[CLOSED CAPTIONING HAS BEEN PROVIDED BY CARDI'S FURNITURE AND MATTRESSES] ♪ >> THAT STORM KEY WE TRY TO GIVE EACH A SCULPTURE PLENTY OF SPACE SO PEOPLE HAVE A CHANCE TO WALK AROUND AND OBSERVE AT LONG-DISTANCE AND CLOSE UP.

THE POND WHERE THE MERMAID IS SEEMED LIKE A NATURAL PLACE TO PUT IT.

YOU COULD OBSERVE IT 360 DEGREES.

IT IS AN IMPORTANT PART OF OUR COLLECTION.

♪ >> EVERY TIME I COME UP I JUST HAVE TO STOP AND STARE.

THE STRENGTH OF HER FACE WITH THE FLOWING HAIR IS JUST A BEAUTIFUL WOMAN.

IT IS INCREDIBLE.

>> AMAZING.

I LOVE THAT GIRL.

>> AT 31, KEVIN IS AN OLYMPIC SILVER MEDALIST, LEAVING A NONPROFIT -- LEADING A NONPROFIT.

20 YEARS AFTER HIS SAILING CAREER ENDED, HE BRINGS FORTH AN AMBITIOUS PLAN.

TO CELEBRATE THE CREATIVE PROCESS AND CEMENT HIS LEGACY.

>> THE BOAT LOOKS A LOT BIGGER OFF THE BOAT THAN IT DID BEING ON IT.

I AM AMAZED WHEN I COME HERE HOW IMPRESSIVE IT IS.

>> PEOPLE ARE REALLY CAUGHT OFF GUARD WHEN THEY ARE WALKING BY THE MERMAID AND IT STARTLED SEEING A BOAT SITTING ON AN ISLAND.

>> ESPECIALLY A MERMAID THAT RACED FOR THE EAOLDEST TROPHY IN INTERNATIONAL SPORT AND REPRESENTED THE UNITED STATES OF AMERICA.

♪ >> I WAS ASTOUNDED TO SEE IN THE FLESH WHAT WE HAD BEEN DREAMING ABOUT ALL THIS TIME.

THIS CAME ABOUT WHEN I WENT TO VISIT A FRIEND OF MINE.

WE WERE TALKING ABOUT WHAT IT WOULD TAKE TO HAVE THIS BOAT BE REALLY SPECIAL.

WE HAD A LOT OF DIFFERENT IDEAS.

HE SAID IT IS SIMPLE, YOU HAVE TO HAVE A GREAT ARTIST DO IT.

WHY WOULD ANYBODY BE INTERESTED IN DOING A SAILBOAT?

>> HE SAID RAY LICHTENSTEIN MIGHT.

>> I KNEW HE WOULDN'T THINK IT WAS CRAZY.

HE LOVED IT.

>> ROY WAS UNBELIEVABLY MODEST.

HE SAID I DON'T KNOW IF I HAVE A GOOD IDEA, IF YOU DON'T LIKE WHAT I AM DOING, DON'T DO IT.

I WOULD LIKE TO TRY SOMETHING.

>> WE WERE REALLY IN TUNE WITH THIS AND TALKED ABOUT THE POSSIBLE THEMES.

[LAUGHTER] >> WE BOTH FELT IT HAD TO BE SOMETHING WATER.

IF WE TAKE ONE DOWN.

LET'S JUST SEE.

>> WE CERTAINLY WERE ON THE SAME PAGE.

>> THE MODEL WAS SENT TO US.

WE WERE TOLD IT WOULD NOT BE EXACTLY THE SAME AS THE REAL BOAT BECAUSE THEY WANTED TO KEEP THE REAL BOAT A SECRET.

WHICH WE THOUGHT WAS AMUSING.

>> WHEN A TOP-SECRET SCALE MODEL LANDS IN GREENWICH VILLAGE, HE IS ALREADY IN HIS SECOND DECADE AS AN ASSISTANT TO ROY LICHTENSTEIN.

>> THE THREE-DIMENSIONAL FORM WAS DETERMINED BY THE BOAT.

ROY HAD DONE A DRAWING OF WHAT DESIGN HE WANTED TO PUT ON THE BOAT.

I HAD TAKEN A SLIDE OF THAT.

WE TOOK THE MODEL AND PROJECTED THE SLIDE OF THE DRAWING ON THE BOAT.

