https://art21.org/watch/art-in-the-twenty-first-century/s9/season-9-of-art21-art-in-the-twenty-first-century-2018-trailer/ Season 9 of Art21 “Art in the Twenty-First Century” (2018) (TRAILER) https:i.vimeocdn.com/video/697948210_1280x720.jpg Trailer for Season 9 (2018) of the Peabody Award-winning Art in the Twenty-First Century television series. The season is presented in three parts and reveals the stories of twelve innovators in visual art—and, in a series first, a nonprofit art center—including: Creative Growth Art Center, Nathalie Djurberg & Hans Berg, Olafur Eliasson, David Goldblatt, Katy Grannan, Nicholas Hlobo, Hiwa K, Lynn Hershman Leeson, Zanele Muholi, Susan Philipsz, Robin Rhode, and Stephanie Syjuco. Season 9 premieres September 21, 2018 on PBS (check local listings). Full episodes and segments can be streamed from Art21.org, PBS.org, and through PBS streaming platforms following each episode's broadcast premiere. Now in its ninth season, Art in the Twenty-First Century is the longest-running contemporary art series anywhere, providing unprecedented access to the greatest creative minds of our time. Continuing the thematic focus introduced in previous season of the series, the new season draws upon artists' relationships with the places in which they work: Berlin, Germany; Johannesburg, South Africa; and the San Francisco Bay Area, California, USA. Watch as eleven artists and one nonprofit art center make art, talk about it, and wrestle with complicated histories, conceptions of gender, and the implications of technology, migration, and more. https://player.vimeo.com/video/267428108?portrait=0 82 2018-05-02 yes no https://art21.org/watch/specials/valeska-soares-material-immaterial-short/ Valeska Soares: Material / Immaterial (SHORT) https:i.vimeocdn.com/video/698273009_1280x720.jpg In her Clinton Hill, Brooklyn studio, Valeska Soares reflects on the transitional nature of her work, which isn’t confined to a single style or medium. https://player.vimeo.com/video/267692037?portrait=0 402 2018-05-02 yes no https://art21.org/watch/specials/a-tribute-to-susan-sollins-remembering-the-late-founder-of-art21/ A Tribute to Susan Sollins: Remembering the Late Founder of Art21 https:i.vimeocdn.com/video/698644413_1280x720.jpg Susan Sollins founded Art21 in 1997, leading the organization through seventeen years of innovation in art programming—including the first seven seasons of the Peabody Award-winning Art in the Twenty-First Century television series. Sollins passed away in October 2014. "Susan Sollins was an innovator in every sense of the word, who provided the public with unparalleled access to contemporary artists and their practices through her founding of Art21," said Agnes Gund, longtime supporter of Art21 and close contemporary of Sollins. "By showcasing artistic contributions in a filmic series, Art21 paved the way for broad education and accessibility into the world of contemporary art." "This whole endeavor is about falling in love with art and artists," recalled Sollins about her founding of Art21. "That's been a part of my life, always." Susan Sollins has been well known in the field of contemporary art for more than 30 years for her innovations in public programming and museum education, and as a curator. In addition to her work for many art institutions as a curator and consultant, Sollins was the co-founder and Executive Director Emerita of Independent Curators International (ICI), a nonprofit organization that develops, organizes, and circulates traveling exhibitions of contemporary art presenting a broad range of recent trends and aesthetic concerns to viewers nationwide and abroad. During her 21-year tenure, ICI’s 75 exhibitions featuring more than 1,700 artists were seen at more than 360 institutions and alternative spaces in the US, Europe, Canada, and Mexico. This film was produced for the occasion of Art21's 21st Birthday Gala. https://player.vimeo.com/video/267986508?portrait=0 278 2018-05-01 yes no https://art21.org/watch/extended-play/jack-whitten-an-artists-life-short/ Jack Whitten: An Artist’s Life (SHORT) https:i.vimeocdn.com/video/688789545_1280x720.jpg Renowned abstract painter Jack Whitten discusses the personal philosophies that drove his work over the course of nearly six decades, chronicling his development as an artist and his relentless innovation in painting. "I can build anything I want to build," said the artist. "It's all about the materiality of the paint." Filmed at work on what would become his final painting, Whitten spent his life pushing abstraction into new territories. He passed away shortly after this interview. His earliest work combined figuration and abstraction; but, in the late 1960s, Whitten switched from oil to acrylic to focus on the material nature of paint rather than the image it conveyed. He built a tool called the "developer" and used it to create paintings that existed as a single line—"one gesture, three seconds." These "slab" paintings led Whitten to his next artistic development: a new kind of tesserae (a material used in the construction of mosaics) made by cutting cubes of color from large slabs of acrylic paint. Whitten's experiences growing up in the South during the height of segregation, as well as his participation in the civil rights movement, informed his lifetime of work. His Black Monoliths, a series of abstracted tributes, memorialize important Black figures such as James Baldwin and Barbara Jordan. "I find that with each one, I have to locate the essence of that person," said the artist. "That person becomes a symbol and I build that into the paint." Now a symbol himself, Whitten was one of the most influential abstract artists of his generation. The painting filmed in progress, Quantum Wall, VIII (For Arshile Gorky, My First Love In Painting), is on view as part of a special presentation in memory of the artist at Hauser & Wirth New York through March 31, 2018. https://player.vimeo.com/video/260137875?portrait=0 559 2018-03-21 yes no https://art21.org/watch/new-york-close-up/abigail-deville-listens-to-history/ Abigail DeVille Listens to History https:art21.org/wp-content/uploads/2018/03/deville-history-still-000-001-1400x788.jpg Through her immersive performances and installation works, Abigail DeVille celebrates the bravery and optimism—while also memorializing the suffering—embedded within the African American experience. https://player.vimeo.com/video/258669128?portrait=0 491 2018-03-07 yes no https://art21.org/watch/new-york-close-up/doreen-garner-sculpts-our-trauma/ Doreen Garner Sculpts Our Trauma https:art21.org/wp-content/uploads/2018/02/garner-sculpts-still-xx-003-1400x788.jpg With an ambitious exhibition and performance project at Pioneer Works in Brooklyn, artist Doreen Garner forces audiences to face the profound racism underlying the life and work of Dr. J. Marion Sims. https://player.vimeo.com/video/255917649?portrait=0 458 2018-02-21 yes no https://art21.org/watch/new-york-close-up/raul-de-nieves-colin-self-harmonize/ Raúl de Nieves & Colin Self Harmonize https:art21.org/wp-content/uploads/2018/02/rdncs-harmonize-thumbnail-04-no-title-1400x788.jpg Artists Raúl de Nieves and Colin Self collaborate in the creation of their chamber opera, The Fool, staged in February 2017 at Chelsea’s renowned arts space, The Kitchen. https://player.vimeo.com/video/254315886?portrait=0 366 2018-02-07 yes no https://art21.org/watch/extended-play/barbara-kruger-part-of-the-discourse-short/ Barbara Kruger: Part of the Discourse (SHORT) https:i.vimeocdn.com/video/677950583_1280x720.jpg While sharing her earliest influences and what led her to become an artist, Barbara Kruger explains the origins of her 2017 Performa commission, Untitled (Skate), a site-specific installation at Coleman Skatepark in New York City’s Lower East Side. https://player.vimeo.com/video/251554740?portrait=0 436 2018-01-24 yes no https://art21.org/watch/new-york-close-up/jordan-casteel-stays-in-the-moment/ Jordan Casteel Stays in the Moment https:art21.org/wp-content/uploads/2017/11/casteel-moment-still-104-1400x788.jpg Artist Jordan Casteel reflects on the complex dynamic between herself and her subjects while adjusting to the recent commercial success of her paintings. https://player.vimeo.com/video/243134369?portrait=0 439 2017-11-17 yes no https://art21.org/watch/extended-play/tala-madani-sketchbooks-short/ Tala Madani: Sketchbooks (SHORT) https:i.vimeocdn.com/video/664335940_640x360.jpg In her Los Angeles studio, Tala Madani shares the crucial role that sketchbooks play in her painting practice. https://player.vimeo.com/video/240907607?portrait=0 241 2017-11-03 yes no https://art21.org/watch/new-york-close-up/jamian-juliano-villani-gets-to-work/ Jamian Juliano-Villani Gets to Work https:art21.org/wp-content/uploads/2017/10/JJV3ThumbClean-1400x788.jpg Under near constant deadlines for the last four years, painter Jamian Juliano-Villani grapples with the demands of consistently producing new and better work. https://player.vimeo.com/video/236987531?portrait=0 368 2017-10-06 yes no https://art21.org/watch/extended-play/julie-mehretu-politicized-landscapes-short/ Julie Mehretu: Politicized Landscapes (SHORT) https:art21.org/wp-content/uploads/2017/09/mehretu-politicized-still-128-1400x788.jpg Shown working on two site-specific paintings for the San Francisco Museum of Modern Art (SFMOMA), Julie Mehretu recontextualizes the history of American landscape painting by merging its sublime imagery with the harsh realities not depicted. “What does it mean to paint a landscape and be an artist in this political moment?” she asks from the decommissioned Harlem church used as her studio for the project. https://player.vimeo.com/video/232870215?portrait=0 583 2017-09-13 yes no https://art21.org/watch/extended-play/chris-ware-someone-im-not-short/ Chris Ware: Someone I’m Not (SHORT) https:i.vimeocdn.com/video/647640867_1280x720.jpg From his home and studio in Oak Park, Illinois, artist Chris Ware shares motivations and challenges for telling stories from the perspectives of others in his work. https://player.vimeo.com/video/227752215?portrait=0 227 2017-08-04 yes no https://art21.org/watch/extended-play/liz-larner-distorting-form-with-color-short/ Liz Larner: Distorting Form with Color (SHORT) https:i.vimeocdn.com/video/646890633_1280x720.jpg Strolling through the Los Angeles County Museum of Art, Liz Larner discusses her interest in separating color from form in her sculptural work. https://player.vimeo.com/video/227132775?portrait=0 191 2017-07-28 yes no https://art21.org/watch/new-york-close-up/caroline-woolards-floating-possibility/ Caroline Woolard’s Floating Possibility https:art21.org/wp-content/uploads/2017/07/woolard-floating-still-000-037-1400x788.jpg Artist Caroline Woolard and a group of collaborators embark on Carried on Both Sides, a research-based sculptural project that reimagines the past and future of a once ubiquitous object, the Roman amphora. https://player.vimeo.com/video/226213482?portrait=0 433 2017-07-21 yes no https://art21.org/watch/new-york-close-up/aki-sasamoto-is-feeling-stretched/ Aki Sasamoto is Feeling Stretched https:art21.org/wp-content/uploads/2017/07/sasamoto-stretched-still-248-1400x788.jpg Installation and performance artist Aki Sasamoto unwinds the logic of her latest work, Yield Point (2017), finding unexpected connections between the tension of stretched materials and the stresses we experience in everyday life. https://player.vimeo.com/video/224990033?portrait=0 422 2017-07-14 yes no https://art21.org/watch/extended-play/stan-douglas-channeling-miles-davis-short/ Stan Douglas: Channeling Miles Davis (SHORT) https:i.vimeocdn.com/video/643626862_1280x720.jpg Stan Douglas picks up where Miles Davis left off by creating the epic six-hour video Luanda-Kinshasa (2013). Inspired by his experience making pause button mixtapes in the early 1980s, Douglas imagined a recording that combined elements of Davis’s last studio album On the Corner with Manu Dibango-inspired Afrobeat. “This is a very tenuous connection between two things,” admits Douglas, but through polyphony he opens up history to alternate possibilities. https://player.vimeo.com/video/224535173?portrait=0 263 2017-07-07 yes no https://art21.org/watch/extended-play/jeff-wall-an-impossible-photograph-short/ Jeff Wall: An Impossible Photograph (SHORT) https:i.vimeocdn.com/video/642064903_1280x720.jpg In his Vancouver studio, artist Jeff Wall reluctantly discusses why and how he created his 2014 photograph Changing Room. Upon close examination viewers will realize that the perspective they're seeing is that of the mirror's—an impossible angle to capture. "The impossibility of seeing it was one of the triggers for it becoming interesting," says Wall, who often creates replicas of places and scenes that he's experienced or imagined before deploying the camera to capture the shot. By not immediately revealing what the woman is doing or how he made the image, Wall is encouraging viewers to examine the work closely and draw their own conclusions. "What I've told you is something that if you pay attention to that picture and get involved in it, it will come to you," he says. "And when it comes to you it will be exciting." https://player.vimeo.com/video/223300749?portrait=0 216 2017-06-30 yes no https://art21.org/watch/new-york-close-up/meriem-bennanis-exploded-visions/ Meriem Bennani’s Exploded Visions https:art21.org/wp-content/uploads/2017/06/bennani-sos-still-000-102-002-1400x788.jpg Using social media-inspired effects, artist Meriem Bennani subverts audience expectations of both pop culture and her own Muslim community with unexpected playfulness and pathos. https://player.vimeo.com/video/222838063?portrait=0 461 2017-06-23 yes no https://art21.org/watch/new-york-close-up/jordan-casteel-paints-her-community/ Jordan Casteel Paints Her Community https:i.vimeocdn.com/video/639720429_1280x720.jpg Where does a painter find her subject matter? With a process that takes her from the streets of Harlem to her studio in DUMBO, Brooklyn, artist Jordan Casteel paints vibrant large scale portraits, making visible the often unrepresented humanity of Black men. At first struggling to find subject matter that could speak to the political realities of police violence and implicit bias, Casteel drew inspiration from her twin brother. "People follow me like I’m a threat," the artist remembers her brother saying, "but they don’t know anything about me." Together Casteel's paintings illustrate the multiplicity of Black male experience; she began with nudes in domestic interiors before expanding to men on the sidewalk, the color and compositions celebrating the visual texture of her Harlem neighborhood. Casteel's work is probing in its tender depiction of Black men who, although often strangers to the artist, gaze directly and intimately out at the viewer. The film follows Casteel as she travels from a brunch at her aunt's Harlem home to a studio visit with university students, to an informal hangout with friends and finally back to the streets of Harlem, mirroring the artist’s own navigation of New York's diverse racial and cultural spaces. Recognizing her complex position as a Black woman painting the bodies of Black men, Casteel nevertheless feels present in the work. "I get really conscious [of the fact that] his story is not mine to tell," says the artist of her brother. "[I've] seen him as this really funny, sensitive, charismatic, loving young man...And as a result, this work really comes from my desire to share what I have known with the world." 99337 https://player.vimeo.com/video/221426899?portrait=0 581 2017-06-16 yes no https://art21.org/watch/extended-play/theaster-gates-collecting-short/ Theaster Gates: Collecting (SHORT) https:i.vimeocdn.com/video/638318374_1280x720.jpg From his Chicago studio, Theaster Gates reflects on the various collections he has acquired and created artworks with, including the Jet magazine archives and the inventory of an entire hardware store. In addition to serving as source material for the artist, the collections provide Gates with insight into how one person or institution sees the world. “It's like this little time capsule of things that were important to someone,” he says. The majority of the collections come from his immediate surroundings on Chicago’s South Side. “How do you catalog the everyday, especially as the phenomena of the everyday is changing?” Gates asks, “And is this another way of tracking Black space?” The materials function as an archive when shown in their original state, or they can be amalgamated and transformed into a painting or sculpture. “It's the thing, and it's the thing that makes the thing,” says the artist. https://player.vimeo.com/video/220313324?portrait=0 286 2017-06-09 yes no https://art21.org/watch/new-york-close-up/avery-singers-next-painting/ Avery Singer’s Next Painting https:art21.org/wp-content/uploads/2017/05/singer-next-tease-000-001-1400x788.jpg In her Mott Haven studio in the Bronx, artist Avery Singer perfects a personally developed technique that mixes traditional methods with digital processes and pushes her paintings into new terrain. https://player.vimeo.com/video/216871094?portrait=0 340 2017-06-02 yes no https://art21.org/watch/new-york-close-up/raul-de-nieves-is-an-american-artist/ Raúl de Nieves is an American Artist https:i.vimeocdn.com/video/630059327_1280x720.jpg From his basement studio in Ridgewood, Queens, artist Raúl de Nieves creates an epic stained glass mural for the 2017 Whitney Biennial. https://player.vimeo.com/video/213755973?portrait=0 438 2017-04-28 yes no https://art21.org/watch/extended-play/sarah-sze-designing-a-subway-station-short/ Sarah Sze: Designing a Subway Station (SHORT) https:i.vimeocdn.com/video/629303700_1280x720.jpg Artist Sarah Sze tackles her most public and challenging installation to-date as she designs an immersive artwork for the Second Avenue Subway in New York City. “Subway stations are one of the most democratic places that you can find,” says Sze, who was one of four artists commissioned by MTA Arts & Design to create work for the new stations along Manhattan’s Upper East Side. Sze’s Blueprint for a Landscape (2017) treats each of the three entrances and the connecting mezzanine at the 96th Street Station as an opportunity to examine and amplify how we move through space. Incorporated into the piece are manipulated photographs of sculptural works and the New York City landscape, as well as intimate hand drawings enlarged many times over. Sze credits the Italian Futurists and Russian Constructivists as inspiration for the resulting juxtapositions. “They were obsessed with this idea of the acceleration of the experience of time, mostly through transit,” says the artist. “As a place of transit, I wanted all of the different entranceways of the subway station to mirror how we move through space. It's this kind of speed of movement—these transitions into different kinds of environments that we take for granted and we do repetitively.” https://player.vimeo.com/video/213120931?portrait=0 337 2017-04-14 yes no https://art21.org/watch/new-york-close-up/david-brooks-hits-the-pavement/ David Brooks Hits the Pavement https:art21.org/wp-content/uploads/2017/03/brooks-pavement-still-000-000-mask-1400x788.jpg Does a skater ever stop being a skater? Coasting along the streets of New York City on his skateboard, artist David Brooks maps his evolution from teen skater to ambitious sculptor, guiding us through pivotal moments of inspiration and seminal projects. Brooks brought his board with him when he moved to New York from rural Indiana in the mid-nineties for college, and used it to explore the city’s dynamic cultural landscape. Discovering that the artifacts in the Arts of Africa, Oceania, and the Americas wing at the Metropolitan Museum of Art had a functional aspect—each face embodying a specific individual—was an epiphany for Brooks as he began to understand art as something that could actively engage with the world at large. “When I realized what was behind them,” the artist says of the totems from Papua New Guinea, “it definitely shattered a particular preconceived idea of what art was.” That moment continues to significantly influence his work as the artist utilizes the historical and cultural connections of real world materials, like sprayable concrete in his 2010 installation Preserved Forest at MoMA PS1. Just a few blocks away at The Explorers Club, a professional society for scientists and explorers, Brooks discusses how the race to the “great firsts” at the turn of the twentieth century reversed itself as we entered the twenty-first. Instead he says, we’ve begun to understand exploration as granular, with life’s beauty hiding in the details that often go overlooked. The artist applies this microscopic lens in the creation of Continuous Service Altered Daily (2016) at The Aldrich Contemporary Art Museum, pulling apart a 1976 John Deere combine harvester into its hundreds of constituent parts to reveal the complex ecosystem of machinery within. Though Brooks ultimately gave up on skating professionally to become an artist, the connection between skating and his creative process is still a strong one. Not only through his use of materials, but also in the artist’s creative adaptability to and complex understanding of the urban built environment. “There is an infinite number of variations of things one can do with a skateboard,” says the artist, “and it never quite ends so it will always keep going the more you put into it.” Featuring Romantic-era piano music by composers Edvard Grieg (Lyric Pieces op.12 No. 2) and Franz Schubert (Impromptu No. 4 in A flat major, D. 899). https://player.vimeo.com/video/210841855?portrait=0 457 2017-03-31 yes no https://art21.org/watch/extended-play/minerva-cuevas-bridging-borders-short/ Minerva Cuevas: Bridging Borders (SHORT) https:i.vimeocdn.com/video/625222248_1280x720.jpg Minerva Cuevas looks back on Crossing of the Rio Bravo (2010), a work in which she painted a bridge across a riverbed that divides Mexico and the United States. On her visit to where the Rio Bravo / Rio Grande snakes through the Chihuahuan Desert, Cuevas found the media’s depiction of the border is inaccurate. "Violence is a very strong element in this perception of what's the border," says the artist. "Not witnessing anything connected to that kind of mediatic violence, it's the first liberation. You realize that what is intimidating is the desert itself." In light of President Trump's proposal to build a wall along the entire border, Cuevas explains that this wall would only increase human trafficking, not stop immigration. "Nationalism is linked to violence and the Other, and the differences between communities, rather than some kind of uniting element that is more necessary," says Cuevas. Though she believes that projects like Crossing of the Rio Bravo can help us rethink our perceptions, the artist knows that collective action is required to enact lasting change. "Books and projects can be important, but they won't be a solution," says the artist. "The problems or the crisis in the world is generated by everybody. So it has to be also a massive reaction." https://player.vimeo.com/video/209614226?portrait=0 304 2017-03-24 yes no https://art21.org/watch/new-york-close-up/jamian-juliano-villanis-field-work/ Jamian Juliano-Villani’s Field Work https:art21.org/wp-content/uploads/2017/03/julianovillani-field-still-999-001-1400x788.jpg Where does an artist find relief from the New York art scene? Artist Jamian Juliano-Villani goes on a research trip into Manhattan, prowling two famed New York City institutions—the Strand Bookstore and Times Square—in search of the unpredictable found imagery that fuels her acclaimed paintings. Typically a creature of habit within her Bedford-Stuyvesant work space, Juliano-Villlani knows that putting in the studio time and trawling the internet can only be so inspiring. Seeking source material in the used book carrels at the Strand Book Store, Juliano-Villani says, “It can't just be the most obvious reference; it should from somewhere specific. And it really only happens in books. On the Internet everything's everywhere. It feels like it's more mine, if I get it from a book.” Later Juliano-Villani tours a more unlikely site of creative influence: the Ripley’s Believe It or Not! in Times Square, filled with a random assortment of exotica and hoaxes. Mirroring the slippery balance between good and bad taste in her own work, Juliano-Villani is fascinated by how the museum style presentation of these objects blurs the line between low and high culture. For Juliano-Villani, Times Square is a necessary antidote to the pressures of conforming to the art world in which her work resides. “I think anyone that is an artist is constantly feeling the guilt of [the pretensions of art-making] so that’s why I like these other weird elements of life, and especially life in New York,” she says.“No one cares, no one’s looking; you can act however you want, you can be whoever you want.” https://player.vimeo.com/video/208830512?portrait=0 370 2017-03-17 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/cao-fei-in-season-5-of-art-in-the-twenty-first-century-2009-preview/ Cao Fei in Season 5 of “Art in the Twenty-First Century” (2009) (PREVIEW) https:i.vimeocdn.com/video/622606898_1280x720.jpg Cao Fei's work reflects the fluidity of a world in which cultures have mixed and diverged in rapid evolution. Her video installations and new media works explore perception and reality in places as diverse as a Chinese factory and the virtual world of Second Life. Applying strategies of sampling, role play, and documentary filmmaking to capture individuals longings and the ways in which they imagine themselves—as hip-hop musicians, costumed characters, or digitized alter egos—Cao reveals the discrepancy between reality and dream, and the discontent and disillusionment of China's younger generation. https://player.vimeo.com/video/207506173?portrait=0 65 2009-07-30 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/cindy-sherman-in-season-5-of-art-in-the-twenty-first-century-2009-preview/ Cindy Sherman in Season 5 of “Art in the Twenty-First Century” (2009) (PREVIEW) https:i.vimeocdn.com/video/622606989_1280x720.jpg In self-reflexive photographs and films, Cindy Sherman invents myriad guises, metamorphosing from Hollywood starlet to clown to society matron. Often with the simplest of means—a camera, a wig, makeup, an outfit—Sherman fashions ambiguous but memorable characters that suggest complex lives lived out of frame. https://player.vimeo.com/video/207506227?portrait=0 65 2009-08-27 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/william-kentridge-in-season-5-of-art-in-the-twenty-first-century-2009-preview/ William Kentridge in Season 5 of “Art in the Twenty-First Century” (2009) (PREVIEW) https:i.vimeocdn.com/video/622607092_1280x720.jpg Having witnessed first-hand one of the twentieth century's most contentious struggles—the dissolution of apartheid—William Kentridge brings the ambiguity and subtlety of personal experience to public subjects most often framed in narrowly defined terms. Using film, drawing, sculpture, animation, and performance, he transmutes sobering political events into powerful poetic allegories. https://player.vimeo.com/video/207506271?portrait=0 65 2009-07-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/florian-maier-aichen-in-season-5-of-art-in-the-twenty-first-century-2009-preview/ Florian Maier-Aichen in Season 5 of “Art in the Twenty-First Century” (2009) (PREVIEW) https:i.vimeocdn.com/video/622606804_1280x720.jpg Alternately romantic, cerebral, and unearthly, Florian Maier-Aichen's digitally altered photographs are closer to the realm of drawing and fiction than documentation. He embraces difficult techniques, chooses equipment that produces accidents such as light leaks and double exposures, and uses computer enhancements to introduce imperfections and illogical elements into images that paradoxically feel visually right, though they are factually wrong. Always experimenting, he marries digital technologies with traditional processes and films (black-and-white, color, infrared, and tricolor), restoring and reinvigorating the artistry and alchemy of early photography. https://player.vimeo.com/video/207506120?portrait=0 70 2009-08-13 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/transformation-preview/ “Transformation” (PREVIEW) https:i.vimeocdn.com/video/622594995_1280x720.jpg Preview for the episode "Transformation" from Season 5 (2009) of the "Art in the Twenty-First Century" television series. Whether satirizing society or reinventing icons of literature, art history, and popular culture, the artists in "Transformation"—Cindy Sherman, Yinka Shonibare MBE, and Paul McCarthy—inhabit the characters they create and capture the sensibilities of our age. https://player.vimeo.com/video/207481920?portrait=0 31 2009-07-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/fantasy-preview/ “Fantasy” (PREVIEW) https:i.vimeocdn.com/video/622594902_1280x720.jpg Preview for the episode "Fantasy" from Season 5 (2009) of the "Art in the Twenty-First Century" television series. "Fantasy" presents four artists—Jeff Koons, Mary Heilmann, Florian Maier-Aichen, and Cao Fei—whose hallucinatory, irreverent, and sublime works transport us to imaginary worlds and altered states of consciousness. https://player.vimeo.com/video/207481843?portrait=0 31 2009-07-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/systems-preview/ “Systems” (PREVIEW) https:i.vimeocdn.com/video/622594820_1280x720.jpg Preview for the episode "Systems" from Season 5 (2009) of the "Art in the Twenty-First Century" television series. "Systems" features four artists—Julie Mehretu, Kimsooja, John Baldessari, and Allan McCollum—who invent new grammars and logics, finding comfort in some systems while rebelling against others in todays supercharged, information-based society. https://player.vimeo.com/video/207481881?portrait=0 31 2009-07-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/compassion-preview/ “Compassion” (PREVIEW) https:i.vimeocdn.com/video/622594706_1280x720.jpg Preview for the episode "Compassion" from Season 5 (2009) of the "Art in the Twenty-First Century" television series. "Compassion" features three artists—Carrie Mae Weems, Wiliam Kentridge, and Doris Salcedo—whose works explore conscience and the possibility of understanding and reconciling past and present, while exposing injustice and expressing tolerance for others. https://player.vimeo.com/video/207481803?portrait=0 31 2009-07-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/robert-ryman-in-season-4-of-art-in-the-twenty-first-century-2007-preview/ Robert Ryman in Season 4 of “Art in the Twenty-First Century” (2007) (PREVIEW) https:i.vimeocdn.com/video/622558270_1280x720.jpg Ryman’s work explodes the classical distinctions between art as object and as surface—between sculpture and painting, between structure and ornament—emphasizing instead the role that perception and context play in creating an aesthetic experience. https://player.vimeo.com/video/207471079?portrait=0 74 2007-09-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/catherine-sullivan-in-season-4-of-art-in-the-twenty-first-century-2007-preview/ Catherine Sullivan in Season 4 of “Art in the Twenty-First Century” (2007) (PREVIEW) https:i.vimeocdn.com/video/622557046_1280x720.jpg Catherine Sullivan was born in Los Angeles, California, in 1968. She earned a BFA from the California Institute of Arts, Valencia (1992), and an MFA from the Art Center College of Design, Pasadena (1997). Sullivan’s anxiety-inducing films and live performances reveal the degree to which everyday gestures and emotional states are scripted and performed, probing the border between innate and learned behavior. https://player.vimeo.com/video/207469867?portrait=0 49 2007-10-16 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/nancy-spero-in-season-4-of-art-in-the-twenty-first-century-2007-preview/ Nancy Spero in Season 4 of “Art in the Twenty-First Century” (2007) (PREVIEW) https:i.vimeocdn.com/video/622442049_1280x720.jpg Nancy Spero samples from a rich range of visual sources of women as protagonists—from Egyptian hieroglyphics, seventeenth-century French history painting, and Frederick’s of Hollywood lingerie advertisements. Spero’s figures co-exist in nonhierarchical compositions on monumental scrolls, and visually reinforce principles of equality and tolerance. https://player.vimeo.com/video/207381089?portrait=0 57 2007-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/an-my-le-in-season-4-of-art-in-the-twenty-first-century-2007-preview/ An-My Lê in Season 4 of “Art in the Twenty-First Century” (2007) (PREVIEW) https:i.vimeocdn.com/video/622441289_1280x720.jpg An-My Lê's photographs and films examine the impact, consequences, and representation of war. Whether in color or black-and-white, her pictures frame a tension between the natural landscape and its violent transformation into battlefields. https://player.vimeo.com/video/207380708?portrait=0 42 2007-10-16 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/pierre-huyghe-in-season-4-of-art-in-the-twenty-first-century-2007-preview/ Pierre Huyghe in Season 4 of “Art in the Twenty-First Century” (2007) (PREVIEW) https:i.vimeocdn.com/video/622440020_1280x720.jpg Employing folly, leisure, adventure, and celebration in creating art, Pierre Huyghe’s films, installations, and public events range from a small-town parade to a puppet theater, from a model amusement park to an expedition to Antarctica. By filming staged scenarios (such as a re-creation of the true-life bank robbery featured in the movie, Dog Day Afternoon), Huyghe probes the capacity of cinema to distort and ultimately shape memory. https://player.vimeo.com/video/207378866?portrait=0 67 2007-09-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/laurie-simmons-in-season-4-of-art-in-the-twenty-first-century-2007-preview/ Laurie Simmons in Season 4 of “Art in the Twenty-First Century” (2007) (PREVIEW) https:i.vimeocdn.com/video/622438596_1280x720.jpg Laurie Simmons stages photographs and films with paper dolls, finger puppets, ventriloquist dummies, and costumed dancers as “living objects,” animating a dollhouse world suffused with nostalgia and colored by an adult’s memories, longings, and regrets. Simmons’s work blends psychological, political, and conceptual approaches to art making—transforming photography’s propensity to objectify people, especially women, into a sustained critique of the medium. https://player.vimeo.com/video/207378418?portrait=0 88 2007-09-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/oliver-herring-in-season-3-of-art-in-the-twenty-first-century-2005-preview/ Oliver Herring in Season 3 of “Art in the Twenty-First Century” (2005) (PREVIEW) https:i.vimeocdn.com/video/622436545_1280x720.jpg Since 1998, Oliver Herring has created stop-motion videos and participatory performances with “off the street” strangers. He makes sets for his videos and performances with minimal means and materials, recycling elements from one artwork to the next. Open-ended and impromptu, Herring’s videos have a dreamlike stream-of-consciousness quality; each progresses towards a finale that is unexpected or unpredictable. https://player.vimeo.com/video/207376980?portrait=0 68 2005-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/matthew-ritchie-in-season-3-of-art-in-the-twenty-first-century-2005-preview/ Matthew Ritchie in Season 3 of “Art in the Twenty-First Century” (2005) (PREVIEW) https:i.vimeocdn.com/video/622433440_1280x720.jpg Matthew Ritchie's artistic mission has been no less ambitious than an attempt to represent the entire universe and the structures of knowledge and belief that we use to understand and visualize it. Ritchie’s encyclopedic project (continually expanding and evolving, like the universe itself) stems from his imagination, and is catalogued in a conceptual chart replete with allusions drawn from Judeo-Christian religion, occult practices, Gnostic traditions, and scientific elements and principles. https://player.vimeo.com/video/207373786?portrait=0 75 2005-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/fred-wilson-in-season-3-of-art-in-the-twenty-first-century-2005-preview/ Fred Wilson in Season 3 of “Art in the Twenty-First Century” (2005) (PREVIEW) https:i.vimeocdn.com/video/622432646_1280x720.jpg Commenting on his unorthodox artistic practice, Fred Wilson has said that, although he studied art, he no longer has a strong desire to make things with his hands: “I get everything that satisfies my soul from bringing together objects that are in the world, manipulating them, working with spatial arrangements, and having things presented in the way I want to see them.” Thus, Wilson creates new exhibition contexts for the display of art and artifacts found in museum collections—including wall labels, sound, lighting, and non-traditional pairings of objects. https://player.vimeo.com/video/207373357?portrait=0 66 2005-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/susan-rothenberg-in-season-3-of-art-in-the-twenty-first-century-2005-preview/ Susan Rothenberg in Season 3 of “Art in the Twenty-First Century” (2005) (PREVIEW) https:i.vimeocdn.com/video/622431105_1280x720.jpg Susan Rothenberg's early work—large acrylic, figurative paintings—came to prominence in the 1970s New York art world, a time and place almost completely dominated and defined by Minimalist aesthetics and theories. The first body of work for which Rothenberg became known centered on life-size images of horses. Glyph-like and iconic, these images are not so much abstracted as pared down to their most essential elements. https://player.vimeo.com/video/207372371?portrait=0 41 2005-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/josiah-mcelheny-in-season-3-of-art-in-the-twenty-first-century-2005-preview/ Josiah McElheny in Season 3 of “Art in the Twenty-First Century” (2005) (PREVIEW) https:i.vimeocdn.com/video/622430314_1280x720.jpg Josiah McElheny creates finely crafted, handmade glass objects that he combines with photographs, text, and museological displays to evoke notions of meaning and memory. Whether recreating miraculous glass objects pictured in Renaissance paintings or modernized versions of non-extant glassware from documentary photographs—or extrapolating stories about the daily lives of ancient peoples through the remnants of their glass household possessions—Josiah McElheny’s work takes as its subject the object, idea, and social nexus of glass. Influenced by the writings of Jorge Luis Borges, McElheny’s work often takes the form of “historical fiction”—which he offers to the viewer to believe or not. https://player.vimeo.com/video/207371838?portrait=0 82 2005-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/laylah-ali-in-season-3-of-art21-art-in-the-twenty-first-century-2005-preview/ Laylah Ali in Season 3 of Art21 “Art in the Twenty-First Century” (2005) (PREVIEW) https:i.vimeocdn.com/video/622428017_1280x720.jpg The precision with which Laylah Ali creates her small, figurative, gouache paintings on paper is such that it takes her many months to complete a single work. She meticulously plots out every aspect of her work in advance, from subject matter to choice of color and the brushes that she will use. In style, her paintings resemble comic-book serials, but they also contain stylistic references to hieroglyphics and American folk-art traditions. https://player.vimeo.com/video/207369807?portrait=0 63 2005-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/ida-applebroog-in-season-3-of-art21-art-in-the-twenty-first-century-2005-preview/ Ida Applebroog in Season 3 of Art21 “Art in the Twenty-First Century” (2005) (PREVIEW) https:i.vimeocdn.com/video/622425728_1280x720.jpg Ida Applebroog has been making pointed social commentary in the form of beguiling comic-like images for nearly half a century. She has developed an instantly recognizable style of simplified human forms with bold outlines. Anonymous “everyman” figures, anthropomorphized animals, and half-human/half-creature characters are featured players in the uncanny theater of her work. https://player.vimeo.com/video/207368323?portrait=0 75 2005-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/elizabeth-murray-in-season-2-of-art-in-the-twenty-first-century-2003-preview/ Elizabeth Murray in Season 2 of “Art in the Twenty-First Century” (2003) (PREVIEW) https:i.vimeocdn.com/video/622422944_1280x720.jpg A pioneer in painting, Elizabeth Murray’s distinctively shaped canvases break with the art-historical tradition of illusionistic space in two-dimensions. Jutting out from the wall and sculptural in form, Murray’s paintings and watercolors playfully blur the line between the painting as an object and the painting as a space for depicting objects. https://player.vimeo.com/video/207366230?portrait=0 80 2003-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/kiki-smith-in-season-2-of-art-in-the-twenty-first-century-2003-preview/ Kiki Smith in Season 2 of “Art in the Twenty-First Century” (2003) (PREVIEW) https:i.vimeocdn.com/video/622413682_1280x720.jpg Kiki Smith was born in 1954 in Nuremberg, Germany. The daughter of American sculptor Tony Smith, Kiki Smith grew up in New Jersey. As a young girl, one of Smith’s first experiences with art was helping her father make cardboard models for his geometric sculptures. This training in formalist systems, combined with her upbringing in the Catholic Church, would later resurface in Smith’s evocative sculptures, drawings, and prints. The recurrent subject matter in Smith’s work has been the body as a receptacle for knowledge, belief, and storytelling. https://player.vimeo.com/video/207359351?portrait=0 64 2003-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/mel-chin-in-season-1-of-art-in-the-twenty-first-century-2001-preview/ Mel Chin in Season 1 of “Art in the Twenty-First Century” (2001) (PREVIEW) https:art21.org/wp-content/uploads/2017/03/MelChin_1-1400x788.jpeg Mel Chin was born in Houston to Chinese parents in 1951, the first of his family born in the United States. He worked in his family’s grocery store, and began making art at an early age. Though Chin is classically trained, his art is both analytical and poetic and evades easy classification. Alchemy, botany, and ecology are but a few of the disciplines that intersect in his work. He insinuates art into unlikely places, including destroyed homes, toxic landfills, and even popular television, investigating how art can provoke greater social awareness and responsibility. https://player.vimeo.com/video/207356604?portrait=0 46 2001-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/michael-ray-charles-in-season-1-of-art-in-the-twenty-first-century-2001-preview/ Michael Ray Charles in Season 1 of “Art in the Twenty-First Century” (2001) (PREVIEW) https:i.vimeocdn.com/video/622408391_1280x720.jpg Michael Ray Charles studied advertising design and illustration, eventually moving to painting, his preferred medium. His graphically styled paintings investigate racial stereotypes drawn from a history of American advertising, product packaging, billboards, radio jingles, and television commercials. Charles draws comparisons between Sambo, Mammy, and minstrel images of an earlier era and contemporary mass-media portrayals of black youths, celebrities, and athletes—images he sees as a constant in the American subconscious. https://player.vimeo.com/video/207355035?portrait=0 63 2001-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/shahzia-sikander-in-season-1-of-art-in-the-twenty-first-century-2001-preview/ Shahzia Sikander in Season 1 of “Art in the Twenty-First Century” (2001) (PREVIEW) https:i.vimeocdn.com/video/622402453_1280x720.jpg Shahzia Sikander specializes in Indian and Persian miniature painting, a traditional style that is both highly stylized and disciplined. While becoming an expert in this technique-driven, often impersonal art form, she imbued it with a personal context and history, blending the Eastern focus on precision and methodology with a Western emphasis on creative, subjective expression.   