Charles Atlas is a filmmaker and video artist who has created numerous works for stage, screen, museum, and television. Atlas is a pioneer in the development of media-dance, a genre in which original performance work is created directly for the camera. Many of Atlas’s works have been collaborations with choreographers, dancers, and performers, including Yvonne Rainer, Michael Clark, Douglas Dunn, Marina Abramovic, Diamanda Galas, John Kelly, and Leigh Bowery. Atlas acted as Consulting Director for “Art in the Twenty-First Century” (Seasons 2 through 5), creating the original opening programs for each hour-long segment of Season 2, as well as supervising the “Stories,” “Loss and Desire,” “Memory,” “Play,” “Protest,” and “Paradox” episodes.

Martin Puryear’s objects and public installations—in wood, stone, tar, wire, and various metals—are a marriage of minimalist logic with traditional ways of making. Puryear’s evocative, dreamlike explorations in abstract forms retain vestigial elements of utility from everyday objects found in the world. In the massive stone piece, Untitled, Puryear enlisted a local stonemason to help him construct a building-like structure on a ranch in northern California. On one side of the work is an eighteen-foot-high wall—on the other side, an inexplicable stone bulge. A favorite form that occurs in Puryear’s work, the thick-looking stone bulge is surprisingly hollow, coloring the otherwise sturdy shape with qualities of uncertainty, emptiness, and loss.

Paul Pfeiffer’s groundbreaking work in video, sculpture, and photography uses recent computer technologies to dissect the role that mass media plays in shaping consciousness. In a series of video works focused on professional sports—including basketball, boxing, and hockey—Pfeiffer digitally removes the bodies of the players from the games, shifting the viewer’s focus to the spectators, sports equipment, or trophies won. Presented on small LCD screens and often looped, these intimate and idealized video works are meditations on faith, desire, and a contemporary culture obsessed with celebrity. Many of Pfeiffer’s works invite viewers to exercise their imaginations or project their own fears and obsessions onto the art object.

Tim Hawkinson is renowned for creating complex sculptural systems through surprisingly simple means. His installation, Überorgan—a stadium-size, fully automated bagpipe—was pieced together from bits of electrical hardware and several miles of inflated plastic sheeting. The source of inspiration for many of Hawkinson’s pieces has been the re-imagining of his own body, and what it means to make a self-portrait of this new or fictionalized body. In 1997, the artist created an exacting, two-inch-tall skeleton of a bird from his own fingernail parings; believable even at a close distance, this work reveals Hawkinson’s attention to detail as well as his obsession with life, death, and the passage of time.

Vija Celmins received international attention early on for her renditions of natural scenes—often copied from photographs that lack a point of reference, horizon, or discernable depth of field. Armed with a nuanced palette of blacks and grays, Celmins renders these limitless spaces—seascapes, night skies, and the barren desert floor—with an uncanny accuracy, working for months on a single image. Celmins has a highly attuned sense for organic detail and the elegance of imperfection. A master of several mediums, including oil painting, charcoal, and multiple printmaking processes, Celmins matches a tangible sense of space with sensuous detail in each work.