>> I REALIZE THE BOAT WAS SORT OF -- >> IS THE QUESTION OF GETTING THIS LINE TO COINCIDE.

>> I WANT TO MAKE SURE THE WHOLE FACE IS IN IT.

>> GET IT UP A LITTLE HIGHER SO I CAN GET SOME MORE CHIN.

COULD YOU JUST PUSH IT THAT WAY SO THE CHIN IS MORE AT THE END?

MAYBE UP HIGHER.

THAT IS GOOD THAT WAY.

I DON'T WANT IT TO TOUCH THE EDGE.

ROY THEN TRACED THE DESIGN ONTO THE BOAT ITSELF.

>> IS THE FACE IN THE RIGHT PLACE?

>> IT COULD GO FURTHER TO THE RIGHT.

>> IT WAS A FAIRLY SHORT PROCESS.

HE WAS VERY LOOSE IN HOW HE TRANSLATED THE DRAWING.

MOSTLY GETTING ELEMENTS IN THE RIGHT POSITION.

THERE ARE A LOT OF TIMES HE WOULD GO WITH QUARTER INCH BLACK TAPE.

♪ >> YOU WANT TO GO UP HIGHER?

>> JUST GO DOWN THIS FAR.

WHEN THEY DO THE OTHER SIDE THEY WILL HAVE TO DO IT RIGHT THERE.

IT WILL BE SYMMETRICAL.

>> I THOUGHT THIS WAS A GREAT DESIGN.

IT LOOKS KIND OF FUNNY THE WAY YOU SEE IT HERE.

THE BOTTOM HAS BEEN EXTENDED DOWN SO HE COULD DRAW IT OUT.

ROY HAD THAT FIGURED OUT.

HE KNEW HOW MUCH AREA HE HAD TO COVER.

HE MADE THE DESIGN SO IT WOULD WRAP AROUND THE BOTTOM.

>> THE USUAL STAGE WAS TO DO A DRAWING AND COLLAGE.

IN THIS CASE, THE MODEL WAS BASICALLY THE COLLAGE.

>> IT IS COMING ALONG.

I ASSUME THE TWO IMAGES WERE GOING TO MATCH UP.

AS WE TRIM THE BOAT AND ALL OF THAT.

IT WAS NOT VERY DIFFICULT TO PUT THEM TOGETHER.

>> QUOTING THE PRINCIPAL DIRECTORS, A LICHTENSTEIN RETROSPECTIVE.

UNTIL HIS DEATH IN 1997 AT THE AGE OF 73, ROY LICHTENSTEIN REMAINED A CREATIVE FORCE DEDICATED TO THE STUDIO, PREPARING CANVASES, ALWAYS ENDING THE NEXT GREAT SERIES -- PLANNING THE NEXT GREAT SERIES.

WHAT REMAINS IS AN EXTRAORDINARY BODY OF WORK.

FOR US TO CONTEMPLATE, STUDY, AND ENJOY.

>> UPTOWN FROM THE STUDIO, HIS HALL, METICULOUSLY PAINTED BY SOME OF THE PREMIER MODEL MAKERS IS READY TO BE REVEALED.

>> THE CRAFTSMAN CAREFULLY UNMASK THE MODEL.

HE SPIED PEACE -- PIECE BY PIECE.

>> THIS IS GOING TO TAKE ANOTHER HOUR, I WOULD SAY, RIGHT?

NICE AND SLOW.

>> LICHTENSTEIN'S CREATIVE PROCESS BEGAN WITH A PRIVATE STUDY HE PENCILED ONTO PAPER.

>> DID YOU KNOW ROY HAD DONE AN ORIGINAL PIECE NOBODY HAD EVER SEEN UNTIL IT WAS IN HIS RETROSPECTIVE?

>> WHEN WAS THAT DONE?

>> THAT WAS DONE IN 1993-1994 WHEN HE WAS APPROACHED ABOUT DOING THIS.

YOU COULD SEE WHERE THE MASKING TAPE WAS ON THE ORIGINAL SKE TCH.

THE GREAT THING ABOUT IT IS IF YOU GET UP CLOSE AND LOOK, YOU COULD SEE THE FACE OF THE MERMAID.

JUST IN LIGHT GRAPHITE.

THAT WAS A PRACTICE ANGLE.