https://player.vimeo.com/video/207350216?portrait=0 63 2001-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/john-feodorov-in-season-1-of-art-in-the-twenty-first-century-2001-preview/ John Feodorov in Season 1 of “Art in the Twenty-First Century” (2001) (PREVIEW) https:i.vimeocdn.com/video/622400364_1280x692.jpg Brought up both in the suburbs of Los Angeles and on a Navajo reservation in New Mexico, John Feodorov early experienced the cultural differences between his dual heritages. He also observed the stereotypes present in American culture at large, where Native Americans were idealized as the living embodiment of spirituality by New Age consumerists. His work addresses this clichéd modern archetype through a humorous interjection of “sacred” items into recognizable consumer products. https://player.vimeo.com/video/207348738?portrait=0 88 2001-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/ann-hamilton-in-season-1-of-art-in-the-twenty-first-century-2001-preview/ Ann Hamilton in Season 1 of “Art in the Twenty-First Century” (2001) (PREVIEW) https:i.vimeocdn.com/video/622398752_1280x720.jpg Ann Hamilton's degree is in sculpture, but textiles and fabric have continued to be an important part of her work, which includes installations, photographs, videos, performances, and objects. Hamilton’s sensual installations often combine evocative soundtracks with cloth, filmed footage, organic material, and objects such as tables. She is as interested in verbal and written language as she is in the visual, and sees the two as related and interchangeable. https://player.vimeo.com/video/207347814?portrait=0 91 2001-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/margaret-kilgallen-in-season-1-of-art-in-the-twenty-first-century-2001-preview/ Margaret Kilgallen in Season 1 of “Art in the Twenty-First Century” (2001) (PREVIEW) https:i.vimeocdn.com/video/622396216_1280x720.jpg Margaret Kilgallen was born in 1967 in Washington, DC, and received her BA in printmaking from Colorado College in 1989. Early experiences as a librarian and bookbinder contributed to her encyclopedic knowledge of signs, drawn from American folk tradition, printmaking, and letterpress. Kilgallen had a love of “things that show the evidence of the human hand.” Painting directly on the wall, Kilgallen created room-size murals that recall a time when personal craft and handmade signs were the dominant aesthetic. https://player.vimeo.com/video/207345724?portrait=0 69 2001-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/richard-serra-in-season-1-of-art-in-the-twenty-first-century-2001-preview/ Richard Serra in Season 1 of “Art in the Twenty-First Century” (2001) (PREVIEW) https:i.vimeocdn.com/video/622389624_1280x659.jpg Having worked with metal for the past forty years, Serra creates sculptures shape and stretch steel like rubber, carving intimate moments out of public spaces. https://player.vimeo.com/video/207340521?portrait=0 44 2001-09-01 yes no https://art21.org/watch/extended-play/liz-magor-everyone-should-have-a-studio-short/ Liz Magor: Everyone Should Have a Studio (SHORT) https:art21.org/wp-content/uploads/2017/02/magor-studio-still-259-mask-1400x788.jpg While working on a cast sculpture of a paper bag, Liz Magor describes her Vancouver studio as a place for pleasure as well as productivity. “If I'm not here,” says the artist, “I want to be here and I want to work.” Magor maintains a quiet, elemental studio so that she is able to seek out “below the radar” systems embedded in the everyday objects and materials that inspire her. “It's a way to keep myself on a single focus—on a single track—and there's something pleasurable about that.” As she reflects on the potential health benefits of maintaining a studio, Magor is shown installing an earlier cast bag sculpture, Mademoiselle Raymonde (2014), at Peep-Hole in Milan, Italy. https://player.vimeo.com/video/205089644?portrait=0 250 2017-02-10 yes no https://art21.org/watch/extended-play/do-ho-suh-rubbing-loving-short/ Do Ho Suh: “Rubbing / Loving” (SHORT) https:i.vimeocdn.com/video/616058725_1280x720.jpg Artist Do Ho Suh makes one final artwork in the New York apartment that was his home and studio for eighteen years. Suh covered every surface in the apartment with white paper which he then rubbed with colored pencil to reveal and preserve all of the space's memory-provoking details. "My energy has been accumulated and in a way I think my rubbing shows that," says Suh. "I'm trying to show the layers of time." Suh's landlord, who was initially hesitant to rent to a young artist, became a close friend and supported him in making earlier fabric works about the apartment. Before passing away, the landlord gave Suh permission to make this final work: Rubbing/Loving. It serves as a transportable testament to the home's emotional importance to Suh and the owner's family. "I try to understand my life as a movement through different spaces," says Suh, who was born in South Korea, studied in Rhode Island and Connecticut and now lives in London. https://player.vimeo.com/video/202107748?portrait=0 376 2016-12-09 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/diana-thater-in-season-8-of-art21-art-in-the-twenty-first-century-2016-preview/ Diana Thater in Season 8 of Art21 “Art in the Twenty-First Century” (2016) (PREVIEW) https:i.vimeocdn.com/video/615829997_1280x720.jpg In this preview from the "Los Angeles" episode of Season 8 of "Art in the Twenty-First Century," artist Diana Thater considers her motivations for creating. “I think all artists want to change the world,” says the artist, “I hope all artists want to change the world. And if there's anyplace that we can imagine a different world, it's through art, it's through literature, it's through film.” https://player.vimeo.com/video/201933288?portrait=0 63 2016-09-23 yes no https://art21.org/watch/extended-play/diana-thater-delphine-short/ Diana Thater: “Delphine” (SHORT) https:i.vimeocdn.com/video/615828904_1280x720.jpg Artist Diana Thater discusses her interest in improving the lives of both humans and animals through art and activism. Speaking from the site of the former Los Angeles Zoo, Thater describes her activism as being focused on “anti-captivity.” As an activist she has worked with Ric O’Barry and the Dolphin Project to bring attention to the sale and slaughter of dolphins in Japan’s Taiji cove. Thater’s multi-channel video installation Delphine (1999) is shown in the artist’s solo exhibition, The Sympathetic Imagination, at Los Angeles County Museum of Art last year. In the work “you can see a dolphin spinning underwater and you can almost feel it.” Thater hopes Delphine generates a sympathetic response from the viewer and creates a new way to communicate between species. “My life as an artist is a different one,” says Thater. “The politics are much more subtle.”   https://player.vimeo.com/video/201931412?portrait=0 265 2016-10-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/diana-thater-in-los-angeles-segment/ Diana Thater in “Los Angeles” (SEGMENT) https:art21.org/wp-content/uploads/2017/01/thater-la-still-148_1-1400x788.jpg Diana Thater makes video installations that poetically grapple with threats to the natural world. She is filmed preparing for her monumental exhibition, The Sympathetic Imagination, at the Los Angeles County Museum of Art. https://player.vimeo.com/video/206636369?portrait=0 809 2016-09-23 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/chris-ware-in-season-8-of-art21-art-in-the-twenty-first-century-2016-preview/ Chris Ware in Season 8 of Art21 “Art in the Twenty-First Century” (2016) (PREVIEW) https:i.vimeocdn.com/video/615808309_1280x720.jpg In this preview from the Chicago episode of Season 8 of Art in the Twenty-First Century, cartoonist Chris Ware considers his connection to old toys and comics. “Peanuts is the point at which comics really became a medium of emotional connection to readers,” says the artist. “Charlie Brown is the first cartoon character for whom you really feel something. Not only do you feel through Charlie Brown, but you feel for him.” https://player.vimeo.com/video/201914045?portrait=0 66 2016-09-13 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/jeff-wall-in-vancouver-segment/ Jeff Wall in “Vancouver” (SEGMENT) https:art21.org/wp-content/uploads/2017/01/wall-vancouver-still-293_0-1400x788.jpg Attentive to the accidental encounters that can inspire an image, photographer Jeff Wall recreates flashes of inspiration by building sets and repeatedly photographing gestures until they coalesce into a picture that’s printed on a grand scale. https://player.vimeo.com/video/206639140?portrait=0 808 2016-09-23 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/chris-ware-in-chicago-segment/ Chris Ware in “Chicago” (SEGMENT) https:art21.org/wp-content/uploads/2017/01/06-ware-chicago-still-065-1400x788.jpg Chris Ware, known for his New Yorker magazine covers, is hailed as a master of the comic art form. Ware’s complex graphic novels, which tell stories about people in suburban midwestern neighborhoods, poignantly reflect on the role of memory in constructing identity. https://player.vimeo.com/video/206631790?portrait=0 780 2016-09-16 yes no https://art21.org/watch/extended-play/pedro-reyes-carla-fernandez-hecho-en-mexico-short/ Pedro Reyes & Carla Fernández: Hecho en México (SHORT) https:i.vimeocdn.com/video/615748181_1280x720.jpg Artist Pedro Reyes and fashion designer Carla Fernández share how they met and discuss their marriage, as well as their mutual love of Mexican craft and design. Though Fernández designs high-end fashion and Reyes is known for his metal and stone sculptures, they both collaborate with artisans to produce their work. “When I started making clothing, I had two choices,” says Fernández. “One was to copy the things that the [indigenous] communities make, …or work together with the communities.” The design of the couple's home—an ever-evolving project—is also focused on the handmade. Their bathroom appears both ancient and futurist through the use of cast concrete and carved volcanic stone, and everything from the floor to the furniture was handcrafted. "It makes it in a way, personal, that you know who is making your house,” explains Fernández, “you know who you're taking care of, or who's taking care of you.” Fernández also discusses the importance of preserving Mexico’s rich cultural heritage against the homogenizing forces of globalization.   https://player.vimeo.com/video/201869803?portrait=0 289 2016-11-04 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/pedro-reyes-in-mexico-city-segment/ Pedro Reyes in “Mexico City” (SEGMENT) https:art21.org/wp-content/uploads/2017/01/06-reyes-mexicocity-still-130-1400x788.jpg Pedro Reyes designs ongoing projects that propose playful solutions to urgent social problems. From turning guns into musical instruments, to hosting a People’s United Nations to address pressing concerns, to offering ecologically friendly grasshopper burgers from a food cart, Reyes transforms existing problems into ideas for a better world. https://player.vimeo.com/video/206634129?portrait=0 730 2016-09-16 yes no https://art21.org/watch/new-york-close-up/matt-roche-jaimie-warrens-big-extended-whoop-dee-doo-family/ Matt Roche & Jaimie Warren’s Big Extended Whoop Dee Doo Family https:art21.org/wp-content/uploads/2017/01/072MRJWsBigExtendedWDDFamilyFINALforVimeoPartialBug12.16.16-3-1400x788.jpg What brings a community together? Over pizza and beers, the dedicated crew behind Whoop Dee Doo—artist Matt Roche & Jaimie Warren’s traveling kids variety show—discuss the artistic and emotional pull of their uniquely collaborative community art project. Modelled on the punchy humor and DIY aesthetic of classic kids television shows like Pee-wee’s Playhouse, Whoop Dee Doo relies on local youth groups, friends, and word of mouth to supply the ever-evolving network of artists who create the project’s elaborate costumes, sets, and props. For artist Michael O’Malley—an arts educator who has worked on over a dozen shows all over the country since 2011—the project provides a necessary release. “If you’re an artist or a creator, there’s a lot of time spent thinking and talking how we should talk about art. And finally to go into a space where it was like, all of those things matter, but we’re not gonna focus on that, we’re gonna focus on what we make, is refreshing.” Artist Monika Uchiyama describes what she thinks drives the intense, all-nighter production pace. “I feel like it’s not a responsibility to myself to complete this crazy sculpture, but rather a responsibility to everyone because I know that it’s this collective experience.” Weaving in and out of the conversation are select scenes from the latest Whoop Dee Doo production, Make It Wild (2016) staged on the High Line in Chelsea, that culminate in one of the project’s signature moments, the destruction of the set at the end of a show. “I do think that the fact that everything is gonna get destroyed so quickly, that’s part of the reason why solo studio artist types enjoy working on this project when they do,” says co-director Matt Roche. “I think it connects you to why you would’ve originally thought you wanted to be an artist, the times when you were younger and you were making stuff that people weren’t gonna see.” Featuring the New York City performance groups Aalokam, Dance Adventure, and Half Moon Sword. https://player.vimeo.com/video/196600953?portrait=0 472 2016-12-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/andrea-zittel-in-season-1-of-art-in-the-twenty-first-century-2001-preview/ Andrea Zittel in Season 1 of “Art in the Twenty-First Century” (2001) (PREVIEW) https:i.vimeocdn.com/video/622411766_1280x720.jpg Andrea Zittel's sculptures and installations transform everything necessary for life—such as eating, sleeping, bathing and socializing—into artful experiments in living. Zittel's A--Z Administrative Services develops furniture, homes, vehicles, and utlitarian objects for contemporary consumers. https://player.vimeo.com/video/207358058?portrait=0 68 2011-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/damian-ortega-in-season-8-of-art21-art-in-the-twenty-first-century-2016-preview/ Damián Ortega in Season 8 of Art21 “Art in the Twenty-First Century” (2016) (PREVIEW) https:i.vimeocdn.com/video/614721278_1280x720.jpg In this preview from the Mexico City episode of Season 8 of Art in the Twenty-First Century, artist Damián Ortega reflects on the process and inspiration behind his 2007 installation Controller of the Universe. “The idea, for me, was to permit the audience to come inside of the piece and feel how many possibilities,” says the artist, “and how we see everything through tools.” https://player.vimeo.com/video/201044315?portrait=0 96 2016-09-15 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/damian-ortega-in-mexico-city-segment/ Damián Ortega in “Mexico City” (SEGMENT) https:art21.org/wp-content/uploads/2017/01/05-ortega-mexicocity-still-300-1400x788.jpg Damián Ortega uses objects from his everyday life—Volkswagen Beetle cars, Day of the Dead posters, locally sourced corn tortillas—to make spectacular sculptures, which suggest stories of both mythic import and cosmological scale. https://player.vimeo.com/video/206634129?portrait=0 883 2016-09-16 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/liz-magor-in-vancouver-segment/ Liz Magor in “Vancouver” (SEGMENT) https:art21.org/wp-content/uploads/2017/01/magor-vancouver-still-138_0-1400x788.jpg Liz Magor makes uncannily realistic casts of humble objects—gloves, cardboard boxes, cigarettes—that speak to mortality and local histories. https://player.vimeo.com/video/206639140?portrait=0 576 2016-09-23 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/tala-madani-in-los-angeles-segment/ Tala Madani in “Los Angeles” (SEGMENT) https:art21.org/wp-content/uploads/2017/01/madani-la-still-127_1-1400x788.jpg Tala Madani skewers stereotypes in her sharply satirical paintings that evoke clashes of culture: men and women, the rational and the absurd, Western and non-Western. https://player.vimeo.com/video/206636369?portrait=0 639 2016-09-23 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/liz-larner-in-los-angeles-segment/ Liz Larner in “Los Angeles” (SEGMENT) https:art21.org/wp-content/uploads/2017/01/larner-la-still-041_1-1400x788.jpg Liz Larner experiments with abstract sculptural forms in a dizzying array of materials, including polychromatic ceramics that evoke the tectonic geologic shifts of the western landscape. https://player.vimeo.com/video/206636369?portrait=0 852 2016-09-23 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/krzysztof-wodiczko-in-power-preview/ Krzysztof Wodiczko in Season 3 of Art21 “Art in the Twenty-First Century” (2005) (PREVIEW) https:i.vimeocdn.com/video/622426778_1280x845.jpg Krzysztof Wodiczko creates large-scale slide and video projections of politically-charged images on architectural façades and monuments worldwide. By appropriating public buildings and monuments as backdrops for projections, Wodiczko focuses attention on ways in which architecture and monuments reflect collective memory and history. https://player.vimeo.com/video/207368884?portrait=0 114 2005-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/barbara-kasten-in-chicago-segment/ Barbara Kasten in “Chicago” (SEGMENT) https:art21.org/wp-content/uploads/2017/01/10-kasten-chicago-still-167-1400x788.jpg Barbara Kasten makes photographs and video projections in her studio that evoke an experience of movement through modernist architecture. https://player.vimeo.com/video/206631790?portrait=0 772 2016-09-16 yes no https://art21.org/watch/extended-play/brian-jungen-printing-two-perspectives-short/ Brian Jungen: Printing Two Perspectives (SHORT) https:i.vimeocdn.com/video/613435964_1280x720.jpg Artist Brian Jungen creates two-sided prints from archival newspaper clippings, revealing the lens of otherness through which Native people are frequently viewed. “It was always about inequality but it wasn’t really from the Native person’s perspective,” says Jungen of the newspaper articles. “These are the stories I would have read as a kid and they would have made me feel really bad about being Native.” By reproducing both sides of the clippings on corresponding sides of his prints, Jungen highlights the often disparate realities faced by Native and non-Native people. The artist draws from a strong tradition of printmaking in First Nations communities, especially those closer to the Arctic. Artists such as Kenojuak Ashevak employ bilateral symmetry to depict the duality of an image, and in the same way Jungen illustrates the two sides of Native and non-Native life in his prints   https://player.vimeo.com/video/200033386?portrait=0 289 2016-12-22 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/brian-jungen-in-vancouver-segment/ Brian Jungen in “Vancouver” (SEGMENT) https:art21.org/wp-content/uploads/2017/01/jungen-vancouver-still-392_0-1400x788.jpg Brian Jungen draws from his family’s ranching and hunting background, as well as his Dane-zaa heritage, when disassembling and recombining consumer goods into whimsical sculptures. https://player.vimeo.com/video/206639140?portrait=0 761 2016-09-23 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/theaster-gates-in-chicago-segment/ Theaster Gates in “Chicago” (SEGMENT) https:art21.org/wp-content/uploads/2017/01/15-gates-chicago-still-389-1400x788.jpg Theaster Gates first encountered creativity in the music of Black churches on his journey to becoming an urban planner, potter, and artist. Gates creates sculptures out of clay, tar, and renovated buildings, transforming the raw material of the South Side into radically reimagined vessels of opportunity for the community. https://player.vimeo.com/video/206631790?portrait=0 884 2016-09-16 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/stan-douglas-in-vancouver-segment/ Stan Douglas in “Vancouver” (SEGMENT) https:art21.org/wp-content/uploads/2017/01/douglas-vancouver-still-171_0-1400x788.jpg Through complex video installations, photos, theatrical productions, and virtual reality simulations, Stan Douglas reenacts historical moments of tension that connect the history of Vancouver to broader social movements of struggle and utopian aspiration. https://player.vimeo.com/video/206639140?portrait=0 760 2016-09-23 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/vancouver/ “Vancouver” https:art21.org/wp-content/uploads/2017/01/magor-vancouver-still-024_1-1400x788.jpg In small and tightly-knit Vancouver, artists reframe the world through a series of sophisticated illusions. By recreating historical moments, staging photos of vernacular scenes, and crafting intricate sculptures that trick the eye, artists reveal how everyday images and moments from the past are not always what they seem. https://player.vimeo.com/video/206639140?portrait=0 3316 2016-09-23 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/vancouver-preview/ “Vancouver” (PREVIEW) https:i.vimeocdn.com/video/612170181_1280x720.jpg Preview for the episode Vancouver from Season 8 of Art21 Art in the Twenty-First Century (2016), featuring artists Stan Douglas, Brian Jungen, Liz Magor, and Jeff Wall. https://player.vimeo.com/video/199032013?portrait=0 30 2016-09-22 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/minerva-cuevas-in-mexico-city-segment/ Minerva Cuevas in “Mexico City” (SEGMENT) https:art21.org/wp-content/uploads/2017/01/00-cuevas-mc-still-117-1400x788.jpg Minerva Cuevas is a conceptual and socially-engaged artist who creates sculptural installations and paintings in response to politically charged events such as the tension between world starvation and capitalistic excess. Cuevas documents community protests in a cartography of resistance while also creating mini-sabotages—altering grocery store bar codes and manufacturing student identity cards—as part of her Better Life Corporation. https://player.vimeo.com/video/206634129?portrait=0 751 2016-09-16 yes no https://art21.org/watch/extended-play/nick-cave-thick-skin-short/ Nick Cave: Thick Skin (SHORT) https:i.vimeocdn.com/video/612002250_1280x720.jpg Artist Nick Cave discusses the experiences that force him to confront his identity as a black man—including being racially profiled by police—and how they fuel his impulse to create. Cave explains that in these moments he gets quiet and avoids lashing out in rage. “And if I do, lashing out for me is creating this,” he says in reference to his intricately constructed Soundsuits. “The Soundsuits hide gender, race, class and they force you to look at the work without judgment.” The exhibition Here Hear, which included a large-scale community performance, was installed at Detroit’s Cranbrook Art Museum in 2015. The museum is associated with the Cranbrook Academy of Art, where Nick Cave attended graduate school in the 1980s and was the only minority student at the time. https://player.vimeo.com/video/198897985?portrait=0 168 2016-10-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/nick-cave-in-chicago-segment/ Nick Cave in “Chicago” (SEGMENT) https:art21.org/wp-content/uploads/2017/01/05-cave-chicago-still-292_0-1400x788.jpg Nick Cave creates “Soundsuits”—surreally majestic objects blending fashion and sculpture—that originated as metaphorical suits of armor in response to the Rodney King beatings and have evolved into vehicles for empowerment. https://player.vimeo.com/video/206631790?portrait=0 757 2016-09-16 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/chicago-preview/ “Chicago” (PREVIEW) https:i.vimeocdn.com/video/611997638_1280x720.jpg Preview for the episode Chicago from Season 8 of Art21 Art in the Twenty-First Century (2016), featuring artists Nick Cave, Theaster Gates, Barbara Kasten, and Chris Ware. https://player.vimeo.com/video/198894433?portrait=0 30 2016-09-13 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/nick-cave-in-season-8-of-art21-art-in-the-twenty-first-century-2016-preview/ Nick Cave in Season 8 of Art21 “Art in the Twenty-First Century” (2016) (PREVIEW) https:i.vimeocdn.com/video/611996545_1280x720.jpg In this preview from the Chicago episode of Season 8 of Art in the Twenty-First Century, artist Nick Cave contemplates the space from which he creates his work. “This place of dreaming within my work really is the place that I find that I exist in most of the time,” says the artist, “What do I need to put in place to allow you to dream?” https://player.vimeo.com/video/198889666?portrait=0 49 2016-09-16 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/chicago/ “Chicago” https:art21.org/wp-content/uploads/2017/01/03-cave-chicago-still-009-1400x788.jpg How does the city of Chicago inspire the artists who live there? How is the architecture, history, and character of the city interpreted and reflected in the work of Chicago-based artists? Which parts of the city are most moving and motivational? In this episode, artists reveal the ways in which their communities ignite ideas for photographs, sculptures, and drawings, and how those communities are invited by the artists to become part of the artworks themselves. https://player.vimeo.com/video/206631790?portrait=0 3316 2016-09-16 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/los-angeles-preview/ “Los Angeles” (PREVIEW) https:i.vimeocdn.com/video/611765799_1280x720.jpg Preview for the episode Los Angeles from Season 8 of Art21 Art in the Twenty-First Century (2016), featuring artists Edgar Arceneaux, Liz Larner, Tala Madani, and Diana Thater. https://player.vimeo.com/video/198715177?portrait=0 30 2016-09-20 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/edgar-arceneaux-in-los-angeles-segment/ Edgar Arceneaux in “Los Angeles” (SEGMENT) https:art21.org/wp-content/uploads/2017/01/arceneaux-la-still-146_0-1400x788.jpg Edgar Arceneaux investigates historical patterns through drawings, installations, and multimedia events, such as the reenactment of Ben Vereen’s tragically misunderstood blackface performance at Ronald Reagan’s 1981 Inaugural Gala. https://player.vimeo.com/video/206636369?portrait=0 890 2016-09-23 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/los-angeles/ “Los Angeles” https:art21.org/wp-content/uploads/2017/01/thater-la-still-164_0-1400x788.jpg While sprawling Los Angeles has world-class museums and art schools, artists working in the shadow of the entertainment industry are more "under the radar," affording them the space and time to imagine. https://player.vimeo.com/video/206636369?portrait=0 3318 2016-09-23 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/mexico-city-preview/ “Mexico City” (PREVIEW) https:i.vimeocdn.com/video/611160384_1280x720.jpg Preview for the episode Mexico City from Season 8 of Art21 Art in the Twenty-First Century (2016), featuring artists Natalia Almada, Minerva Cuevas, Damián Ortega, and Pedro Reyes. https://player.vimeo.com/video/198231867?portrait=0 30 2016-09-15 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/natalia-almada-in-mexico-city-segment/ Natalia Almada in “Mexico City” (SEGMENT) https:art21.org/wp-content/uploads/2017/01/00-almada-mexicocity-still-203-1400x788.jpg Natalia Almada, the great-granddaughter of Mexico’s controversial 40th president, Plutarco Elías Calles, makes intimate films that delve into the tragedies of her Mexican-American family’s personal history as well as the Sinaloa region’s violent present. https://player.vimeo.com/video/206634129?portrait=0 824 2016-09-16 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/mexico-city/ “Mexico City” https:i.vimeocdn.com/video/621725850_1280x720.jpg In this episode, artists exit their homes and studios to use the growing megalopolis as their canvas. The artists present everyday materials as artworks, mine recognizable images for their poetic potential, and take their art to the streets. https://player.vimeo.com/video/206634129?portrait=0 3316 2016-09-16 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/natalia-almada-in-season-8-of-art21-art-in-the-twenty-first-century-2016-preview/ Natalia Almada in Season 8 of Art21 “Art in the Twenty-First Century” (2016) (PREVIEW) https:i.vimeocdn.com/video/690592559_1280x720.jpg In this preview from the Mexico City episode of Season 8 of Art in the Twenty-First Century, filmmaker Natalia Almada discusses her heritage and how being both Mexican and American has contributed to her work. "I think that when I embrace that duality and I understand that it shapes the way I see things," says the artist, "it gives me something special in terms of how I look at the world and how I relate to people." https://player.vimeo.com/video/261549452?portrait=0 79 2016-08-25 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/stan-douglas-in-season-8-of-art21-art-in-the-twenty-first-century-2016-preview/ Stan Douglas in Season 8 of ART21 “Art in the Twenty-First Century” (2016) (PREVIEW) https:i.vimeocdn.com/video/612172901_1280x720.jpg In this preview from the Vancouver episode of Season 8 of Art in the Twenty-First Century, artist Stan Douglas describes the making of his 2008 photograph Abbott & Cordova, 7 August 1971. Depicting a careful restaging of the 1971 Gastown riots, the photograph shows Vancouver police attacking a peaceful protest organized to demonstrate against weeks of arrests by undercover agents. “Almost always my works are allegories of the present, as well,” says the artist. “That event made this neighborhood what it is today.” https://player.vimeo.com/video/199029742?portrait=0 69 2016-08-22 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/jeff-wall-in-season-8-of-art21-art-in-the-twenty-first-century-2016-preview/ Jeff Wall in Season 8 of Art21 “Art in the Twenty-First Century” (2016) (PREVIEW) https:art21.org/wp-content/uploads/2016/10/wall-vancouver-still-110-1400x788.jpg In this preview from the Vancouver episode of Season 8 of Art in the Twenty-First Century, artist Jeff Wall discusses why his work shifted toward photography. “I still don't really know why I'm not a painter,” says the artist. “I stopped painting around 1964 when I was about 19 or 20. The mid-sixties, that was just the beginning of really the explosion of all the kind of new alternative kinds of art.” https://player.vimeo.com/video/201917921?portrait=0 55 2016-08-18 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/tala-madani-in-season-8-of-art21-art-in-the-twenty-first-century-2016-preview/ Tala Madani in Season 8 of Art21 “Art in the Twenty-First Century” (2016) (PREVIEW) https:i.vimeocdn.com/video/613717535_1280x720.jpg In this preview from the Los Angeles episode of Season 8 of Art in the Twenty-First Century, artist Tala Madani reflects on her background and how it informs the ways her work is perceived. “I think there is a proclivity for people to read into the figures as from Iran,” says the Tehran-born artist, who moved to Oregon as a teenager, of her paintings. “If I was a Mexican artist, the audience would read them as Mexican men.” https://player.vimeo.com/video/200256819?portrait=0 78 2016-08-15 yes no https://art21.org/watch/new-york-close-up/daniel-gordon-looks-back/ Daniel Gordon Looks Back https:art21.org/wp-content/uploads/2016/10/gordon-looks-still-024-1400x788.jpg How does an artist keep it interesting in the studio? In his Windsor Terrace workspace in Brooklyn, photographer Daniel Gordon reflects on his decade-long commitment to intensive practice and artistic invention. Gordon creates one of his signature "constructed tableau" works—exuberantly colorful still lifes meticulously collaged out of discarded pieces of paper, that are in turn photographed. Thinking back to his earliest student works, Gordon says, “Back then I was trying to figure out what my voice was and I was also just kind of learning how to make stuff physically . . . I think it became more interesting to show the crumpled paper and the handmade stuff.” In the studio next door Gordon’s wife, sculptor Ruby Sky Stiler, shares a similar dedication to craft and experimentation, acknowledging the psychological difficulty of a day in, day out studio practice where inspiration is never a certainty. “I've been in a stage for a couple of months where I haven’t been able to figure out where I want to go. And you have to be delusional to keep coming back everyday to make more failures,“ says Stiler. Back in Gordon’s studio, we see the results of his most recent push towards something new, an ingenious layering of abstract shapes that humorously reference a human portrait. “I think the real question is how can you continue to work and continue to be truly invested and truly interested in what you're doing,” says the artist. “And, for me, the only way to do that is to try new things—to invent new ways of making pictures.” https://player.vimeo.com/video/178608405?portrait=0 431 2016-08-12 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/liz-magor-in-season-8-of-art21-art-in-the-twenty-first-century-2016-preview/ Liz Magor in Season 8 of Art21 “Art in the Twenty-First Century” (2016) (PREVIEW) https:i.vimeocdn.com/video/613718774_1280x720.jpg In this preview from the Vancouver episode of Season 8 of Art in the Twenty-First Century, artist Liz Magor reflects on the role of decision-making in an artist's studio process. "Art isn't a material, it's not a medium—it's not a certain product," says the artist. "It is the choices I've been able to make." https://player.vimeo.com/video/200258910?portrait=0 77 2016-08-11 yes no https://art21.org/watch/extended-play/carrie-mae-weems-grace-notes-reflections-for-now-short/ Carrie Mae Weems: “Grace Notes: Reflections for Now” (SHORT) https:art21.org/wp-content/uploads/2016/10/weems-grace-still-187-1-1400x788.jpg A look at artist Carrie Mae Weems staging Grace Notes: Reflections for Now, a performance that examines the escalating racial tensions across the United States, and the role of grace in the pursuit of democracy. Although known for her work as a photographer, in Grace Notes Weems blends spoken word, music, projected video, and dance to commemorate the tragic deaths of young black men like Michael Brown and Trayvon Martin. "The thing to me that is remarkable about our history, about who we are, about how we have conducted ourselves in the onslaught of history, is to maintain the core of our dignity," says Weems to the show's cast during a rehearsal. "That is really the ultimate call of grace." Grace Notes was commissioned by Spoleto Festival USA and performed in June 2016 to honor the nine churchgoers who were killed one year earlier at Emanuel AME Church, located just three blocks from the College of Charleston Sottile Theatre where Grace Notes was performed. It will be performed again at the Yale Repertory Theatre in September 2016, as part of the No Boundaries Series. https://player.vimeo.com/video/201747341?portrait=0 442 2016-08-09 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/pedro-reyes-in-season-8-of-art21-art-in-the-twenty-first-century-2016-preview/ Pedro Reyes in Season 8 of Art21 “Art in the Twenty-First Century” (2016) (PREVIEW) https:i.vimeocdn.com/video/615753378_1280x720.jpg In this preview from the Mexico City episode of Season 8 of Art in the Twenty-First Century, artist Pedro Reyes organizes a workshop where participants create musical instruments from firearms. "Doing these workshops is an attempt to transform not only the material metal, but also to try to create a psychological transformation," says the artist. "And, hopefully, a social transformation." https://player.vimeo.com/video/201872185?portrait=0 94 2016-08-08 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/edgar-arceneaux-in-season-8-of-art21-art-in-the-twenty-first-century-2016-preview/ Edgar Arceneaux in Season 8 of Art21 “Art in the Twenty-First Century” (2016) (PREVIEW) https:i.vimeocdn.com/video/611766214_1280x720.jpg In this preview from the Los Angeles episode of Season 8 of Art in the Twenty-First Century, artist Edgar Arceneaux discusses the "suicide letter" sent by the FBI to Martin Luther King, Jr., which the artist incorporated into his 2014 project, A Book and a Medal. "What I was trying to do," says the artist of the installation, "was to explore the vulnerabilities of a person who's in a position of leadership." https://player.vimeo.com/video/198713145?portrait=0 80 2016-08-04 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/barbara-kasten-in-season-8-of-art21-art-in-the-twenty-first-century-2016-preview/ Barbara Kasten in Season 8 of Art21 “Art in the Twenty-First Century” (2016) (PREVIEW) https:i.vimeocdn.com/video/613446891_1280x720.jpg In this preview from the Chicago episode of Season 8 of Art in the Twenty-First Century, artist Barbara Kasten stages photographs using light and Plexiglass in her Mana Contemporary Chicago studio. "It's a constant process of being in the set, moving the lights, going behind the camera, looking at the image that's resulting," says the artist. "That can take hours, actually." https://player.vimeo.com/video/200040875?portrait=0 87 2016-08-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/brian-jungen-in-season-8-of-art21-art-in-the-twenty-first-century-2016-preview/ Brian Jungen in Season 8 of Art21 “Art in the Twenty-First Century” (2016) (PREVIEW) https:i.vimeocdn.com/video/613443083_1280x720.jpg In this preview from the Vancouver episode of Season 8 of Art in the Twenty-First Century, artist Brian Jungen—at work in his North Okanagan, British Columbia studio—creates a new series of sculptures using disassembled pairs of Nike Air Jordan sneakers. "When I first made them, I was slowly taking them apart piece by piece," says the artist, revisiting his use of the materials after nearly 10 years. "Now I just am much more fluid with it." https://player.vimeo.com/video/200035446?portrait=0 79 2016-07-29 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/theaster-gates-in-season-8-of-art21-art-in-the-twenty-first-century-2016-preview/ Theaster Gates in Season 8 of Art21 “Art in the Twenty-First Century” (2016) (PREVIEW) https:i.vimeocdn.com/video/612219591_1280x720.jpg In this preview from the Chicago episode of Season 8 of Art in the Twenty-First Century, artist Theaster Gates creates work for a 2016 installation at Kunsthaus Bregenz, Austria. Shown applying tar to materials such as doll heads and a vintage Ebony magazine cover, Gates states, "In these things that we imagine don't have value are things that we simply stop seeing as having had value." https://player.vimeo.com/video/199069621?portrait=0 49 2016-07-27 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/liz-larner-in-season-8-of-art21-art-in-the-twenty-first-century-2016-preview/ Liz Larner in Season 8 of Art21 “Art in the Twenty-First Century” (2016) (PREVIEW) https:i.vimeocdn.com/video/613689069_1280x720.jpg In this preview from the Los Angeles episode of Season 8 of Art in the Twenty-First Century, artist Liz Larner, from her Los Angeles studio, describes her interest in working with clay. "It's so interesting that dust becomes this material that is probably one of the hardest things to degrade," says the artist. https://player.vimeo.com/video/200221745?portrait=0 62 2016-07-25 yes no https://art21.org/watch/extended-play/richard-tuttle-staying-contemporary-short/ Richard Tuttle: Staying Contemporary (SHORT) https:art21.org/wp-content/uploads/2016/10/tuttle-staying-still-083-1400x788.jpg Richard Tuttle reflects on a decades-long career, and the conceptual, thematic, and stylistic threads that can be consistently traced through his 26 New York gallery exhibitions. Tuttle was interviewed at Pace Gallery, where fittingly his installation 26 provided an archival record of these solo shows, collectively exposing a profound intimacy in postminimalism. "I'm very committed to the idea of making an art that stays contemporary," says Tuttle. The artist goes on to describe his interest in creating works that fuse together “the kinds of things that only happen once and the kinds of things that happen always." Tuttle also shares advice for young artists and reflects on the value of art: "Art's importance comes when it’s a tool for life, when it makes life more available for us." https://player.vimeo.com/video/201925818?portrait=0 236 2016-07-22 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/minerva-cuevas-in-season-8-of-art21-art-in-the-twenty-first-century-2016-preview/ Minerva Cuevas in Season 8 of Art21 “Art in the Twenty-First Century” (2016) (PREVIEW) https:i.vimeocdn.com/video/612022962_1280x720.jpg In this preview from the Mexico City episode of Season 8 of Art in the Twenty-First Century, artist Minerva Cuevas shares the inspiration behind her 2015 exhibition at kurimanzutto, feast and famine. "[It is] very much a reference to the capitalist system—considering the whole capitalist system as a cannibalistic process," says the artist. https://player.vimeo.com/video/198914759?portrait=0 59 2016-07-20 yes no https://art21.org/watch/extended-play/eleanor-antin-politics-paper-dolls-short/ Eleanor Antin: Politics & Paper Dolls (SHORT) https:art21.org/wp-content/uploads/2016/10/antin-paper-still-041-1400x788.jpg Eleanor Antin discusses her use of paper dolls to create politically charged sculptures and videos. "I thought that I was finished working with paper dolls and was on to other things until those idiotic Republican debates and that insane list of characters," says Antin of Theater of the Absurd (2016). Antin made numerous works with paper dolls in the 1970s, including The Nurse and the Hijackers (1977). The absurdly comedic video depicts a group of ecological terrorists attempting to convince oil-producing nations to help save the planet. The artist’s inclusion of paper dolls depicting deceased friends, such a Ree Morton and Elizabeth Murray, allows for reflection on her own mortality. https://player.vimeo.com/video/198249408?portrait=0 288 2016-06-29 yes no https://art21.org/watch/extended-play/martin-puryear-big-bling-short/ Martin Puryear: “Big Bling” (SHORT) https:i.vimeocdn.com/video/615584109_1280x720.jpg This episode of Art21 Exclusive follows the fabrication and installation of Martin Puryear’s monumental public sculpture Big Bling (2016). "There's a story in the making of objects," the artist told Art21 in an archival interview. "There's a narrative in the fabrication of things, which to me is fascinating." Because Puryear could not produce the colossal 40-foot sculpture in his studio, he worked with a team of expert manufacturers to realize his vision. At Unalam, a specialty lumber fabricator in Sidney, New York, glulam wood beams were bent to create the tight curves specified by his design. Jon Lash of Digital Atelier explains how materials such as chain link fencing were chosen to create an industrial-looking surface, which contrasts with the golden "bling" at the sculpture’s peak. 745 https://player.vimeo.com/video/201737547?portrait=0 283 2016-06-10 yes no https://art21.org/watch/new-york-close-up/bryan-zanisnik-eric-winklers-animated-conversation/ Bryan Zanisnik & Eric Winkler’s Animated Conversation https:art21.org/wp-content/uploads/2016/10/zanisnik-animated-still-094-1400x788.jpg What if your life was a cartoon? Bryan Zanisnik and Eric Winkler meet at a Brooklyn cafe where Zanisnik shares outlandish stories of his life as an artist that Winkler turns into comics. "After years of friendship, I know that he's going to tell me a crazy story," says Winkler, "and I'm going to have to say: So which part was really true?" The two friends catch up on Zanisnik's latest exhibition, the Philip Roth Presidential Library (2016) at Locust Projects in Miami, created from hundreds of of the author's books. The installation echoes a previous work, Every Inch a Man (2012) at Abrons Art Center on Manhattan's Lower East Side, in which Zanisnik read Roth's The Great American Novel (1973) during a performance. Winkler's comics, animated for this film, recount Roth threatening to sue Zanisnik over the homage. "I think Bryan's always wanted to be able to draw something. He can't do it though," says Winkler, "His sculptures are like drawings. He tries things and erases things." The film follows Zanisnik as he builds sets for photographic tableaus, first at Smack Mellon in DUMBO and later at the Queens Museum in Flushing Meadows Corona Park. Venturing out of his studio, Zanisnik takes pictures of his assemblages in front of monuments from the 1964 New York World's Fair, suggesting how resources for artists in the city are becoming further and further out of reach. The film ends with Winkler and Zanisnik discussing the recent death of both of their mothers to cancer. Zanisnik, who collaborated with his parents in close to thirty performances, ultimately reunites with his mother in Winkler's animated comic. https://player.vimeo.com/video/169269044?portrait=0 545 2016-06-03 yes no https://art21.org/watch/art-in-the-twenty-first-century/s8/season-8-of-art21-art-in-the-twenty-first-century-2016-trailer/ Season 8 of Art21 “Art in the Twenty-First Century” (2016) (TRAILER) https:i.vimeocdn.com/video/611159621_1280x720.jpg Trailer for Season 8 (2016) of the Peabody Award-winning series, Art21 Art in the Twenty-First Century. Featured artists include: Natalia Almada, Edgar Arceneaux, Nick Cave, Minerva Cuevas, Stan Douglas, Theaster Gates, Brian Jungen, Barbara Kasten, Liz Larner, Liz Magor, Tala Madani, Damian Ortega, Pedro Reyes, Diana Thater, Jeff Wall, and Chris Ware. Each Season 8 episode is hosted by multiple Golden Globe- and Emmy Award-winning actress Claire Danes. The series provides unparalleled access to the most innovative artists of our time, revealing how artists engage the culture around them and how art allows viewers to see the world in new ways. The artists' lives and works engage universal experiences that anyone can relate to: resistance, pleasure, mortality, and the hope for a better tomorrow. For the first time in the show’s history, the sixteen featured artists are grouped into four one-hour episodes by their unique and revealing relationships to the places in which they live—Chicago, Los Angeles, Mexico City, and Vancouver. https://player.vimeo.com/video/198230318?portrait=0 60 2016-05-26 yes no https://art21.org/watch/extended-play/sarah-sze-measuring-stick-short/ Sarah Sze: “Measuring Stick” (SHORT) https:art21.org/wp-content/uploads/2016/10/sze-measuring-still-077-1400x788.jpg Sarah Sze discusses her sculpture Measuring Stick (2015), which explores the "measurement of time and space through the moving image." Sze remembers watching Charles and Ray Eames's Powers of Ten as a young student in the 1970s, and cites the film as an inspiration for her work. "That was something I always looked forward to seeing." Sze's sculpture originally began as a film but evolved into a three-dimensional work that resembles an editing desk, reflecting the moving image through the inclusion of flickering light, and references to "scientist image-makers." Sze describes the diaphanous sculpture as an "experimental site" that "tries to actually measure a kind of behavior." https://player.vimeo.com/video/202117009?portrait=0 210 2016-04-01 yes no