for as long
period as I can just about.

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I usually have to make sure that my basic

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daily affairs are taken care
of and that the house is clean.

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I work at home

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so if the house is chaos
then I can't really sit down to work.

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But usually when I do
sit down to work, I'll work 

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pretty much full-time
for three or four days

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and then take a breather
and then work again.

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Last year I was able to work so much

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because that was all I was doing
for three and a half years—

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four years I was working for the
South Carolina Arts Commission

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as an artist in residence.

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So about two-thirds of my time was spent

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teaching in the schools.


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Whereas 1979 was

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the first year that I could
devote myself fully to my painting.

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- [Cynthia] I want to talk about your
stay in South Carolina a little bit.

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We talked earlier and you told me about
the art truck and [?] things.

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Explain to the audience what
the art truck was all about.

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- [Steven] The arts truck is a
converted tractor trailer.

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Fifty-five foot long tractor trailer
that has a dark room and space

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for painting and drawing
and printmaking 

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and two potters wheels.

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And it travels to small towns

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in South Carolina, mostly
small towns in South Carolina,

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bringing artists and materials
and instruction to these towns.

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And I worked on that
truck for nine months—

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two weeks on, two weeks off,
traveling all over the state.

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And then from there,
I started working in the schools

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in a program called Project TAP,

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which is an intensive school community

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project in three counties
in the northern part of the state.

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- [Cynthia] You use opaque
watercolors to create your style.

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I want to know what that style is
and why you selected that style.

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- [Steven] My style is somewhat
like the photo realist,

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which is a very big
movement in art today.

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I first became interested through
computer vision,

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the way the computer saw

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dividing everything up
into squares.

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The opaque watercolor is a very
rich, intense, bright color,

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which I enjoy using.

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And I started using the photographs

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to help me in the actual rendering
of the subject and drawing the lines

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and stuff because, as I said,
I'm not very good at drawing. 

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With the camera

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I can stop the action
and bring it to work later.

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- [Cynthia] I want to talk
about your technique next

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and I want you to hold up a print of yours

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and explain this print and your technique.

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- [Steven] Well, this here is
a painting and it came

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from a stay in Washington, D.C.

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It had just snowed the night before,

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and I went out with my camera and took
a series of photographs.

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And here you can see both

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the accuracy of getting
the details of the buildings

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and also stopping
the action of the people walking.

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I was able to just stop the action and

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deal with the composition
the way I liked it 

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and render it as accurately as I could.

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- [Cynthia] I want to ask
you next Steven about your

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decision to paint.


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What are you going to paint?

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Like when you're getting ready
for an exhibition like the one

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at the Arts Council that
you presently have now,

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how do you decide
what you're going to hang?

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How do you do that?

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Well to a certain
extent what's available. 

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The Arts Council provided enough space
for me to hang 60 of my pictures.

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So I was able to bring
a good cross-section.

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And most of my work is mostly
still lifes and landscapes, mostly.

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I try and hang my best work

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 and also give as wide a
cross section as I can.

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- [Cynthia] I want you to now
hold up something else

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from your exhibition
and explain to us that detail.

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- [Steven] This is a scene
from California that I,

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I visited California two summers ago,

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and this was a man
working in the flower fields.

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It's different than most
in that it's long and vertical

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and kind of a different shape.

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Most of my paintings are
a little bit closer to square.

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And I was just fascinated
with the rows of colors 

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and the man working there and

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not the mountains, but the
sandy hills in the background.

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This painting has had
a very favorable response.

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A lot of people have said it reminded
them of French impressionism

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but it was actually from California.

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I want to talk next about your postcards.

[00:11:07.080] 
I read that your postcards

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are located in five continents,

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 that there are over
twenty thousand of them in print.

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So I want you to tell me why
you decided to design postcards.

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- [Steven] Well, I decided
to design postcards,

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it was kind of a lucky

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occurrence as far
as I was concerned

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for the reason of spreading
my work with a greater audience

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and a postcard was a very
easy way to do it.

[00:11:33.040] 
Also was an easy way to stay
in touch with my friends

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without having to write long letters

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because I'm not so good
at writing letters.

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And mainly just a very

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easy, direct way to spread my work

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with a wide range of people.

[00:11:47.920] 
- [Cynthia] How do you
feel about it emotionally?

[00:11:50.240] 
How do you feel inside about knowing

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the fact that you are
spreading universal love?

[00:11:55.960] 
How does that feel inside?


[00:11:57.373] 
-[Steven] Terrific. Great.

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- [Cynthia] I want you now to choose

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one of your postcards and
talk about it a little bit.