HE COMES DOWN AND DOES IT A LITTLE BIT DIFFERENT ON THE ACTUAL BOAT AND ENDS UP WITH THAT ANGLE.

THAT WAS SO IMPORTANT TO ROY THAT HE KEPT THE ORIGINAL PIECE HIMSELF.

HE DID FOUR PRODUCTION PIECES OF THE SPINNER CURVE, BOAT, A MODEL OF THE BOAT, AND HE DID A SCALE MODEL OF THE SPINNER CURVE.

THAT ALL WENT TO AN ART MUSEUM IN JAPAN.

>> FOR MOST OF THE WORLD, LICHTENSTEIN WAS BORN AT THE GALLERY IN 1962.

AT AN EXHIBITION THAT DUMBFOUNDED WITH HORROR OR DELIGHT, EVERYBODY WHO SOUGHT.

-- SAW IT.

♪ >> ROY LICHTENSTEIN'S FIRST SERIES IS SHOWN AT THE GALLERY.

♪ HIS YOUNG AMERICA COLLECTION IS A SIDESHOW.

>> IT WAS MY FIRST TIME ATTENDING AN OPENING AT THE I GUESS I REMEMBER THE INVITATION CARD FOR SOME REASON.

I STILL HAVE IT AT HOME.

THIS WAS THE OPENING OF THE EXHIBITION OF THE NUDE PAINTINGS.

THERE WAS THIS FAMILY -- I BELIEVE IT WAS AN ACCIDENT.

I DON'T THINK THERE WAS REGULATION.

>> IN ART HISTORY, ARTISTS HAVE DONE ALL KINDS OF THINGS.

WHY NOT A BOAT?

I THINK IT IS VERY SUCCESSFUL.

HE IS A FAN TO DO A DESIGN THAT IS APPORPRIATE TO A BOAT.

>> WE MET AT THE TIME IN WHICH NONE OF THEM WERE CELEBRITIES.

THEY GREW INTO SOMETHING TOGETHER.

GOING FROM BEING A DEALER WHO HAD JUST OPENED THE GALLERY AFTER DOING NOT MUCH IN HIS LIFE.

AND AN ARTIST WHO JUST BECAME LEGENDS IN THEIR FIELD.

SOMETHING WAS BINDING THAT IN A SPECIAL, UNIQUE WAY.

>> IF YOU USUALLY GET SOME KIND OF AN IDEA YOU COULD ELABORATE.

THERE WAS SOMETHING LIKE THAT.

>> EXACTLY.

♪ >> THE CONTOURS OF THE FULL-SIZED HALL ARE COVERED BY LICHTENSTEIN'S MERMAID DESIGN.

>> YOU HAVE TO GO A LITTLE SLOWER GUYS.

>> WE ARE GOOD.

>> MEANWHILE, AWAITING THE MERMAID'S PACIFIC ARRIVAL, THE YOUNG TEAM PUSHES THE LIMIT OF THEIR ONLY PRACTICE BOAT DURING A HIGH STAKE OF NERVES.

>> $6 MILLION WORTH OF BOTH GOING AT EACH OTHER AT 20 MILES PER HOUR, IT IS DEFINITELY NERVE-RACKING.

THE MORE WE DO IT, THE LESS NERVOUS WE WILL BE.

>> TEMPTING FATE, THEY DELIBERATELY GO ON A COLLISION COURSE WITH THE FRENCH TEAM.

>> YOU COULD TURN INSIDE OF THEM.

JESUS CHRIST.

MAJOR COLLISION.

>> WE ARE TAKING ON WATER.

>> GIVE ME A BREAK.

>> TO MAXIMIZE SECRECY, THE TRANSCONTINENTAL TRIP MUST END IN DARK.

>> HER PREDAWN ARRIVAL TRIGGERS A ROUND-THE-CLOCK RACE THAT WILL ALLOW THE MERMAID TO CATCH THE WIND.

>> PARALLEL THAT WAY.

>> BEFORE THE MERMAID'S RIGGING CAN BE COMPLETED, MOTHER NATURE ROCKS OR CRADLE.

>> A NUMBER OF TREES WERE NO MATCH FOR THE WIND.

THIS CAR WAS GOING NOWHERE.

A NIGHT TO STAY INSIDE AND WATCH FOR FALLING TREES.

>> IT IS UNBELIEVABLE WHAT A TORNADO CAN DO.

THE BOAT HERSELF WAS BOWED DOWN WITH ALL OF THIS WRECKAGE.