https://art21.org/watch/extended-play/sarah-sze-how-we-see-the-world-short/ Sarah Sze: How We See the World (SHORT) https:art21.org/wp-content/uploads/2016/10/sze-see-still-106-1400x788.jpg Sarah Sze expresses her desire to have a tactile relationship with materials in a world saturated with digital imagery. In describing today’s visual culture, Sze says, "You don’t know the authorship of an image when it gets to you, you can manipulate it and you can send it—it's a kind of images as debris." For her 2015 exhibition at Tanya Bonakdar Gallery, Sze amplified and countered this contemporary experience through her installation Second Studio. By arranging paint skins, torn paper images, and other materials such as wood, thread, and rocks, Sze explored our fragmented relationship to illusionistic images by focusing our attention on each object's materiality. "We have so much illusion but we don't have touch and we don't have taste and we don’t have smell—we don’t have that intimacy with images." https://player.vimeo.com/video/202116291?portrait=0 214 2016-03-25 yes no https://art21.org/watch/extended-play/abraham-cruzvillegas-autoconstruccion-short/ Abraham Cruzvillegas: Autoconstrucción (SHORT) https:i.vimeocdn.com/video/612021696_1280x720.jpg Abraham Cruzvillegas discusses his personal and artistic relationship to the concept of autoconstrucción from his childhood home in Mexico City. "Autoconstucción is about self-constructing or constructing your own house," the artist explains, adding, "I like the term because it leads me to think about the construction of identity." Cruzvillegas, who is shown assembling his large-scale installation The Autoconstrucción Suites at the Walker Art Center, is not illustrating autoconstrucción houses through his work, but instead is activating the method’s dynamic improvisation through the use of found materials. https://player.vimeo.com/video/198913019?portrait=0 301 2016-03-04 yes no https://art21.org/watch/new-york-close-up/marela-zacariass-great-expectations/ Marela Zacarías’s Great Expectations https:art21.org/wp-content/uploads/2016/10/zacarias-expectations-still-057-1400x788.jpg How does a Brooklyn artist imagine both her past and future? After a decade of hard-fought accomplishments in New York City, artist Marela Zacarías completes a large-scale project while anticipating the arrival of her first child. Leaving behind a career painting public murals, Zacarías moved to the city hungry for artistic growth, and completed an MFA at Hunter College, shifting her practice towards a more satisfying form of personal expression. “Grad school put me upside down,” she says, “It really pushed me to find out what I wanted to say and how I wanted to say it. And I’m glad, because now I feel like I can say a lot more things through my own language.” The fruits of Zacarías’s labor are evident in her Bedford-Stuyvesant studio: the artist, along with her husband, Weston Pew, and a team of assistants, are hard at work creating the undulating sculptural and painterly forms that have become the artist’s signature. The new work—a commission for the William Vale Hotel—reveals the historical evolution of neighborhoods like Williamsburg, where the hotel is currently under construction. Zacarías herself is part of the city’s irresistible collective ambition, having become a full-time artist with a growing studio practice while bringing a baby boy into the world. Like the city she calls home, Zacarías envisions a bright future. “It seems like it’s not going to get slower,” says the artist, “I’m definitely not planning on stopping my work and hopefully get to spend all my time with my baby and seem him grow.” Featuring the work Mannahatta (2016). https://player.vimeo.com/video/157492627?portrait=0 418 2016-03-02 yes no https://art21.org/watch/extended-play/josiah-mcelheny-making-a-projection-painting-short/ Josiah McElheny: Making a Projection Painting (SHORT) https:i.vimeocdn.com/video/614516171_1280x720.jpg Josiah McElheny explores the relationship between abstraction and the body as he makes Projection Painting 1 (2015). "We're projecting lost footage or abandoned footage by the great filmmaker Maya Deren," says McElheny, who further abstracts Deren's images by filming the footage "from the worst seats." McElheny's distorted footage is then projected once more onto a framed fractured landscape in another round of abstraction to create the final painting. Working with cinematographer Martina Radwan at a photography studio in Manhattan, McElheny found that utilizing unedited footage "felt more malleable" than when he attempted to work with completed narrative films. The finished Projection Painting was shown in a continuous loop during McElheny's Fall 2015 solo show at Andrea Rosen Gallery in New York City. https://player.vimeo.com/video/200887767?portrait=0 234 2016-02-12 yes no https://art21.org/watch/extended-play/omer-fast-continuity-short/ Omer Fast: “Continuity” (SHORT) https:i.vimeocdn.com/video/612195891_1280x720.jpg Omer Fast discusses Continuity (2012), a short film that was commissioned for dOCUMENTA (13) and questions the very nature of truth and narrative. Continuity depicts a middle-class married couple and the return of their son from Afghanistan. What begins as a straightforward homecoming story set in a conventional domestic interior is interrupted by uneasy repetition and the appearance of ghostly, surreal apparitions from the warzone. "With more and more questions, you create a productive kind of confusion and that’s what I’m after," says Fast. As the family's increasingly choreographed reunion unfolds, a sense of longing and emptiness pervades. Fast adds, "It's about figuring out what to put along the way to pull you away from this notion that there is a linear story with a goal at the end." https://player.vimeo.com/video/199050761?portrait=0 377 2016-01-29 yes no https://art21.org/watch/extended-play/omer-fast-cnn-concatenated-short/ Omer Fast: “CNN Concatenated” (SHORT) https:i.vimeocdn.com/video/612194853_1280x720.jpg Omer Fast discusses CNN Concatenated (2002), an 18-minute monologue he composed from CNN footage acquired around September 11, 2001. Fast began assembling simple sentences from broadcasts before the terrorist attacks, but soon realized his piece would need to shift focus once they occurred. "Through that footage, the challenge was to articulate a voice," he says. Omer considers the artwork’s voice, which he describes as "urgent, demanding, aggressive and scared," as his doppelgänger. In response to the time during which it was made, CNN Concatenated asks questions like "Where do we go from here? What do we know? How have we changed?" https://player.vimeo.com/video/199049889?portrait=0 226 2015-12-18 yes no https://art21.org/watch/new-york-close-up/jaimie-warren-is-a-total-character/ Jaimie Warren Is A Total Character https:art21.org/wp-content/uploads/2016/10/warren-character-still-230-1400x788.jpg How does an artist honor her heroes? Matching the playful “anything goes” aesthetic of its subject, this film explores the photographic and video work of Brooklyn-based artist Jaimie Warren as she recreates a wild array of pop culture characters. Coming of age in Wisconsin in the 1980s and 1990s, Warren learned to love the out-sized personalities and distinct looks of “weirdos” like Freddy Krueger, Miss Piggy, Grace Jones, Elvira, and Dolly Parton. Inspired by do-it-yourself Halloween costumes, Warren traces the evolution of her photographic work, from impromptu goofs to more elaborately art-directed portraits. “Seeing what I’m capable of with the resources that I have, it’s just fun for me,” she explains. “I especially like the grosser or weirder it can be from me but—not just covering myself up with a costume—being able to see that it’s me but that I look completely different.” At the American Medium gallery in Brooklyn, Warren rehearses and shoots her latest work—a music video inspired by singer Freddie Mercury and a 14th-Century religious painting—with a group of friends and long-time collaborators. For Warren, her celebrity-saturated works are not ironic pastiches but, instead, playful imaginings of an alternate universe where her motley group of idols can come together and interact in an unexpected community. Says Warren, “They've all helped along...my artistic spirit, and why should they not be friends? And why should I not thank them for that? So I am. Thank you.” 735 https://player.vimeo.com/video/148625844?portrait=0 447 2015-12-11 yes no https://art21.org/watch/new-york-close-up/louise-despont-according-to-the-universe/ Louise Despont According to the Universe https:art21.org/wp-content/uploads/2016/10/despont-universe-still-325-1400x788.jpg What is the source of inspiration? Filmed in her Tribeca studio, Louise Despont peruses a vast reference library of images she began collecting in high school and maintains to this day. Drawn to geometry, energy waves, and universal symbols, Despont’s interests reveal a fascination with underlying patterns and cosmological draughtsmen: Rudolf Steiner, Carl Jung, Agnes Martin, Charles Burchfield, Martin Ramirez, Achilles G. Rizzoli, Adolf Wölfli, Hilma af Klint, Theosophy, Buddhist medical charts, Shaker gift drawings, seismographs, echolocation, mandalas, yantras, Tantric drawings, maps, gardens, fasciation in plants, beehives, kilim, ikat, Jantar Mantar, and masks. "What’s so interesting about the creative act is that you can access something completely outside yourself," says Despont, who makes a distinction between consciously referencing subject matter in her artwork versus communing with a sense of unconscious awareness. "If you offer yourself up as the hands to make the work the relationship you form with what you communicate with has its own voice." 734 https://player.vimeo.com/video/145652888?portrait=0 535 2015-11-13 yes no https://art21.org/watch/specials/kimsooja-collaboration-on-campus-nanotechnology-contemporary-art/ Kimsooja: Collaboration on Campus—Nanotechnology & Contemporary Art https:i.vimeocdn.com/video/613641143_1280x720.jpg In this Art21-produced special feature, artist Kimsooja collaborates with scientists and nanotechnologists to create an iridescent steel and polymer sculpture for the Cornell University campus in Ithaca, NY. Developed in collaboration with architect Jaeho Chong and Cornell nano material engineer Ulirich Wiesner, Ph. D., the 46-foot-tall needle-shaped structure A Needle Woman: Galaxy was a Memory, Earth is a Souvenir (2014) is the result of the artist's first-ever collaboration with scientists. "This tradition of bringing art and science together precedes modernism," says Stephanie Owens, director of Cornell Council for the Arts. "So [Kimsooja] and [Wiesner] working at a similar interface related to light and objects was a definite continuation of this tradition." The sculpture's plexi-glass panels are coated with an nano polymer film—molecularly engineered by Cornell materials scientists in Wiesner's lab—to produce experiences inspired by naturally-occurring light phenomenon. "We use iridescence as a principle in order to mimic the effect of the butterfly wing," says Wiesner. A Needle Woman: Galaxy was a Memory, Earth is a Souvenir was created as part of the artist's residency for the Cornell Council for the Arts 2014 Biennial. https://player.vimeo.com/video/200191896?portrait=0 956 2015-11-10 yes no https://art21.org/watch/extended-play/graciela-iturbide-photographing-mexico-short/ Graciela Iturbide: Photographing Mexico (SHORT) https:i.vimeocdn.com/video/613267467_1280x720.jpg From Mexico City, artist Graciela Iturbide discusses her personal and artistic relationship to politics and inequality in Mexico. "We have such wonderful traditions—such wonderful people," says Iturbide, who was close to leftist parties in Mexico. "But, it's very sad that there is so much social injustice." In contrast to her strong political views, she prefers to photograph people “independently of the injustice” to avoid sensationalizing their lives. Iturbide embeds herself within the communities when taking photographs throughout Mexico, attending events such as births and festivals. The artist is shown at the Frida Kahlo Museum in Mexico City where she produced a series of photographs taken in Kahlo’s bathroom. https://player.vimeo.com/video/199899560?portrait=0 250 2015-11-06 yes no https://art21.org/watch/extended-play/josiah-mcelheny-paintings-short/ Josiah McElheny: Paintings (SHORT) https:i.vimeocdn.com/video/614521475_1280x720.jpg Filmed in 2015, artist Josiah McElheny works on a new series of paintings from his Brooklyn, NY studio. "People have often described my work as sculpture," says McElheny, who only recently recognized the role of painting within his work from throughout the past two decades. In contrast to the notion that “painting might only be the surface,” McElheny is interested in creating the opportunity to look through paintings. McElheny creates mysterious, shifting abstractions by inserting glass prisms into his work, referring to the past yet suggesting possibilities for the future. The finished paintings were on view at Andrea Rosen Gallery in New York in Fall 2015. https://player.vimeo.com/video/200891053?portrait=0 218 2015-10-23 yes no https://art21.org/watch/new-york-close-up/lucas-blalocks-digital-toolkit/ Lucas Blalock’s Digital Toolkit https:art21.org/wp-content/uploads/2016/10/blalock-tools-still-109-1400x788.jpg Have you ever wanted a Photoshop tutorial from an artist? Filmed in his Greenpoint studio, artist Lucas Blalock creates uncanny pictures using simple tools in Photoshop. Blalock demonstrates how he tweaks analog photographs—all taken with a large-format camera—by digitally erasing, masking, cloning, and drawing on scans of images. Approaching each picture as a game of enhancing visual relationships, Blalock preserves the clumsy quality of his alterations in a kind of slapstick full of pathos and whimsy. Collaborating with the filmmakers, Blalock’s studio process is staged through a series of reenactments, sleights of hand, and animations that overtake the video itself. Featuring the works Boob bag, A physical feeling, The Smoker, two lettuces, untitled, from WINDOWS MIRRORS TABLETOPS (all 2014); Blue Bottles, The Guitar Player,Kathleen, Picture for Mark I, PLANTS, Shoe, three, three, three (all 2013); Accurate Walking Style I, Both Chairs in CW's Living Room, caned, chair, arm, hole, Coffee Pot, Gabriela as a Bunny, Picture for Jennifer (record player), Untitled (lozenges), Untitled (all 2012); The Mallard, Straw Picture, Tenting (all 2011); and The Contender (2009). https://player.vimeo.com/video/138985074?portrait=0 367 2015-09-11 yes no https://art21.org/watch/extended-play/lynda-benglis-the-wave-of-the-world-short/ Lynda Benglis: “The Wave of the World” (SHORT) https:i.vimeocdn.com/video/611811087_1280x720.jpg Artist Lynda Benglis reunites with her first fountain, The Wave of the World (1983–84), which went missing in the years following the 1984 Louisiana World Exposition where the work was originally installed. Shown being repaired at the Modern Art Foundry in Queens, NY—the site where the work was originally cast—the large bronze cantilever was created after Benglis was awarded a commission to produce a fountain for the Louisiana World Exposition, a World's Fair that took place in New Orleans. "Essentially, I think I repeat ideas of nature, and I process them and interpret them," says Benglis, who grew up navigating the bayous of Louisiana and creating objects out of natural materials. Benglis attempts to harness her early creative impulses, which she says people learn to repress as adults. “It's exciting for me to feel that same excitement that I felt as a kid." Included in this episode are never-before-seen photographs taken by Peter Bellamy that show Benglis creating the model for the fountain through her innovative use of expanding foam and wire mesh. The Wave of the World is currently on view in New Orleans City Park, an installation that was made possible with the support of The Helis Foundation. https://player.vimeo.com/video/198748325?portrait=0 420 2015-09-01 yes no https://art21.org/watch/new-york-close-up/caroline-woolard-flips-the-real-estate-script/ Caroline Woolard Flips the Real Estate Script https:art21.org/wp-content/uploads/2016/10/woolard-flips-still-124-1400x788.jpg How can New Yorkers hope to stay put in a city where rents make living all but impossible? Impelled by her own personal experiences, artist and organizer Caroline Woolard advocates for permanently affordable space in New York City, banding together with artists and non-artists alike to build a real estate investment cooperative. According to the New York City Comptroller's Office, from the years 2000 to 2012, median apartment rents in the city rose by 75% (compared to 44% in the rest of the United States) while real incomes of New Yorkers declined. Artists face a unique challenge with rising rent costs, typically having to rent both living and working spaces. Upon graduating from art school in 2006—in the middle of the New York City rent explosion—Woolard and a group of friends went all in on a large Brooklyn workspace, building out over 40 individual studios from scratch and fostering a tight-knit community in the process. Over the course of seven years, Woolard realized that she and her studiomates would have paid close to a million dollars in rent for a space that "we know will be priced out of when our lease is up and our landlord charges as much as he can." It was a crucial moment for Woolard, forcing her to recognize that solutions to her own and the city's affordability crisis lie in finding common cause with more than just art school graduates. After a period of intensive self-education in past and present alternative real estate models, Woolard, lawyer and organizer Paula Segal, and others founded the ambitious New York City Real Estate Investment Cooperative. The organization's goal is to use individual member investments to inject capital into projects that turn vacant municipal properties into sustainable community resources and work with private owners to stabilize existing businesses and community spaces. As Woolard declares at the cooperative's first meeting at the Middle Collegiate Church in the East Village, "We believe that small businesses and community based organizations with permanently affordable space, can transform our streetscapes from empty retail corridors and abandoned warehouses, to vibrant streets filled with local culture and dignified workers." https://player.vimeo.com/video/134998679?portrait=0 539 2015-07-31 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/allora-calzadilla-in-season-4-of-art-in-the-twenty-first-century-2007-preview/ Allora & Calzadilla in Season 4 of “Art in the Twenty-First Century” (2007) (PREVIEW) https:i.vimeocdn.com/video/622556045_1280x720.jpg Jennifer Allora & Guillermo Calzadilla approach visual art as a set of experiments. Believing that art can function as a catalyst for social change, the artists solicit active participation and critical responses from their viewers. The artists' emphasis on cooperation and activism have led them to develop hybrid art forms—sculptures presented solely through video documentation, digitally manipulated photographs, and public artworks generated by pedestrians. https://player.vimeo.com/video/207468922?portrait=0 136 2007-10-16 yes no https://art21.org/watch/new-york-close-up/jamian-juliano-villanis-painting-compulsion/ Jamian Juliano-Villani’s Painting Compulsion https:art21.org/wp-content/uploads/2016/10/juliano-villani-compulsion-still-179-1400x788.jpg What makes a painter paint? Filmed in her Bedford-Stuyvesant studio, artist Jamian Juliano-Villani uses a digital projector to create surreal paintings and discusses the graphic source material that inspires her. Juliano-Villani's Brooklyn studio is crowded with a wildly varied collection of books ranging from 70s-era fashion, to commercial illustration, to Scientific American-style photography, to obscure European comic art. This vast image bank—which the artist began collecting in high school—generates the building blocks for her mashup creative process. "When I'm working I'll have thirty images in a month or two months that I'll keep on coming back to, and I'll try and make those work with what I'm doing, but they'll never look like they're supposed to be together," says Juliano-Villani. "That's when the painting can change from an image-based narrative to something else." Working quickly and intuitively with the projector, Juliano-Villani toggles through a series of potential images on her laptop as a way to discover solutions for content and composition. Long attracted to cartoons, the artist borrows from illustration as a way to deflate painting's historical pretensions and to speak in a more direct language; and yet, despite her use of vernacular imagery, what her works ultimately communicate might only be personally understood. "Painting is the thing that validates me and the thing that makes me feel good. I care about it, and they care about me. That's why I put the things that I collect and really, really love in my paintings," says Juliano-Villani. "They're helping me figure out the things that I can't communicate to myself yet." 726 https://player.vimeo.com/video/132225092?portrait=0 361 2015-06-30 yes no https://art21.org/watch/extended-play/arlene-shechet-sculpting-time-short/ Arlene Shechet: Sculpting Time (SHORT) https:i.vimeocdn.com/video/615999506_1280x720.jpg Arlene Shechet discusses a series of plaster sculptures that she created over the course of six years in the mid-1990s, following the death of a close friend. The artist developed a greater appreciation of time following the experience. “To honor Carol, I basically threw out everything in my studio and I started anew,” says Shechet. She began sculpting in plaster, a material with which she had previously worked, but had not valued in the same way. “Every single second as it's drying, it changes,” says Shechet, who sculpted without an armature. “Whatever time—be it an hour or be it five hours—I would make a piece out of that material that suddenly became just the right thing.” Though she eventually recognized the sculptures to resemble Buddhist iconography, Shechet initially intended to create figures that could remind her of the fragility of life. An installation of the sculptures, which reflects how she lives with them in her studio, is shown at the Institute of Contemporary Art (ICA) in Boston as part of Shechet’s twenty-year survey, All at Once (June 10 - September 7, 2015). https://player.vimeo.com/video/202062541?portrait=0 264 2015-06-29 yes no https://art21.org/watch/extended-play/arlene-shechet-pentimento-in-paper-short/ Arlene Shechet: Pentimento in Paper (SHORT) https:i.vimeocdn.com/video/615993105_1280x720.jpg From the Dieu Donné papermaking studio in New York City, artist Arlene Shechet creates a series of cast paper reliefs. Most known for her ceramic sculptures, Shechet describes herself as being restless in her desire to investigate through various media. “The thing about working with paper is the immediacy of that entire process,” says the artist. “I love seeing the thing and responding.” By layering sheets of paper over rubber molds, which are made in her ceramics studio, Shechet directly links the two practices. The molds transfer the texture of glazed clay, firebricks, and tool markings into the paper pulp. “One other way that this is similar to working in ceramics is that it never looks as good as it looks when it's wet,” says Shechet. “What I'm always pining for is the wet. It's closer to the aliveness of the actual experience.” Finished paper works are shown at the Institute of Contemporary Art (ICA) in Boston as part of Shechet’s twenty-year survey, All at Once (June 10 - September 7, 2015). https://player.vimeo.com/video/202058099?portrait=0 457 2015-06-26 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/hiroshi-sugimoto-in-season-3-of-art-in-the-twenty-first-century-2005-preview/ Hiroshi Sugimoto in Season 3 of “Art in the Twenty-First Century” (2005) (PREVIEW) https:art21.org/wp-content/uploads/2016/10/sugimoto-memory-still-029.jpg Central to Hiroshi Sugimoto's work is the idea that photography is a time machine, a method of preserving and picturing memory and time. Sugimoto sees with the eye of the sculptor, painter, architect, and philosopher. He creates images that seem to convey his subjects' essence, whether architectural, sculptural, painterly, or of the natural world. https://player.vimeo.com/video/207371431?portrait=0 74 2005-09-01 yes no https://art21.org/watch/extended-play/tania-bruguera-immigrant-movement-international-short/ Tania Bruguera: “Immigrant Movement International” (SHORT) https:i.vimeocdn.com/video/611971838_1280x720.jpg This Art21 Exclusive series episode features Immigrant Movement International (IMI), an ongoing project initiated by artist Tania Bruguera in 2010, located in Corona, Queens, New York. IMI functions as a community space where art and education are used to empower immigrants personally and politically. Bruguera says that by engaging with contemporary art "[immigrants] understand how to work from their fear and the limitations they put on themselves once they enter this country." Artist Aliza Nisenbaum, who taught an English class at IMI using art, painted portraits of her students. "A lot of these women are people that hide in some way," says Nisenbaum. "I was trying to give a sense of agency to the women that were here in terms of finding their voice, in terms of art, and in terms of basic English skills." Members of Tletlpapalotzin, an Aztec dance group, perform a traditional ceremony at IMI's Community Celebration Day and discuss their experiences as immigrants living in New York City. "For me being in a ceremony gives me the strength to go forward day to day," says Tletlpapalotzin member Ana Ramirez. "It gives me pleasure to work together with my family of the Tletlpapalotzin group." https://player.vimeo.com/video/198875273?portrait=0 392 2015-06-19 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/cai-guo-qiang-in-season-3-of-art21-art-in-the-twenty-first-century-2005-preview/ Cai Guo-Qiang in Season 3 of Art21 “Art in the Twenty-First Century” (2005) (PREVIEW) https:i.vimeocdn.com/video/622424681_1280x720.jpg Cai Guo-Qiang's fireworks explosions—poetic and ambitious at their core—aim to establish an exchange between viewers and the larger universe. For his work, Cai draws on a wide variety of materials, symbols and traditions including elements of feng shui, Chinese medicine, gunpowder, as well as images of dragons and tigers, cars and boats, mushroom clouds and I Ching. https://player.vimeo.com/video/207367940?portrait=0 65 2005-09-01 yes no https://art21.org/watch/extended-play/elliott-hundley-evoking-emotions-short/ Elliott Hundley: Evoking Emotions (SHORT) https:i.vimeocdn.com/video/623865279_1280x720.jpg From his Los Angeles studio, artist Elliott Hundley describes an interest in evoking intense emotions through collage and photography. Inspired by opera's use of highly artificial conventions to elicit an emotional response, Hundley describes his own work as being "imaginary operas." In contrast to this goal, the artist uses collage as a foil because of its straightforward and recognizable qualities. "[Collage] is resonant because it is made of the stuff that we see everyday, so it’s familiar," says Hundley. "It reflects our reality." Hundley is shown at work in his Los Angeles studio, taking staged photographs of a close friend. The resulting images from this and other photo shoots are then incorporated into Hundley’s collages. "What’s important to me about including my friends and family is that it raises the stakes, that they’re not just images." https://player.vimeo.com/video/199893360?portrait=0 295 2015-06-05 yes no https://art21.org/watch/new-york-close-up/welcome-to-whoop-dee-doo-with-matt-roche-jaimie-warren-too/ Welcome to Whoop Dee Doo! (with Matt Roche & Jaimie Warren Too) https:art21.org/wp-content/uploads/2016/10/warren-whoop-still-572-1400x788.jpg What is meaningful community art? In this film, the artist-led variety show Whoop Dee Doo—co-directed by Jaimie Warren and Matt Roche—collaborates with the Urban Youth Theater Ensemble to produce a one-day-only performance of An Abominable Thawt (2015) at Abrons Arts Center on Manhattan’s Lower East Side. Developed through workshops over the course of two months, the show’s original concepts and characters emerge through a series of improvisational games between teenagers and artists. Local performers are also enlisted, such as the singer Joseph Keckler, the tuvan throat singer Robert McLaughlin, and members of The Japanese Folk Dance Institute of New York. The week before the show, additional Whoop Dee Doo artists arrive from around the United States to help contribute ideas, craft costumes, and build a 360-degree installation out of newspaper, cardboard, and painter’s plastic. Performed on the second day of spring, the wildly colorful and energetic show features abominable snowmen, a traditional Japanese masked prison dance, game shows, a larval magic act, and a frozen set that slowly thaws. The latest in a series of performances stretching back to 2006, Whoop Dee Doo originated in Kansas City and has taken its “faux public access television show” on the road to cities such as Baltimore, Portland, Philadelphia, Omaha, Cincinnati, Chicago, San Antonio, Miami, Montreal, and Malmo, among others. “Whoop Dee Doo accomplishes everything that I would want to get out of an art experience,” says Warren, while Roche adds “It’s the main source in my life for personal growth.” With the goal of creating unexpected and endearing experiences that local artists, underserved youth, and audiences can share, Whoop Dee Doo breaks down stereotypes between art and entertainment in a chaotic mix of cross-cultural and cross-generational collaboration. https://player.vimeo.com/video/129144229?portrait=0 746 2015-05-29 yes no https://art21.org/watch/extended-play/thomas-hirschhorn-gramsci-monument-short/ Thomas Hirschhorn: “Gramsci Monument” (SHORT) https:i.vimeocdn.com/video/612436292_1280x720.jpg This episode of the Art21 Exclusive series features the residents and volunteers behind Thomas Hirschhorn's Gramsci Monument (2013)—each of whom worked with the artist to create the site-specific participatory sculpture at the Forest Houses complex in the Bronx, New York. They discuss their experiences working with Hirschhorn, describing how the project affected their lives and their understanding of art. “A monument is usually something that is stable and doesn’t move” says Erik Farmer, the Tenants Association President. “This is a temporary monument—something I had never heard of—but Thomas explained to me what he wanted to do and how he wanted to integrate the residents into the monument.” Volunteer Lex Brown explains that because the Gramsci Monument only lasted for two and a half months, “there’s an urgency to it, and without that urgency, it would not be the same thing.” Thomas was at the monument every day while it was open, during which the residents became closely acquainted with his personality and motivations. “He doesn't want anything to interfere with his project,” says resident and monument staff member Dannion Jordan. "If you’re not interfering with his project, everything is good." https://player.vimeo.com/video/199235796?portrait=0 436 2015-05-22 yes no https://art21.org/watch/extended-play/leonardo-drew-finding-piet-mondrian-short/ Leonardo Drew: Finding Piet Mondrian (SHORT) https:i.vimeocdn.com/video/612187983_1280x720.jpg From his Brooklyn neighborhood, Leonardo Drew reflects upon the influence of Piet Mondrian on his own work. "As different as my work looks, Mondrian is actually right in there," says Drew, whose work is often built around the same gridded compositional structure that Mondrian innovated. Drew visits Mondrian’s grave in Cypress Hills Cemetery—which is nearby his Brooklyn studio—where visitors often leave paint tubes and other offerings. Drew and his artist friend Paul Pagk first found Mondrian’s grave in 2009 at a time when the cemetery did not realize Mondrian’s notability. After an article titled "Remembered at MoMA, Forgotten at the Cemetery" was published about Drew and Pagk’s discovery, the cemetery installed a sign at Mondrian's grave identifying the artist as "notable." https://player.vimeo.com/video/199044849?portrait=0 227 2015-05-15 yes no https://art21.org/watch/extended-play/joan-jonas-new-york-performances-short/ Joan Jonas: New York Performances (SHORT) https:i.vimeocdn.com/video/613430290_1280x720.jpg From her Manhattan studio, artist Joan Jonas discusses her decision to begin staging performances in the late 1960s. As a child growing up in New York, Jonas's mother brought her to see performances such as Richard Wagner operas at The Metropolitan Opera and a George Balanchine production of Afternoon of a Faun starring Tanaquil Le Clercq. Describing her experiences of seeing operas and ballets in her youth, Jonas recalls, "Things like that make a big impression on you when you're young." For her own performances, Jonas invited artist friends such as Gordon Matta-Clark, Tina Girouard, and Pat Steir to abandoned lots and empty streets in Lower Manhattan where, while being filmed by artist Peter Campus, she would give them props and simple choreography to perform. "In a way we all helped each other and worked together and people really enjoyed being in other people’s works," says Jonas of her artist friends. "Everybody knew that that moment was special in the 60s and 70s." Four of Joan Jonas's earliest works are featured in this episode, including Wind (1968), Songdelay (1973), Organic Honey’s Vertical Roll (1973), and Street Scene (1976). https://player.vimeo.com/video/200029034?portrait=0 431 2015-05-06 yes no https://art21.org/watch/new-york-close-up/diana-al-hadid-plays-the-classics/ Diana Al-Hadid Plays the Classics https:art21.org/wp-content/uploads/2016/10/al-hadid-classics-stills-262-1400x788.jpg How do you get a painting to stand up on its own? At her Bushwick, Brooklyn studio and OHWOW Gallery in Los Angeles, artist Diana Al-Hadid creates a singularly hybrid artwork, transforming brushstrokes on a wall into architectural sculpture. Al-Hadid works alone in her large studio, projecting a composite image constructed from parts of Italian Renaissance paintings onto a far wall. “I love storytelling, I love stories, and I love novels and characters. But there’s a part of me that resists that kind of specificity. I like to hold back and be more ambiguous,” says Al-Hadid. Listening to an audiobook of Leo Tolstoy’s epic novel Anna Karenina, Al-Hadid lays down an equally grand image on the studio wall, quickly painting out an ambitious figurative scene with slashing brushstrokes. Later, Al-Hadid’s assistants “back” these individual strokes using a mix of gypsum, fiberglass, and plaster, painstakingly preserving the liquid energy and lyricism of Al-Hadid’s original gestures. Al-Hadid and her assistants then peel the backing off the wall and dramatically reveal what now looks like an expanse of delicate medieval tracery. “With every project, I’m kind of asking, how can I re-think this process that I’ve become familiar with?” asks Al-Hadid. Installed at OHWOW Gallery, the work has yet again been transformed. Seamlessly melded into the gallery’s white walls, the once painting is now a floor-to-ceiling sculpture—a threshold between the space’s front and back in which the artwork’s negative space creates an opening that viewers can walk through. 715 https://player.vimeo.com/video/126618121?portrait=0 371 2015-05-01 yes no https://art21.org/watch/extended-play/katharina-grosse-painting-with-color-short/ Katharina Grosse: Painting with Color (SHORT) https:i.vimeocdn.com/video/612225577_1280x720.jpg Shown in her studio and at Johann König Gallery (both in Berlin), artist Katharina Grosse discusses her use of color when painting on three-dimensional and flat surfaces. "I like this anarchic potential of color," says Grosse, who paints very rapidly with an industrial spray gun. Grosse explains that despite an early interest in language and reading, she was attracted to painting because of its non-linear qualities. She elaborates further saying that painting "compresses time, shortening the process of thinking and acting." Among the works featured is an exhibition of the artist's paintings on paper at Johann König Gallery in Berlin. https://player.vimeo.com/video/199073832?portrait=0 280 2015-04-17 yes no https://art21.org/watch/new-york-close-up/rashid-johnson-keeps-his-cool/ Rashid Johnson Keeps His Cool https:art21.org/wp-content/uploads/2016/10/johnson-cool-still-191-1400x788.jpg What happens when an artist follows his instincts? In this film, artist Rashid Johnson charts a decade-long aesthetic and professional development from his early portrait photographs to his later conceptually-based sculptures made from glass, wood, and tile. Johnson is "a materialist at heart" and his earliest work—painterly, monochromatic photographs of African-American men made with obsolete 19th-Century techniques—evidence a career-long fascination with materials and processes. The photographs also unexpectedly get him his first gallery show while still an unknown undergraduate student at Columbia College in Chicago. It’s the start of a successful exhibition run, including shows at the prestigious Venice Biennale and the Museum of Contemporary Art Chicago, that continues to this day. At Hauser & Wirth gallery in New York City, Johnson helps install large-scaled, formally exacting sculptural works made with what have become signature materials like shea butter, black soap and wax, and zebra skin. Though those materials evoke Johnson’s own complicated relationship to African-American identity and culture, the artists says, "My black-ness...[has] a strong effect on how my work is born and around the conversation that inevitably will happen, but I don’t think that it’s really the sum off all what my work is. And I think formally I’m trying to approach art-making in a way that is part of the bigger history of art." 713 https://player.vimeo.com/video/124041396?portrait=0 413 2015-04-03 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/eleanor-antin-in-season-2-of-art-in-the-twenty-first-century-2003-preview/ Eleanor Antin in Season 2 of “Art in the Twenty-First Century” (2003) (PREVIEW) https:i.vimeocdn.com/video/622422263_1280x720.jpg An influential performance artist, filmmaker, photographer,and installation artist, Eleanor Antin delves into history—whether of ancient Rome, the Crimean War, the salons of nineteenth-century Europe, or her own Jewish heritage and Yiddish culture—as a way to explore the present. Antin is a cultural chameleon, masquerading in theatrical or stage roles to expose her many selves. https://player.vimeo.com/video/207366000?portrait=0 37 2003-09-01 yes no https://art21.org/watch/extended-play/trevor-paglen-power-perspective-short/ Trevor Paglen: Power & Perspective (SHORT) https:i.vimeocdn.com/video/614861074_1280x720.jpg In this episode, Trevor Paglen discusses two recent photographs at Griffin Editions—a printing studio in New York City. Photographed from the inside of a helicopter, National Security Agency (2013) shows the agency's rarely-seen headquarters in Fort Mead, Maryland at a "bird's-eye" perspective. "I generally don't like these so-called 'bird's-eye' perspectives," says Paglen, seeing its value instead as a means to suggest empowerment by the general public over institutions such as the NSA. Inspired by J. M. W. Turner's painting, The Angel Standing in the Sun (1846), Reaper in the Sun (2013) depicts a drone aircraft flying above a military base in the Nevada desert. “In the sky, there traditionally is a promise of openness or freedom; but, the sky itself has been turned against us,” says Paglen, who describes the drone as the “punctuation mark.” 711 https://player.vimeo.com/video/201152679?portrait=0 321 2015-03-27 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/kerry-james-marshall-in-season-1-of-art-in-the-twenty-first-century-2001-preview/ Kerry James Marshall in Season 1 of “Art in the Twenty-First Century” (2001) (PREVIEW) https:i.vimeocdn.com/video/622405662_1280x720.jpg The subject matter of Kerry James Marshall's paintings, installations, and public projects is often drawn from African-American popular culture. A striking aspect of his paintings is the emphatically black skin tone of his figures, a comment on the invisibility of blacks in America and the unnecessarily negative connotations associated with darkness. https://player.vimeo.com/video/207353267?portrait=0 76 2001-09-01 yes no https://art21.org/watch/extended-play/trevor-paglen-limit-telephotography-short/ Trevor Paglen: Limit Telephotography (SHORT) https:i.vimeocdn.com/video/614860398_1280x720.jpg In this episode, Trevor Paglen takes photographs for his Limit Telephotography series from the edge of the Tonopah Test Range, a classified military site in the Nevada desert. By attaching a telescope to his camera through a special lens, Paglen is able to photograph military structures and classified aircraft from publicly accessible land many miles away. Because of atmospheric conditions such as convection waves and dust, the images are distorted and often unidentifiable. As a result, Paglen says he is not only photographing something at an extreme distance but also "photographing the limitations of one’s own vision." In referencing the highly descriptive titles he gives to each photograph, Paglen says, "It's not clear to me that images really mean anything other than the meanings we attribute to them." https://player.vimeo.com/video/201151688?portrait=0 344 2015-03-13 yes no https://art21.org/watch/new-york-close-up/alejandro-almanza-pereda-escapes-from-new-york/ Alejandro Almanza Pereda Escapes from New York https:art21.org/wp-content/uploads/2016/10/almanza-pereda-escapes-still-368-EDIT-1400x788.jpg Why would an artist leave the greatest city in the world? Artist Alejandro Almanza Pereda lives out his own personal Escape from New York​ (1981)—the John Carpenter classic cult film—completing a big mission before time runs out. ​From his Hunter College MFA studio in Tribeca, Almanza Pereda recalls how the retro-future action film had a big impact on him as a kid growing up in Mexico. Set in a dystopian Manhattan that’s been turned into a prison, the film features anti-hero character Snake Plissken whose mission is to rescue the President before the time lapse bomb implanted in Plissken’s body explodes. Almanza Pereda sees today's New York City as an inaccessible prison of a different sort: “It's become a playground for really privileged people.” Almanza Pereda describes the disheartening, socially isolating environment that artists in New York now face. With exorbitant rents for barely adequate studio spaces, artists are forced to maximize their time by either making money or art, with little opportunity to partake in the larger creative community that attracted them to the city in the first place. But like any good New Yorker, Almanza Pereda optimizes his best remaining asset—the three weeks that remain in his Hunter studio—and embarks on an ambitious new project before moving to Mexico City. He creates a DIY plywood aquarium in which he photographs classic table-top still lives featuring his own treasured knickknacks and produce sourced from nearby Chinatown. Staging his arrangements upside down and underwater, Almanza Pereda is able to circumvent the rules of gravity in favor of a alternative world where objects counterintuitively float and sink. At times melancholy, sublime, and unpredictable, Almanza Pereda's still lives mirror his own bittersweet feelings about leaving New York: sadness over the loss of friends leavened with the promise of adventures in a new city. 708 https://player.vimeo.com/video/121479997?portrait=0 621 2015-03-06 yes no https://art21.org/watch/new-york-close-up/daniel-gordon-ruby-sky-stiler-take-baby-steps/ Daniel Gordon & Ruby Sky Stiler Take Baby Steps https:art21.org/wp-content/uploads/2016/10/gordon-baby-still-089-1400x788.jpg What's the art of balancing work and family? From their home in Windsor Terrace, Brooklyn, married artists Daniel Gordon and Ruby Sky Stiler candidly discuss the complex professional and personal dynamics of bringing a baby into their already busy lives. Gordon’s and Stiler’s studios are a study in contrasts. Gordon’s studio in DUMBO is overflowing with color and materials, the floor strewn with paper scraps from which he creates elaborate still lifes to photograph. Stiler’s studio in Gownaus is more orderly, her work table a puzzle of Styrofoam shards from which she constructs sculptures and casts elegant bas-reliefs referencing antiquity. Gordon and Stiler met in graduate school and, like many hard-working professionals in their thirties, the decision to have a baby was a difficult leap into the unknown. For Stiler, the transition from taking care of baby Gus to working in the studio was trying: feelings of satisfaction at going back to work hit up against feelings of guilt at not being at home with her newborn. For Gordon, life after the baby meant learning how to maximize his studio time within a set 9 to 5 schedule, while home became an unexpected release from the burdens of art. "Now having Gus, it's such a pleasure and a relief to have some other thing that's very important that pulls you away from all that stuff and pulls you away from your head," says Gordon. "You can't obsess and take care of Gus. You have to obsess about Gus, and then you can obsess about the other stuff." 