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- [Steven] Well, this one that
we see here is called

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"Richard, Joshua, and Kimberly,"

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and they're three young friends
of mine in South Carolina.

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And here is an example
of kind of the combining 

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of the photographic
and geometric technique

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because the photographs
stop the action of them running

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and then I use the ruler and pencil

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to create kind of a
mythical illusionary pattern

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of diamonds and weaving.

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This is one of my
more popular pictures.

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I think everybody relates to it
as one of their own children

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and it has a certain amount of activity
from the motion of the children running.

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Then some of the other
ones demonstrate better 

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the geometric technique.

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There are the stripes that
I used for quite a few years

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A lot of my paintings

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are from Ocracoke,
island on the Outer Banks, 

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and scenes between here and there.

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That one of the beach
there is from Ocracoke.

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Then the mugs there, and I've been
getting more into still lifes,

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and cups and saucers and
pencil cups as we saw earlier.

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- [Cynthia] What is the most important
element to you in your work?

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- [Steven] Composition is
crucially important to me because

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where the shapes and colors fit within

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the space of the painting
is very, very important.

[00:13:33.480] 
I think that's what sets
off often a good image.

[00:13:36.360] 
We have all been bombarded between
photographs and TV and everything.

[00:13:40.320] 
We've seen so many images that unless
there's something interesting about

[00:13:44.520] 
the placement of them,
then we're very likely to pass them by.

[00:13:47.640] 
Other than that I look for interesting
color patterns or subject matter—

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a child running
or something like that.

[00:13:57.040] 
We'll be right back after
this word from DTI.

[00:14:00.514] 
[music]

[00:14:10.600] 
Since 1961

[00:14:12.320] 
Durham Technical Institute has been
serving the citizens of Durham

[00:14:15.240] 
and the State of North Carolina.

[00:14:17.760] 
As a member of the North Carolina
Community College System, 

[00:14:20.114] 
Durham Tech provides educational

[00:14:21.800] 
opportunities for persons to continue
their education beyond high school.

[00:14:25.800] 
Accredited by the Southern
Association of Colleges and Schools

[00:14:29.040] 
and the North Carolina
State Board of Education, 

[00:14:31.143] 
Durham Tech is where you

[00:14:32.400] 
find quality education
at affordable costs.

[00:14:35.600] 
Durham Tech is a
comprehensive school

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with a wide range
of educational programs

[00:14:40.080] 
in allied health, business,

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industrial education,
and public service.

[00:14:45.120] 
For practical skills
or personal enrichment

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Durham Tech has a course for you.

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From learning to read
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from the detailed work
of accounting to automotive repair,

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or nursing care or fitting eyeglasses,

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Durham Tech has something for everyone.

[00:15:06.280] 
I'm Cynthia Watts

[00:15:07.360] 
and welcome back
to the Arts in Durham.

[00:15:09.571] 
My guest this evening is Steven Miller.

[00:15:11.520] 
And Steven, my next question to you
is the business side of your work.

[00:15:16.480] 
I know a lot of artists don't like
to get into business with their work.

[00:15:20.040] 
How do you feel about you
and your business and your work?

[00:15:23.080] 
Well for me it's all kind
of one big related situation.

[00:15:26.880] 
I enjoy working for myself.

[00:15:28.640] 
I enjoy making pictures.

[00:15:30.560] 
If this is how I'm going to make my living

[00:15:32.920] 
then there has to be some way for

[00:15:36.480] 
marketing them and providing enough
support to meet my needs.

[00:15:40.840] 
Before I became an artist I had a
certain degree of business training

[00:15:44.960] 
and I feel I have a fairly
gregarious personality and I'm not

[00:15:49.920] 
too nervous to talk with
people and meet people

[00:15:53.286] 
and talk about my work.

[00:15:56.800] 
All of the economic decisions
that have to be made about

[00:16:00.000] 
pricing and marketing and

[00:16:01.920] 
where to go sell your work
and who to try and sell it to

[00:16:04.843] 
and all of those things.

[00:16:07.400] 
I've been trying just to do
it on my own so far and doing ok.

[00:16:12.320] 
- [Cynthia] That's what I
want to talk about next.

[00:16:13.800] 
The entrepreneur in you.

[00:16:15.743] 
Always the entrepreneur, I read,

[00:16:18.400] 
"No one sells better than me because they
don't know my work better than I do."

[00:16:22.120] 
- [Steven] Right.

[00:16:23.840] 
How does your price range fluctuate?