>> WE HAD A BATTLE WITH MOTHER NATURE ON LAND.

>> THE MERMAID IS BADLY SCARRED BUT HER CHRISTENING CANNOT BE POSTPONED.

>> I CHRISTEN THE YOUNG AMERICA.

>> IT IS A SHAME THAT THE TORNADO HIT.

>> ROY LICHTENSTEIN DEPARTS BEFORE THE WHOLE CAN BE RESTORED.

DURING A PHOTO OPPORTUNITY, IT IS THEREFORE THE FIRST AND ONLY TIME.

THE GIANT RACE BUILT STRICTLY FOR SHOW.

>> THEY RAISE THE MERMAID FOR 24 VICTORIES IN 36 RACES.

BY FAR THE BEST RECORD AMONG THE AMERICAN RIVALS.

A SUDDEN AND CONTROVERSIAL SERIES OF RULE CHANGES AND RESULT DEPRIVES THEM OF THE CHANCE TO DEFEND THE AMERICA'S CUP FOR THE UNITED STATES.

INSTEAD, TEAM DENNIS CONNOR WILL BE DEFENDING AGAINST THE FAVORITE, TEAM NEW ZEALAND.

NOT BEFORE ASKING TO BORROW THE BOAT SINCE IT'S SPEED IS THE BEST WEAPON TO DEFEND THE AMERICA'S CUP.

>> WE WILL HELP DO WHAT IS BEST FOR OUR COUNTRY AND DO THE SPORTSMANLIKE THING.

WHATEVER THEY ASK US, WE WILL DO OUR BEST.

>> HE WALKS OFF THE MERMAID FOR THE LAST TIME AND DOESN'T LOOK BACK FOR ANOTHER 20 YEARS.

>> IT SEEMS SO STRANGE.

TO SEE HER PEACEFULLY OUT THERE, STILL PROUD, THOSE RED LIPS, SEXY.

I WENT OUT TO ROY'S SHOW IN THE HAMPTON'S LAST YEAR.

HE HAD WON A SPECIFIC PIECE OF ART, A MOTORIZED SCULPTURE.

YOU COULD SEE HE UNDERSTOOD HOW BOATS MOVE AND HOW WAVES WORK.

>> THE GUILDHALL EXHIBITION IS TITLED "ROY LICHTENSTEIN: BETWEEN SEA AND SKY."

THE LAND AND SEASCAPES DO NOT INSPIRE TO STIMULATE.

THEY FUNCTION AS PHENOMENON.

THE PLAYGROUND WE ARE SEEING AND KNOWING COLLIDE.

THE PLACE WERE LICHTENSTEIN SITUATED HIS PRACTICE.

HIS LAND AND SEASCAPES ARE AN EXCUSE FOR THE EYES HAVING FAR MORE TO DO WITH THE PSYCHOLOGY OF SITE THEN WITH SEEING.

VIEWING THIS COLLECTION OF LICHTENSTEIN SEASCAPES EMBOLDENS HIM TO COME TO ANOTHER LICHTENSTEIN SHOW, OF HIS OWN.

>> I LOVE THE PROCESS OF ART.

YOU ARE GOING FROM ONE STEP TO THE NEXT STEP TO THE NEXT STEP.

FOR SOMEBODY TO SEE ALL OF IT PUT TOGETHER, YOU HAVE A GREATER APPRECIATION.

>> FIRST, MAHENNY CONVINCES JAPANESE OWNER TO LOAN OUT THE PIECES THAT DEBUTED AT THE CASTELLI GALLERY IN 1994.

>> I WOULD REALLY LIKE TO GET ALL THE ART TOGETHER SO YOU CAN SEE THE PROCESS.

>>'S VISION IS TO CREATE AN EXHIBITION THAT TRACES THE TRAJECTORY OF THE ENTIRE MERMAID COLLECTION.

>> IT IS THE IDEA OF HAVING THE FULL WORKS THAT ALLOWS YOU TO UNDERSTAND HOW THE ARTIST HAS BEEN WORKING.

I NEVER SPOKE WITH ROY ABOUT THIS BUT I SPOKE WITH OTHER ARTISTS.

THE THING THAT ALWAYS COMES UP FOR DISCUSSION IS HOW MUCH THEY WOULD ALL LOVE TO SEE, COLLECT OR TO OWN A GROUP OF WORKS THAT AREE ALL RELATED.