707 https://player.vimeo.com/video/118919650?portrait=0 505 2015-02-06 yes no https://art21.org/watch/extended-play/andrea-zittel-high-desert-test-sites-short/ Andrea Zittel: High Desert Test Sites (SHORT) https:i.vimeocdn.com/video/611992909_1280x720.jpg This episode features High Desert Test Sites, a non-profit organization co-founded by Andrea Zittel that supports immersive experiences and exchanges between artists, critical thinkers, and general audiences. In late-2014, High Desert Test Sites (HDTS), known for hosting events in far-flung corners of the American southwest, programmed a day of talks and installations at the site of a former health resort in Zzyzx, California. Aurora Tang, managing director of HDTS and curator for the event, selected Zzyzx because it provokes a sense of discovery and exploration. "It's all about water," adds Zittel, "in the sense that being in the desert is only possible because of water." In addition to off-site programming, HDTS owns over 100 acres of land near Joshua Tree, California where they allow artists to insert their work directly into the desert landscape. https://player.vimeo.com/video/198891294?portrait=0 412 2015-01-30 yes no https://art21.org/watch/extended-play/andrea-zittel-wagon-station-encampment-short/ Andrea Zittel: “Wagon Station Encampment” (SHORT) https:i.vimeocdn.com/video/611992811_1280x720.jpg This episode features Andrea Zittel’s Wagon Station Encampment (2004–ongoing)—a series of sleeping pods arranged throughout her property in Joshua Tree, California. Twice per year, when the desert climate is mild, Zittel allows artists, hikers, and researchers to stay in the Encampment, which is adjacent to her home and studio. Designed to facilitate social engagement as well as personal exploration, the Encampment is a blend of communal and private spaces. "Everybody has their desert fantasy; my particular fantasy was probably living on an alien landscape," says Zittel who describes the Encampment as reflecting a "sci-fi pioneer aesthetic." https://player.vimeo.com/video/198890187?portrait=0 424 2015-01-23 yes no https://art21.org/watch/extended-play/andrea-zittel-art-design-short/ Andrea Zittel: Art & Design (SHORT) https:i.vimeocdn.com/video/611992719_1280x720.jpg Andrea Zittel discusses her approach to design in this episode from the Art21 Exclusive series. "Every space that I've lived in I've turned into an art project," she says. "And I think that everything in [my] house has really evolved with my life." Zittel's property in Joshua Tree, California is a site of experimentation, where she questions the distinction between the art and design disciplines by constantly renovating her interior space, and creating utilitarian yet conceptually significant objects. "I think that the ambiguity of how things are meant to be used is deliberate," says Zittel, whose Aggregated Stacks (2010) and different weavings can serve everyday functions while also reflecting modernist concerns. https://player.vimeo.com/video/198888856?portrait=0 352 2015-01-16 yes no https://art21.org/watch/extended-play/joan-jonas-drawings-short/ Joan Jonas: Drawings (SHORT) https:i.vimeocdn.com/video/613432038_1280x720.jpg This episode features Joan Jonas drawing in her Manhattan studio, and on stage at the Umeå Jazz Festival in Sweden. "Drawing is like practicing the piano, because the first ones that I do often don't come out so I have to practice," says Jonas who handicaps herself by attaching her ink brushes and oil sticks to long rods or branches. "It's almost accidental if they turn out." While showing archived drawings of her dogs and an owl, Jonas discusses her interest in capturing an animal’s character through portraiture. https://player.vimeo.com/video/200030772?portrait=0 328 2014-12-19 yes no https://art21.org/watch/artist-to-artist/kerry-james-marshall-at-prospect-3/ Kerry James Marshall at Prospect.3 https:i.vimeocdn.com/video/500028139_1280x720.jpg Chicago-based artist Kerry James Marshall travels to the Prospect.3 biennial in New Orleans, Louisiana and speaks with five fellow artists and one collective: Zarouhie Abdalian, William Cordova, Lonnie Holley, Yun-Fei Ji, Christopher Myers, and The Propeller Group. "When I talk to other artists I’m interested in hearing how they read their subjectivity and how it drives and motivates what they do," says Marshall. "We [all] come from different positions at different times and we mean to make work for different purposes." For Marshall, a biennial presents an opportunity to "try out something more experimental." His site-specific installation of futuristic gold plexiglass alcoves in the windows of the Ashé Cultural Arts Center creates "an otherworldly space" that "cuts against the grain of a kind of abjection that people associate with the recovery from [Hurricane] Katrina." Prospect.3 is on view October 25, 2014 through January 25, 2015. https://player.vimeo.com/video/114358778?portrait=0 989 2014-12-12 yes no https://art21.org/watch/new-york-close-up/bryan-zanisnik-goes-to-the-meadowlands/ Bryan Zanisnik Goes to the Meadowlands https:art21.org/wp-content/uploads/2016/10/zanisnik-meadowlands-still-142-EDIT-1400x788.jpg Where are the blank spots on the map? In this film, artist Bryan Zanisnik hikes through the New Jersey Meadowlands landscape and exhibits his work Meadowlands Picaresque at the Brooklyn Museum. "I love this idea of this landscape that’s constantly evolving but also devolving," says Zanisnik as he explores the brackish wetlands, abandoned train lines, and rocky outcroppings of Snake Hill that mark an ecosystem continually in flux. An area roughly the size of nearby Manhattan, Zanisnik views the Meadowlands as the mirror image or subconscious of New York City, a place where the unwanted—such as the ruins of the original Pennsylvania Station—sinks into the eighteen stories of soft clay beneath the surface. "It’s kind of monumental in its nothingness," he marvels, remarking that "this felt like a place that no one ever bothered to mark or map." Comparing the scenery to a stream of consciousness sentence, Zanisnik takes a similarly psychological approach to the construction of his loosely narrative artwork. He begins by taking photographs of the Meadowlands, incorporates a wide variety of objects—natural, man-made, and personal artifacts—into a room-sized installation, and periodically performs the work as a surreal tableau vivant that incorporates his parents. While drawing inspiration from the Meadowlands and his native New Jersey, Zanisnik adds that "no matter how many times I visit...I never understand it completely. And I may never understand it, but that’s what holds my attention." Featuring the artwork Meadowlands Picaresque (2013), installed at the Brooklyn Museum in the exhibition Crossing Brooklyn: Art from Bushwick, Bed-Stuy, and Beyond (2014), as well as music by Chris Zabriskie: CGI Snake (2011); What True Self? Feels Bogus, Let's Watch Jason X; Out of the Skies, Under the Earth (both 2012); and Cylinder 9 (2014). https://player.vimeo.com/video/113741302?portrait=0 506 2014-12-05 yes no https://art21.org/watch/extended-play/tania-bruguera-the-francis-effect-short/ Tania Bruguera: “The Francis Effect” (SHORT) https:i.vimeocdn.com/video/611958518_1280x720.jpg This episode of Art21 Exclusive features artist Tania Bruguera collecting signatures as part of her socially engaged performance project The Francis Effect (2014). For fifteen weeks Bruguera stood outside of the Guggenheim Museum in New York asking passersby to sign a petition to Pope Francis that requests Vatican City citizenship for undocumented immigrants. "A lot of people know it's impossible," says Bruguera. Yet she believes "the impossible is only impossible until somebody makes it possible." In her engagement of our political imaginations, Bruguera demonstrates the power of art to change perceptions and mobilize political action. https://player.vimeo.com/video/198755238?portrait=0 389 2014-11-28 yes no https://art21.org/watch/extended-play/leonardo-drew-traveling-making-short/ Leonardo Drew: Traveling & Making (SHORT) https:i.vimeocdn.com/video/612185946_1280x720.jpg Leonardo Drew discusses the importance of travel in relationship to his artwork. "If you allow your antennas to reach out," he tells a group of students at Vigo Gallery in London, "you'll find what it is you need for this part of your journey." Deeply devoted to his studio practice, Drew was initially reluctant to leave his home base in New York for an extended period of time. But back-to-back trips to Peru, Cuba, Spain, and Switzerland led him to a realization: "I could spend that much time out of the studio and not miss the studio because life was going on and art was going on within me," he explains. "The art is fed by experiences." https://player.vimeo.com/video/199044320?portrait=0 279 2014-11-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/omer-fast-in-fiction-segment/ Omer Fast in “Fiction” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/10-fast-fiction-still-050-1400x788.jpg In multi-channel video installations, Omer Fast blurs the boundaries between documentary, dramatization, and fantasy, frequently generating viewers’ confusion. Fast plays with our assumptions about identity and the structure of dramatic narrative, revealing shades of meaning as stories are told, retold, and mythologized. https://player.vimeo.com/video/206603471?portrait=0 910 2014-11-14 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/joan-jonas-in-fiction-segment/ Joan Jonas in “Fiction” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/06-jonas-fiction-still-044-009-1400x788.jpg In Sweden, pioneering artist Joan Jonas performs at both Umeå Jazzfestival with musician Jason Moran, and at Kulturhuset in Stockholm, where she reconfigures her 1969 performance Mirror Piece. Working in performance, video, installation, sculpture, and drawing, Jonas finds inspiration in mythic stories, investing texts from the past with the politics of the present. Wearing masks and drawing while performing on stage, Jonas disrupts the conventions of theatrical storytelling to emphasize potent symbols and critical self-awareness. https://player.vimeo.com/video/206603471?portrait=0 1094 2014-11-14 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/katharina-grosse-in-fiction-segment/ Katharina Grosse in “Fiction” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/00-grosse-fiction-still-197-1400x788.jpg Katharina Grosse creates wildly colorful sculptural environments and paintings that unite the fluid perception of landscape with the ordered hierarchy of painting. Her work is a material record—a story—and, perhaps, an inscription of her thoughts, or an illusion. Grosse uses boat building techniques to create monumental abstract sculptures for display at Brooklyn’s Metrotech Plaza, while at the Nasher Sculpture Center in Dallas, she adds layers of paint to a room filled with soil as a painted sculpture pierces through the building’s architecture. Shown at work in her Berlin studio, Grosse leads viewers through the recent project I Think This Is a Pine Tree at the Hamburger Bahnhof. https://player.vimeo.com/video/206603471?portrait=0 1146 2014-11-14 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/fiction/ “Fiction” https:i.vimeocdn.com/video/621702003_1280x720.jpg What makes a compelling story? How do artists disrupt everyday reality in the service of revealing subtler truths? This episode features artists who explore the virtues of ambiguity, mix genres, and merge aesthetic disciplines to discern not simply what stories mean, but how and why they come to have meaning. https://player.vimeo.com/video/206603471?portrait=0 3263 2014-11-14 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/fiction-preview/ “Fiction” (PREVIEW) https:i.vimeocdn.com/video/612191360_1280x720.jpg Preview for the episode Fiction from Season 7 of Art21's Art in the Twenty-First Century, featuring artists Katharina Grosse, Joan Jonas, and Omer Fast. What makes a compelling story? How do artists disrupt everyday reality in the service of revealing subtler truths? This episode features artists who explore the virtues of ambiguity, mix genres, and merge aesthetic disciplines to discern not simply what stories mean, but how and why they come to have meaning. https://player.vimeo.com/video/199049000?portrait=0 35 2014-11-10 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/abraham-cruzvillegas-in-legacy-segment/ Abraham Cruzvillegas in “Legacy” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/11-cruzvillegas-legacy-still-142-003-1400x788.jpg Abraham Cruzvillegas works in his Mexico City studio and at exhibitions in Paris and Minneapolis to assemble sculptures and installations from found objects and disparate materials, through which he explores the effects of improvisation, transformation, and decay. His experiments with video, performance, family archives, and academic research reveal the deep connection between his identity, born of the harsh realities of his family’s life in Mexico, and his artistic practice. https://player.vimeo.com/video/206601643?portrait=0 982 2014-11-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/tania-bruguera-in-legacy-segment/ Tania Bruguera in “Legacy” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/00-bruguera-legacy-still-065-005-1400x788.jpg Tania Bruguera explores the relationship between art, activism, and social change, staging participatory events and interactions that build on her own observations, experiences, and understanding of the politics of repression and control. Her work advances the concept of arte útil, according to which art can be used as a tool for social and political empowerment. https://player.vimeo.com/video/206601643?portrait=0 1079 2014-11-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/wolfgang-laib-in-legacy-segment/ Wolfgang Laib in “Legacy” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/05-laib-legacy-still-124-002-1400x788.jpg Inspired by the teachings of Laotzi, by the modern artist Brancusi, and by formative experiences with his family in Germany and India, Wolfgang Laib's sculptures seem to connect the past and present, the ephemeral and eternal. His attention to human scale, duration of time, and his choice of materials give his works the power to transport us to unexpected realms of memory, sensory pleasure, and contemplation. https://player.vimeo.com/video/206601643?portrait=0 1088 2014-11-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/legacy/ “Legacy” https:i.vimeocdn.com/video/621701939_1280x720.jpg Why do we break with some traditions and perpetuate others? Artists in this episode use life experiences and family heritage to explore new aesthetic terrain. https://player.vimeo.com/video/206601643?portrait=0 3283 2014-11-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/legacy-preview/ “Legacy” (PREVIEW) https:i.vimeocdn.com/video/611957537_1280x720.jpg Why do we break with some traditions and perpetuate others? Artists in this episode use life experiences and family heritage to explore new aesthetic terrain. https://player.vimeo.com/video/198865288?portrait=0 36 2014-11-03 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/trevor-paglen-in-secrets-segment/ Trevor Paglen in “Secrets” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/00-paglen-secrets-still-150-1400x788.jpg Trevor Paglen makes the invisible visible, documenting evidence of the American surveillance state of the 21st century. Concerned with the politics of perception, Paglen investigates the development of machines that see and the historical relationship between photography and military technology. https://player.vimeo.com/video/206599857?portrait=0 1004 2014-10-31 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/arlene-shechet-in-secrets-segment/ Arlene Shechet in “Secrets” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/05-shechet-secrets-still-037-002-1400x788.jpg Arlene Shechet is curious about the obscured origins of industrial objects, folding clues about production processes into her handcrafted ceramic sculptures. With their hollow interiors often hidden from view, Shechet’s sturdy clay vessels disguise their true nature through dazzling surface effects and the illusion of solidity. For her exhibition Meissen Recast at the RISD Museum in Providence, Shechet juxtaposes her reproductions of original Meissen factory molds made during a residency at the Meissen Manufactory in Germany next to the original Meissen porcelain dating back to the 18th century, revealing the usually hidden industrial roots of those objects. https://player.vimeo.com/video/206599857?portrait=0 1038 2014-10-31 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/elliott-hundley-in-secrets-segment/ Elliott Hundley in “Secrets” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/03-hundley-secrets-still-080-1400x788.jpg Elliott Hundley draws inspiration from many sources, including Greek tragedy, classical mythology, Japanese woodblock prints, and his own family history. His intricately collaged paintings, teeming with humble materials and ephemera, are like palimpsests that simultaneously reveal and hide meaning. At his Los Angeles home and studio, Hundley works with a team of assistants to create a new series of paintings and sculptures based on the myth of Eurydice and Orpheus. https://player.vimeo.com/video/206599857?portrait=0 1108 2014-10-31 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/secrets/ “Secrets” https:i.vimeocdn.com/video/621701899_1280x720.jpg How do artists make the invisible visible? What hidden elements persist in their work? Is it the artist's role to reveal them, or not? In this episode, artists share some of the secrets that are intrinsic to their work. https://player.vimeo.com/video/206599857?portrait=0 3275 2014-10-31 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/secrets-preview/ “Secrets” (PREVIEW) https:i.vimeocdn.com/video/613261074_1280x720.jpg How do artists make the invisible visible? What hidden elements persist in their work? Is it the artist’s role to reveal them, or not? In this episode, artists share some of the secrets that are intrinsic to their work. https://player.vimeo.com/video/199894973?portrait=0 35 2014-10-27 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/leonardo-drew-in-investigation-segment/ Leonardo Drew in “Investigation” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/08-drew-investigation-still-033-003-1400x788.jpg Leonardo Drew, whose art career began as a child in inner city Bridgeport, Connecticut, transforms new materials—through processes of decay, oxidization, and exposure to weather—in his sculptures. Never content with work that comes easily, Drew reaches daily beyond his comfort zone, charting a course of experimentation with his materials and processes and letting the work find its own way. https://player.vimeo.com/video/206597802?portrait=0 1069 2014-10-24 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/graciela-iturbide-in-investigation-segment/ Graciela Iturbide in “Investigation” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/05-iturbide-investigation-still-051-1400x788.jpg For Graciela Iturbide, the camera is a pretext for understanding the world. Her principal concern has been the photographic investigation of Mexico—her own cultural environment—through black-and-white images of landscapes and their inhabitants, abstract compositions, and self-portraits. Whether photographing indigenous communities in her native country, cholos in Los Angeles, Frida Kahlo’s house, or the landscape of the American South, her interest, she says, lies in what her heart feels and what her eyes see. https://player.vimeo.com/video/206597802?portrait=0 1021 2014-10-24 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/thomas-hirschhorn-in-investigation-segment/ Thomas Hirschhorn in “Investigation” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/04-hirschhorn-investigation-still-147-003-1400x788.jpg While enlisting the participation of the residents of a Bronx public housing development to develop a sprawling installation out of everyday materials, Thomas Hirschhorn poses political and philosophical questions, and searches for alternative models of thinking and being. The process leads to the creation of a new kind of monument that, while physically ephemeral, lives on in collective memory. https://player.vimeo.com/video/206597802?portrait=0 1059 2014-10-24 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/investigation/ “Investigation” https:i.vimeocdn.com/video/621701851_1280x720.jpg How do artists push beyond what they already know and readily see? Can acts of engagement and exploration be works of art in themselves? In this episode, artists use their practices as tools for personal and intellectual discovery, simultaneously documenting and producing new realities in the process. https://player.vimeo.com/video/206597802?portrait=0 3275 2014-10-24 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/investigation-preview/ “Investigation” (PREVIEW) https:i.vimeocdn.com/video/612188676_1280x720.jpg Preview for the episode Investigation from Season 7 of Art in the Twenty-First Century, featuring artists Thomas Hirschhorn, Graciela Iturbide, and Leonardo Drew. How do artists push beyond what they already know and readily see? Can acts of engagement and exploration be works of art in themselves? In this episode, artists use their practices as tools for personal and intellectual discovery, simultaneously documenting and producing new realities in the process. https://player.vimeo.com/video/199046271?portrait=0 35 2014-10-21 yes no https://art21.org/watch/new-york-close-up/mariah-robertsons-chemical-reactions/ Mariah Robertson’s Chemical Reactions https:art21.org/wp-content/uploads/2016/10/robertson-chemical-still-154-1400x788.jpg How does an artist come to grips with the uncontrollable? Filmed over the course of four years, artist Mariah Roberston experiments with photographic chemistry in her Brooklyn darkroom, leading to a striking series of colorful cameraless abstractions. Confronted with a roll of paper that was accidentally exposed, Robertson begins to play with the ruined paper, saying “I always enjoy trying to make something out of the unwanted thing and go deeper into the disaster.” Robertson experiments with developer, fixer, and water at various concentrations and temperatures, creating vibrant images that appear to have optical or painterly effects but instead are the result of arrested chemical reactions. Robertson faces another challenge when she discovers that metallic photo paper no longer comes in precut sheets but only on coiled rolls. Forced to adjust, she responds by tearing rolls of paper into free-form sheets with jagged edges. In contravention of standard exhibition practice, Robertson installs the fully exposed rolls of 100 feet or more as unframed sculptural ribbons, hanging them in looping swathes that respond to the surrounding architecture. Contemplating what it means to exhibit her one-of-a-kind artworks in such a vulnerable way, Robertson suggests that “all your attempts are gonna fail at controlling life, so you should let that go so you can actually see what's happening.” 678 https://player.vimeo.com/video/109264994?portrait=0 561 2014-10-17 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/abraham-cruzvillegas-in-season-7-of-art21-art-in-the-twenty-first-century-2014-preview/ Abraham Cruzvillegas in Season 7 of ART21 “Art in the Twenty-First Century” (2014) (PREVIEW) https:i.vimeocdn.com/video/612019082_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 7 episode, Legacy, artist Abraham Cruzvillegas discusses the concept of "autoconstrucción" as an insight into his own artistic practice. Shown at his parents' home in Mexico City, the artist recounts how the home was constructed with found materials after his father acquired the empty land in the mid-1960s. "'Autoconstrucción' as a concept is related to people making their houses as they can," explains Cruzvillegas. "It's not a method or technique or style; it's more about the social circumstances and the political circumstances." https://player.vimeo.com/video/198912238?portrait=0 98 2014-10-15 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/tania-bruguera-in-season-7-of-art21-art-in-the-twenty-first-century-2014-preview/ Tania Bruguera in Season 7 of ART21 “Art in the Twenty-First Century” (2014) (PREVIEW) https:i.vimeocdn.com/video/611956541_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 7 episode, Legacy, artist Tania Bruguera introduces the origins of her long-term project, Immigrant Movement International, headquartered in Corona, Queens, New York. Described as an "artist-initiated sociopolitical movement," the five-year project is intended to "rethink the political representation of immigrants." "I needed to do an immigrant movement in the United States," says the artist, "because when you say, 'Where do you want to live?' to anybody in the world, they say, 'United States.'" https://player.vimeo.com/video/198755794?portrait=0 83 2014-10-08 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/thomas-hirschhorn-in-season-7-of-art21-art-in-the-twenty-first-century-2014-preview/ Thomas Hirschhorn in Season 7 of ART21 “Art in the Twenty-First Century” (2014) (PREVIEW) https:i.vimeocdn.com/video/612430086_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 7 episode, Investigation, artist Thomas Hirschhorn describes the importance of having community support when creating his temporary monument projects. Shown at work on Gramsci Monument (2013) from the Forest Houses in the Bronx, New York, Hirschhorn recalls finding a "key to the neighborhood" in Forest Houses president, Erik Farmer. "Thomas is definitely out there," says Farmer, "but he got me out there with him." https://player.vimeo.com/video/199235533?portrait=0 104 2014-10-01 yes no https://art21.org/watch/extended-play/oliver-herring-task-short/ Oliver Herring: “TASK” (SHORT) https:i.vimeocdn.com/video/612424767_1280x720.jpg Artist Oliver Herring around Madison Square Park as he organizes his largest TASK Party to date. TASK parties encourage people to take creative risks and to break down social barriers through a simple, "self-perpetuating" cycle: Each participant writes down a task and places it into a box and, in exchange, retrieves a task from the box. Participants work together to realize their tasks through provided materials such as paint, paper, tape, plastic wrap, and foil. "These tasks can be interpreted however you want," says Herring. "The tools are your imagination and your imagination is limitless." Since 2002, Herring has organized TASK events around the world, at military bases, museums, churches, schools, and other venues. https://player.vimeo.com/video/199230183?portrait=0 394 2014-09-26 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/graciela-iturbide-in-season-7-of-art21-art-in-the-twenty-first-century-2014-preview/ Graciela Iturbide in Season 7 of Art21 “Art in the Twenty-First Century” (2014) (PREVIEW) https:i.vimeocdn.com/video/613268098_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 7 episode, Investigation, artist Graciela Iturbide describes her approach to photography, as illustrated by her series, Frida's Bathroom (2005–06). Shown from La Casa Azul at Museo Frida Kahlo in Mexico City in 2013, the artist recalls photographing artist Frida Kahlo's bathroom after being granted permission by the director of Museo Frida Kahlo. "I am not a Frida maniac," says the artist. "Despite her suffering, she painted. And this is what I admire." https://player.vimeo.com/video/199900215?portrait=0 91 2014-09-24 yes no https://art21.org/watch/new-york-close-up/abigail-devilles-harlem-stories/ Abigail DeVille’s Harlem Stories https:art21.org/wp-content/uploads/2016/10/deville-harlem-still-010-1-1400x788.jpg How does an artist acknowledge forgotten people? In this film, artist Abigail DeVille stalks the streets of Harlem with a trash-laden push cart, creating temporary sculptural interventions along the way. Stopping at Lenox Avenue and 131st Street, Bronx-born DeVille tucks a smiling plaster cast of her face into an outdoor planter. It's the site of her grandfather's childhood home, a former brownstone converted into a conspicuous eyesore of an apartment building. DeVille explains that placing the sculpture there is an act of personal and historical reclamation, a way of acknowledging "groups of people that occupied a space that no longer exists...but helped shape the space into what it is now." Over Super 8mm film footage of contemporary Harlem, DeVille describes a landscape under the constant pressure of development and gentrification. "It feels like the earth is shifting," she says, "New groups of people are moving in and old groups of people are being pushed out. So it's almost like migratory patterns of birds." Pushing her unwieldy cart to the East River no man's land at the base of the Willis Avenue Bridge, DeVille unloads heaps of distressed wood, rusty metal, mannequin heads, and trash bags. This unkempt and unceremonious site is the presumed location of a pre-colonial African burial ground where free and enslaved families buried their dead when Dutch settlers farmed upper Manhattan, dating back to the seventeenth century. Deville characterizes her sculpture as "an exercise in acknowledgment" and asserts that trash is the ideal material for talking about a forgotten history "because that's how those people were treated. That's how that site is being treated." 672 https://player.vimeo.com/video/106610931?portrait=0 454 2014-09-19 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/wolfgang-laib-in-season-7-of-art21-art-in-the-twenty-first-century-2014-preview/ Wolfgang Laib in Season 7 of Art21 “Art in the Twenty-First Century” (2014) (PREVIEW) https:i.vimeocdn.com/video/613667238_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 7 episode, Legacy, artist Wolfgang Laib discusses the role of pollen in his work. The artist is seen installing Pollen from Hazelnut (2013) at the Museum of Modern Art, New York, in 2013—sifting hazelnut pollen collected by the artist since the mid-1990s. "I don’t want to explain to somebody what pollen is," says the artist. "That is the secret and the beauty and the power and the potential of all this." https://player.vimeo.com/video/200219659?portrait=0 74 2014-09-17 yes no https://art21.org/watch/extended-play/sally-mann-the-two-virginias-short/ Sally Mann: “The Two Virginias” (SHORT) https:i.vimeocdn.com/video/614448961_1280x720.jpg Photographer Sally Mann reflects on the life of Virginia Franklin Carter (1894–1994), an African American woman who helped raise the artist and her two brothers in Lexington, Virginia. "My parents were important but Virginia may have been the single most important person in my life," says Mann, who named her youngest daughter after Carter. They are pictured together in Mann's series The Two Virginias. Mann interviewed Carter's children for her forthcoming memoir Hold Still, due out in May 2015. Mann writes: "Left with six children and a public education system for which she paid taxes but which forbade classes for black children beyond the seventh grade, Gee-Gee managed somehow to send each of them to out-of-state boarding schools and, ultimately, to college." Featured in addition to The Two Virginias are images from Mann's Deep South series and her photograph Virginia Asleep (1988). https://player.vimeo.com/video/200836760?portrait=0 260 2014-09-12 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/katharina-grosse-in-season-7-of-art21-art-in-the-twenty-first-century-2014-preview/ Katharina Grosse in Season 7 of ART21 “Art in the Twenty-First Century” (2014) (PREVIEW) https:i.vimeocdn.com/video/612226131_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 7 episode, Fiction, artist Katharina Grosse describes a "thought based" approach to creating work. Shown at work from Amaral Custom Fabrications in Bristol, Rhode Island, the artist spray paints sculptural elements that are to be included in Just Two of Us—her 2013 exhibition for Public Art Fund at MetroTech Commons in Brooklyn, New York. "There is an overall agreement that I have with myself as I start something," says the artist about her process. "That agreement is based on a judgment." https://player.vimeo.com/video/199074623?portrait=0 86 2014-09-10 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/leonardo-drew-in-season-7-of-art21-art-in-the-twenty-first-century-2014-preview/ Leonardo Drew in Season 7 of ART21 “Art in the Twenty-First Century” (2014) (PREVIEW) https:i.vimeocdn.com/video/612189195_1280x720.jpg In this preview from the Art21's Art in the Twenty-First Century Season 7 episode, Investigation, artist Leonardo Drew is shown at work in his Brooklyn, New York studio in 2013, surrounded by multiple sections of in-progress sculptures positioned throughout the floors and walls of his studio. "They speak to one another," says the artist, describing the interconnected relationships amongst each of the sections. "A lot of times I can rip things out...and the longer the work hangs around, the better off it is." https://player.vimeo.com/video/199045935?portrait=0 85 2014-09-03 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/trevor-paglen-in-season-7-of-art21-art-in-the-twenty-first-century-2014-preview/ Trevor Paglen in Season 7 of Art21 “Art in the Twenty-First Century” (2014) (PREVIEW) https:i.vimeocdn.com/video/614862542_1280x720.jpg In this preview from the Art21 Art in the Twenty-First Century Season 7 episode, Secrets, artist Trevor Paglen describes the inspiration that he has drawn from early NASA spacecraft. Shown at work on Prototype for a Nonfunctional Satellite (Design 4; Build 4) (2013) from a San Antonio, Texas hanger in 2013, the artist reflects upon the aesthetic and functional properties of spacecraft from the 1950s and 1960s. "A lot of artists at that time were looking at them as aesthetic objects," says Paglen, referring to the early spacecraft. "Maybe there was a different direction. In that moment is something that I’m very much trying to understand." https://player.vimeo.com/video/201153923?portrait=0 109 2014-08-27 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/joan-jonas-in-season-7-of-art21-art-in-the-twenty-first-century-2014-preview/ Joan Jonas in Season 7 of Art21 “Art in the Twenty-First Century” (2014) (PREVIEW) https:i.vimeocdn.com/video/613432777_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 7 episode, Fiction, artist Joan Jonas conducts a rehearsal for a reconfigured version of her early performance work, Mirror Piece I (1969), at Kulturhuset in Stockholm, Sweden. Having no previous experience in performance before transitioning to the field in the 1960s, the artist reflects upon taking workshops with choreographers such as Trisha Brown, Yvonne Rainer, and Steve Paxton. "Maybe just one or two classes with some of them," recalls the artist, "to learn now to move and to be in public." https://player.vimeo.com/video/200032128?portrait=0 99 2014-08-20 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/omer-fast-in-season-7-of-art21-art-in-the-twenty-first-century-2014-preview/ Omer Fast in Season 7 of Art21 “Art in the Twenty-First Century” (2014) (PREVIEW) https:i.vimeocdn.com/video/612191823_1280x720.jpg In this preview from the Art21's Art in the Twenty-First Century Season 7 episode, Fiction, artist Omer Fast investigates the implications of identity as performance. Shown filming the work Everything That Rises Must Converge (2013) in Los Angeles, the artist recalls the influences of having been raised between two cultures and languages. "If I feel authentic in one particular milieu but I switch milieu and I feel just as authentic in that other place," questions the artist, "then what is that thing that we call identity about?" https://player.vimeo.com/video/199049052?portrait=0 84 2014-08-13 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/arlene-shechet-in-season-7-of-art21-art-in-the-twenty-first-century-2014-preview/ Arlene Shechet in Season 7 of Art21 “Art in the Twenty-First Century” (2014) (PREVIEW) https:i.vimeocdn.com/video/615986843_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 7 episode, Secrets, artist Arlene Shechet reflects on her interests in clay as a material. Shown at work in her Woodstock, NY studio in early 2014, the artist describes a freedom in working with clay because of the material's "lack of beauty in its raw state." "Because it has no character, I can make anything," says the artist. "It's just there to be invented." https://player.vimeo.com/video/202056848?portrait=0 80 2014-08-06 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/elliott-hundley-in-season-7-of-art21-art-in-the-twenty-first-century-2014-preview/ Elliott Hundley in Season 7 of Art21 “Art in the Twenty-First Century” (2014) (PREVIEW) https:i.vimeocdn.com/video/613259224_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 7 episode, Secrets, artist Elliott Hundley discusses the role of recycled materials in his work. Shown in his Los Angeles studio in early 2014, the artist describes a "trust" in the process of selecting paper cut-outs for use in his paintings. "In relinquishing some control, it allows me some distance," says the artist. "I start to feel like the artwork is responding to me, giving me something back or becoming something that I never expected." https://player.vimeo.com/video/199893200?portrait=0 66 2014-07-30 yes no https://art21.org/watch/extended-play/kara-walker-starting-out-short/ Kara Walker: Starting Out (SHORT) https:art21.org/wp-content/uploads/2016/10/walker-starting-still-030-1400x788.jpg In this episode of Art21 Exclusive, Kara Walker reflects on her early success and offers advice to the next generation of artists. Walker received widespread attention after being included in a group exhibition at The Drawing Center in New York City in 1994, not long after graduating from the Rhode Island School of Design in Providence, Rhode Island. Walker remained in Providence until she “felt ready” to make the move to New York. However, “When I came to the city,” she says, “I felt like my newly forming ego and sense of self was just torn to shreds.” Now a professor in Columbia University’s MFA program, Walker sees the many challenges that young artists face today and encourages them to take responsibility for changing negative conditions in the art world. Walker is shown in New York City installing cut paper silhouettes and framed paintings at Sikkema Jenkins & Co. in 2013 and visiting the gallery’s booth at the 2014 Frieze Art Fair, where she is accompanied by her mother. https://player.vimeo.com/video/201755261?portrait=0 271 2014-07-25 yes no https://art21.org/watch/new-york-close-up/marela-zacarias-goes-big-goes-home/ Marela Zacarías Goes Big & Goes Home https:art21.org/wp-content/uploads/2016/10/zacarias-goes-big-still-134-EDIT-1400x788.jpg What does an artist bring to a homecoming? Working in her Bedford–Stuyvesant studio, artist Marela Zacarías undertakes Red Meander (2014), a commission by the Art in Embassies program for the U.S. Consulate in Monterrey, Mexico. Zacarías enlists the help of a team of eight assistants to create the fifty-eight foot long by eleven foot tall work—her largest painted sculpture to date—over the course of nine months. Comprising twenty handmade sections that fit together like a puzzle, each component is made of sanded joint compound over window screen affixed to wood supports. The undulating surface of Red Meander is emblazoned in intricate patterns of sixty-seven acrylic colors inspired by Mayan patterns, specifically textiles from Chiapas and Oaxaca. “Hidden in plain sight in the clothing and decorations, these symbols survived colonization and modern times,” says Zacarías, “Weaving became a form of cultural resistance that was passed down from mothers to daughters for centuries.” Growing up in Mexico City, the artist also recalls visiting Diego Rivera’s murals (1929–30, 1935) in the National Palace. Having spent a decade painting over thirty murals ranging in size from ten to over a hundred feet long, with this project Zacarías realizes a major achievement: exhibiting her work back home in Mexico, for the first time, and as a permanent installation in an historic building. Recognizing both the problems and promise of the U.S. immigration system, Zacarías suggests that “for me to do this piece, it was like really meeting myself kind of in the middle of it. I want to connect to the people that are going through this transition.” Featured in this film is additional artwork by Diego Rivera and music by Los Amparito & Los Músicos de José. https://player.vimeo.com/video/101105844?portrait=0 539 2014-07-18 yes no https://art21.org/watch/art-in-the-twenty-first-century/s7/season-7-of-art21-art-in-the-twenty-first-century-2014-trailer/ Season 7 of Art21 “Art in the Twenty-First Century” (2014) (TRAILER) https:i.vimeocdn.com/video/611958896_1280x720.jpg Providing unique access to some of the most compelling artists of our time, the new season features a dozen artists from the United States, Europe, and Latin America, and transports viewers to artistic projects across the country and around the world. In locations as diverse as a Bronx public housing project, a military testing facility in the Nevada desert, a jazz festival in Sweden, and an activist neighborhood in Mexico, the artists reveal intimate and personal insights into their lives and creative processes. https://player.vimeo.com/video/198866106?portrait=0 156 2014-07-08 yes no https://art21.org/watch/extended-play/assume-vivid-astro-focus-learning-to-paint-short/ assume vivid astro focus: Learning to Paint (SHORT) https:i.vimeocdn.com/video/611773076_1280x720.jpg This episode of Art21 Exclusive provides an in-depth look at the painting process of Eli Sudbrack, a principal member of the artist collective assume vivid astro focus. Painting on canvas for the first time in his career, Sudbrack and his assistants work with Krink K-60 paints (commonly used by graffiti taggers), though the fast-drying medium poses a challenge when it is applied to canvas. Sudbrack has devised a solution: he paints on layered transparency sheets and replicates the final image on stretched canvas. This two-part process allows him to experiment with different colors, shapes, and patterns—many of which reference the works of other artists such as Marcel Duchamp. Sudbrack’s painting Cyclops Bride (2014) is shown throughout its evolution in his studio, and as a finished painting at The Suzanne Geiss Company in New York, NY. https://player.vimeo.com/video/198718806?portrait=0 406 2014-06-27 yes no https://art21.org/watch/new-york-close-up/bryan-zanisnik-keeps-it-in-the-family/ Bryan Zanisnik Keeps It in the Family https:art21.org/wp-content/uploads/2016/10/zanisnik-keeps-still-150-1400x788.jpg How does an artist figure out what’s truly essential? Performing A Woman Waits For Me II (2014) with his parents at Pace University in Lower Manhattan, artist Bryan Zanisnik discusses how he draws on his family and personal history in his artwork. In this film, Zanisnik returns to his parents' home in Springfield, New Jersey to dig up the long-forgotten home movies he made as an adolescent. Inspired by Hollywood film directors like Martin Scorsese, the VHS movies are an unironic mix of slapstick comedy and gangster violence, with Zanisnik's grandmother often playing an armed and dangerous protagonist. Uncovering the videos in graduate school was a eureka moment for Zanisnik. "I thought, 'This is who I really am.' These interests in the abject, the absurd, the humor, the gender inversions, the fragility," he explains, "the conversations between the performer and me behind the camera was really getting to the core of what I wanted out of an artwork." Frequently incorporating his parents in his work, Zanisnik creates performances in which power dynamics—such as struggles for control between parent and child—play out in surreal scenarios. As part of the exhibition Oblique Strategies at Pace University's Peter Fingesten Gallery, Zanisnik performs inside a wooden museum display case transformed into a mobile sculpture, as his parents and the audience look on. Tightly confined inside the sculpture and straining to move through the building's hallways, Zanisnik intentionally knocks into onlookers, challenging them to respond. For Zanisnik, the performance A Woman Waits For Me II (2014) evokes his own emotional journey from a reclusive adolescent to the artist he is today. Also featuring the artworks Meadowlands Picaresque (2013); Dissociative Pastry and Stone (2011); Repetition Compulsion (2010); Ten-Thousand Meals Than Ever Yet (2009); When I Was a Child I Caught a Fleeting Glimpse (2009); He Is Not a Man (2007); Next of Kin (2007); Family Reunion (2006); and Remembrance of Things Past (2006). https://player.vimeo.com/video/98730635?portrait=0 520 2014-06-20 yes no https://art21.org/watch/new-york-close-up/louise-despont-draws-deep/ Louise Despont Draws Deep https:art21.org/wp-content/uploads/2016/10/despont-deep-still-180-1400x788.jpg How does an artist get maximum results out of minimal means? Artist Louise Despont uses architectural stencils to create intricate pencil-on-paper drawings in her home and studio in Fort Greene, Brooklyn. Working between a small desk and her bedroom floor, Despont’s daily practice, with a limited set of tools, yields surprising discoveries. "To be focused and dedicated to doing one simple thing can perhaps be the most transformative thing," says the artist, "That as narrow as it is, it can be infinitely deep." This film documents Louise Despont and her assistant Nicole Wong over the course of six weeks as they create Mediated Polarity and the Third Property (2014), a multi-panel drawing on antique ledger book paper. Looking through her private notebooks, Despont reveals how years of experimentation with collage, ink blots, and freehand drawing led her to the incredibly refined process she uses today. The artist shares how each new drawing emerges organically, such as large-scale Roman Room (2014), often begun without a formal plan and initiated with just a few marks. "It’s a complexity that you can't think up. It’s like little mineral deposits build up and make an entire surface." As intuitive explorations of symmetry born out of pure geometry, Despont’s drawings tap into universal themes of energy, spirituality, and nature. The film concludes as Despont takes her latest drawing Garden (2014) to be framed at White Mule in Chelsea, looking at it one last time before it begins its journey out into the world. 