[00:16:27.560] 
Now I know you've got
the $400 paintings

[00:16:29.560] 
and then you've got the
intermediate painting so that

[00:16:32.229] 
your work is versatile,

[00:16:33.960] 
that it can be shared with everyone
and even down to a postcard.

[00:16:37.240] 
I want you to now hold up that piece
of work that you have in your lap.

[00:16:41.280] 
- [Steven] This was my first
limited edition print.

[00:16:45.720] 
It's called Carolina Autumn.

[00:16:47.840] 
And I decided that after having sold

[00:16:51.320] 
fifteen thousand postcards

[00:16:53.400] 
that I wanted something
a little bit larger,

[00:16:55.560] 
physically larger, that people
could place in their homes.

[00:16:59.040] 
That would also be more
in the average price range 

[00:17:02.557] 
than an original painting.

[00:17:04.640] 
So I did a limited edition
of 250 prints of this.

[00:17:08.960] 
This is a pretty good demonstration

[00:17:10.440] 
of my earlier technique of using
just the geometric patterns.

[00:17:13.680] 
Now in my more recent work,

[00:17:16.160] 
a lot of them, pictures are rendered
without the geometric patterns.

[00:17:20.200] 
But I did this just to have something
in the intermediate price range where

[00:17:24.040] 
for $50, somebody could have a framed
picture that they like in their home.

[00:17:28.720] 
- [Cynthia] While you have that out

[00:17:29.200] 
I want you to tell me why you decided
to do a lot of geometrics with your work.

[00:17:33.520] 
I know stripes and hearts
and all these things.

[00:17:35.960] 
You spend a lot of time with great
detail on your work with those

[00:17:40.320] 
 type of geometrics.

[00:17:44.300] 
Why geometrics with your work?

[00:17:44.480] 
- [Steven] Well, I first became interested
in what I call computer vision.

[00:17:47.880] 
The way that a computer sees where

[00:17:49.520] 
everything is divided up into a square.

[00:17:51.957] 
And no square is bigger than the next,

[00:17:54.040] 
and the colors change slightly
from one to the next.

[00:17:57.720] 
From squares I got into stripes,

[00:17:59.640] 
which were quicker to paint because
a square has four corners,

[00:18:02.040] 
which in a watercolor is kind
of difficult to get to each corner.

[00:18:05.560] 
And then from the stripes I got

[00:18:07.880] 
into patchwork patterns
such as this and circles 

[00:18:10.871] 
and the hearts are fairly recent.

[00:18:13.360] 
Is it difficult for you to sell?

[00:18:17.520] 
- [Steven] Sometimes.

[00:18:18.529] 
Sometimes?

[00:18:19.429] 
- [Steven] Sometimes more than others.

[00:18:21.240] 
I, for example,
last year I did 54 paintings,

[00:18:24.680] 
I decided to keep four for myself 

[00:18:27.043] 
and the rest I am
actively trying to sell.

[00:18:29.680] 
I feel that if I can get
my work out and

[00:18:33.720] 
find clients who are pleased with it
then things will keep on rolling.

[00:18:36.960] 
And slowly the circle is expanding.

[00:18:40.920] 
Was it a difficult struggle for you
to establish yourself as an artist?

[00:18:46.520] 
- [Steven] At times, yes.
I've been fortunate

[00:18:49.000] 
in that working for the
Arts Commission for four years,

[00:18:51.480] 
it enabled me a transition period 

[00:18:53.786] 
where I could

[00:18:55.129] 
teach and make my livelihood doing
that and yet also have enough time

[00:18:59.360] 

to work on my own.

[00:19:02.880] 
But it's difficult and
frustrating sometimes, yes.

[00:19:06.080] 
And now I would like to
share with you some

[00:19:07.360] 
footage of Steven Miller's exhibition

[00:19:09.429] 
that is presently hanging in
the Durham Arts Council.

[00:19:12.029] 
[music]

[00:24:39.040] 
Steven, if you had it to do all
over again, what would you change?

[00:24:44.520] 
That's a hard question,
but probably not too much.

[00:24:48.280] 
I feel pretty good about
how things have been going.

[00:24:51.120] 
I might work a little bit harder.

[00:24:54.520] 
There are specific things and specific

[00:24:56.560] 
paintings, for example,
that I might do differently,

[00:24:58.720] 
but for the most part 

[00:25:00.643] 
I'm pleased with the way things
are going, have been going.

[00:25:03.200] 
- [Cynthia] Who has influenced
you artistically?

[00:25:05.880] 
- [Steven] I was mostly influenced by

[00:25:09.200] 
an Italian painter named Morandi.

[00:25:10.743] 
I got a lot of inspiration
for still lifes from him.