>> IT WOULD BE MEANINGFUL TO SEE THE DEVELOPMENT OF AN ARTIST'S WORK.

THAT IS ALWAYS A PRIVILEGE AND RARITY.

♪ >> THE FATE OF THE MERMAID EXHIBITION RESTS ON STORM KING'S WILLINGNESS TO RELEASE ITS MAIN ATTRACTION.

AN IRREPLACEABLE ICON FLOATS ABOVE THE ICE.

FOR SEVERAL PRECARIOUS MINUTES.

>> THIS IS A REMARKABLE FEAT WITH THIS WINTER WEATHER WE HAVE.

SNOW ON THE GROUND AND HIGH WINDS.

>> SO FAR, THE MERMAID IS SAFELY ON THE ROAD TO HER NEXT DESTINATION.

>> IT IS DEFINITELY A SIGH OF RELIEF.

>> INSIDE THE MIDDLEBURY COLLEGE MUSEUM OF ART, JAPANESE CURATORS INSPECTED THE PIECE IS THE OSAKA MUSEUM IS A SHARING.

>> ALL ARRIVED INTACT.

SOON, SO DOES THE MERMAID.

♪ >> UNLIKE HER ISLANDS SETTING AT STORM KING, THE MIDDLEBURY MUSEUM MOUNTS THE MERMAID ON A CONCRETE SLAB THAT WILL SOON BE SUBMERGED.

ONCE THE WATER RISES SHE WILL FLOAT 18 INCHES ABOVE THE SURFACE.

THIS PLACEMENT WILL EXPOSE EVERY SQUARE INCH TO REFLECTIONS OFF THE POND.

MUCH AS LICHTENSTEIN INTENDED.

THE MIDDLEBURY MUSEUM IS ONE COMPONENT OF THE COLLEGE ART CENTER THAT IS NAMED AFTER ONE OF THE DISTINGUISHED ALUMNI.

>> LET ME FORMALLY WELCOME YOU ALL TO MIDDLE BURY.

I AM THE DIRECTOR OF THE MUSEUM.

WE ARE THRILLED TO HAVE YOU HERE.

WE TALK ABOUT RINGING THE BOAT TO MIDDLE BARRY -- MIDDLEBURY, WE LIKE TO TALK ABOUT HOW THE COMMISSION CAME ABOUT AND WHY IT WAS OF INTEREST TO ROY LICHTENSTEIN.

>> I FIRST WANT TO THANK THE COLLEGE AND RICHARD FOR HAVING US -- ME AND THE BOAT.

WE HAVE A LONG HISTORY TOGETHER.

>> WHAT DID IT MEAN TO YOU TO HAVE SOMEONE SO RENOWNED DOING IT?

>> I HAVE PERSPECTIVE NOW.

DURING THAT TIME PERIOD I WAS MORE INTERESTED IN THE WINNING AND LOSING.

ROY TAKING ON THIS COMMISSION WAS A BIT COURAGEOUS.

GETTING IT RIGHT AND SEEING IT OUT THERE, IT WAS NOT AN EASY TASK FOR HIM TO DO.

>> IT IS PRETTY COMPLEX.

YOU CANNOT JUST PUT A DRAWING ON A BOAT.

>> YOU SEE THE PICTURES OF ROY DOING THAT.

THE FACT THAT HE CAN UNDERSTAND IT AND HOW IT ENDED UP WORKING.

>> THE SKIPPER SALUTES THE ARTIST AND HIS WIFE, DOROTHY.

20 YEARS LATER, KEVIN MAHENNY'S EXHIBITION BECOMES A SPECIAL TRIBUTE TO THE CREATIVE PROCESS OF A ROILING STEIN -- ROY LICHTENSTEIN.

>> FOR THEM TO SEE THE SKETCH ALL THE WAY THROUGH, I THINK THERE IS A GREAT APPRECIATION THAT THIS HAS BEEN A HIDDEN GEM OF ROY'S WORK.

TO SEE THE VIBRANCY OF THE ART, WATCHING HIM ACTUALLY DOING THE WORK IS INCREDIBLE.

IT HAS BEEN WORTH ALL THE EFFORT.

PRETTY AMAZING.

>> YOU GET THIS LITTLE IDEA FROM PICTURES.

IT IS PRETTY EXTRAORDINARY.

♪