657 https://player.vimeo.com/video/98144826?portrait=0 532 2014-06-13 yes no https://art21.org/watch/new-york-close-up/abigail-devilles-flair-for-the-dramatic/ Abigail DeVille’s Flair for the Dramatic https:art21.org/wp-content/uploads/2016/10/deville-flair-still-156-1400x788.jpg How do you get your audience to touch the art? Artist Abigail DeVille constructs the set for a premiere performance of Adrienne Kennedy’s play She Talks to Beethoven (1989) at the JACK arts center in Clinton Hill, Brooklyn. Theater director Charlotte Brathwaite describes the play’s dreamlike style and time-bending narrative: an American expatriate in 1960’s Ghana "converses" with Beethoven in early 1800s Vienna. DeVille draws parallels between the play’s temporal cross-cutting and theoretical physics—specifically the concept of wormholes, or passageways in the space-time continuum—as well as the hidden histories and absences that mark the African American experience. To create the sculptural set titled Intersection (2014), DeVille and Brathwaite drill holes into wooden flats, linking them together to form two concentric ellipses. Acquiring cast-off materials through the Recycled Artist in Residency program in Philadelphia, DeVille describes what attracts her to the discarded: "Material already has so much information trapped inside of it. It has whatever it’s chemically made up of, its physical and chemical properties, whoever owned it, loved it, and threw it away...What can you improve on that?" In a performance set to Beethoven's Fidelio, the actors move fluidly through the dramatically lit set, sharing the sculptural space with an equally mobile audience. "You can hold an audience captive," marvels DeVille, who is fascinated by the possibilities a theatrical context can provide. The film also documents DeVille at work in a residency at the Studio Museum in Harlem. 656 https://player.vimeo.com/video/97548716?portrait=0 538 2014-06-06 yes no https://art21.org/watch/extended-play/assume-vivid-astro-focus-spontaneity-concentration-short/ assume vivid astro focus: Spontaneity & Concentration (SHORT) https:i.vimeocdn.com/video/611770542_1280x720.jpg In this episode, artists Eli Sudbrack and Christophe Hamaide-Pierson, the principal members of the collective assume vivid astro focus, discuss their first paintings on canvas. In this new body of work (shown at The Suzanne Geiss Company in New York City, May 7–June 21, 2014) they continue to reference the transgender figure—a symbol for the idea that "somebody can transform their body at their will," which as Sudbrack says, "is an act of freedom." Best known for creating dense and colorful installations that incorporate sculpture, wallpaper, music, and performance, Sudbrack and Hamaide-Pierson typically invite artists and friends to collaborate with them, but decided not to for this project. Sudbrack explains why, saying that painting creates an opportunity for spontaneity and concentration, without the distraction of production concerns that accompany their large-scale installations. https://player.vimeo.com/video/198717015?portrait=0 340 2014-06-04 yes no https://art21.org/watch/extended-play/kara-walker-a-subtlety-or-the-marvelous-sugar-baby-short/ Kara Walker: “A Subtlety, or the Marvelous Sugar Baby” (SHORT) https:art21.org/wp-content/uploads/2016/10/walker-subtlety-still-028-1400x788.jpg This episode provides an in-depth look at the creation of Kara Walker’s monumental public project, A Subtlety, or the Marvelous Sugar Baby (2014), at the Domino Sugar Factory in Brooklyn, NY. Seated in her Manhattan studio, Walker explains how the molasses-covered space, along with her extensive research into the history of sugar, inspired her to create a colossal sugar-coated sphinx, as well as a series of life-sized, sugar and resin boy figurines. A team of artists and fabricators are shown constructing and coating the sphinx, which, as Walker says, gains its power by "upsetting expectations, one after the other." Commissioned by Creative Time, A Subtlety, or the Marvelous Sugar Baby is the first large-scale public project by Walker who is best known for her cut paper silhouette installations, drawings, and watercolors. A Subtlety, or the Marvelous Sugar Baby was on view until July 6, 2014. Thereafter, the factory is scheduled to be demolished to make way for condominiums. https://player.vimeo.com/video/201920366?portrait=0 577 2014-05-23 yes no https://art21.org/watch/extended-play/catherine-opie-sandusky-ohio-short/ Catherine Opie: Sandusky, Ohio (SHORT) https:i.vimeocdn.com/video/614704636_1280x720.jpg Filmed in 2011, photographer Catherine Opie visits her hometown of Sandusky, Ohio. Opie wanders the town with her camera, searching for what she calls “that fine art Americana image,” and reflects on how her early experiences in Sandusky influenced her approach to photography. “It’s curious that I end up spending so much time by myself now photographing,” Opie says, “because it’s very similar to how I was when I was a kid—there was a lot of alone time.” At the site of her father’s former business, a craft supply factory, Opie describes the strong sense of patriotism that existed in her family home. Her photographs of high school football players, Tea Party rallies, and the first inauguration of President Obama demonstrate her own interest in American identities. https://player.vimeo.com/video/201009751?portrait=0 263 2014-05-02 yes no https://art21.org/watch/new-york-close-up/jacolby-satterwhite-is-going-public/ Jacolby Satterwhite Is Going Public https:art21.org/wp-content/uploads/2016/10/satterwhite-public-still-019-1400x788.jpg How does a busy artist get the job done? Amid a demanding appearance and performance schedule, artist Jacolby Satterwhite works to finish his latest animation, Reifying Desire 6 (2014), in time for the 2014 Whitney Biennial. In the window of the Recess workspace in Soho, Satterwhite dances in a silver catsuit, enticing passers-by to perform in front of a green screen for a new video work. With upcoming projects and performances at Art Basel Miami and Sundance New Frontier, Satterwhite describes this particularly challenging time in his professional life: “Knowing when to stop, knowing when to say no, it’s just all these rules that aren’t written down for you, and you have to figure it out for to yourself through trial and error.” On top of his pre-existing commitments, Satterwhite is invited by curator Stuart Comer to be part of the prestigious, career-defining Whitney Biennial exhibition. With less than three months to finish his longest animation to date, Satterwhite goes into creative hyperdrive at his Lower Manhattan Cultural Council studio in the Financial District. Satterwhite maintains a Red Bull-fueled, 24/7 work schedule, pausing only to sleep on this studio floor and completing his new work the day before the opening. With its intricately-wrought digital landscapes and elaborate personal symbology, Satterwhite hopes Biennial viewers recognize the deep-seated formalism underlying the “impulsive perversions and strangeness” of Reifying Desire 6 (2014). After the adrenaline rush and press attention of the Biennial opening, Satterwhite is back at work in his Lower Manhattan Cultural Council studio, laboring on yet another computer-intensive project. https://player.vimeo.com/video/92927660?portrait=0 491 2014-04-25 yes no https://art21.org/watch/extended-play/glenn-ligon-layers-of-meaning-short/ Glenn Ligon: Layers of Meaning (SHORT) https:i.vimeocdn.com/video/613699971_1280x720.jpg Glenn Ligon discusses texts and cultural events, such as the writings of James Baldwin and the Million Man March, that inspired some of his paintings. Although viewers who are familiar with these references might have a “richer” experience than those who don’t, as Ligon explains, having this knowledge is not necessary to have a meaningful experience with his work. Ligon was interviewed in 2011 at his Brooklyn, New York studio. https://player.vimeo.com/video/200243854?portrait=0 173 2014-04-18 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/louise-bourgeois-in-season-1-of-art-in-the-twenty-first-century-2001-preview/ Louise Bourgeois in Season 1 of “Art in the Twenty-First Century” (2001) (PREVIEW) https:i.vimeocdn.com/video/622407238_1280x720.jpg Though her beginnings were as an engraver and painter, by the 1940s Louise Bourgeois had turned her attention to sculptural work for which she is now recognized as a twentieth-century leader. By the 1960s she began to execute her work in rubber, bronze, and stone, and the pieces themselves became more referential to themes of family, home and childhood. https://player.vimeo.com/video/207354448?portrait=0 74 2001-09-01 yes no https://art21.org/watch/extended-play/gabriel-orozco-mirror-crit-short/ Gabriel Orozco: “Mirror Crit” (SHORT) https:i.vimeocdn.com/video/614716680_1280x720.jpg Artist Gabriel Orozco conducts what he calls a “Mirror Crit,” during which he presents a student’s artwork as if it is his own. Orozco conceived of the Mirror Crit after doing one-on-one critiques with college art students, where they typically explain or defend their work. Orozco sought an alternative to help students better understand what their images communicate. He discusses each photograph without having previous knowledge of the student’s background or intentions, allowing the images to, in a sense, speak for themselves. The Mirror Crit session in this film features the work of Maximiliano Siñani, and took place as part of Gabriel Orozco’s Spanish Lessons project at Marian Goodman Gallery (New York) in late 2013. https://player.vimeo.com/video/201040992?portrait=0 305 2014-04-04 yes no https://art21.org/watch/new-york-close-up/shana-moulton-nick-hallett-stage-an-opera/ Shana Moulton & Nick Hallett Stage An Opera https:art21.org/wp-content/uploads/2016/10/moulton-opera-still-189-1-1400x788.jpg What is your tree? In this film, artist Shana Moulton and composer Nick Hallett collaborate on the opera Whispering Pines 10—rehearsing and performing this one-act production at the New Museum of Contemporary Art as part of the Rhizome New Silent series. The opera, directed by Elyse Singer, features additional performances from the soprano Daisy Press, voicing the subconscious thoughts of Moulton’s alter-ego Cynthia, and the vocalist Katie Eastburn who plays an environmental activist modeled after Julia “Butterfly” Hill, who famously lived for over two years in a 1,000-year-old California Redwood tree in order to protect it from being cut down. A new take on the operatic form of the monodrama or “mad scene,” the agoraphobic and hypochondriacal Cynthia struggles with her domestic interior—filled with kitschy New Age objects—turning to nature to discover that her life is boundless and full of magic. Drawing on the artist’s own biography for narrative inspiration, Moulton says “I’m presenting my own struggle, my own paranoia or neurosis...this personal, fallible point of view.” Staged in a multimedia virtual environment that compliments the dream-logic of the opera’s narrative, Moulton’s video imagery and wordless movements are synchronized with Hallett’s original score and libretto in a form of dynamic live animation. Originating at The Kitchen in 2010, Whispering Pines 10 has toured to the San Francisco Museum of Modern Art, the Portland Institute of Contemporary Art, and The Andy Warhol Museum, among other venues. It is currently being developed as an Internet serial drama with support from Creative Capital. https://player.vimeo.com/video/90352994?portrait=0 487 2014-03-28 yes no https://art21.org/watch/extended-play/gabriel-orozco-spanish-lessons-short/ Gabriel Orozco: “Spanish Lessons” (SHORT) https:i.vimeocdn.com/video/614713981_1280x720.jpg The 200th episode of Exclusive provides viewers with an intimate look at Spanish Lessons (2013), a project by Gabriel Orozco that took place at Marian Goodman Gallery in New York. Unsatisfied with the relegation of Spanish to “street talk” in the United States, Orozco used art and literature to teach the language to gallery goers. “It’s very common to hear people quoting Borges, but not many people have really read Borges in Spanish,” he says. “Meaning changes when you translate.” Orozco’s temporary classroom was situated in an unused office below the commercial gallery, creating an opportunity to exchange ideas and knowledge in a space usually used for the exchange of money and objects. https://player.vimeo.com/video/201039296?portrait=0 284 2014-03-21 yes no https://art21.org/watch/extended-play/janine-antoni-collaborating-with-stephen-petronio-short/ Janine Antoni: Collaborating with Stephen Petronio (SHORT) https:i.vimeocdn.com/video/611203203_1280x720.jpg Filmed in 2013, artist Janine Antoni and choreographer Stephen Petronio discuss their collaborative process. Instead of working strictly within their respective fields, Petronio and Antoni blur the lines between sculptor, performer, and choreographer as they create works for the stage as well as for the camera. After collaborating with Petronio on his piece Like Lazarus Did (2013), Antoni worked with him to make Honey Baby (2013), a video of Petronio company dancer Nick Sciscione moving through a honey coated sculptural space. "We were very interested in making a video where one could not feel gravity," says Antoni. https://player.vimeo.com/video/198258116?portrait=0 321 2014-03-07 yes no https://art21.org/watch/specials/cai-guo-qiang-reflections-from-curator-philip-tinari/ Cai Guo-Qiang: Reflections from Curator Philip Tinari https:i.vimeocdn.com/video/611975614_1280x720.jpg Filmed for the occasion of Armory Focus: China at The Armory Show 2014 in New York City, curator Philip Tinari reflects on the work of Chinese artist Cai Guo-Qiang. Tinari, director of the Ullens Center for Contemporary Art in Beijing and curator of Armory Focus: China, discusses the artist's on-going fascination with gunpowder, as well as an interest in how "'Chinese-ness' is transported across time and space." 645 https://player.vimeo.com/video/198756858?portrait=0 111 2014-03-05 yes no https://art21.org/watch/specials/cao-fei-reflections-from-curator-philip-tinari/ Cao Fei: Reflections from Curator Philip Tinari https:i.vimeocdn.com/video/611985244_1280x720.jpg Filmed for the occasion of Armory Focus: China at The Armory Show 2014 in New York City, curator Philip Tinari reflects on the work of Chinese artist Cao Fei. Tinari, director of the Ullens Center for Contemporary Art in Beijing and curator of Armory Focus: China, acknowledges the artist as among the first figures of China's "On/Off Generation," and discusses how Cao is "an example of how one can be a Chinese artist working in a global context." Cao Fei was first featured by Art21 in Season 5 (2009) of the "Art in the Twenty-First Century" series, and has since appeared in episodes of Art21's "Exclusive" series. Philip Tinari began a partnership with Art21 in 2009, interviewing artist Cao Fei in Beijing for Season 5 (2009) of the "Art in the Twenty-First Century" series. Tinari would again partner with Art21 to interview artist Ai Weiwei in Beijing for Season 6 (2012). Armory Focus is a specially curated section of The Armory Show that highlights the artistic landscape of a chosen geographic region. For The Armory Show 2014, Philip Tinari curated Armory Focus: China, shining new light on the country’s contemporary cultural practice. https://player.vimeo.com/video/198756615?portrait=0 131 2014-03-05 yes no https://art21.org/watch/specials/ai-weiwei-reflections-from-curator-philip-tinari/ Ai Weiwei: Reflections from Curator Philip Tinari https:i.vimeocdn.com/video/618228913_1280x720.jpg Filmed for the occasion of Armory Focus: China at The Armory Show 2014 in New York City, curator Philip Tinari reflects on the work of Chinese artist Ai Weiwei. Tinari, director of The Ullens Center for Contemporary Art in Beijing and curator of Armory Focus: China, notes Ai's fascination with artists Marcel Duchamp and Andy Warhol and the resulting influence upon the artist's work. Philip Tinari began a partnership with Art21 in 2009, interviewing artist Cao Fei in Beijing for Season 5 (2009) of the "Art in the Twenty-First Century" series. Tinari would again partner with Art21 to interview artist Ai Weiwei in Beijing for Season 6 (2012). Armory Focus is a specially curated section of The Armory Show that highlights the artistic landscape of a chosen geographic region. For The Armory Show 2014, Philip Tinari curated Armory Focus: China, shining new light on the country’s contemporary cultural practice. https://player.vimeo.com/video/198756432?portrait=0 114 2014-03-05 yes no https://art21.org/watch/new-york-close-up/josephine-halvorson-gets-the-conversation-going/ Josephine Halvorson Gets the Conversation Going https:art21.org/wp-content/uploads/2016/10/halvorson-conversation-still-096-1400x788.jpg How do you make an artist? At The Cooper Union for the Advancement of Science and Art in Manhattan, artist Josephine Halvorson guides an undergraduate painting class in a group critique. The student work ranges from letterform-inspired abstractions to painterly landscapes to intensely graphic narrative scenes on shaped canvases. The paintings are the culmination of a semester’s worth of work. On guard against the students’ tendency to respond to an artist’s words as much as their work, Halvorson explains her particular critique process: “The students give feedback without the artist over-determining it initially by what they say about it.” Her students’ comments are wide-ranging, off the cuff, and at times sharply critical. One student wonders if a densely iconographic set of paintings is an “allegorical overload,” challenging the viewer to give up on ever getting a clear understanding. For this student, the moment is poignant. This set of critiques will be one of few remaining opportunities to hear so consistently and variously from her artist-peers. Once out of school, she knows she’ll struggle to find similar chances for feedback. A Cooper Union alumna herself, Halvorson remembers the anxiety of her own undergraduate group critique experiences and the feeling of never producing work worthy of review. Art education—premised on the hope of training someone to do a seemingly untrainable creative act—is a necessarily tricky, contradictory endeavor. But for Halvorson, group critique, with its possibility of open dialogue and exchange, is one of art school’s truly constructive models for learning. https://player.vimeo.com/video/88093538?portrait=0 365 2014-03-03 yes no https://art21.org/watch/extended-play/ellen-gallagher-cutting-short/ Ellen Gallagher: Cutting (SHORT) https:i.vimeocdn.com/video/612215253_1280x720.jpg Ellen Gallagher discusses the paper cutouts that she’s embedded into paintings throughout her career. Shown at the New Museum, seated in her solo exhibition Don't Axe Me (2013), she explains how she scrapped away areas of her thickly painted canvases and inlaid black paper birds, leaving their sharply cut edges distinctly visible. Gallagher traces her interest in cutting to when she first began working with penmanship paper and needed to release air bubbles trapped under its surface. Her fondness for cut paper is most evident in her Watery Ecstatic series (2001–2009), which depicts sea creatures on intricately incised paper. https://player.vimeo.com/video/199064768?portrait=0 194 2014-02-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/do-ho-suh-in-season-2-of-art-in-the-twenty-first-century-2003-preview/ Do Ho Suh in Season 2 of “Art in the Twenty-First Century” (2003) (PREVIEW) https:art21.org/wp-content/uploads/2016/10/suh-stories-still-110.jpg Known for sculptures and installations that defy conventional notions of scale and site-specificity, Do Ho Suh's work draws attention to the ways viewers occupy and inhabit public space. Exploring the fine line between strength in numbers and homogeneity, Suh's works question the identity of the individual in today's increasingly transnational, global society. https://player.vimeo.com/video/207360253?portrait=0 67 2003-09-01 yes no https://art21.org/watch/extended-play/fred-wilson-beauty-ugliness-short/ Fred Wilson: Beauty & Ugliness (SHORT) https:art21.org/wp-content/uploads/2016/10/wilson-beauty-still-040-1400x788.jpg Filmed in 2004, Fred Wilson discusses how beauty and ugliness together create meaning. For his installation Speak of Me as I Am at the 50th Venice Biennale (2003), Wilson arranged "blackamoors"—decorative sculptures common in Venice—throughout the American Pavilion. In doing so, he called attention to how these beautiful objects depict Africans in servitude. Also shown in this film is Wilson's piece Cabinetmaking, 1820–1960 (1992)—ornate nineteenth-century chairs juxtaposed with a whipping post—installed at the Studio Museum in Harlem in 2004. https://player.vimeo.com/video/201744597?portrait=0 170 2014-02-07 yes no https://art21.org/watch/new-york-close-up/mary-mattinglys-waterfront-development/ Mary Mattingly’s Waterfront Development https:art21.org/wp-content/uploads/2016/10/mattingly-waterfront-still-095-EDIT-1400x788.jpg What’s the latest trend in New York City real estate? Over the course of the summer and fall of 2013, artist Mary Mattingly constructs and occupies Triple Island (2013), an outdoor sculpture overlooking the East River. Situated in the newly developed Pier 42 public park—a waterfront area flooded by Hurricane Sandy in 2012—the sculpture rests on buoyant 55 gallon drums, which allow it to float in the event of rising sea levels. Mattingly and friends build Triple Island out of a mix of recycled, donated, and custom-made materials. The three main structures—a living space, greenhouse, and community garden—together form a system for living off the grid in the densely-populated Lower East Side. A self-described apocalyptic thinker, Mattingly views the project as an experimental model for an imagined future where environmental degradation and collapsed economies render current ways of living in urban areas untenable. "I think Triple Island has a very specific aesthetic intention," says Mattingly, "and it is to imagine a world with leftover materials and how you would build and what it would look like." Through summer heat and winter cold, the artist and several intrepid volunteers live in the sculpture, collecting rain for water, harnessing solar energy for power, and harvesting a garden for food. Residents' motives for participating vary widely; for artist Ivan Gilbert, Triple Island offers a chance to gain "a few more degrees of relative freedom from giant inhuman institutions." Partnering with a coalition of advocacy organizations, such as the Hester Street Collaborative and Lower Manhattan Cultural Council, Mattingly's project is less an experiment in individualistic self-sufficiency as it is in the communal sharing of local resources. Featuring the works Triple Island (2013) and Flock House Project (2012–13) with music by Chris Zabriskie. https://player.vimeo.com/video/85738568?portrait=0 485 2014-01-31 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/matthew-barney-in-season-1-of-art-in-the-twenty-first-century-2001-preview/ Matthew Barney in Season 1 of “Art in the Twenty-First Century” (2001) (PREVIEW) https:i.vimeocdn.com/video/622409691_1280x720.jpg Matthew Barney is best known as the producer and creator of the CREMASTER films. The title of the films refers to the muscle that raises and lowers the male reproductive system according to temperature, external stimulation, or fear. The films themselves are a grand mixture of history, autobiography, and mythology—a universe in which symbols are densely layered and interconnected. https://player.vimeo.com/video/207356147?portrait=0 79 2001-09-01 yes no https://art21.org/watch/extended-play/janine-antoni-milagros-short/ Janine Antoni: Milagros (SHORT) https:i.vimeocdn.com/video/611204249_1280x720.jpg Filmed in 2013, Janine Antoni discusses the sculptures in her solo exhibition Within at the Mattress Factory in Pittsburgh, Pennsylvania. Antoni explains how this body of work was inspired by small religious votive charms called milagros (“miracles”), which often take the shape of an ailing area of the body, such as a limb or organ. For her sculptures, Antoni grafted together resin body parts—a hand clasping a coccyx, for instance—to explore the meanings created by two impossible juxtapositions. Antoni is shown at work in her Brooklyn, New York studio. https://player.vimeo.com/video/198258896?portrait=0 318 2014-01-24 yes no https://art21.org/watch/extended-play/tim-hawkinson-family-resemblance-short/ Tim Hawkinson: Family Resemblance (SHORT) https:i.vimeocdn.com/video/612368887_1280x720.jpg Filmed in 2013, Tim Hawkinson gives a tour of his sculpture exhibition at Pace Gallery in New York City. He provides insight into each artwork and discusses the variety of materials he used, such as resin and bronze casts of his body, pieces of his daughter’s old bicycle, and pine cones and palm fronds from his garden. Hawkinson made some of the works over time with his daughter Clare, a Girl Scout Brownie. “She has kind of given me ideas,” he says. Hawkinson named each sculpture in the exhibition after a different Girl Scout cookie, alluding to Clare’s involvement in his creative process. https://player.vimeo.com/video/199186695?portrait=0 338 2014-01-10 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/yinka-shonibare-mbe-in-season-5-of-art-in-the-twenty-first-century-2009-preview/ Yinka Shonibare MBE in Season 5 of “Art in the Twenty-First Century” (2009) (PREVIEW) https:i.vimeocdn.com/video/616005790_1280x720.jpg Known for using batik in costumed dioramas that explore race and colonialism, Yinka Shonibare MBE also employs painting, sculpture, photography, and film in work that disrupts and challenges our notions of cultural identity. Taking on the honorific MBE as part of his name in everyday use, Shonibare plays with the ambiguities and contradictions of his attitude toward the Establishment and its legacies of colonialism and class. https://player.vimeo.com/video/202072348?portrait=0 80 2009-09-03 yes no https://art21.org/watch/extended-play/bruce-nauman-poke-in-the-eyenoseear-short/ Bruce Nauman: “Poke in the Eye/Nose/Ear” (SHORT) https:i.vimeocdn.com/video/614667347_1280x720.jpg Filmed in August 2000, Bruce Nauman discusses his video work Poke in the Eye/Nose/Ear (1994). The artist filmed himself poking his face and then slowed the footage down, forcing viewers to pay attention to the formal qualities of each frame. Nauman reflects on how fellow artists such as John Cage, Merce Cunningham, and Andy Warhol also reconsidered time and duration. https://player.vimeo.com/video/201003601?portrait=0 233 2013-12-27 yes no https://art21.org/watch/new-york-close-up/liz-magic-lasers-guerrilla-theater/ Liz Magic Laser’s Guerrilla Theater https:art21.org/wp-content/uploads/2016/10/laser-guerilla-still-083-edit-1400x788.jpg How can changing the context for a performance alter its meaning? In this film, artist Liz Magic Laser directs a group of actors performing theatrical scenes in public locations throughout New York City. https://player.vimeo.com/video/82390605?portrait=0 432 2013-12-20 yes no https://art21.org/watch/extended-play/marina-abramovic-singing-lesson-short/ Marina Abramović: Singing Lesson (SHORT) https:i.vimeocdn.com/video/610959249_1280x720.jpg Filmed in 2011, Marina Abramović prepares for her role in The Life and Death of Marina Abramović, an opera based on her own life. Directed by Bob Wilson and featuring original music by Antony Hegarty, The Life and Death of Marina Abramović premiered at the Manchester International Festival in 2011 and traveled to New York City’s Park Avenue Armory in 2013. In the film, Abramović takes one of her first ever singing lessons at the Manhattan studio of vocal coach Nora York. Abramović discusses her desire to become a better singer despite being told as a child that she "didn’t have an ear for music." https://player.vimeo.com/video/198073377?portrait=0 270 2013-12-13 yes no https://art21.org/watch/new-york-close-up/behind-the-scenes-with-mika-tajima/ Behind the Scenes with Mika Tajima https:art21.org/wp-content/uploads/2016/10/tajima-behind-still-031-1400x788.jpg What happens when back stage becomes front stage? At her Bushwick Brooklyn studio, artist Mika Tajima discusses the processes and ideas behind her two installational-performative works Today is Not a Dress Rehearsal (2009) and The Pedestrians (2011). Tajima describes how her fascination with the “immaterial labor” of film production—the constant behind the camera activity that’s not visible in a final film—led her to create a fully crewed, film set in the lobby of the San Francisco Museum of Modern Art. Collaborating with artist Charles Atlas and the New Humans collective, Tajima conceived of Today is Not a Dress Rehearsal (2009) as “production as performance.” A crew of cameramen, audio operators, production assistants, and Tajima herself were all on public view in the museum as they shot philosopher Judith Butler and the amateur public speaking group Golden Gate Toastmasters perform. For The Pedestrians (2011), Tajima and her collaborators created an even more ambitious project that featured a larger film crew and ten days of performances centered around the theme of walking. At the South London Gallery, a dollying cameraman circled the perimeter of the exhibition space, recording footage of the performers, crew, and viewers that was then live projected back into the space. For Tajima, these hybrid performance productions question conventional distinctions between talent and crew, artist and audience, and public and private space. Also featuring work from the exhibitions Deal or No Deal (2008), The Double (2008), and The Architect’s Garden (2011) and the ongoing series The Extras (2011). https://player.vimeo.com/video/81222108?portrait=0 470 2013-12-06 yes no https://art21.org/watch/extended-play/ursula-von-rydingsvard-ona-short/ Ursula von Rydingsvard: “Ona” (SHORT) https:i.vimeocdn.com/video/615817833_1280x720.jpg Filmed in August 2013, Ursula von Rydingsvard discusses her large-scale sculpture Ona (2013), which is permanently installed outside of Barclays Center in Brooklyn, New York. Originally made with cut cedar beams, the sculpture was cast in bronze at the Polich Tallix Fine Art Foundry, where von Rydingsvard is shown applying a patina to its undulating surface. By installing the work in a public space without security guards or barricades, von Rydingsvard is encouraging visitors to touch the work, to "see with one’s hands." https://player.vimeo.com/video/201923965?portrait=0 373 2013-11-29 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/ursula-von-rydingsvard-in-season-4-of-art-in-the-twenty-first-century-2007-preview/ Ursula von Rydingsvard in Season 4 of “Art in the Twenty-First Century” (2007) (PREVIEW) https:art21.org/wp-content/uploads/2016/10/von-rydingsvard-ecology-msp-001.jpg Ursula von Rydingsvard builds towering cedar structures, creating an intricate network of individual beams and sensuous, puzzle-like surfaces. While abstract at its core, Von Rydingsvard's work takes visual cues from the landscape, the human body, and utilitarian objects—such as the artist's collection of household vessels—and demonstrates an interest in the point where the man-made meets nature. https://player.vimeo.com/video/207467190?portrait=0 59 2007-09-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/kara-walker-in-season-2-of-art-in-the-twenty-first-century-2003-preview/ Kara Walker in Season 2 of “Art in the Twenty-First Century” (2003) (PREVIEW) https:art21.org/wp-content/uploads/2016/10/walker-stories-still-095.jpg Kara Walker's work explores the raw intersection of race, gender, and sexuality through iconic, silhouetted figures. Walker unleashes the traditionally Victorian medium of the silhouette directly onto the walls of the gallery. In recent works, the Walker uses overhead projectors to throw light onto the walls and floor of the exhibition space, implicating the audience through their own shadows. https://player.vimeo.com/video/207358811?portrait=0 63 2003-09-01 yes no https://art21.org/watch/extended-play/kiki-smith-the-fabric-workshop-short/ Kiki Smith: The Fabric Workshop (SHORT) https:i.vimeocdn.com/video/616038198_1280x720.jpg Filmed in 2002, Kiki Smith discusses the housewares and other everyday objects that she created for Homework, her solo exhibition at The Fabric Workshop and Museum in Philadelphia, Pennsylvania. Smith is constantly making jewelry, drawings, and sculptures at her Manhattan home, and brought a long list of potential projects to the Fabric Workshop where she was an artist-in-residence. With the help of their expert technicians and expansive facilities, she transformed her ideas into new objects, including a reversible doll, decorative wallpaper, and a woven blanket. https://player.vimeo.com/video/202096235?portrait=0 279 2013-11-18 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/jeff-koons-in-season-5-of-art-in-the-twenty-first-century-2009-preview/ Jeff Koons in Season 5 of “Art in the Twenty-First Century” (2009) (PREVIEW) https:i.vimeocdn.com/video/613643611_1280x720.jpg Jeff Koons plucks images and objects from popular culture, framing questions about taste and pleasure. His contextual sleight-of-hand, which transforms banal items into sumptuous icons, takes on a psychological dimension through dramatic shifts in scale, spectacularly engineered surfaces, and subliminal allegories of animals, humans, and anthropomorphized objects. https://player.vimeo.com/video/200200909?portrait=0 67 2009-08-06 yes no https://art21.org/watch/new-york-close-up/alejandro-almanza-pereda-strikes-a-balance/ Alejandro Almanza Pereda Strikes A Balance https:art21.org/wp-content/uploads/2016/10/almanza-pereda-strikes-still-223-1400x788.jpg How does a sculptor keep his work from toppling over? Installing new work in Brooklyn, New York, and Mexico City, artist Alejandro Almanza Pereda discusses the process and ideas behind his finely balanced sculptural works. At Storefront Ten Eyck Gallery in Bushwick, Brooklyn, Almanza drills holes into an unexpected array of found objects, including a bowling ball, a plaster bust, and a lava rock. Almanza and his artist friends carefully suspend and connect these objects with dowels and fluorescent tubes, creating a delicate sculptural network. Almanza explains that this improvised "common sense" engineering is inspired by the kinds of ad hoc, temporary fixes that construction crews make on the streets of Mexico and the United States. At Museo Experimental El Eco in Mexico City, Mexico, Almanz builds At the palace in the air at 4 am (2013) out of pre-fabricated industrial shelving. Instead of the typical rows of uniform shelves, Almanza creates a jungle gym-like construction of vertical and horizontal planes that hold decidedly non-industrial, domestic objects like trophies and suitcases. Culled from flea markets and sidewalk sales, these objects evoke Almanza’s childhood, a time "when you learn how to deal with objects and materials around you" and begin to understand their fragility and value. 624 https://player.vimeo.com/video/79315435?portrait=0 527 2013-11-13 yes no https://art21.org/watch/extended-play/trenton-doyle-hancock-the-former-and-the-ladder-or-ascension-and-a-cinchin-short/ Trenton Doyle Hancock: “The Former and the Ladder or Ascension and a Cinchin’” (SHORT) https:i.vimeocdn.com/video/612353915_1280x720.jpg Filmed in 2012 at James Cohan Gallery in New York City, artist Trenton Doyle Hancock discusses his large-scale collage The Former and the Ladder or Ascension and a Cinchin' (2012). Made from materials that Hancock accumulated over a fifteen-year period, including scraps from some of his earlier artworks, it provides a condensed overview of his artistic development to-date. The artist, who recently moved away from his longtime Mounds and Vegans narrative, describes the central figure as busting out of shackles and "trying to get free of something." The Former and the Ladder or Ascension and a Cinchin' is held in the Virginia Museum of Fine Arts collection. https://player.vimeo.com/video/199174010?portrait=0 309 2013-11-01 yes no https://art21.org/watch/artist-to-artist/shahzia-sikander-at-the-13th-istanbul-biennial/ Shahzia Sikander at the 13th Istanbul Biennial https:i.vimeocdn.com/video/453081576_1280x720.jpg Shahzia Sikander travels to the 13th Istanbul Biennial and speaks with four fellow artists and a two-person design collective about their projects. "There’s so much within the art world that happens by word of mouth, by engaging, by making a connection," says Sikander. Artists address not only the concepts that underlie their work, but also the public protests in Gezi Park and Taksim Square—also known as the Gezi Resistance—that began three months before the Biennial opened and impacted its organization. Sikander discusses the palpability of social unrest in Istanbul and describes an “energy and anxiousness” that would occasionally erupt. Diego Bianchi, Gülsün Karamustafa, Basim Magdy, Hito Steyerl, and RAAAF (formerly Rietveld Landscape) are also featured in the film. The 13th Istanbul Biennial was on view September 14–October 20, 2013. https://player.vimeo.com/video/77811929?portrait=0 812 2013-10-25 yes no https://art21.org/watch/artist-to-artist/diana-al-hadid-at-the-55th-venice-biennale/ Diana Al-Hadid at the 55th Venice Biennale https:i.vimeocdn.com/video/452243846_1280x720.jpg Brooklyn-based artist Diana Al-Hadid travels to the 55th Venice Biennale, where she tours the exhibition and speaks candidly with five of her peers about their work. "It is fascinating to see what problems other artists are solving," says Al-Hadid, "and what curiosities they’re pursuing that sometimes feel very similar to the curiosities [I’m] pursuing." In Venice, she interviews artists Jesper Just, Kimsooja, Mark Manders, and Katrín Sigurdardóttir. Back in Brooklyn, Al-Hadid video chats with fellow Art21 artist Ai Weiwei who is prohibited from leaving China; their conversation is accompanied by footage of Ai’s collateral exhibition in Venice. https://player.vimeo.com/video/77142369?portrait=0 804 2013-10-18 yes no https://art21.org/watch/artist-to-artist/shahzia-sikander-at-sharjah-biennial-11/ Shahzia Sikander at Sharjah Biennial 11 https:i.vimeocdn.com/video/451539863_1280x720.jpg Filmed during opening week of Sharjah Biennial 11, New York-based artist Shahzia Sikander takes viewers on an enlightening journey through the exhibition, speaking with six fellow artists along the way. They discuss their projects and performances, as well as their experiences in Sharjah. Works by David Claerbout, Thilo Frank, Lucia Koch, Ahmed Mater, Ernesto Neto, and Wael Shawky are featured along with an outdoor performance related to Sikander’s biennial installation Parallax. Sharjah Biennial 11 was on view March 13 through May 13, 2013. https://player.vimeo.com/video/76616005?portrait=0 903 2013-10-11 yes no https://art21.org/watch/extended-play/david-altmejd-heads-short/ David Altmejd: Heads (SHORT) https:i.vimeocdn.com/video/611171994_1280x720.jpg Filmed in 2011, David Altmejd discusses the head sculptures that he creates to accompany each new body of work. “Some sculptors make drawings, I make heads," says Altmejd. By using the same materials found in his larger works, he distills his larger ideas into compact form. Works in the film are shown at the artist's studio in Queens, and in his solo exhibition at Andrea Rosen Gallery in Manhattan. https://player.vimeo.com/video/198238309?portrait=0 140 2013-10-04 yes no https://art21.org/watch/new-york-close-up/daniel-gordon-gets-physical/ Daniel Gordon Gets Physical https:art21.org/wp-content/uploads/2016/10/gordon-physical-still-058-1400x788.jpg What if the Internet had a body? In his DUMBO studio, artist Daniel Gordon photographs paper collages constructed from found images downloaded from the Web. "I like to think about what I'm doing as an optimistic version of appropriation," says Gordon, who wonders if he can transport digital images into real life by giving them a physical form. The artist’s paper tableaus, rich in vibrant colors and vivid patterns, are transformed in the process of making a picture with large format cameras. "It's a fiction and a truth at the same time," says Gordon, whose early Flying Pictures series (2001–2004) created whimsical illusions of the artist in mid-flight. The film reveals the behind-the-scenes process of two of Gordon's recent works—a silhouette of Ruby Sky Stiler (the artist’s wife) and the still life Blue Watermelon and Shell (2013)—from photographing in the studio to the final printing process with Anthony Accardi at Green Rhino in Williamsburg. 618 https://player.vimeo.com/video/75596629?portrait=0 524 2013-09-27 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/carrie-mae-weems-in-season-5-of-art-in-the-twenty-first-century-2009-preview/ Carrie Mae Weems in Season 5 of “Art in the Twenty-First Century” (2009) (PREVIEW) https:art21.org/wp-content/uploads/2016/10/weems_50170_034.jpg With the pitch and timbre of an accomplished storyteller, Carrie Mae Weemss vibrant explorations of photography, video, and verse breathe new life into traditional narrative forms—social documentary, tableaux, self-portrait, and oral history. Eliciting epic contexts from individually framed moments, Weems debunks racist and sexist labels, examines the relationship between power and aesthetics, and uses personal biography to articulate broader truths. https://player.vimeo.com/video/201746657?portrait=0 88 2009-07-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/richard-tuttle-in-season-3-of-art-in-the-twenty-first-century-2005-preview/ Richard Tuttle in Season 3 of “Art in the Twenty-First Century” (2005) (PREVIEW) https:art21.org/wp-content/uploads/2016/10/tuttle-structures-still-090.jpg Richard Tuttle commonly refers to his work as drawing rather than sculpture, emphasizing the diminutive scale and idea-based nature of his practice. He subverts the conventions of modernist sculptural practice and instead creates small, eccentrically playful objects in decidedly humble materials such as paper, rope, twigs, and bubble wrap. Tuttle also manipulates the space in which his objects exist, forcing viewers to reconsider and renegotiate the white-cube gallery space in relation to their own bodies. https://player.vimeo.com/video/207374262?portrait=0 74 2005-09-01 yes no https://art21.org/watch/extended-play/bruce-nauman-teachers-artists-short/ Bruce Nauman: Teachers & Artists (SHORT) https:i.vimeocdn.com/video/614667988_1280x720.jpg Filmed in August 2000, Bruce Nauman discusses two teachers who influenced his approach to horseback riding and art making: master horse trainer Ray Hunt and painter Wayne Thiebaud. Nauman explains how both men taught him "how to pay attention." Nauman is shown on horseback at his New Mexico ranch, and walking up his outdoor installation Model (1998), a stairway embedded in the landscape of his property. https://player.vimeo.com/video/201004470?portrait=0 159 2013-09-20 yes no https://art21.org/watch/new-york-close-up/debo-eilers-makes-things-uncomfortable/ Debo Eilers Makes Things Uncomfortable https:art21.org/wp-content/uploads/2016/10/eilers-uncomfortable-still-054-edit-1400x788.jpg What happens when an artist doesn’t speak for himself? In a Tribeca loft, two friends of Debo Eilers discuss his sculpture and performance work, as the artist quietly observes in the background. For this film, Eilers has invited Loryn Hatch, a psychoanalyst, and Bosko Blagojevic, a writer and computer engineer, to meet for the first time and riff on the cultural associations in the hanging sculpture Juice (2011). For Blagojevic, Eilers's work—uncanny forms made with found objects and layered epoxy—evoke the "restless energy of teenagers." For Hatch, Eilers's performances—murky scenarios in which Eilers and other performers act out the role of the artist—provoke discomfort with their sexually charged themes. In past performance works, Eilers has asked others, such as Kaya, the teenage daughter of a friend, to direct his performances, creating an unsettling power dynamic between older male artist and young female performer. Through the course of being filmed, Blagojevic and Hatch's conversation becomes both an exploration of the artist’s work and an "outsourced" performance of that conversation in which the the traditional roles of artist and viewer are conflated and questioned. 