[00:25:14.360] 
German American painter
named Lyonel Feininger.

[00:25:19.960] 
My instructors in college
were of influence to me.

[00:25:24.600] 
The California realists
and using photography—

[00:25:27.680] 
Jim Dine, Ralph Goings, Chuck Close—

[00:25:31.520] 
they all have influenced me quite a bit.

[00:25:34.229] 
- [Cynthia] Coming from
New York to the South

[00:25:37.480] 
New York being the
[?]—the world of the arts,

[00:25:40.371] 
living in Norman Rockwell's town,

[00:25:42.760] 
going to the high school
where Norman Rockwell attended.

[00:25:46.120] 
How does it feel to know that from your

[00:25:48.680] 
environment grew this inspiring artist?

[00:25:51.120] 
Does it give you
an incentive in your life?

[00:25:53.760] 
- [Steven] Yeah, it's a good
feeling. It's a good feeling.

[00:25:55.800] 
He dropped out of high school
to pursue his career in painting.

[00:25:58.880] 
And his birthday is one day after mine.

[00:26:01.960] 
I exhibited a gallery in that town

[00:26:04.040] 
and it feels good.

[00:26:06.360] 
I feel certain similarities of being
an illustrator as well as an artist

[00:26:10.400] 
in terms of distributing my
work on magazine covers 

[00:26:13.778] 
and other things

[00:26:14.840] 
besides just hanging
in galleries and museums.

[00:26:17.240] 
So I feel that's a good connection.

[00:26:19.720] 
- [Cynthia] What is Steven Miller's dream?

[00:26:26.000] 
 - [Steven] I'd just like to keep on
making pictures, I believe,

[00:26:28.840] 
and be involved somewhat
in the marketing

[00:26:31.880] 
and distribution of them.

[00:26:34.186] 
But mainly I just feel like I want
to keep on making pictures. 

[00:26:36.400] 
I have a lot of ideas
that I still would like to pursue.

[00:26:40.640] 
- [Cynthia] I want you to briefly
tell me some of the awards

[00:26:42.800] 
you've received in your
career as an artist.

[00:26:45.520] 
I know you've had something
illustrated in The New York Times

[00:26:48.840] 
and I want to know about all
the awards that you have received.

[00:26:52.680] 
Well last year, 1979,

[00:26:54.920] 
I won three first prizes
in three separate shows.

[00:26:58.480] 
I was also accepted in five other
juried shows, including one national show.

[00:27:05.440] 
I had some work placed in magazines.

[00:27:08.243] 
I've won an award in a Texas show

[00:27:10.520] 
and a few awards in North Carolina
and South Carolina shows.

[00:27:17.560] 
This past year, I won second
prize for color photography

[00:27:20.600] 
in South Carolina State Fair Show.

[00:27:22.400] 
Which was a surprise because
I got no credit for my paintings

[00:27:24.600] 
but I won an award for my photograph.

[00:27:29.080] 
- [Cynthia] I want to thank you
for joining me this evening 

[00:27:32.800] 
on the Arts in Durham.

[00:27:34.560] 
And now this word from DTI.

[00:27:40.520] 
Become a craftsman by
earning and learning

[00:27:42.560] 
through an apprenticeship program
at Durham Technical Institute.

[00:27:45.600] 
The apprenticeship
program coordinates

[00:27:47.240] 
on the job training
with classroom instruction 

[00:27:49.400] 
to produce a skilled craftsman.

[00:27:51.440] 
The apprentice
learns job skills during

[00:27:53.280] 
the workday and attends
class two evenings a week.

[00:27:56.320] 
Apprenticeship programs
are available for machinists, 

[00:27:59.014] 
electricians, electronics technicians,

[00:28:01.240] 
maintenance mechanics,
and automotive mechanics.

[00:28:04.160] 
For more information, 

[00:28:05.543] 
contact Durham Tech's
apprenticeship office

[00:28:07.200] 
at 596-9311.

[00:28:14.760] 
I'm Cynthia Watts and welcome
back to the Arts in Durham.

[00:28:17.800] 
I want to thank you for joining me.

[00:28:19.840] 
I want you to support our local artists.

[00:28:22.160] 
I invite you to come
to the Durham Arts Council

[00:28:25.000] 
and see Steven Miller's
wonderful works of art,

[00:28:27.671] 
share his creative mind.

[00:28:29.960] 
Join me next week and have a good night.

[00:28:33.157] 
[music]

[00:29:47.400] 
The preceding program
has been produced

[00:29:49.280] 
by Community Video Services
of Durham Technical Institute.

[00:29:53.100] 
[music]