614 https://player.vimeo.com/video/74469984?portrait=0 457 2013-09-13 yes no https://art21.org/watch/extended-play/ellen-gallagher-osedax-short/ Ellen Gallagher: “Osedax” (SHORT) https:i.vimeocdn.com/video/612214628_1280x720.jpg Filmed in 2013, artist Ellen Gallagher discusses her large-scale installation Osedax (2010) at the New Museum in New York City. Made in collaboration with Dutch artist Edgar Cleijne, Osedax was inspired by and named after the bone-devouring worms recently discovered in an ocean canyon near Monterey, California. Drawn to scientists’ description of this discovery, Gallagher sees similarity between their account and how science fiction narratives unfold through the transformation and evolution of characters and physical matter. https://player.vimeo.com/video/199064099?portrait=0 235 2013-09-06 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/raymond-pettibon-in-season-2-of-art-in-the-twenty-first-century-2003-preview/ Raymond Pettibon in Season 2 of “Art in the Twenty-First Century” (2003) (PREVIEW) https:i.vimeocdn.com/video/622423623_1280x720.jpg A cult figure associated with the Los Angeles punk rock scene, Raymond Pettibon has acquired a reputation as one of the foremost artists working with drawing, text, and artist's books. Pettibon is as likely to explore the subject of surfing as he is typography; themes from art history and nineteenth-century literature appear in the same breath with the American politics from the 1960s. https://player.vimeo.com/video/207366846?portrait=0 77 2003-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/mark-dion-in-season-4-of-art-in-the-twenty-first-century-2007-preview/ Mark Dion in Season 4 of “Art in the Twenty-First Century” (2007) (PREVIEW) https:i.vimeocdn.com/video/622550450_1280x720.jpg Mark Dion's work examines the ways in which dominant ideologies and public institutions shape our understanding of history, knowledge, and the natural world. Appropriating archeological and other scientific methods of collecting, ordering, and exhibiting objects, Dion creates artworks that question the distinctions between 'objective' ('rational') scientific methods and 'subjective', ('irrational') influences. https://player.vimeo.com/video/207466528?portrait=0 53 2007-09-01 yes no https://art21.org/watch/extended-play/rackstraw-downes-texas-hills-short/ Rackstraw Downes: Texas Hills (SHORT) https:i.vimeocdn.com/video/612180975_1280x720.jpg Filmed in late 2010, artist Rackstraw Downes discusses his interest in painting altered landscapes, such as the sand hills overlooking Presidio, Texas where ATV tire tracks cover the ground and a cell tower rises in the distance. While packing up his oil paints and easel after a day of working en plein air, Downes reflects on how growing up in the United Kingdom influenced his perception of the American West. Downes is shown working on Presidio: In the Sand Hills Looking East with ATV Tracks & Water Tower (2012). https://player.vimeo.com/video/199038749?portrait=0 190 2013-08-23 yes no https://art21.org/watch/new-york-close-up/jacolby-satterwhite-dances-with-his-self/ Jacolby Satterwhite Dances with His Self https:art21.org/wp-content/uploads/2016/10/satterwhite-dances-still-143-1400x788.jpg How does an artist use digital technology to perform new identities? In this film, artist Jacolby Satterwhite crafts surreal 3D animated videos while transporting characters from his virtual worlds into the streets of New York City. “We’re in the age of the remix,” says the artist, who observes that “now it's about how you use the information around you to generate your individuality.” At a modest computer setup in his Chinatown studio, Satterwhite digitally traces by hand his mother’s schematic drawings of inventions, reimagining them into baroque, neon-colored landscapes in a constant state of flux. Adapting additional visual references—home movies, family photos, documentary footage, and images throughout art history—Satterwhite “queers” the purpose and meaning of his source material, creating a unique personal mythology through stream of consciousness storytelling techniques. Recording himself in front of a green screen, the artist populates his videos with multiple avatars of himself who, in movements reminiscent of voguing in the ball scene, activate objects into wordless scenes of transformation and desire. In spaces throughout the city—the Brooklyn Bridge, Chinatown, Little Italy, Union Square subway station, and a Recess event at Le Poisson Rouge in Greenwich Village—Satterwhite also engages the public in the persona of his freewheeling avatar, wearing a custom-made costume outfitted with iPads and iPhones that loop the artist’s videos. Simultaneously flamboyant provocations and a natural extension of his process, Satterwhite treats these spontaneous encounters in the city as a sketchbook that will inform future animations. Featuring scenes from the works Country Ball (1989–2012), The Matriarch's Rhapsody (2012), Reifying Desire 3 (2012), Reifying Desire 4 (2012), Reifying Desire 5 (2013), and Reifying Desire 6 (2013). https://player.vimeo.com/video/72497737?portrait=0 538 2013-08-16 yes no https://art21.org/watch/extended-play/barry-mcgee-retrospective-short/ Barry McGee: Retrospective (SHORT) https:i.vimeocdn.com/video/614527697_1280x720.jpg Filmed in 2012, artist Barry McGee discusses the work of his friends, family and a younger generation of street artists that he included in his retrospective exhibition at the Berkeley Art Museum and Pacific Film Archive. Though these artists are not as famous as McGee, their work is displayed with equal prominence. This democratic approach to making and displaying art is a defining characteristic of McGee’s street and studio practices. McGee's self-titled retrospective exhibition traveled to the Institute of Contemporary Art (ICA) Boston in 2013. https://player.vimeo.com/video/200894657?portrait=0 276 2013-08-09 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/allan-mccollum-in-season-5-of-art-in-the-twenty-first-century-2009-preview/ Allan McCollum in Season 5 of “Art in the Twenty-First Century” (2009) (PREVIEW) https:i.vimeocdn.com/video/614498141_1280x720.jpg Applying strategies of mass production to hand-made objects, McCollum's labor-intensive practice questions the intrinsic value of the unique work of art. McCollums installations—fields of vast numbers of small-scale works, systematically arranged—are the product of many tiny gestures, built up over time. Viewing his work often produces a sublime effect as one slowly realizes that the dizzying array of thousands of identical-looking shapes is, in fact, comprised of subtly different, distinct things. https://player.vimeo.com/video/200875171?portrait=0 85 2009-09-24 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/paul-mccarthy-in-season-5-of-art-in-the-twenty-first-century-2009-preview/ Paul McCarthy in Season 5 of “Art in the Twenty-First Century” (2009) (PREVIEW) https:i.vimeocdn.com/video/614476357_1280x720.jpg McCarthy's video-taped performances and provocative multimedia installations lampoon polite society, ridicule authority, and bombard the viewer with a sensory overload of often sexually-tinged, violent imagery. With irreverent wit, McCarthy often takes aim at cherished American myths and icons—Walt Disney, the Western, and even the Modern Artist—adding a touch of malice to subjects that have been traditionally revered for their innocence or purity. https://player.vimeo.com/video/200858717?portrait=0 78 2009-08-20 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/jenny-holzer-in-season-4-of-art-in-the-twenty-first-century-2007-preview/ Jenny Holzer in Season 4 of “Art in the Twenty-First Century” (2007) (PREVIEW) https:i.vimeocdn.com/video/622441637_1280x720.jpg Whether questioning consumerist impulses, describing torture, or lamenting death and disease, Jenny Holzer's use of language provokes a critical response in the viewer. While her subversive work often blends in among advertisements in public space, its arresting content violates expectations. Holzer's texts have appeared on posters, as electronic L.E.D. signs, and as projections of xenon light. https://player.vimeo.com/video/207380910?portrait=0 42 2007-09-01 yes no https://art21.org/watch/extended-play/kiki-smith-printmaking-short/ Kiki Smith: Printmaking (SHORT) https:i.vimeocdn.com/video/616037668_1280x720.jpg Filmed in 2002 at the printmaking workshop Harlan & Weaver, artist Kiki Smith discusses the challenges and pleasures of printmaking. Shown working on a portrait titled Two (2002), Smith and the workshop’s master printers make numerous proofs and revisions until she is pleased with the image. Using ink on paper, Smith combines traditional and self-taught etching techniques in her attempts to represent the subtleties of human flesh. https://player.vimeo.com/video/202095587?portrait=0 296 2013-07-26 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/pepon-osorio-in-season-1-of-art-in-the-twenty-first-century-2001-preview/ Pepón Osorio in Season 1 of “Art in the Twenty-First Century” (2001) (PREVIEW) https:i.vimeocdn.com/video/622396907_1280x720.jpg Pepón Osorio's sculptures and large-scale installations are influenced by his experience as a social worker and often evolve from interactions with neighborhoods. "My principal commitment as an artist is to return art to the community," says Osorio, who has worked in neighborhoods from Puerto Rico to Philadelpia to the Bronx. https://player.vimeo.com/video/207346192?portrait=0 63 2001-09-01 yes no https://art21.org/watch/new-york-close-up/mary-mattingly-owns-up/ Mary Mattingly Owns Up https:art21.org/wp-content/uploads/2016/10/mattingly-owns-still-013-1400x788.jpg Do objects come with responsibility? In this film, Mary Mattingly transforms personal belongings into sculptural forms that she later incorporates into photographs and performative actions. Experimenting with living in her Greenpoint studio space, Mattingly is determined to live with just the bare essentials. Over several months, she undertakes a process of recording every object she owns and tracing the history of each of her belongings—how it came into her life, its distribution via complex global supply chains, as well as where the raw materials for its manufacture was sourced—before uploading a digital version of each object to her website OWN-IT.US for others to access. Throughout this process, she takes stock of the environmental and societal impact of her personal consumption, wondering if “maybe we need art more today because we’re in a world with so many mass produced things.” Mattingly aggregates all of her personal belongings into boulder-like sculptural bundles, held together with rope, so that she is able to roll and drag them. She’s photographed walking the sculpture Fill (Obstruct) (2013) across the Bayonne Bridge, from Staten Island to New Jersey, and to the Port of New York New Jersey—symbolically returning her personal belongings to the place where they entered the East Coast. "It’s kind of really incredibly Sisyphean in a way," says Mattingly about her actions, eventually attracting the attention of the Port Authority Police and Homeland Security who surveil the port. 602 https://player.vimeo.com/video/70587343?portrait=0 562 2013-07-19 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/tim-hawkinson-in-season-2-of-art-in-the-twenty-first-century-2003-preview/ Tim Hawkinson in Season 2 of “Art in the Twenty-First Century” (2003) (PREVIEW) https:i.vimeocdn.com/video/622420610_1280x720.jpg Tim Hawkinson is known for creating complex sculptural systems through surprisingly simple means. 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. Sculptures are often re-purposed out of materials which then artist then mechanizes through hand-crafted electrical circuitry. https://player.vimeo.com/video/207364544?portrait=0 70 2003-09-01 yes no https://art21.org/watch/extended-play/maya-lin-disappearing-bodies-of-water-short/ Maya Lin: Disappearing Bodies of Water (SHORT) https:i.vimeocdn.com/video/613703127_1280x720.jpg Filmed in late 2012, Maya Lin discusses her marble sculpture series, Disappearing Bodies of Water, shown in progress at her Manhattan studio. Lin’s collective process of researching, drawing, model making, and mechanized fabrication led to these forms that highlight the erosion of Lake Chad, the Aral Sea, and the Arctic Ice Shelf. As a young woman growing up in Athens, Ohio, Lin staged protests against environmental crimes and cruelties. She continues to be an activist today, using her art to encourage closer examination of the natural world. https://player.vimeo.com/video/200246894?portrait=0 215 2013-07-12 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/bruce-nauman-in-season-1-of-art-in-the-twenty-first-century-2001-preview/ Bruce Nauman in Season 1 of “Art in the Twenty-First Century” (2001) (PREVIEW) https:i.vimeocdn.com/video/622404621_1280x720.jpg Bruce Nauman finds inspiration in the activities, speech, and materials of everyday life. Working in the diverse mediums of sculpture, video, film, printmaking, performance, and installation, Nauman concentrates less on the development of a characteristic style and more on the way in which a process or activity can transform or become a work of art. https://player.vimeo.com/video/207352673?portrait=0 49 2001-09-01 yes no https://art21.org/watch/extended-play/bruce-nauman-make-work-short/ Bruce Nauman: Make-Work (SHORT) https:i.vimeocdn.com/video/614666940_1280x720.jpg Filmed at Bruce Nauman's New Mexico studio in August 2000, the artist explains his need to experiment with new materials and forms on a daily basis. Nauman relies on experimentation to keep his creative process moving forward, even if it leads to artwork that no one, including himself, will appreciate. As Nauman walks around his cavernous studio he points out examples such as taxidermy forms that he transformed into a bronze fountain for his front yard. https://player.vimeo.com/video/201002606?portrait=0 158 2013-06-28 yes no https://art21.org/watch/new-york-close-up/marela-zacariass-work-finds-a-good-home/ Marela Zacarías’s Work Finds A Good Home https:art21.org/wp-content/uploads/2016/10/zacarias-home-still-114-edit-1400x788.jpg What happens to an artist’s work after it leaves a museum? Artist Marela Zacarías moves a suite of sculptures titled Supple Beat from the Brooklyn Museum to different spaces in the borough. At Zacarías’s Gowanus, Brooklyn studio it’s evident that the space she has to create and store her large-scale works in is extremely limited—a stark contrast to the museum’s wide-open Grand Lobby where Supple Beat is being exhibited (as part of the museum’s on-going Raw/Cooked series). Zacarías and a crew of art handlers led by Collections Manager Walter Andersons deinstall four of the sculptures. Constructed in carefully conceived parts, their painted geometric patterns cover window screen and joint compound understructures. Zacarías shares her inspiration: the Williamsburg Murals that were created in the late 1930s for a Brooklyn public housing complex and painted directly on walls in common areas. Overtime, they were neglected and covered up, but eventually restored and moved to the museum where they are on long-term loan. Zacarías describes how this poignant story reflects her feelings about her own work—formally and emotionally resistant to their surroundings, literally "running out from confinement." After the deinstallation, Zacarías and a group of friends deliver the sculptures to new but temporary homes. Three of them are stored in a do-it-yourself-style storage space in Gowanus, and the fourth, 163–213 Manhattan (2013), is taken to a friend’s loft in Williamsburg. As Zacarías and her crew install the work in this compact space (yet another contrast to the museum) she reflects on this fitting end: 163–213 Manhattan now has a home in Williamsburg like the murals that inspired it. And like those murals, the Williamsburg location is probably only a temporary resting place for Zacarías’s sculpture. Also featuring the works 122-192 Bushwick (2013), 202-254 Graham (2013), and 215-274 Humboldt (2013). https://player.vimeo.com/video/69198669?portrait=0 495 2013-06-26 yes no https://art21.org/watch/new-york-close-up/new-york-close-up-series-trailer-year-3-2013/ “New York Close Up” Series Trailer, Year 3 (2013) https:i.vimeocdn.com/video/441142729_1280x720.jpg Art21's Webby-nominated documentary series on art and life in New York City returned with new artists and films that premiered online June 21st and continued throughout Summer 2013. https://player.vimeo.com/video/68706372?portrait=0 46 2013-06-19 yes no https://art21.org/watch/new-york-close-up/laleh-khorramians-epic-animations/ Laleh Khorramian’s Epic Animations https:art21.org/wp-content/uploads/2016/10/khorramian-epic-still-026-1400x788.jpg How do you create an epic tale from modest materials? At her temporary studio and home in Campbell Hall, located in upstate New York, artist Laleh Khorramian surveys the last ten years of her animated videos. In her studio she is surrounded by piles of found scrap paper and graphics as well as her own drawings, paintings, and monotypes—all source material for her animations. Khorramian has found the monotype process, in which unique prints are created by pressing paper over painted surfaces, particularly generative. In films like Sophie & Goya (2004) and Chopperlady (2005), her monotypes become vast subterranean landscapes through which animated figures travel and explore. Scale in these films is uncanny; the figures appear both larger than life and barely visible. Alongside family photos from her many childhood trips to Disney World, Khorramian, who grew up in Orlando, Florida, describes her teenage disillusionment with the Magic Kingdom, the realization that Disney’s all-encompassing world of mass entertainment was a huge facade—in her words a “prop”—and more insidiously a form of social control. In Water Panics in the Sea (2011) the influence of this epiphany plays out: a giant ship, animated from collaged drawings and paintings, is unapologetically two-dimensional as it crosses an equally flat but menacing sea. The overall effect is disturbing, dystopian, and tragic. The boat, seemingly half human and half machine, is trapped on the water, engaged in some epic yet completely obscure journey. 595 https://player.vimeo.com/video/68859685?portrait=0 491 2013-06-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/john-baldessari-in-season-5-of-art-in-the-twenty-first-century-2009-preview/ John Baldessari in Season 5 of “Art in the Twenty-First Century” (2009) (PREVIEW) https:i.vimeocdn.com/video/611781669_1280x720.jpg Synthesizing photomontage, painting, and language, Baldessari's deadpan visual juxtapositions equate images with words and illuminate, confound, and challenge meaning. He upends commonly held expectations of how images function, often by drawing the viewers attention to minor details, absences, or the spaces between things. https://player.vimeo.com/video/198727555?portrait=0 76 2009-09-10 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/trenton-doyle-hancock-in-season-2-of-art-in-the-twenty-first-century-2003-preview/ Trenton Doyle Hancock in Season 2 of “Art in the Twenty-First Century” (2003) (PREVIEW) https:i.vimeocdn.com/video/622415915_1280x720.jpg Trenton Doyle Hancock's works tell the story of the Mounds—a group of mythical creatures that are the tragic protagonists of an unfolding epic. Influenced by the history of painting, especially Abstract Expressionism, Hancock transforms traditionally formal decisions—such as the use of color, language, and pattern—into opportunities to convey narratives. https://player.vimeo.com/video/207360818?portrait=0 83 2003-09-01 yes no https://art21.org/watch/extended-play/trenton-doyle-hancock-real-biography-short/ Trenton Doyle Hancock: Real Biography (SHORT) https:i.vimeocdn.com/video/612354942_1280x720.jpg Speaking from James Cohan Gallery, New York in late 2012, artist Trenton Doyle Hancock describes how his work has evolved over the past ten years. When Art21 first filmed the Houston-based artist in 2002, all of his paintings and drawings were filtered through a fictional narrative and characters he called "Mounds" and "Vegans." Hancock created these stories to give structure to his wide-ranging interests and ideas. The Mounds and Vegans have appeared in numerous exhibitions, a storybook, a mural at the Dallas Cowboys Stadium, and even a ballet. It was while watching the ballet that Hancock realized it was time to move on from the tale. https://player.vimeo.com/video/199175128?portrait=0 308 2013-06-14 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/lari-pittman-in-season-4-of-art-in-the-twenty-first-century-2007-preview/ Lari Pittman in Season 4 of “Art in the Twenty-First Century” (2007) (PREVIEW) https:i.vimeocdn.com/video/622437813_1280x720.jpg Inspired by commercial advertising, folk art, and decorative traditions, Lari Pittman's meticulously layered paintings transform pattern and signage into luxurious scenes. Meditations on romantic love, violence, and mortality, his work demonstrates the complementary nature of beauty and suffering, pain and pleasure. In a manner both visually gripping and psychologically strange, Pittman's hallucinatory works reference myriad aesthetic styles, from Victorian silhouettes to social realist murals to Southwestern kitsch. https://player.vimeo.com/video/207378054?portrait=0 68 2007-09-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/arturo-herrera-in-season-3-of-art-in-the-twenty-first-century-2005-preview/ Arturo Herrera in Season 3 of “Art in the Twenty-First Century” (2005) (PREVIEW) https:i.vimeocdn.com/video/622434680_1280x720.jpg Arturo Herrera's work includes collage, work on paper, sculpture, relief, wall painting, photography, and felt wall-hangings. Rooted in the history of abstraction, Herrera's playful work taps into the viewer's unconscious, often intertwining fragments of cartoon characters with cut-out shapes and partially obscured images that evoke memory and recollection. https://player.vimeo.com/video/207375537?portrait=0 78 2005-09-01 yes no https://art21.org/watch/new-york-close-up/eddie-martinezs-risky-business/ Eddie Martinez’s Risky Business https:art21.org/wp-content/uploads/2016/10/martinez-risky-still-071-1400x788.jpg Why would an artist change his signature style after proven success? Walking the graffiti-filled streets of his Greenpoint neighborhood and working in his nearby Williamsburg studio, Brooklyn-based artist Eddie Martinez discusses the motivation to shift his paintings from Pop-like figurations to pared down abstractions. An active graffiti artist in his teens and twenties, Martinez describes both the allure and difficulty of graffiti’s inherent riskiness, and reveals how his work now is an equally risky endeavor, artistically and professionally. A montage of Martinez’s previous paintings—brightly colored and unabashedly representational paintings of flowerpots and cartoonish characters—exemplifies the prodigious output that brought him commercial attention and success, but now represents a style he "feels wholly committed to abandoning." Despite the expectations of his gallery and collectors, Martinez says, "It’s just impossible for me to keep making the same image I made six years ago." He describes how he’s both excited and frightened to forge a fully abstract style, to paint without easy reliance on old imagery. Months afterwards the results of Martinez’s stylistic shift—near mural-sized canvases of primary colored forms set against open white backgrounds—are shown on exhibition at The Journal Gallery in Brooklyn. For Martinez, the change was a necessary leap of faith, one he hopes his followers will continue to support. https://player.vimeo.com/video/67905209?portrait=0 425 2013-06-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/kimsooja-in-season-5-of-art-in-the-twenty-first-century-2009-preview/ Kimsooja in Season 5 of “Art in the Twenty-First Century” (2009) (PREVIEW) https:i.vimeocdn.com/video/613642739_1280x720.jpg Kimsooja's videos and installations blur the boundaries between aesthetics and transcendent experience through their use of repetitive actions, meditative practices, and serial forms. In many pieces, everyday actions—such as sewing or doing laundry—become two- and three-dimensional or performative activities. https://player.vimeo.com/video/200199833?portrait=0 72 2009-09-17 yes no https://art21.org/watch/extended-play/robert-mangold-sol-lewitt-moma-short/ Robert Mangold: Sol LeWitt & MoMA (SHORT) https:i.vimeocdn.com/video/614446582_1280x720.jpg Artist Robert Mangold, speaking from his upstate New York studio in 2011, explains how his friendship with the late artist Sol LeWitt, as well as his experience working as a security guard at the Museum of Modern Art in New York, influenced his approach to making art. Mangold worked at MoMA in the early 1960s, when guarding the museum’s exhibitions was a common occupation for artists and poets, and it was here that he first met LeWitt (as well as Robert Ryman). LeWitt became one of Mangold’s closest friends. https://player.vimeo.com/video/200746118?portrait=0 161 2013-05-31 yes no https://art21.org/watch/new-york-close-up/erin-shirreff-tony-smith-go-way-back/ Erin Shirreff & Tony Smith Go Way Back https:art21.org/wp-content/uploads/2016/10/shirreff-tony-smith-still-073-1400x788.jpg What happens when an image feels more real than the real thing itself? While de-installing Sculpture for Snow (2011) in Downtown Brooklyn, artist Erin Shirreff discusses the creation and inspiration for her first public sculpture. Intrigued by book reproductions of the 20th century American sculptor Tony Smith's large-scale outdoor works, Shirreff describes visiting an actual Smith sculpture only to realize that there was a lot “more romance and mystery in the image.” In response Shirreff created her first video work, Sculpture Park (Tony Smith) (2006), a black and white video of Tony Smith sculptures revealed by falling snow (actually, tabletop sized cardboard maquettes dusted with Styrofoam in a studio.) In Shirreff’s video, the mysteriously scaled sculptures appear to be both solid three-dimensional forms and fluid two-dimensional apparitions. Shirreff describes how the video served as the springboard for the Public Art Fund commissioned project Sculpture for Snow, on view for a full year in the exhibition A Promise Is a Cloud (2011–12) at MetroTech Commons. Using Smith's sculpture Amaryllis (1965–68) as a model, Shirreff retains Smith’s signature black metal surface and larger than life scale, but collapses the sculpture’s volume and geometry into thinly drawn, weightless lines. With its pictorial and sculptural qualities intertwined, Shirreff’s Sculpture for Snow is an iteration in the artist’s ongoing exploration of the complex relationship between images and objects. https://player.vimeo.com/video/66912504?portrait=0 423 2013-05-24 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/julie-mehretu-in-season-5-of-art-in-the-twenty-first-century-2009-preview/ Julie Mehretu in Season 5 of “Art in the Twenty-First Century” (2009) (PREVIEW) https:i.vimeocdn.com/video/614530537_1280x720.jpg Mehretu's paintings and drawings refer to elements of mapping and architecture, achieving a calligraphic complexity that resembles turbulent atmospheres and dense social networks. Architectural renderings and aerial views of urban grids enter the work as fragments, losing their real-world specificity and challenging narrow geographic and cultural readings. https://player.vimeo.com/video/200899895?portrait=0 76 2009-10-01 yes no https://art21.org/watch/extended-play/james-turrell-second-meeting-short/ James Turrell: “Second Meeting” (SHORT) https:art21.org/wp-content/uploads/2016/10/turrell-second-meeting-still-060-1400x788.jpg Filmed in early 2013, James Turrell revisits his installation Second Meeting (1989) at the home of private collectors in Los Angeles, California. As one of his first skyspaces, Second Meeting was originally installed at the Museum of Contemporary Art, Los Angeles in 1986. In the film, Turrell describes what initially attracted him to working with light and how skyspaces encourage a closer examination of our visual perceptions. Second Meeting was preceded by a similar work titled Meeting which has been on public view at MoMA PS1 in Queens, New York since 1986. https://player.vimeo.com/video/201759493?portrait=0 261 2013-05-17 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/walton-ford-in-season-2-of-art-in-the-twenty-first-century-2003-preview/ Walton Ford in Season 2 of “Art in the Twenty-First Century” (2003) (PREVIEW) https:i.vimeocdn.com/video/622424215_1280x720.jpg Walton Ford adapted his talents as a storyteller to his unique style of large-scale watercolor. Blending depictions of natural history with political commentary, Ford's meticulous paintings satirize the history of colonialism and the continuing impact of slavery and other forms of political oppression on today's social and environmental landscape. https://player.vimeo.com/video/207367360?portrait=0 68 2003-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/robert-adams-in-season-4-of-art-in-the-twenty-first-century-2007-preview/ Robert Adams in Season 4 of “Art in the Twenty-First Century” (2007) (PREVIEW) https:i.vimeocdn.com/video/622551494_1280x720.jpg Robert Adams' black-and-white photographs document scenes of the American West, revealing the impact of human activity on the last vestiges of wilderness and open space. An underlying tension in Adams's body of work is the contradiction between landscapes visibly transformed or scarred by human presence and the inherent beauty of light and land rendered by the camera. https://player.vimeo.com/video/207466845?portrait=0 44 2007-09-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/james-turrell-in-season-1-of-art-in-the-twenty-first-century-2001-preview/ James Turrell in Season 1 of “Art in the Twenty-First Century” (2001) (PREVIEW) https:art21.org/wp-content/uploads/2016/10/turrell-spirituality-still-060.jpg James Turrell's work involves explorations in light and space that speak to viewers without words, impacting the eye, body, and mind with the force of a spiritual awakening. Situated near the Grand Canyon and Arizona's Painted Desert is Roden Crater, an extinct volcano the artist has been transforming into a celestial observatory for the past thirty years. Working with cosmological phenomena that have interested man since the dawn of civilization, Turrell's crater brings the heavens down to earth, linking the actions of people with the movements of planets and distant galaxies. https://player.vimeo.com/video/207351887?portrait=0 86 2001-09-01 yes no https://art21.org/watch/extended-play/maya-lin-new-york-short/ Maya Lin: New York (SHORT) https:i.vimeocdn.com/video/613708410_1280x720.jpg Speaking from her Manhattan studio in late 2012 and early 2013, artist Maya Lin discusses her new body of work, which is shown at Pace Gallery in New York City. Lin began this series of sculptures by examining New York’s ecological past—going back to the time when streams and marshes covered Manhattan through to Hurricane Sandy when rising sea levels wreaked havoc on the city. As a lifelong environmental activist, Lin has continually created artworks that encourage viewers to rethink their immediate surroundings. https://player.vimeo.com/video/200247415?portrait=0 295 2013-05-03 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/maya-lin-in-season-1-of-art-in-the-twenty-first-century-2003-preview/ Maya Lin in Season 1 of “Art in the Twenty-First Century” (2003) (PREVIEW) https:i.vimeocdn.com/video/622406290_1280x720.jpg Maya Lin catapulted into the public eye when she submitted the winning design in the national competition for the Vietnam Veterans Memorial in Washington D.C. Trained as an artist and architect, her sculptures, parks, monuments, and architectural projects are linked by a desire to make a place for individuals within the landscape. https://player.vimeo.com/video/207353884?portrait=0 74 2001-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/sally-mann-in-season-1-of-art-in-the-twenty-first-century-2001-preview/ Sally Mann in Season 1 of “Art in the Twenty-First Century” (2001) (PREVIEW) https:i.vimeocdn.com/video/622391769_1280x720.jpg Sally Mann's early Immediate Family photographs were of her three children and husband. In her more recent series of landscapes of the deep South, Mann uses damaged lenses to make images marked by the scratches, light leaks, and shifts in focus that were part of the photographic process as it developed during the 19th century. https://player.vimeo.com/video/207342587?portrait=0 55 2001-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/jessica-stockholder-in-season-3-of-art-in-the-twenty-first-century-2005-preview/ Jessica Stockholder in Season 3 of “Art in the Twenty-First Century” (2005) (PREVIEW) https:i.vimeocdn.com/video/622435992_1280x720.jpg A pioneer of multimedia genre-bending installations, Jessica Stockholder's site-specific interventions and autonomous floor and wall pieces have been described as "paintings in space." Her work is energetic, cacophonous, and idiosyncratic, but closer observation reveals formal decisions about color and composition, and a tempering of chaos with control. https://player.vimeo.com/video/207376476?portrait=0 80 2005-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/gabriel-orozco-in-season-2-of-art-in-the-twenty-first-century-2003-preview/ Gabriel Orozco in Season 2 of “Art in the Twenty-First Century” (2003) (PREVIEW) https:i.vimeocdn.com/video/622417864_1280x720.jpg Gabriel Orozco uses the urban landscape and everyday objects to twist conventional notions of reality. He considers philosophical problems, such as the concept of infinity, and evokes them in humble moments. Matching his passion for political engagement with poetry, Orozco's works propose a distinctive model for the ways in which artists can affect the world with their work. https://player.vimeo.com/video/207362468?portrait=0 67 2003-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/paul-pfeiffer-in-season-2-of-art-in-the-twenty-first-century-2003-preview/ Paul Pfeiffer in Season 2 of “Art in the Twenty-First Century” (2003) (PREVIEW) https:i.vimeocdn.com/video/622419929_1280x720.jpg 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. Pfeiffer's intimate and idealized video works are often presented on small LCD screens and loop infinitely—meditations on faith, desire, and a contemporary culture obsessed with celebrity. https://player.vimeo.com/video/207364071?portrait=0 61 2003-09-01 yes no https://art21.org/watch/extended-play/ann-hamilton-the-event-of-a-thread-short/ Ann Hamilton: “the event of a thread” (SHORT) https:i.vimeocdn.com/video/612231496_1280x720.jpg Filmed in 2012 at Manhattan’s Park Avenue Armory, artist Ann Hamilton discusses her installation the event of a thread, which occupied the Armory’s cavernous drill hall. Hamilton, whose artwork often deals with the connection between text and textiles, was present at the Armory every day during the installation’s one-month run. During that time she was able to witness the various ways visitors chose to engage with the different though interconnected elements of the artwork. https://player.vimeo.com/video/199078332?portrait=0 297 2013-04-19 yes no https://art21.org/watch/new-york-close-up/diana-al-hadids-suspended-reality/ Diana Al-Hadid’s Suspended Reality https:art21.org/wp-content/uploads/2016/10/al-hadid-suspended-still-077-1400x788.jpg How does an artist resist reality? In this film, artist Diana Al-Hadid creates sculptures and drawings that embrace illusionism and the unknown, culminating in the exhibition The Vanishing Point (2012) at Marianne Boesky Gallery in New York. "I want to explore the limits of my own thinking," says Al-Hadid. The artist begins with a careful study of her materials—wax, clay, fiberglass, and bronze—and then experiments in her Williamsburg studio, getting the materials to "misbehave." Looking to Renaissance and Mannerist artists such as Robert Campin, Hans Memling, and Jacopo da Pantormo, Al-Hadid finds inspiration for her sculptures in the way paintings take liberties with the laws of physics. "For me to get a sculpture to lift off the floor...that's the first way to rebel," says the artist. Al-Hadid also reveals how her work evolved from realist drawings, done as a child, to her current sculptures and drawings made from the slow buildup of layers. 573 https://player.vimeo.com/video/63908951?portrait=0 401 2013-04-12 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/judy-pfaff-in-season-4-of-art-in-the-twenty-first-century-2007-preview/ Judy Pfaff in Season 4 of “Art in the Twenty-First Century” (2007) (PREVIEW) https:i.vimeocdn.com/video/622437314_1280x720.jpg Balancing intense planning with improvisational decision-making, Judy Pfaff creates exuberant, sprawling sculptures and installations that weave landscape, architecture, and synthetic color into a tense yet organic whole. A pioneer of installation art in the 1970s, Pfaff synthesizes sculpture, painting, and architecture into dynamic environments in which space seems to expand and collapse, fluctuating between two and three dimensions. https://player.vimeo.com/video/207377801?portrait=0 45 2007-09-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/doris-salcedo-in-season-5-of-art-in-the-twenty-first-century-2009-preview/ Doris Salcedo in Season 5 of “Art in the Twenty-First Century” (2009) (PREVIEW) https:i.vimeocdn.com/video/615972208_1280x720.jpg This video is excerpted from the Art in the Twenty-First Century Season 5 episode, Compassion (2009). Doris Salcedo's understated sculptures and installations embody the silenced lives of the marginalized, from individual victims of violence to the disempowered of the Third World. Although elegiac in tone, her works are not memorials: Salcedo concretizes absence, oppression, and the gap between the disempowered and powerful. https://player.vimeo.com/video/202046339?portrait=0 75 2009-07-16 yes no https://art21.org/watch/extended-play/barry-mcgee-tagging-short/ Barry McGee: Tagging (SHORT) https:i.vimeocdn.com/video/614527598_1280x720.jpg Filmed in 2012, this Exclusive follows artist Barry McGee through his self-titled retrospective exhibition at the Berkeley Art Museum and Pacific Film Archive (BAM/PFA). McGee, who became interested in tagging while growing up in San Francisco, describes the excitement of putting up new tags and the rush of getting away with it. Alongside his ongoing and intimate involvement with street culture, McGee has maintained an active studio practice, which he describes as being something "completely different." These two disparate ways of making—and showing—work meet in Barry McGee, which was also shown at the ICA Boston. https://player.vimeo.com/video/200895850?portrait=0 259 2013-04-05 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/barry-mcgee-in-season-1-of-art-in-the-twenty-first-century-2001-preview/ Barry McGee in Season 1 of “Art in the Twenty-First Century” (2001) (PREVIEW) https:i.vimeocdn.com/video/622393239_1280x720.jpg A cult figure amongst skaters and graffiti artists, Barry McGee's drawings, paintings, and mixed-media installations take their inspiration from contemporary urban culture, incorporating elements such as empty liquor bottles and spray-paint cans, tagged signs, wrenches, and scrap wood or metal. McGee is also a graffiti artist, known by the tag "Twist." https://player.vimeo.com/video/207343698?portrait=0 55 2001-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/inigo-manglano-ovalle-in-season-4-of-art-in-the-twenty-first-century-2007-preview/ Iñigo Manglano-Ovalle in Season 4 of “Art in the Twenty-First Century” (2007) (PREVIEW) https:i.vimeocdn.com/video/622549559_1280x720.jpg Iñigo Manglano-Ovalle's technologically sophisticated works use natural forms such as clouds, icebergs, and DNA as metaphors for understanding social issues such as immigration, gun violence, and human cloning. The artist's strategy of representing nature through information leads to an investigation of the underlying forces that shape the planet as well as points of human interaction and interference with the environment. https://player.vimeo.com/video/207465947?portrait=0 61 2007-09-24 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/roni-horn-in-season-3-of-art-in-the-twenty-first-century-2005-preview/ Roni Horn in Season 3 of “Art in the Twenty-First Century” (2005) (PREVIEW) https:i.vimeocdn.com/video/622433828_1280x720.jpg Roni Horn explores the mutable nature of art through sculptures, works on paper, photography, and books. Horn describes drawing as the key activity in all her work because drawing is about composing relationships. Horn crafts complex relationships between the viewer and her work by installing a single piece on opposing walls or in adjoining rooms. https://player.vimeo.com/video/207374776?portrait=0 90 2005-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/vija-celmins-in-season-2-of-art-in-the-twenty-first-century-2003-preview/ Vija Celmins in Season 2 of “Art in the Twenty-First Century” (2003) (PREVIEW) https:i.vimeocdn.com/video/622421107_1280x720.jpg Vija Celmins received 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. https://player.vimeo.com/video/207365102?portrait=0 58 2003-09-01 yes no https://art21.org/watch/extended-play/elizabeth-murray-bop-short/ Elizabeth Murray: “Bop” (SHORT) https:i.vimeocdn.com/video/614661722_1280x720.jpg Filmed in 2002, Elizabeth Murray (1940–2007) is shown working on the large-scale painting Bop (2002–03) in her Manhattan studio. As Murray adds and removes shapes and colors to its interconnected canvases, she expresses frustration but later satisfaction with the piece. To Murray, experiences like this, of finding resolution after struggling, was a highlight of being an artist. The completed artwork is shown at The Pace Gallery. https://player.vimeo.com/video/201000294?portrait=0 240 2013-03-22 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/collier-schorr-in-season-2-of-art-in-the-twenty-first-century-2003-preview/ Collier Schorr in Season 2 of “Art in the Twenty-First Century” (2003) (PREVIEW) https:i.vimeocdn.com/video/622416549_1280x720.jpg Collier Schorr's photographs examine the way nationality, gender and sexuality influence an individual's identity. Known for her portraits of adolescents, Schorr's pictures often blend photographic realism with elements of fiction. Schorr trains her camera on tribes of young men whose bodies and athletic training homogenize personal differences, including soldiers and wrestlers. https://player.vimeo.com/video/207361614?portrait=0 114 2003-09-01 yes no https://art21.org/watch/new-york-close-up/josephine-halvorson-is-on-the-clock/ Josephine Halvorson Is on the Clock https:art21.org/wp-content/uploads/2016/10/halvorson-clock-still-093-edit-1400x788.jpg Can an artist create a compelling work in a single day? In this film, artist Josephine Halvorson attempts to make a new painting in Thomaston, Connecticut, conscious throughout the day that her effort might result in failure. Choosing as her image the mural of a clock, Halvorson's obsession with time is both literal and metaphoric, reflected in the subject matter, the hours passing by, and the additive process of her brushstrokes. "I love stuff that shows you how it's made," says the artist, "I haven’t found a way to paint in successive days on the same surface that doesn’t feel like concealment." As the painting continues, Halvorson struggles with the oppressive summer heat, dwindling light, and the mental struggle to realize her ambitions. "Such a huge part of making art is having these high expectations and not reaching them," she says. The film follows the artist from a residency at Steep Rock Arts in rural Connecticut to, several months later, her studio in Brooklyn’s Navy Yard where the fate of the painting is ultimately determined. 563 https://player.vimeo.com/video/61903477?portrait=0 523 2013-03-15 yes no https://art21.org/watch/extended-play/margaret-kilgallen-heroines-short/ Margaret Kilgallen: Heroines (SHORT) https:i.vimeocdn.com/video/613475582_1280x720.jpg Filmed in San Francisco in 2000, Margaret Kilgallen (1967-2001) discusses the female figures she incorporated into many of her paintings and graffiti tags. Loosely based on women she discovered while listening to folk records, watching buck dance videos, or reading about the history of swimming, Kilgallen painted her heroines to inspire others and to change how society looks at women. Three of Kilgallen's heroines—Matokie Slaughter, Algia Mae Hinton, and Fanny Durack—are shown and heard through archival video, images, and audio recordings. Kilgallen is shown tagging train cars with her husband, artist Barry McGee, in a Bay Area rail yard and painting in her studio at UC Berkeley. https://player.vimeo.com/video/200064347?portrait=0 368 2013-03-08 yes no https://art21.org/watch/new-york-close-up/david-brooks-is-in-his-element/ David Brooks Is In His Element https:art21.org/wp-content/uploads/2016/10/brooks-element-still-081-edit-1400x788.jpg What can an artist learn from the hard sciences? In this film, artist David Brooks discusses the motivations and broader meanings behind his on-going work as a volunteer with conservation biologists in the Amazon basin region of South America. Long fascinated by birds and fish, Brooks has been doing frequent field work since 2005 with conservation biologist Dr. Nathan Lujan and his research team in Ecuador, Peru, and Venezuela, studying the evolution of the local armored catfish populations. Working directly in and along rivers, Brooks collects, documents, and preserves the armored catfish for the team. It's a uniquely hands on opportunity to experience the wildly diverse ecosystems of the Amazon region—to "witness evolution itself"—as well as the chance to interact directly with the scientists themselves. For Brooks, the scientists' insistently multi-disciplinary approach—which takes into consideration a complex and intersecting set of geologic, ecologic, cultural, and economic factors—is not just a model for his own artistic practice but a way of creating a more "robust personal worldview." 561 https://player.vimeo.com/video/60843382?portrait=0 403 2013-03-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/mary-heilmann-in-season-5-of-art-in-the-twenty-first-century-2009-preview/ Mary Heilmann in Season 5 of “Art in the Twenty-First Century” (2009) (PREVIEW) https:i.vimeocdn.com/video/612373155_1280x720.jpg For every piece of Mary Heilmann's work—abstract paintings, ceramics, and furniture—there is a backstory. Imbued with recollections, stories spun from her imagination, and references to music, aesthetic influences, and dreams, her paintings are like meditations or icons. Her compositions are often hybrid spatial environments that juxtapose two- and three-dimensional renderings in a single frame, join several canvases into new works, or create diptychs of paintings and photographs in the form of prints, slideshows, and videos. https://player.vimeo.com/video/199191631?portrait=0 82 2009-07-23 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/ellen-gallagher-in-season-3-of-art-in-the-twenty-first-century-2005-preview/ Ellen Gallagher in Season 3 of “Art in the Twenty-First Century” (2005) (PREVIEW) https:i.vimeocdn.com/video/622435699_1280x720.jpg Repetition and revision are central to Ellen Gallagher's treatment of advertisements appropriated from popular magazines. Although her work has often been interpreted as an examination of race, Gallagher also suggests a more formal reading—from afar the work appears abstract and minimal, and employs grids as both structure and metaphors for experience. https://player.vimeo.com/video/207376032?portrait=0 80 2005-10-01 yes no https://art21.org/watch/extended-play/martin-puryear-printmaking-short/ Martin Puryear: Printmaking (SHORT) https:i.vimeocdn.com/video/615584746_1280x720.jpg Filmed in 2002, Martin Puryear discusses his interest in printmaking and how the directness of the process contrasts with the accretive approach he takes with sculpture. Shown working at the Paulson Bott Press in Berkeley, California, Puryear employs skills he originally learned while enrolled at the Swedish Royal Academy of Art in Stockholm. Examples of Puryear's sculptures, many of which explore the same ideas reflected in his prints, are shown at the McKee Gallery in New York. https://player.vimeo.com/video/201738839?portrait=0 215 2013-02-22 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/martin-puryear-in-season-2-of-art-in-the-twenty-first-century-2003-preview/ Martin Puryear in Season 2 of “Art in the Twenty-First Century” (2003) (PREVIEW) https:i.vimeocdn.com/video/622419285_1280x720.jpg Martin Puryear's sculptures—in wood, stone, tar, wire, and various metals—are a marriage of Minimalist logic with traditional ways of making. Puryear's exploration in abstract forms retain vestigial elements of utility from everyday objects found in the world. A form that reoccurs in Puryear's work is the hollow mass, a solid shape with qualities of uncertainty and emptiness. https://player.vimeo.com/video/207363718?portrait=0 49 2008-01-14 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/mark-bradford-in-season-4-of-art-in-the-twenty-first-century-2007-preview/ Mark Bradford in Season 4 of “Art in the Twenty-First Century” (2007) (PREVIEW) https:i.vimeocdn.com/video/622557663_1280x720.jpg Mark Bradford transforms materials scavenged from the street into wall-sized collages and installations that respond to the impromptu networks—underground economies, migrant communities, or popular appropriation of abandoned public space—that emerge within a city. Bradford's work is informed by his personal background as a third-generation merchant in Los Angeles and by the traditions of abstract painting developed worldwide in the twentieth century. https://player.vimeo.com/video/207470194?portrait=0 115 2007-09-07 yes no https://art21.org/watch/extended-play/el-anatsui-broken-bridge-ii-short/ El Anatsui: “Broken Bridge II” (SHORT) https:i.vimeocdn.com/video/611181230_1280x720.jpg Filmed in late 2012 and early 2013, Nigeria-based artist El Anatsui discusses his large-scale sculpture Broken Bridge II (2012) and the importance of its location on an east-facing wall above the High Line, a relatively new park located on once-abandoned, elevated railroad tracks on Manhattan’s west side. By incorporating mirrors into Broken Bridge II, a new material for the artist, Anatsui is able to reflect and point out characteristics of New York that he considers iconic. High Line Art’s project manager Jordan Benke and curator Cecilia Alemani discuss the installation process and how this work differs from Anatsui's smaller sculptures. Broken Bridge II will be on view through September 2013. https://player.vimeo.com/video/198246953?portrait=0 279 2013-02-08 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/alfredo-jaar-in-season-4-of-art-in-the-twenty-first-century-2007-preview/ Alfredo Jaar in Season 4 of “Art in the Twenty-First Century” (2007) (PREVIEW) https:i.vimeocdn.com/video/622440807_1280x720.jpg Through installations, photographs, and community-based projects, Alfredo Jaar explores the public's desensitization to images and the limitations of art to represent events such as genocides, epidemics, and famines. Jaar's work bears witness to military conflicts, political corruption, and imbalances of power between industrialized and developing nations, often taking the form of an extended meditation or elegy. https://player.vimeo.com/video/207380092?portrait=0 74 2007-10-16 yes no https://art21.org/watch/new-york-close-up/mika-rottenberg-and-the-amazing-invention-factory/ Mika Rottenberg and the Amazing Invention Factory https:art21.org/wp-content/uploads/2016/10/rottenberg-factory-still-052-1400x788.jpg What are the stories we tell about objects? In this film, artist Mika Rottenberg considers a survey of her videos in which women work in factory-like settings to create handmade objects. Growing up in Israel, Rottenberg recalls not being exposed to commercials on television until she was a teenager; after moving to New York City, she encountered infomercials such as Ron Popeil’s "set it and forget it" Showtime Rotisserie chicken oven. Fascinated by the stories surrounding these inventions, Rottenberg creates her own fabricated products as well as idiosyncratic fictions about the origins of objects. Populating her videos with women who have extreme physiques and who sell their services on the Internet—such as wrestling, squashing, and photo opportunities—Rottenberg's imaginary factories are run by people who "own the means of production." Throughout her videos Rottenberg draws the viewer’s attention to the architecture of the body and the psychological dimensions of labor and value. Featuring the works Tropical Breeze (2004), Mary's Cherries (2004), Dough (2005–06), and Squeeze (2010). https://player.vimeo.com/video/58723358?portrait=0 410 2013-02-01 yes no https://art21.org/watch/extended-play/shahzia-sikander-the-last-post-short/ Shahzia Sikander: “The Last Post” (SHORT) https:i.vimeocdn.com/video/606712661_1280x720.jpg Artist Shahzia Sikander, filmed in her Manhattan studio in 2012, discusses her animated video work The Last Post (2010). Sikander also describes how beginning to create animations was a natural evolution in her studio process because she had already been working with narrative and layering in her paintings and large-scale installations. https://player.vimeo.com/video/194688526?portrait=0 253 2013-01-25 yes no https://art21.org/watch/new-york-close-up/tommy-hartung-is-off-and-running/ Tommy Hartung Is Off and Running https:art21.org/wp-content/uploads/2016/10/hartung-running-still-023-edit-1400x788.jpg How does an artist find relief from the pressures of the studio? In this film artist Tommy Hartung leaves his Ridgewood, Queens studio and takes an extended run through the streets and woods of the surrounding neighborhoods. As he jogs, Hartung discusses how running is a necessary physical and mental break from the daily challenge of his intensive in-studio filmmaking practice. Hartung’s cramped space—filled with the architectural and figurative models that populate his experimental films—evidences long hours spent working in the studio. Running along the unpaved footpaths of Forest Park, Hartung draws a connection between the contemplative isolation of jogging and a childhood spent in the woods near his family’s farm in far Western New York. Hartung eventually completes a full loop, having run from his studio to Forest Park and back, a distance of nearly ten miles. Initially trying running as a way to quit smoking, Hartung now has bigger athletic ambitions, building up the distance and frequency of his runs in preparation for possible marathon races. 550 https://player.vimeo.com/video/57688186?portrait=0 266 2013-01-18 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/janine-antoni-in-season-2-of-art-in-the-twenty-first-century-2003-preview/ Janine Antoni in Season 2 of “Art in the Twenty-First Century” (2003) (PREVIEW) https:i.vimeocdn.com/video/622418685_1280x720.jpg Janine Antoni's work blurs the distinction between performance art and sculpture. Antoni transforms everyday activities such as eating, bathing, and sleeping into ways of making art, such as painting and sculpting. Themes in her work include mortality, desire and the body. https://player.vimeo.com/video/207362943?portrait=0 95 2003-09-01 yes no https://art21.org/watch/extended-play/richard-serra-tools-strategies-short/ Richard Serra: Tools & Strategies (SHORT) https:i.vimeocdn.com/video/615983106_1280x720.jpg Filmed in 2000 at Richard Serra's Manhattan studio, the artist describes the various tools and conceptual strategies he has used throughout his career when working with lead and steel. Serra discusses his early focus on the nature of the art production process itself which resulted in his writing a Verb List (1967-68). Multiple lead works that resulted from Serra acting out the Verb List are shown through archival images. Serra's invention of a tool that twisted sheet metal around a wheel enabled him to shape steel in a new way—from the inside out. Torqued Ellipses (1996-97), which resulted from this process, are shown at Dia:Beacon in 2004. https://player.vimeo.com/video/202052853?portrait=0 193 2013-01-11 yes no https://art21.org/watch/new-york-close-up/kalup-linzy-likes-it-a-little-bit-off/ Kalup Linzy Likes It a Little Bit Off https:art21.org/wp-content/uploads/2016/10/linzy-likes-still-006-edit-1400x788.jpg What's more important: production values or a good story? In this film, artist Kalup Linzy recounts the making of his video, Keys to Our Heart (2008), taking inspiration from black-and-white movies and music banned from the radio in the 1930s. Drawing on his experiences lip-syncing songs at family gatherings, Linzy incorporates the process into his work by recording all of the dialogue with his own voice, modulating the pitch and tone, and enlisting friends to play the various parts. Linzy describes how the imperfections in his work give it a texture, creating layers and tension that enhance the storytelling. Casting himself in drag as Lily, modeled after performances by Bette Davis and Joan Crawford, Linzy studies melodramatic gestures to bring the character to life. Keys to Our Heart features performances by Lawanda Hodges, Alison Folland, and Joshua Seidner. https://player.vimeo.com/video/56104955?portrait=0 342 2012-12-21 yes no https://art21.org/watch/extended-play/david-altmejd-assistants-short/ David Altmejd: Assistants (SHORT) https:i.vimeocdn.com/video/611172942_1280x720.jpg Filmed in early 2011, two of David Altmejd's assistants describe the experience of working for the sculptor in his Queens, New York studio. Shown preparing new works for Altmejd's 2011 show at Andrea Rosen Gallery, the assistants provide unique insight into Altmejd's creative process. Time-lapse photography captures the team at work on the large-scale sculptures The Vessel (2011) and The Swarm (2011). https://player.vimeo.com/video/198237680?portrait=0 243 2012-12-14 yes no https://art21.org/watch/extended-play/tabaimo-dolefullhouse-short/ Tabaimo: “dolefullhouse” (SHORT) https:art21.org/wp-content/uploads/2016/10/emvideo-bliptv-6443174_0-1400x788.jpg Filmed in 2010 at 601Artspace in New York and Parasol Unit in London, Tabaimo discusses her animated video installation dolefullhouse (2007). The Japanese artist did not begin working on the artwork with a preconceived idea but rather started by adding disparate elements to the animation that then formed meaning through their interactions. Tabaimo asks that viewers do not seek to understand her intentions behind dolefullhouse but instead create their own interpretations. https://player.vimeo.com/video/202111620?portrait=0 243 2012-11-30 yes no https://art21.org/watch/specials/u-s-department-of-state-honors-five-art21-featured-artists/ U.S. Department of State Honors Five Art21 Featured Artists https:i.vimeocdn.com/video/376607717_960x540.jpg Beginning in November 2012, the U.S. Department of State celebrates the 50th anniversary of Art in Embassies (AIE), a program that facilitates the Department of State’s public diplomacy through the power of the visual arts. As part of the celebration, U.S. Secretary of State Hillary Rodham Clinton will honor five artists—Cai Guo-Qiang, Jeff Koons, Shahzia Sikander, Kiki Smith, and Carrie Mae Weems—by awarding each artist with the U.S. Department of State's inaugural Medal of Arts. The Medal of Arts is given in recognition of each artist’s outstanding commitment to the AIE program and international cultural exchange. Over the last decade, Art21 has worked closely with all five honorees, each of whom has extended their relationship with our organization beyond their initial filming sessions for the "Art in the Twenty-First Century" series. We have experienced first-hand each artist's passionate commitment to facilitating dialogue through visual art, across many cultures. Through our own international screening programs, we have witnessed conversations generated by the work and words of these artists in communities around the world. Art21 is proud to support these artists in their commitment to cross-cultural dialogue, and we congratulate each artist—Cai Guo-Qiang, Jeff Koons, Shahzia Sikander, Kiki Smith, and Carrie Mae Weems—for receiving this very special recognition for their efforts from the U.S. Department of State. https://player.vimeo.com/video/54460129?portrait=0 354 2012-11-29 yes no https://art21.org/watch/new-york-close-up/liz-magic-laser-talks-to-the-hand/ Liz Magic Laser Talks to the Hand https:art21.org/wp-content/uploads/2016/10/laser-hand-still-160-1400x788.jpg Can you tell what politicians mean by what they say or how they move? In this film, artist Liz Magic Laser develops The Digital Face (2012)—a new performance staged at Derek Eller Gallery in Chelsea and at MoMA PS1 in Long Island City—that examines hand gestures in contemporary presidential State of the Union addresses. Struck by the virtuosity of Barack Obama’s movement in his 2012 address, Laser examined past speeches to discover that George H. W. Bush was the first president to use gestures in the televised era. The artist choreographs the presidents' wordless movements with two Merce Cunningham-trained dancers—Cori Kresge as Obama, and Alan Good as Bush—into a performative dialogue that reveals how gestures have been embraced and codified by politicians and their handlers over the past two decades. Throughout the rehearsal process, Laser employs stop-action photography to isolate and tweak individual gestures; she later amplifies the sound of the camera shutter’s incessant clicking for the performance’s soundtrack. Tracing the origin of many of these oratorical techniques to the 19th century theoretician François Delsarte, Laser is concerned with how contemporary political figures are adopting theatrical tools to persuade the public, masking the content of their speeches with movements designed to induce empathy through well-rehearsed and often subliminal cues. "We are living in strange days," says Laser, "where performance itself has become the dominant instrument of power." https://player.vimeo.com/video/53933961?portrait=0 493 2012-11-20 yes no https://art21.org/watch/extended-play/mary-reid-kelley-you-make-me-iliad-short/ Mary Reid Kelley: “You Make Me Iliad” (SHORT) https:i.vimeocdn.com/video/615745494_1280x720.jpg Filmed in 2011 at Mary Reid Kelley's home and studio in Saratoga Springs, New York, the video artist and painter discusses her video work You Make Me Iliad (2010). In researching the lives and experiences of women who lived during the first World War, Reid Kelley was struck by how few first-hand accounts she was able to uncover. By creating an imagined narrative involving a prostitute, a soldier, and a medical officer, Mary Reid Kelley attempted to reconstitute an experience that would have otherwise been lost to history. https://player.vimeo.com/video/201868968?portrait=0 232 2012-11-16 yes no https://art21.org/watch/extended-play/robert-mangold-town-country-short/ Robert Mangold: Town & Country (SHORT) https:i.vimeocdn.com/video/614330485_1280x720.jpg Filmed at Robert Mangold's upstate New York home and studio in 2011, the artist describes his experiences living and working in New York City in the early 1960s as well as his decision to move to the country later that decade. Mangold's shift from the city to the country is reflected in his work including the series Walls and Areas (1963) and Curved Areas (1968). Robert Mangold and his wife, painter Sylvia Plimack Mangold, provided images from their personal archive for this video. Robert Mangold translates the most basic of formal elements—shape, line, and color—into paintings, prints, and drawings whose simplicity of form expresses complex ideas. He renders the surface of each canvas with subtle color modulations and sinewy, hand-drawn graphite lines. Mangold works in multiple series of shaped canvases over many years, exploring variations on rings, columns, trapezoids, arches, and crosses, and compositions without centers. https://player.vimeo.com/video/200745691?portrait=0 273 2012-11-05 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/sarah-sze-in-balance-segment/ Sarah Sze in “Balance” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/art21-sze-balance-082_0.jpg Artist Sarah Sze builds her installations and intricate sculptures from the minutiae of everyday life, imbuing mundane materials, marks, and processes with surprising significance. In New York City’s High Line park, she strikes a balance between form and function as she creates a sculpture as post-modern bird habitat as well as a study of architectural perspective and space. https://player.vimeo.com/video/206498944?portrait=0 1194 2012-05-05 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/robert-mangold-in-balance-segment/ Robert Mangold in “Balance” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/art21-mangold-balance-098_0.jpg Artist Robert Mangold, from his country studio in upstate New York, translates the most basic of formal elements—shape, line, and color—into paintings, prints, and drawings whose simplicity of form expresses complex ideas. On a much larger scale, Mangold creates a permanent installation of tall, colored glass panels at the federal courthouse in Buffalo, NY. https://player.vimeo.com/video/206498944?portrait=0 938 2012-05-05 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/rackstraw-downes-in-balance-segment/ Rackstraw Downes in “Balance” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/art21-downes-balance-025_0.jpg Having painted in small-town Maine and downtown Manhattan, British-born artist Rackstraw Downes travels through rural Texas in search of new landscapes to inspire his panoramic paintings which explore the quandaries of representing the three dimensional world in two dimensions. https://player.vimeo.com/video/206498944?portrait=0 992 2012-05-05 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/marina-abramovic-in-history-segment/ Marina Abramović in “History” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/art21-abramovic-history-017_0.jpg Marina Abramović, an artist who draws upon her upbringing in Communist Yugoslavia and offers insights into her artistic vision via her personal manifesto, appears in a new video piece created in collaboration with video artist Charles Atlas. This segment marks the first time in Art21's history that the artist profile itself is an original work of art. https://player.vimeo.com/video/206497972?portrait=0 1062 2012-04-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/mary-reid-kelley-in-history-segment/ Mary Reid Kelley in “History” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/art21-reid_kelley-history-050_0.jpg Artist Mary Reid Kelley invites family members to perform with her in elaborate costumes and punning verse to create her new video The Syphilis of Sisyphus (2011) based upon her witty, feminist interpretation of aspects of the French Enlightenment. https://player.vimeo.com/video/206497972?portrait=0 843 2012-04-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/glenn-ligon-in-history-segment/ Glenn Ligon in “History” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/art21-ligon-history-040_0.jpg A retrospective of artist Glenn Ligon's work at the Whitney Museum provides a backdrop for his personal history growing up in New York, as well as for the disparate influences that contribute to his mature work—from DeKooning, to children’s coloring books of the 1970's, to classics of American literature by writers such as Gertrude Stein or Zora Neale Hurston. https://player.vimeo.com/video/206497972?portrait=0 1199 2012-04-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/lynda-benglis-in-boundaries-segment/ Lynda Benglis in “Boundaries” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/art21-benglis-boundaries-002_0.jpg A video pioneer and sculptor, Lynda Benglis transcends painting and sculpture by creating solid forms with liquid materials that challenge viewers’ perceptions of movement and gravity. https://player.vimeo.com/video/206496886?portrait=0 759 2012-04-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/assume-vivid-astro-focus-in-boundaries-segment/ assume vivid astro focus in “Boundaries” (SEGMENT) https:art21.org/wp-content/uploads/2012/09/art21-avaf-boundaries-068.jpg The artist team assume vivid astro focus—Brazilian-born Eli Sudbrack and Paris-based artist Christophe Hamaide-Pierson—describe their unique process of working together while being separated by an ocean, and how their visually explosive installations originate with an exchange of written ideas that become transformed into energy. https://player.vimeo.com/video/206496886?portrait=0 728 2012-04-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/tabaimo-in-boundaries-segment/ Tabaimo in “Boundaries” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/art21-tabaimo-boundaries-011_0.jpg Artist Tabaimo, Japan's representative to the 2011 Venice Biennale, draws inspiration from traditional and contemporary Japanese culture as she creates immersive, surreal, and sometimes humorous—or disturbing—video installations. In her video public conVENience (2006) she explores the uncomfortable boundaries—or lack thereof—between public and private space in the Internet age. https://player.vimeo.com/video/206496886?portrait=0 596 2012-04-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/ai-weiwei-in-change-segment/ Ai Weiwei in “Change” (SEGMENT) https:art21.org/wp-content/uploads/2012/09/art21-ai-change-006.jpg During his incarceration, artist Ai Weiwei's assistants, E-Shyh Wong and Inserk Yang come to New York in his place for the unveiling of Ai's public artwork near Central Park Circle of Animals/Zodiac Heads (2010). Wong and Yang provide insight into his working processes and their belief that neither they nor we should remain silent about his detention. During his September 2011 interview with Art21, Ai comments on his marble sculpture of a surveillance camera, an object increasingly present in modern life in all societies, which, he says is used to "secretly monitor people’s behavior." "But once it’s marble" he continues, "it’s only being watched. It's not functioning anymore." https://player.vimeo.com/video/206495414?portrait=0 1061 2012-04-14 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/el-anatsui-in-change-segment/ El Anatsui in “Change” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/art21-anatsui-change-043_0.jpg In his studio in Nigeria, artist El Anatsui oversees young studio assistants from the local community who work with him to create sculptures made from bottle caps, a found material from discarded liquor bottles that Anatsui began working with for the aesthetic properties of the caps, which also can allude to the role of international commerce in African history. https://player.vimeo.com/video/206495414?portrait=0 1022 2012-04-14 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/catherine-opie-in-change-segment/ Catherine Opie in “Change” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/art21-opie-change-020_0.jpg Photographer Catherine Opie visits her childhood hometown of Sandusky, Ohio, for a series of photos of Lake Erie taken during different seasons for a permanent installation at the Cleveland Clinic, and photographs shopkeepers in the Los Angeles neighborhood near her current home. https://player.vimeo.com/video/206495414?portrait=0 1036 2012-04-14 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/david-altmejd-in-boundaries-segment/ David Altmejd in “Boundaries” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/60047-Altmejd-Studio-016-1400x788.jpg In his studio in New York City, French Canadian artist David Altmejd constructs The Vessel (2011) and The Swarm (2011), massive Plexiglass and plaster sculptures that Altmejd describes as "laboratories" within which he can experiment with different materials and ideas, contrasting images of menace with sensual tenderness. https://player.vimeo.com/video/206496886?portrait=0 1038 2012-04-21 yes no https://art21.org/watch/extended-play/rackstraw-downes-some-painters-short/ Rackstraw Downes: Some Painters (SHORT) https:i.vimeocdn.com/video/612182395_1280x720.jpg Filmed in Presidio, Texas in late 2010, painter Rackstraw Downes describes why he views the work of some long-deceased painters to be relevant to his own contemporary practice. Paintings by such artists are shown including Claude Lorrain's Sunrise (1646–47), Jacob van Ruisdael's Wheat Fields (1670), and J.M.W. Turner's The Burning of the Houses of Lords and Commons (1834–35). Despite not using the same techniques as these painters, Downes seeks out their work because he considers it "useful," "provocative," and "like challenges." https://player.vimeo.com/video/199037867?portrait=0 187 2012-10-19 yes no https://art21.org/watch/new-york-close-up/erin-shirreff-takes-her-time/ Erin Shirreff Takes Her Time https:art21.org/wp-content/uploads/2016/10/shirreff-takes-time-still-008-edit-1400x788.jpg How does an artist transform her source material? At her Greenpoint, Brooklyn studio, artist Erin Shirreff discusses the creation of her recent video work, Lake (2012). Working from a photograph of Lake Okanagan (the area she grew up in British Columbia, Canada) that she found in an early 1980's tourist magazine, Shirreff builds Lake from a single found image. Shirreff's process is an unexpected mixture of digital and analog technique: in Photoshop, she creates a series of color variations based on the original source picture but then re-photographs those variations—using intentionally distorting lighting techniques—to create thousands of "secondary" images. Bringing those secondary images into her editing software, Shirreff constructs a seamless video sequence, creating the effect of an uncannily shifting landscape in a slow but constant state of visual change. Editing the video presents a subtle aesthetic challenge. Shirreff strives to find the right balance between the artifice of naturalistic, weather-like effects and the illusion-breaking reality of the original photographic surfaces. In previous video works like Roden Crater (2009) and UN 2010 (2010), Shirreff reveals her on-going psychological fascination with singular forms situated in a deep landscape. The slow play of light and color over images of the Roden Crater and UN building serve to throw those forms' fundamental stillness and apartness into relief. At the Hauser & Wirth gallery in Manhattan, Lake is projected on a freestanding wall, yet another transformation of the original source image, from two-dimensional photograph to time-based sculptural object. https://player.vimeo.com/video/51252176?portrait=0 434 2012-10-12 yes no https://art21.org/watch/extended-play/el-anatsui-language-symbols-short/ El Anatsui: Language & Symbols (SHORT) https:i.vimeocdn.com/video/611178557_1280x720.jpg Filmed in 2011 at The Museum of Modern Art in Hayama, Japan, El Anatsui discusses the role of language and symbols in his artwork. When naming works such as Gli (2010), Anatsui often uses his native language of Ewe because Ewe words can have a range of meanings when pronounced differently. Anatsui also describes the formative experience of discovering adinkra symbols, a West African system of abstract symbols that represent specific concepts or aphorisms. https://player.vimeo.com/video/198243760?portrait=0 246 2012-10-05 yes no https://art21.org/watch/extended-play/lynda-benglis-india-short/ Lynda Benglis: India (SHORT) https:i.vimeocdn.com/video/611809093_1280x720.jpg Filmed in 2011, artist Lynda Benglis gives a tour of the family home of Anand Sarabhai in Ahmedabad, India, a city she has been visiting and working in for over thirty years. Benglis describes her interest in the Indian landscape and culture and why she enjoys spending time with the Sarabhai family. Various works are shown in Benglis's studio on the property including The Manu (2008) which she created by manipulating a beeswax mixture and then making stainless steel casts of the resulting forms. https://player.vimeo.com/video/198745087?portrait=0 286 2012-09-21 yes no https://art21.org/watch/new-york-close-up/alejandro-almanza-peredas-obstacle-course/ Alejandro Almanza Pereda’s Obstacle Course https:art21.org/wp-content/uploads/2016/10/028AlejandroObstacleCourse09-14-2012.FINAL_-1-1400x788.jpg How do artists overcome the hurdles of moving to New York City? In this film, artist Alejandro Almanza Pereda contends with a series of obstacles while enrolled in his first semester of graduate school at Hunter College in Manhattan. A Mexican citizen, Almanza Pereda’s first difficulty is finding a way to live and work as an artist in New York City. He decides his best way to get a visa, and join an art community, is to go back to school. Without enough money for rent, he relies on a network of friends and fellow artists, couch surfing for four months in exchange for favors and throwing parties. While settling into his MFA studio and preparing for his first graduate critique, tragedy strikes when he accidentally destroys a series of sculptures built with fluorescent bulbs. Ever-resourceful, Almanza Pereda exhibits what survived and then dismantles the sculptures, returning what he can for a little extra cash. The final hurdle in the film is school itself: Almanza Pereda learns that Hunter College plans to demolish the current studio facility—a gritty building with grand underutilized spaces near Port Authority. He hangs an artwork, in protest, on the facade of the building to express both his frustration with the school’s administration and his solidarity with fellow graduate students. Says the artist, “When you have a harsh path, you improvise, you learn, no?” 522 https://player.vimeo.com/video/49458169?portrait=0 530 2012-09-14 yes no https://art21.org/watch/new-york-close-up/lucas-blalock-gets-a-little-help-from-his-friends/ Lucas Blalock Gets A Little Help From His Friends https:art21.org/wp-content/uploads/2016/10/020LucasBlalockFriendsFULLRESFINAL-14-1400x788.jpg How can artists get candid feedback on their work? In this film, artist Lucas Blalock and artist friends Fabienne Lasserre and Chris Wiley discuss his latest series of photographs in his Williamsburg, Brooklyn apartment, and later attend the opening of xyz, his first New York solo show at Ramiken Crucible in Manhattan’s Lower East Side. Taking the end of the year as an opportunity to reflect, Blalock invites Lasserre and Wiley over to explore the idea of organizing his uncanny photos of mundane objects into a book, as he’s done with previous collections of images. Without opportunities (at the time) for frequent conversations about his work, whether through school or long-term gallery representation, these kinds of informal feedback sessions are a crucial way for Blalock to take stock of his practice, gather critical perspectives, and strengthen bonds with other artists. The film charts the journey of images as private proofs in a privileged apartment viewing to final works for public consumption in the New York art world. https://player.vimeo.com/video/40732249?portrait=0 279 2012-04-20 yes no https://art21.org/watch/extended-play/catherine-opie-cleveland-clinic-short/ Catherine Opie: Cleveland Clinic (SHORT) https:i.vimeocdn.com/video/614704224_1280x720.jpg Photographer Catherine Opie describes her intentions behind the permanent installation Somewhere in the Middle (2011) at Hillcrest Hospital, a branch of Cleveland Clinic, in Mayfield Heights, Ohio. Created specifically for the hospital setting, the installation consists of 22 photographs taken from the shores of Lake Erie near Opie's hometown of Sandusky, Ohio. It is Opie's hope that the photographs provide a space for patients, doctors, vistors and hospital employees to experience an ethereal moment during what may be a difficult time in their lives. https://player.vimeo.com/video/201008365?portrait=0 285 2012-09-07 yes no https://art21.org/watch/new-york-close-up/close-encounters-with-josephine-halvorson/ Close Encounters with Josephine Halvorson https:art21.org/wp-content/uploads/2016/10/027JosephineCloseEncountersFINALVIMEO-008-1400x788.jpg What's the relationship between an artist and her subject? In this film, artist Josephine Halvorson guides a video crew through an exhibition of her recent paintings—What Looks Back (2011)—at Sikkema Jenkins & Co. gallery in Chelsea, Manhattan. Intimately exploring the detailed surfaces of her canvases like a roving eye, the camera evokes the conversational give-and-take between painter, object, and painting. The subjects of Halvorson's works are often singular, overlooked objects—masked-over windows, weathered walls, defunct mechanical devices—that she paints in their original environments. For Halvorson, who completes works on location in a single day-long session, choosing a subject to paint is an extremely personal and contingent process. As she describes it, “encountering something in the world, an object, allows me to realize a painting that I have somehow already apprehended, even though I’ve never made it.” Traveling widely from her home in Brooklyn, Halvorson’s experiential process reaches outside the more common studio-based painting practices of New York City, taking her to train yards in Tennessee, a slaughterhouse in Iceland, and the English countryside. 519 https://player.vimeo.com/video/47744484?portrait=0 366 2012-08-17 yes no https://art21.org/watch/new-york-close-up/diana-al-hadids-studio-boom/ Diana Al-Hadid’s Studio Boom https:art21.org/wp-content/uploads/2016/10/026-DAH-StudioBoom-still-040-1-1400x788.jpg Can growing a business and maturing as an artist go hand in hand? In this film, artist Diana Al-Hadid and her crew of dedicated assistants strike a balance between work and play while finishing a new sculpture on a tight deadline. Filmed over several months at Al-Hadid's studio in Williamsburg, Brooklyn, the collaborative team of young artists devote long hours towards the completion of Nolli's Orders (2012) for its debut in the Invisible Cities exhibition at MASSMoCA. In a year marked by rapid growth in the studio, Al-Hadid keeps pace with the demand for her massive sculptures by enlarging her workspace, teaching specialized sculptural techniques to others, and making efficient use of time and resources. Charting the expansion of her operation over the years—from working alone in a small space to renovating and managing a floor of artist studios for additional income—Al-Hadid's artistic ambitions are made possible by her ability to create an enjoyable, yet highly productive working environment, and to problem-solve on a grand scale. As moving day steadily approaches, Al-Hadid and her team create a manual detailing the complex assembly instructions for Nolli's Orders, slowly dismantle and crate the intricate sculpture, and clear out the studio to begin work on the next project. https://player.vimeo.com/video/46885446?portrait=0 502 2012-08-03 yes no https://art21.org/watch/extended-play/sarah-sze-improvisation-short/ Sarah Sze: Improvisation (SHORT) https:art21.org/wp-content/uploads/2016/10/emvideo-bliptv-6260314-1400x788.jpg Filmed in 2010 at the Museum of Modern and Contemporary Art in Nice, France, Sarah Sze discusses the importance of improvisation and spontaneity during her installation process. Originally shown at her New York City gallery, Sze altered The Uncountables (Encyclopedia) (2010) for its reinstallation in France by incorporating locally found items. Sze's use of improvisation allows for viewers to trace her decision making process as they explore and investigate the artwork. https://player.vimeo.com/video/202114106?portrait=0 261 2012-07-27 yes no https://art21.org/watch/extended-play/el-anatsui-studio-process-short/ El Anatsui: Studio Process (SHORT) https:i.vimeocdn.com/video/611180581_1280x720.jpg Filmed at his Nsukka, Nigeria studio in 2011, artist El Anatsui describes the collaborative and contemplative setting where his artworks are made. Anatsui employs a team of assistants to construct "blocks" of joined bottle caps that are then shifted around on the studio's floor. In looking at the patterns and textures created by this process, often through his digital photographs, Anatsui is able to form ideas for new work. https://player.vimeo.com/video/198245345?portrait=0 263 2012-07-20 yes no https://art21.org/watch/new-york-close-up/david-brooks-tears-the-roof-off/ David Brooks Tears the Roof Off https:art21.org/wp-content/uploads/2016/10/025-DB-Roof-Stills-for-FB-01-1-1400x788.jpg What happens when a suburban roof is transplanted to an urban block? In this film, artist David Brooks and a team of fabricators construct Desert Rooftops (2011–12), an Art Production Fund commission for the last undeveloped lot in Manhattan's Times Square neighborhood. Built on-site by SFDS Fabrication & Design Shop, the "real scale" roofs are modeled after residential homes and manufactured with the same materials and techniques—only without the supporting walls underneath. Brooks explains how the rambling rooftops are inspired by the housing boom and bust in South Florida, heedlessly encroaching on the protected Everglades like a virus. Seen as a whole, the undulating profile of shingled roofs takes on the appearance of a desert landscape of rolling dunes. Brooks’s humorous critique of McMansion architecture metaphorically links suburban sprawl, a monoculture in which the landscape is dominated and degraded by human development, to the contemporary environmental problem of desertification. Breaking with the resource-devouring logic of home construction, at the project’s completion Brooks and the Art Production Fund recycled all the materials through the non-profit housing organizations Build It Green and Habitat for Humanity. https://player.vimeo.com/video/45708828?portrait=0 453 2012-07-13 yes no https://art21.org/watch/extended-play/ai-weiwei-new-communication-short/ Ai Weiwei: New Communication (SHORT) https:i.vimeocdn.com/video/611011808_1280x720.jpg In one of his first on-camera interviews following his release from detention in 2011, Ai Weiwei discusses the potential for artists to express themselves online and encourages artists to be more aware of shifts in social media. This episode is filmed in Ai's Beijing studio—where the artist uses Twitter on a daily basis to share ideas, question authority, and create dialogue—with Mandarin Chinese tweets translated into English. https://player.vimeo.com/video/198114056?portrait=0 203 2012-07-06 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/season-3-of-art-in-the-twenty-first-century-2005-trailer/ Season 3 of “Art in the Twenty-First Century” (2005) (TRAILER) https:art21.org/wp-content/uploads/2016/10/ali-30203c-009.jpg Trailer for Season 3 of the Peabody Award-winning series, Art in the Twenty-First Century (premiered Fall 2005 on PBS). Season 3 features artists Laylah Ali, Ida Applebroog, Cai Guo-Qiang, Ellen Gallagher, Arturo Herrera, Oliver Herring, Roni Horn, Mike Kelley, Josiah McElheny, Matthew Ritchie, Susan Rothenberg, Jessica Stockholder, Hiroshi Sugimoto, Richard Tuttle, Fred Wilson, and Krzysztof Wodiczko. Each of the Season 3 episodes is introduced by a celebrity host who is passionate and knowledgeable about contemporary art. For Season 3, David Alan Grier, Isabella Rossellini, Sam Waterston, and Grant Hill introduce the theme at the beginning of each hour. Each of the Season 3 episodes then closes with an original video artwork by artists Teresa Hubbard/Alexander Birchler. https://player.vimeo.com/video/198205604?portrait=0 526 2005-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/season-2-of-art-in-the-twenty-first-century-2003-trailer/ Season 2 of “Art in the Twenty-First Century” (2003) (TRAILER) https:i.vimeocdn.com/video/611186177_960x486.jpg Trailer for Season 2 of the Peabody Award-winning series, Art in the Twenty-First Century (premiered Fall 2003 on PBS). Season 2 features artists Eleanor Antin, Janine Antoni, Vija Celmins, Walton Ford, Trenton Doyle Hancock, Tim Hawkinson, Elizabeth Murray, Gabriel Orozco, Raymond Pettibon, Paul Pfeiffer, Martin Puryear, Collier Schorr, Kiki Smith, Do Ho Suh, and Kara Walker. Each Season 2 episode opens with an introduction created by artist Charles Atlas, featuring John Waters, Margaret Cho, Jane Alexander, and Merce Cunningham. https://player.vimeo.com/video/198250267?portrait=0 465 2003-09-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/season-1-of-art-in-the-twenty-first-century-2001-trailer/ Season 1 of “Art in the Twenty-First Century” (2001) (TRAILER) https:i.vimeocdn.com/video/606584925_960x540.jpg Trailer for Season 1 of the Peabody Award-winning series, Art in the Twenty-First Century (premiered Fall 2001 on PBS). Season 1 features artists Matthew Barney, Louise Bourgeois, Michael Ray Charles, Mel Chin, John Feodorov, Ann Hamilton, Margaret Kilgallen, Maya Lin, Sally Mann, Kerry James Marshall, Barry McGee, Bruce Nauman, Pepón Osorio, Richard Serra, Shahzia Sikander, James Turrell, and Andrea Zittel. Each episode features introductions by Laurie Anderson, Beryl Korot with S. Epatha Merkerson, William Wegman with Steve Martin, and Barbara Kruger with John McEnroe. https://player.vimeo.com/video/194588043?portrait=0 532 2001-09-01 yes no https://art21.org/watch/new-york-close-up/liz-magic-laser-feeeeeeeeeeeeels-your-pain/ Liz Magic Laser Feeeeeeeeeeeeels Your Pain https:art21.org/wp-content/uploads/2016/10/024Liz-Magic-LaserPain-6-28-2012FINAL-9-1400x788.jpg Have today's politicians become bad method actors? In this film, artist Liz Magic Laser directs the premiere of I Feel Your Pain (2011), a Performa 11 commission, at the SVA Theater in Chelsea, Manhattan. Transforming interviews between politicians and journalists into dramatic scenes performed by actors, Laser examines how emotive theatrical techniques are being used on America's political stage to engineer public opinion. Exchanges between public figures such as Governor Sarah Palin and Glenn Beck, House Speaker John Boehner and Lesley Stahl, President Barack Obama and Bill O’Reilly—as well as a press conference by Representative Anthony Weiner—are recast as intimate conversations between couples in romantic relationships, played with tragicomic effect by the actors Annie Fox and Rafael Jordan, Ryan Shams and Liz Micek, Ray Field and Kathryn Grody. Throughout the four act performance, Laser adopts agitprop theater tactics drawn from the tradition of the “living newspaper” including a mischievous clown played by Audrey Crabtree, who interacts with the performers and audience, and a commanding voice-over played by Lynn Berg, who provides live commentary and sound effects. Performed, filmed, and edited in real-time as a continuous live feed in the midst of an audience in a movie theater, both the actors and viewers are projected onto the cinema screen, heightening the emotional resonance of the performances while implicating audience members' reactions. https://player.vimeo.com/video/44934441?portrait=0 520 2012-06-29 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/season-4-of-art-in-the-twenty-first-century-2007-trailer/ Season 4 of “Art in the Twenty-First Century” (2007) (TRAILER) https:i.vimeocdn.com/video/611002718_960x540.jpg Trailer for Season 4 of the Peabody Award-winning series, Art in the Twenty-First Century (premiered Fall 2007 on PBS). Featured artists include: Robert Adams, Allora & Calzadilla, Mark Bradford, Mark Dion, Jenny Holzer, Pierre Huyghe, Alfredo Jaar, An-My Lê, Iñigo Manglano-Ovalle, Judy Pfaff, Lari Pittman, Robert Ryman, Laurie Simmons, Nancy Spero, Catherine Sullivan, and Ursula von Rydingsvard. Season 4 episodes include the themes of Romance, Protest, Ecology, and Paradox. https://player.vimeo.com/video/198108751?portrait=0 260 2007-07-24 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/season-5-of-art-in-the-twenty-first-century-2009-trailer/ Season 5 of “Art in the Twenty-First Century” (2009) (TRAILER) https:i.vimeocdn.com/video/611782488_1280x960.jpg Trailer for Season 5 of the Peabody Award-winning series, Art in the Twenty-First Century (premiered Fall 2009 on PBS). https://player.vimeo.com/video/198727614?portrait=0 312 2009-04-10 yes no https://art21.org/watch/extended-play/nancy-spero-collaboration-short/ Nancy Spero: Collaboration (SHORT) https:i.vimeocdn.com/video/616042804_960x540.jpg Filmed in 2006 and 2007 at her New York City studio, Nancy Spero (1926-2009) discusses how collaborations with other artists activated her work by allowing for greater variation. In working with others and drawing from an extensive collection of acquired and original figural images, Spero was able to produce art late into her life. Spero's piece for the Venice Biennale, Maypole / Take No Prisoners (2007), is shown in process as one of her severed head images is printed on metal by an artist who is encouraged to alter the reproduction so that it looks "war-torn and bloody." https://player.vimeo.com/video/202100611?portrait=0 247 2012-06-22 yes no https://art21.org/watch/new-york-close-up/eddie-martinez-whistles-while-he-works/ Eddie Martinez Whistles While He Works https:art21.org/wp-content/uploads/2016/10/023EddieMartinezWhistles6.15.12FINAL-1400x788.jpeg How does it feel to start a new painting? Filmed in his Greenpoint, Brooklyn studio, artist Eddie Martinez starts a large new painting while taking a break to walk his French bulldog Franny in his graffiti-clad neighborhood. Surrounded by an abundance of recently completed paintings, Martinez refers to these compositions while working on a new seven-by-ten foot canvas. Martinez uses black spray paint to make a quick sketch before introducing larger fields of saturated color and developing a densely textured surface. Constantly moving and filling the studio’s silence with his own whistling, he impatiently makes marks and scrapes off paint before it’s had a chance to dry. Equating his very physical practice to that of a boxing ring, Martinez approaches his canvas like a fighter, rhythmically coming into contact and then stepping back from his opponent. Under his pet Franny’s affectionate gaze, Martinez is satisfied by the painting’s rapid progress at the end of the day, a testament to his ability to productively harness his anxiety and aggression in the studio. https://player.vimeo.com/video/44118343?portrait=0 400 2012-06-15 yes no https://art21.org/watch/extended-play/judy-pfaff-making-feeling-short/ Judy Pfaff: Making & Feeling (SHORT) https:i.vimeocdn.com/video/615527379_960x540.jpg Filmed in 2006 at her upstate New York home and during the installation of Buckets of Rain (2006) in New York City, Judy Pfaff discusses the emotional and creative journey she goes on while conceptualizing, making, and ultimately looking back at her installations. Pfaff, who begins creating with a sense of what she wants her work to feel like but with very few concrete ideas, relies upon unplanned elements to enter the art so that she herself is surprised with the results. https://player.vimeo.com/video/201694872?portrait=0 184 2012-06-08 yes no https://art21.org/watch/new-york-close-up/mika-rottenberg-jon-kessler-wanna-make-you-sweat/ Mika Rottenberg & Jon Kessler Wanna Make You Sweat https:art21.org/wp-content/uploads/2016/10/022MikaJonSweatFULLRESFINAL-09-1400x788.jpg How do artists make the intangible tangible? In this film, SEVEN (2011)—a collaborative work by the artists Mika Rottenberg and Jon Kessler commissioned by the New York-based performance biennial Performa—is performed for the last time at Nicole Klagsbrun Project space. Over the course of three weeks, several times a day, seven performers clock in, ride a stationary bike, and work up a sweat before a live audience in an immersive sculptural installation. Each of the seven performers represents a particular chakra—cosmic energy centers located within the body—and are ascribed corresponding prismatic colors of the rainbow, resulting in chromatic sweat. The sweat is collected in a sauna-like “Chakra Juicer,” distilled by a self-described mad scientist in a laboratory, and metaphorically transported to the African savannah. Rottenberg explains how she wants her performers to not act or emote, being more interested in how their bodies behave and the physical materials she can extract from their exertions. Performing in sync with a video featuring a rural community in Botswana, Rottenberg and Kessler’s project unites laborers in New York with “the cradle of humankind” through timed exchanges of materials and a common purpose. Playfully absurd, Rottenberg and Kessler blend reality and fiction—extreme conditions and comedic sleights-of-hand—to create a zany, wordless narrative. https://player.vimeo.com/video/43214500?portrait=0 478 2012-06-01 yes no https://art21.org/watch/extended-play/assume-vivid-astro-focus-masks-short/ assume vivid astro focus: Masks (SHORT) https:i.vimeocdn.com/video/611774443_1280x720.jpg Filmed in his Brooklyn studio, Eli Sudbrack—founding member of assume vivid astro focus—discusses the motivations behind the collective's use of masks during public events and installations. Originally created to enjoy personal anonymity at openings, avaf have continued to use masks in their work as a way to create equality between itself and the audience and to encourage free personal expression. Masks have had an important role in avaf's numerous projects including assume vivid astro focus XI at the Rosa and Carlos de la Cruz Private Collection, Miami (2004), homocrap#1 at MOCA, Los Angeles (2005), Super #3 at Maison des Arts de Créteil, Paris (2008), absolutely venomous accurately fallacious (naturally delicious) at Deitch Projects, Long Island City (2008), and antonella varicella arabella fiorella at Enel Contemporanea, Rome (2008). https://player.vimeo.com/video/198720398?portrait=0 239 2012-05-30 yes no https://art21.org/watch/new-york-close-up/new-york-close-up-series-trailer-year-2-2012/ “New York Close Up” Series Trailer, Year 2 (2012) https:i.vimeocdn.com/video/298708063_1280x720.jpg Art21′s Webby-nominated documentary series on art and life in New York City returned with new artists and films that premiered online June 1st and continued throughout Summer 2012. Introducing the artists: Diana Al-Hadid, Alejandro Almanza Pereda, David Brooks, Josephine Halvorson, Liz Magic Laser, Eddie Martinez, Mika Rottenberg, and Erin Shirreff. Welcoming back the artists: Lucas Blalock, Martha Colburn, Keltie Ferris, LaToya Ruby Frazier, Tommy Hartung, Rashid Johnson, Kalup Linzy, Shana Moulton, Mariah Robertson, and Mika Tajima. https://player.vimeo.com/video/42776931?portrait=0 156 2012-05-29 yes no https://art21.org/watch/extended-play/glenn-ligon-installing-warm-broad-glow-ii-short/ Glenn Ligon: Installing “Warm Broad Glow II” (SHORT) https:i.vimeocdn.com/video/613701215_1280x720.jpg Filmed at the Whitney Museum of American Art in early 2011, artist Glenn Ligon installs his twenty-foot neon artwork Warm Broad Glow II (2011) in the museum's front window before the opening of his mid-career retrospective Glenn Ligon: AMERICA. With assistance from curator Scott Rothkopf and neon fabricator Matt Dilling, Ligon works to determine the best placement on the neon while battling against wind, rain, window mullions, and a view-obscuring hotdog vendor. Ligon selected the text "Negro Sunshine" from the Gertrude Stein novella Melanctha (1909) and has used the phrase in projects of varying media. https://player.vimeo.com/video/200244924?portrait=0 257 2012-05-18 yes no https://art21.org/watch/new-york-close-up/martha-colburn-brings-the-war-home/ Martha Colburn Brings the War Home https:art21.org/wp-content/uploads/2016/10/021MarthaWarFULLRESFINAL-10-1400x788.jpg How does an artist respond to a country at war? In this film, artist Martha Colburn discusses four of her animated films that examine American identity in the wake of 9/11 by “bringing the war into the living room,” locating the violence of contemporary events in themes and imagery drawn from childhood and American history. Colburn witnessed America’s escalating response to Al-Qaeda’s attacks on the U.S.—the War on Terror, the War in Afghanistan, and the invasion of Iraq—while working in Amsterdam, deciding to move to New York City in 2005 in order to make films that investigate the violent roots of her home country. Investing her work with political subject matter and a renewed sense of urgency, Colburn traces American imperialism overseas to notions of the Wild West in Destiny Manifesto (2006); unearths the allegorical power of storybook villains in Meet Me in Wichita (2006); portrays the psychological torment of soldiers suffering from post-traumatic stress in Triumph of the Wild (2008); and pits toys of America's television characters against its enemies in Dolls vs. Dictators (2010). In each film, Colburn locates the violence of contemporary events in themes and imagery drawn from childhood and American history. Developed over several years of research, Colburn’s films repurpose photographic source material—such as images of Kim Jong-il, Muammar Gaddafi and Osama Bin Laden, as well as American soldiers and civilians—that she then adapts through painting, collage, and hand-made animations created over the course of a year through sequential in-camera edits. https://player.vimeo.com/video/42408426?portrait=0 390 2012-05-18 yes no https://art21.org/watch/extended-play/marina-abramovic-embracing-fashion-short/ Marina Abramović: Embracing Fashion (SHORT) https:i.vimeocdn.com/video/610960664_1280x720.jpg Filmed at her New York office in 2011, Marina Abramović discusses how her relationship to fashion and femininity have evolved over the course of a 40-year career. In the 1970s, Abramović relied upon stark, neutral performance uniforms that were always either "naked or dirty black or dirty white." She reached a turning point in 1988 after the dissolution of her artistic collaboration with Ulay Laysiepen, which culminated in The Great Wall Walk (1988). Abramović's subsequent embrace of fashion and femininity parallel her re-emergence as a solo performance artist in the 1990s and 2000s. https://player.vimeo.com/video/198074109?portrait=0 338 2012-05-11 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/balance/ “Balance” https:i.vimeocdn.com/video/621567488_1280x720.jpg In what ways can art convey equilibrium or disequilibrium? What is reality? How do artists perceive and express it? This episode features artists whose works explore the distinctions between balance and imbalance, and demonstrate that the smallest change in a line, a formal element, or a structure can be a radical proposition. https://player.vimeo.com/video/206498944?portrait=0 3268 2012-05-05 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/balance-preview/ “Balance” (PREVIEW) https:i.vimeocdn.com/video/271482476_1280x720.jpg Preview for the episode Balance from Season 6 of Art in the Twenty-First Century (2012), featuring artists Rackstraw Downes, Robert Mangold, and Sarah Sze. In what ways can art convey equilibrium or disequilibrium? What is reality? How do artists perceive and express it? This episode features artists whose works explore the distinctions between balance and imbalance, and demonstrate that the smallest change in a line, a formal element, or a structure can be a radical proposition. https://player.vimeo.com/video/39365684?portrait=0 36 2012-05-02 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/history/ “History” https:i.vimeocdn.com/video/621567462_1280x720.jpg How do artists mine the past to explore the present? Why do some historical events shape the way we think today, and why have some been forgotten? In what ways do artists use their own histories to examine the human condition? In this episode, artists play with historical events, explore and expose commonly held assumptions about historic ‘truth’, and create narratives based on personal experiences. https://player.vimeo.com/video/206497972?portrait=0 3270 2012-04-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/history-preview/ “History” (PREVIEW) https:i.vimeocdn.com/video/271479485_1280x720.jpg How do artists mine the past to explore the present? Why do some historical events shape the way we think today, and why have some been forgotten? In what ways do artists use their own histories to examine the human condition? In this preview from the History episode from Season 6 of Art in the Twenty-First Century (2012), artists play with historical events, explore and expose commonly held assumptions about historic 'truth', and create narratives based on personal experiences. https://player.vimeo.com/video/39363615?portrait=0 36 2012-04-25 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/boundaries/ “Boundaries” https:i.vimeocdn.com/video/621567421_1280x720.jpg Who and what limits our freedom of expression? In what ways do cultural differences affect our understanding of art and other forms of communication? How do an artist’s process and choice of medium affect our perception of his or her work? This episode features artists who synthesize disparate aesthetic traditions, present taboo subject matter, discover innovative uses of media, and explore the shape-shifting potential of the human figure. https://player.vimeo.com/video/206496886?portrait=0 3296 2012-04-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/boundaries-preview/ “Boundaries” (PREVIEW) https:i.vimeocdn.com/video/271458004_295x166.jpg Preview for the episode Boundaries from Season 6 of Art in the Twenty-First Century (2012), featuring artists David Altmejd, Tabaimo, assume vivid astro focus, and Lynda Benglis. Who and what limits our freedom of expression? In what ways do cultural differences affect our understanding of art and other forms of communication? How do an artist’s process and choice of medium affect our perception of his or her work? This episode features artists who synthesize disparate aesthetic traditions, present taboo subject matter, discover innovative uses of media, and explore the shape-shifting potential of the human figure. https://player.vimeo.com/video/39362467?portrait=0 36 2012-04-19 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/change/ “Change” https:art21.org/wp-content/uploads/2016/10/art21-ai-change-023.jpg How do artists respond to a world in flux? In what ways do artists act as agents of change, and what kinds of aesthetic choices do they make to express it? This episode features artists who bear witness, through their work, to transformation—cultural, material, and aesthetic—and actively engage communities as collaborators and subjects. https://player.vimeo.com/video/206495414?portrait=0 3294 2012-04-14 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/change-preview/ “Change” (PREVIEW) https:i.vimeocdn.com/video/271470050_1280x720.jpg How do artists respond to a world in flux? In what ways do artists act as agents of change, and what kinds of aesthetic choices do they make to express it? This episode features artists who bear witness, through their work, to transformation—cultural, material, and aesthetic—and actively engage communities as collaborators and subjects. https://player.vimeo.com/video/39361553?portrait=0 37 2012-04-13 yes no https://art21.org/watch/extended-play/william-kentridge-meaning-short/ William Kentridge: Meaning (SHORT) https:i.vimeocdn.com/video/613468527_960x540.jpg Filmed at his Johannesburg studio in 2008, William Kentridge discusses how the physical activities of cutting, tearing and collaging generate ideas and infuse his work with meaning. Rather than starting with an idea that is then executed, Kentridge relies on these freeform processes and the resulting juxtapositions to find connections and raise questions. Finished works are shown at the Annandale Galleries in Sydney, Australia. https://player.vimeo.com/video/200060608?portrait=0 128 2012-03-30 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/sarah-sze-in-season-6-of-art-in-the-twenty-first-century-preview/ Sarah Sze in Season 6 of “Art in the Twenty-First Century” (PREVIEW) https:art21.org/wp-content/uploads/2016/10/emvideo-vimeo-39344137.jpg In this preview from the Art in the Twenty-First Century Season 6 episode, Balance, artist Sarah Sze visits her 2011 installation and bird habitat, Still Life with Landscape (Model for a Habitat) at the High Line in New York City, replenishing the work's fruit and seed supply and discussing the piece with High Line visitors. https://player.vimeo.com/video/39344137?portrait=0 99 2012-03-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/robert-mangold-in-season-6-of-art-in-the-twenty-first-century-preview/ Robert Mangold in Season 6 of “Art in the Twenty-First Century” (PREVIEW) https:i.vimeocdn.com/video/268186947_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 6 episode, Balance, artist Robert Mangold—from his studio in Washingtonville, NY—discusses the origins of Minimalism, having experienced first-hand as a young artist the latter part of Abstract Expressionism and the arrival of Pop Art. https://player.vimeo.com/video/38922054?portrait=0 91 2012-03-21 yes no https://art21.org/watch/extended-play/paul-mccarthy-chaos-debauchery-short/ Paul McCarthy: Chaos & Debauchery (SHORT) https:i.vimeocdn.com/video/614480774_960x540.jpg Filmed in his Los Angeles studio, two of Paul McCarthy's long-time assistants—Thomas Harris and Craig McIntyre—describe the process of sculpting, molding, and fabricating the artist's large-scale works. Likening McCarthy's artistic approach to taking a "snapshot of disorder" that's then meticulously reproduced, Harris and McIntyre discuss how the formal qualities of the work dovetail with themes of chaos and debauchery. https://player.vimeo.com/video/200861085?portrait=0 245 2012-03-16 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/rackstraw-downes-in-season-6-of-art-in-the-twenty-first-century-preview/ Rackstraw Downes in Season 6 of “Art in the Twenty-First Century” (PREVIEW) https:art21.org/wp-content/uploads/2016/10/art21-downes-balance-032.jpg In this preview from the Art in the Twenty-First Century Season 6 episode, Balance, artist Rackstraw Downes—shown at work amongst the landscapes of Presidio, Texas—describes the relationship between his paintings and the environments captured within. https://player.vimeo.com/video/38506097?portrait=0 64 2012-03-14 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/marina-abramovic-in-season-6-of-art-in-the-twenty-first-century-preview/ Marina Abramović in Season 6 of “Art in the Twenty-First Century” (PREVIEW) https:i.vimeocdn.com/video/261982879_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 6 episode, History, artist Marina Abramović describes the influence that her parents' dedication to Communism had on the physical endurance displayed throughout her performance work. This segment from "History" is a special video collaboration with artist Charles Atlas. https://player.vimeo.com/video/38099132?portrait=0 73 2012-03-07 yes no https://art21.org/watch/new-york-close-up/kalup-linzy-makes-his-way-through-the-art-world/ Kalup Linzy Makes His Way Through the Art World https:art21.org/wp-content/uploads/2016/10/019KalupArmoryFINAL-03.05.12-tempNYCUgfx-13-1400x788.jpg How do artists navigate art fairs, galleries, and selling their work? In this film, artist Kalup Linzy takes the viewer on a tour of The Armory Show at New York’s Piers 92/94 on the Hudson River, reflecting on his career while meeting friends, gallerists, and curators. Among the people he bumps into are Thelma Golden, Director and Curator of The Studio Museum in Harlem, where Linzy had his first survey exhibition If it Don’t Fit (2009). He later greets dealers George Vamvakidis of the Breeder Gallery in Athens, Greece, in whose booth Linzy is exhibiting new paintings, and Jeanie Riddle of Parisian Laundry in Montreal, Canada, who first saw Linzy’s work at a previous Armory Show. Linzy also discusses how he began to show with the (now closed) New York gallery Taxter & Spengemann. Despite ongoing relationships with multiple galleries, glowing reviews in the The New York Times, and an “art star” moniker, Linzy trains his focus on his artistic process while struggling to making a living, supporting himself through a combination of artwork sales, commissions, performance fees, lectures, grants, residencies, and awards. 484 https://player.vimeo.com/video/38031120/?portrait=0 447 2012-03-06 yes no https://art21.org/watch/extended-play/judy-pfaff-ursula-von-rydingsvard-zygmunt-short/ Judy Pfaff & Ursula von Rydingsvard: “Zygmunt” (SHORT) https:art21.org/wp-content/uploads/2016/10/emvideo-bliptv-5980699.jpg Filmed at their respective studios in 2006, longtime friends Judy Pfaff and Ursula von Rydingsvard discuss their experience collaborating in 1992 on a large sculpture titled Zygmunt. Commissioned by Exit Art founders Jeanette Ingberman and Papo Colo, Zygmunt was an intersection of their ideas regarding weight and space and an opportunity for Pfaff and von Rydingsvard to learn from each other. https://player.vimeo.com/video/201695755?portrait=0 170 2012-03-02 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/mary-reid-kelley-in-season-6-of-art-in-the-twenty-first-century-preview/ Mary Reid Kelley in Season 6 of “Art in the Twenty-First Century” (PREVIEW) https:i.vimeocdn.com/video/258872091_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 6 episode, History, artist Mary Reid Kelley—while filming her video work The Syphilis of Sisyphus (2011) at The Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) in Troy, NY—discusses the relationship between being in the 'director' role and working with her family members. https://player.vimeo.com/video/37669936?portrait=0 66 2012-02-29 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/glenn-ligon-in-season-6-of-art-in-the-twenty-first-century-preview/ Glenn Ligon in Season 6 of “Art in the Twenty-First Century” (PREVIEW) https:i.vimeocdn.com/video/255826496_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 6 episode, History, artist Glenn Ligon discusses the inefficiencies of painted text, noting how the unique qualities can be used to the advantage of both the artist and the viewer. https://player.vimeo.com/video/37251142?portrait=0 72 2012-02-22 yes no https://art21.org/watch/extended-play/lari-pittman-audience-short/ Lari Pittman: Audience (SHORT) https:i.vimeocdn.com/video/615541281_960x538.jpg Filmed in 2010 at Lari Pittman's dual exhibitions Orangerie and New Paintings at Regen Projects, Los Angeles, the artist discusses the common misconception that his work is preplanned. Though he understands how audiences reach this conclusion, Pittman explains that his paintings result from a series of spontaneous decisions. https://player.vimeo.com/video/201704867?portrait=0 203 2012-02-17 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/lynda-benglis-in-season-6-of-art-in-the-twenty-first-century-preview/ Lynda Benglis in Season 6 of “Art in the Twenty-First Century” (PREVIEW) https:i.vimeocdn.com/video/252785212_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 6 episode, Boundaries, artist Lynda Benglis, looking at her phosphorescent installation, Phantom (1971), discusses how interpretation of form might alter the perception of an object. https://player.vimeo.com/video/36836310?portrait=0 66 2012-02-15 yes no https://art21.org/watch/new-york-close-up/latoya-ruby-frazier-makes-moving-pictures/ LaToya Ruby Frazier Makes Moving Pictures https:art21.org/wp-content/uploads/2018/02/frazier-moving-still-photo-002-1400x788.jpg What makes a documentary radical? In this film, artist LaToya Ruby Frazier reveals the personal story behind a series of videos and photographs of her family in Braddock, Pennsylvania, a selection of which were exhibited in VideoStudio: Changing Same (2011) at the Studio Museum in Harlem. Employing and upending documentary traditions as a means to disrupt media stereotypes, Frazier collaborates with her mother and grandmother as fellow artists, giving them agency in depictions of themselves, their family, and the broader community. Interrogating how the toxic geography of Braddock has shaped multiple generations of her family’s bodies and psychology, Frazier’s images of her hometown mirror complex social problems that beset America today such as class inequity, access to health care, and environmental racism. “The mind is the battleground for photography,” says Frazier, who creates images that “tell my story because it hasn’t been told.” 478 https://player.vimeo.com/video/36565215?portrait=0 416 2012-02-10 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/assume-vivid-astro-focus-in-season-6-of-art-in-the-twenty-first-century-preview/ assume vivid astro focus in Season 6 of “Art in the Twenty-First Century” (PREVIEW) https:i.vimeocdn.com/video/249783711_1280x720.jpg In this preview from the "Art in the Twenty-First Century" Season 6 episode, "Boundaries," artist collective assume vivid astro focus discuss the connecting of differences that drives the remote nature of their collaborative process. https://player.vimeo.com/video/36420280?portrait=0 89 2012-02-08 yes no https://art21.org/watch/extended-play/yinka-shonibare-mbe-black-artists-short/ Yinka Shonibare MBE: Black Artists (SHORT) https:i.vimeocdn.com/video/616007267_960x540.jpg As Yinka Shonibare MBE installs his 2008 solo show at the Museum of Contemporary Art in Sydney, Australia, he discusses his experience as a black artist living and working in the United Kingdom. With few black artist role models from the previous generation to follow in the path of, Shonibare describes his motivation and strategy for getting his work into the art system. https://player.vimeo.com/video/202073691?portrait=0 264 2012-02-03 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/tabaimo-in-season-6-of-art-in-the-twenty-first-century-preview/ Tabaimo in Season 6 of “Art in the Twenty-First Century” (PREVIEW) https:art21.org/wp-content/uploads/2016/10/art21-tabaimo-boundaries-034.jpg In this preview from the Art in the Twenty-First Century Season 6 episode, Boundaries, artist Tabaimo describes the "coming and going of water" as a device in her work, as seen through the artist's 2006 video installation public conVENience at Parasol unit in London. https://player.vimeo.com/video/36023572?portrait=0 71 2012-02-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/david-altmejd-in-season-6-of-art-in-the-twenty-first-century-preview/ David Altmejd in Season 6 of “Art in the Twenty-First Century” (PREVIEW) https:i.vimeocdn.com/video/243825988_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 6 episode, Boundaries, artist David Altmejd describes the importance of color choices in his sculpture-making process. https://player.vimeo.com/video/35637655?portrait=0 77 2012-01-25 yes no https://art21.org/watch/extended-play/ursula-von-rydingsvard-becoming-an-artist-short/ Ursula von Rydingsvard: “Becoming an Artist” (SHORT) https:art21.org/wp-content/uploads/2016/10/emvideo-bliptv-5882965.jpg Filmed at her Brooklyn studio, artist Ursula von Rydingsvard recounts her family's journey from German refugee camps during WWII to their difficult early years in Connecticut. Accompanied by images from her personal archive, von Rydingsvard describes how her family's struggles still influence her studio practice today. https://player.vimeo.com/video/201757506?portrait=0 255 2012-01-20 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/el-anatsui-in-season-6-of-art-in-the-twenty-first-century-preview/ El Anatsui in Season 6 of “Art in the Twenty-First Century” (PREVIEW) https:i.vimeocdn.com/video/240841053_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 6 episode, Change, artist El Anatsui discusses the use of bottle caps in his work, drawing connections with European trade across three continents. https://player.vimeo.com/video/35239363/?portrait=0 0 2012-01-18 yes no https://art21.org/watch/new-york-close-up/a-naked-guy-walks-into-a-mariah-robertson-photo/ A Naked Guy Walks into a Mariah Robertson Photo https:art21.org/wp-content/uploads/2016/10/art21-nycu017-robertson-012-1-1400x788.jpg This film is intended for mature audiences. Viewer discretion is advised. What makes an image funny? In this film, artist Mariah Robertson works with Bill — a male nude model she met online — taking pictures of him in her Greenpoint studio, and later, rehearsing a Martha Graham-inspired dance routine in Williamsburg, Brooklyn. Robertson’s point of view is revealed through a series of jokes that highlight not only the artist’s wry sense of humor, but also suggest a critical engagement with gender dynamics, sexual politics, and double-standards within art history. Reacting to the pervasiveness of “purposeful nudes” — from paintings of odalisques to contemporary pornography — Robertson’s images of naked men occupy “a confusing middle zone” that mingle self-reflexivity with visual whimsy. https://player.vimeo.com/video/35019029?portrait=0 363 2012-01-13 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/catherine-opie-in-season-6-of-art-in-the-twenty-first-century-preview/ Catherine Opie in Season 6 of “Art in the Twenty-First Century” (PREVIEW) https:i.vimeocdn.com/video/238173078_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 6 episode, Change, artist Catherine Opie discusses her on-going series, Girlfriends, during a photo shoot for the series with swimmer Diana Nyad in her Los Angeles studio. https://player.vimeo.com/video/34910510?portrait=0 99 2012-01-11 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/ai-weiwei-in-season-6-of-art-in-the-twenty-first-century-preview-2/ Ai Weiwei in Season 6 of “Art in the Twenty-First Century” (PREVIEW) https:i.vimeocdn.com/video/238172908_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 6 episode, Change, artist Ai Weiwei discusses Untitled (2011)—an outdoor installation at Harvard University—and the accompanying sound piece, Remembrance (2010). https://player.vimeo.com/video/34910443?portrait=0 78 2012-01-11 yes no https://art21.org/watch/extended-play/laurie-simmons-actress-meryl-streep-short/ Laurie Simmons: Actress Meryl Streep (SHORT) https:i.vimeocdn.com/video/616017806_960x540.jpg Filmed in 2006 at Industria Studios, New York, photographer Laurie Simmons directs scenes for her first film, The Music of Regret, starring Meryl Streep. A longtime friend of Simmons and married to a sculptor herself, Streep conveys the difficulties and advantages of leaving a solitary studio practice to work with dozens of crew and collaborators on a motion picture. https://player.vimeo.com/video/202081051?portrait=0 215 2012-01-06 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/ai-weiwei-in-season-6-of-art-in-the-twenty-first-century-preview/ Ai Weiwei in Season 6 of “Art in the Twenty-First Century” (PREVIEW) https:i.vimeocdn.com/video/238151436_1280x720.jpg In this preview from the Art in the Twenty-First Century Season 6 episode, Change, artist Ai Weiwei discusses his 2006 work, Surveillance Camera. https://player.vimeo.com/video/34908196?portrait=0 64 2012-01-04 yes no https://art21.org/watch/art-in-the-twenty-first-century/s6/season-6-of-art-in-the-twenty-first-century-2012-trailer/ Season 6 of “Art in the Twenty-First Century” (2012) (TRAILER) https:art21.org/wp-content/uploads/2016/10/emvideo-vimeo-34546331.jpg Trailer for Season 6 of the Peabody Award-winning series, Art in the Twenty-First Century. Featured artists include: Marina Abramovic, Ai Weiwei, David Altmejd, El Anatsui, assume vivid astro focus, Lynda Benglis, Rackstraw Downes, Glenn Ligon, Robert Mangold, Catherine Opie, Mary Reid Kelley, Sarah Sze, and Tabaimo. https://player.vimeo.com/video/34546331?portrait=0 249 2012-01-04 yes no https://art21.org/watch/extended-play/an-my-le-trap-rock-short/ An-My Lê: “Trap Rock” (SHORT) https:i.vimeocdn.com/video/613694489_960x540.jpg Commissioned by Dia:Beacon, artist An-My Lê makes photographs of the Trap Rock basalt quarry on the Hudson River with her large-format camera. https://player.vimeo.com/video/200240395?portrait=0 325 2011-12-16 yes no https://art21.org/watch/extended-play/cao-fei-building-rmb-city-short/ Cao Fei: Building “RMB City” (SHORT) https:i.vimeocdn.com/video/611984530_960x540.jpg In her Beijing studio, Cao Fei discusses the inspirations, process, and challenges behind developing and building a virtual urban environment within the digital realm of "Second Life" for her project, RMB City (2007). Comparing the virtual landscape of RMB City to the styles of traditional Chinese brush paintings, Cao draws connections between the past and the present, Eastern and Western cultures, and aesthetic sensibilities developed from her upbringing. https://player.vimeo.com/video/198756281?portrait=0 224 2011-12-02 yes no https://art21.org/watch/extended-play/paul-mccarthy-captain-ballsack-short/ Paul McCarthy: “Captain Ballsack” (SHORT) https:i.vimeocdn.com/video/614480455_960x540.jpg Filmed in his Los Angeles studio, artist Paul McCarthy and production manager Amy Baumann describe the nearly decade-long, organic process behind the sculpture Captain Ballsack (2001–2009) and various editions cast from the original work. https://player.vimeo.com/video/200747110?portrait=0 241 2011-11-11 yes no https://art21.org/watch/new-york-close-up/tommy-hartungs-budget-guide-to-new-york/ Tommy Hartung’s Budget Guide to New York https:art21.org/wp-content/uploads/2016/10/016TommyHBudgetGuide10.20.11-1-1400x788.jpg What are the bare essentials an artist needs to live in New York? In this film, artist Tommy Hartung ventures out from his home and studio in Ridgewood, Queens to meet up with two friends—fellow artists Ronnie Bass and Georgia Sagri—in nearby Bushwick, Brooklyn. Along the way, Hartung chronicles his own path to becoming an artist: working as a cook out of high school, deciding to attend college to study art, and finding cost-effective places to live and make his work. Taking the subway to Bass’s home and studio to play chess, Hartung describes his admittedly “cheapskate” social life—nights in with friends and whiskey, nights out at gallery openings. Making New York his home since the mid-2000s, Hartung shares how he’s developed a calculus for surviving and succeeding as an artist in the city. 462 https://player.vimeo.com/video/30910305?portrait=0 295 2011-10-21 yes no https://art21.org/watch/new-york-close-up/martha-colburn-cuts-the-boring-parts-out/ Martha Colburn Cuts the Boring Parts Out https:art21.org/wp-content/uploads/2016/10/015-MarthaCBoringParts-Screengrabs-06-1400x788.jpg How does an artist develop a personal style? In this film, artist Martha Colburn traces the evolution of her work, from her first found-footage films to subsequent hand-painted and stop-motion animations. Inspired by Baltimore’s experimental filmmaking community, Colburn describes how her earliest films were assembled from audio-visual cast offs found in the city’s surplus dump. After making films without using a camera, Colburn describes how she started to shoot her own original paintings and collages. Creating evocative, dream-like scenarios within a tight logic, Colburn’s humorous, frenetic, and visually dynamic work embraces a DIY aesthetic and the physicality of film as a material. 461 https://player.vimeo.com/video/29484730?portrait=0 289 2011-09-23 yes no https://art21.org/watch/new-york-close-up/keltie-ferris-spray-paints-in-solitude/ Keltie Ferris Spray Paints in Solitude https:art21.org/wp-content/uploads/2016/10/014-Ferris-Solitude-EpisodeSC-010-1-1400x788.jpg How does an artist connect to the world while working alone? In this film, artist Keltie Ferris begins a new series of abstract paintings in her Bushwick, Brooklyn studio. Painting in isolation, Ferris discusses both the pleasures and anxieties of working in solitude. Throughout the film, Ferris looks outside of her daily studio process for connections to the world, taking stock of viewer’s responses to her work, finding inspiration in both books and the urban environment, and situating her paintings in an art historical tradition. Applying oil paint with various techniques—brush, palette knife, and a spray gun—Ferris builds up layers of marks over several weeks into complex shapes and patterns. Asserting that abstraction is about “trying to undo the nameable things in life,” Ferris describes her paintings as being about “seeing through to other worlds.” https://player.vimeo.com/video/28199402?portrait=0 362 2011-08-26 yes no https://art21.org/watch/new-york-close-up/mika-tajima-versus-the-cubicle/ Mika Tajima Versus the Cubicle https:art21.org/wp-content/uploads/2016/10/013MikaCubicle8.18.11FINAL-2-1400x788.jpg How does design shape society? In this film, artist Mika Tajima traces the legacy of the influential Action Office furniture line—developed by Herman Miller—and how it serves as the inspiration for her own work. Introduced in 1964 and still in production today, the Action Office is a modular and customizable system of semi-enclosed cubicles. Intended to spur efficiency and productivity in the workplace, Tajima views the widespread adoption of the cubicle in the 1970s and 80s as profoundly dehumanizing, with each worker isolated in a sea of confined spaces. For her work, Tajima acquires and modifies an original set of Action Office wall panels, configuring them into non-functional, sculptural arrangements. Tajima connects the unintended consequences of Herman Miller's modernist aesthetic, with its insistence on shaping human behavior, to contemporary problems in the twenty-first Century. https://player.vimeo.com/video/27910430?portrait=0 329 2011-08-19 yes no https://art21.org/watch/extended-play/cindy-sherman-fashion-short/ Cindy Sherman: Fashion (SHORT) https:i.vimeocdn.com/video/616001555_960x540.jpg Commissioned by French Vogue to create a fashion editorial featuring clothes from the Spanish design house Balenciaga, artist Cindy Sherman discusses the first time she used a digital camera to make pictures, ultimately creating different versions of images for the magazine and for herself. https://player.vimeo.com/video/202066169?portrait=0 192 2011-09-09 yes no https://art21.org/watch/new-york-close-up/shana-moultons-portable-performance/ Shana Moulton’s Portable Performance https:art21.org/wp-content/uploads/2016/10/012-ShanaPortable-Screengrabs-15-1400x788.jpg Is being a performance artist just another job? In this film, artist Shana Moulton rehearses and performs Whispering Pines 7 in the exhibition Acting Out at the Bronx River Art Center. In her 14th floor studio at the Lower Manhattan Cultural Council Workspace, an artist residency program of repurposed offices located in the heart of Wall Street, Moulton gathers up the essential tools of her trade — costume, wig, makeup, DVD — and takes the long uptown subway trip to the Mott Haven section of the Bronx. Her first look at the venue, Moulton uses her limited rehearsal time to scale the video projection and adapt her movements to the confines of the space. The performance showcases, in a condensed and portable form, hallmarks of Moulton’s recent work: playfully interacting with fantastical digital animations, unexpected changes in emotional tone, and performing in character as Cynthia—the central protagonist of the ongoing Whispering Pines series. Reflecting on the evening's performance, Moulton considers her aesthetic ambitions, audience expectations, and the pragmatics of being an artist in New York. https://player.vimeo.com/video/27069177?portrait=0 355 2011-07-29 yes no https://art21.org/watch/new-york-close-up/rashid-johnson-trades-art-with-angel-otero/ Rashid Johnson Trades Art with Angel Otero https:art21.org/wp-content/uploads/2017/03/004-nycu-production-johnson-1400x788.jpg How do artists make a fair exchange of one artwork for another? In this film, artist Rashid Johnson trades a new sculpture with fellow artist Angel Otero, opting for a new painting at Otero’s studio in Ridgewood, Queens. Friends and unabashed fans of each other’s work since they both attended the School of the Art Institute of Chicago, the artists informally discuss the unlikely direction of Otero’s new text-based pieces as well as a few easel-sized paintings. Otero’s process involves applying thick layers of intensely saturated oil paints, peeling the sculptural “oil skin” off of a glass surface, and loosely draping the result over a canvas. In exchange for the piece Johnson picks, Otero selects a recent Johnson wall-mounted work: an angular wooden shelf piece, also representing a new “funky” direction in Johnson’s work. Johnson and Otero carefully calculate what an appropriate exchange would be at this point in their careers—negotiating market demand for their works and the pragmatics of displaying art in cramped New York apartments—playfully but thoughtfully testing the boundaries of their social and professional friendship. https://player.vimeo.com/video/26771287?portrait=0 298 2011-07-22 yes no https://art21.org/watch/william-kentridge-anything-is-possible/william-kentridge-anything-is-possible-2010-trailer/ “William Kentridge: Anything Is Possible” (2010) (TRAILER) https:art21.org/wp-content/uploads/2016/10/kentridge-wkaip-still-000-001-1400x788.jpg Trailer for William Kentridge: Anything Is Possible, an hour-long film from the producers of the Peabody-Award winning Art in the Twenty-First Century television series. The film gives viewers an intimate look into the mind and creative process of William Kentridge, the South African artist whose acclaimed work has made him one of the most dynamic and exciting contemporary artists working today. https://player.vimeo.com/video/14544412?portrait=0 77 2010-08-30 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/kimsooja-in-systems-segment/ Kimsooja in “Systems” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/kimsooja-chapter-still.jpg Kimsooja’s segment opens with a series of videotaped performances of the artist in crowded cities, her form acting as an unmoving axis on the horizon. Comparing her body to a needle that threads through space and time, she explains that her conceptual “system is very much rooted to the practice of sewing.” The segment focuses in depth on two recent site-specific works: an installation of 2,000 fuchsia lotus lanterns with a soundtrack of Tibetan, Gregorian, and Islamic chants, and later, an intervention at the Crystal Palace in Madrid in which rainbow-colored sunlight, diffused through diffraction grating film applied to windows, is reflected in a mirrored surface applied to the floor while a pre-recorded performance of the artist's rhythmic breathing fills the space. Says the artist on her ethereal and genre-bending work: “My intention is to reach to the totality of our life in art.” https://player.vimeo.com/video/206491896?portrait=0 721 2009-10-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/john-baldessari-in-systems-segment/ John Baldessari in “Systems” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/baldessari-john-chapter-still.jpg “I’m always interested in things that we don’t call art, and I say why not?” asks John Baldessari. Filmed in his California studio, the artist consults with his assistant on a color-coded group of maquettes for a series of photographic bas-reliefs. “One of the reasons I gave up painting is because it’s all about being tasteful,” he explains, “I just decided to be very systematic about it and use the color wheel.” Throughout a segment that features over fifty pieces, including works in the inaugural exhibition of the Broad Contemporary Art Museum at LACMA, Baldessari assails conventional wisdom about art and meaning. In an installation at Museum Haus Lange in Krefeld, Germany, Baldessari humorously reconfigures an entire brick building by noted architect Mies van der Rohe. “Aesthetically, I always look for the weak link in the chain,” he says. https://player.vimeo.com/video/206491896?portrait=0 843 2009-10-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/julie-mehretu-in-systems-segment/ Julie Mehretu in “Systems” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/mehretu-julie-chapter-still.jpg “Trying to figure out who I am and my work is trying to understand systems,” says Julie Mehretu, shown working with her assistants in Berlin on seven large canvases for a show at Deutsche Guggenheim. “The thing that keeps me going is the painting,” she says, “and in getting lost in doing that a language is invented.” Mehretu’s abstract compositions reference modernist architecture, Google Maps, Coliseum-like buildings, and defaced structures. Mehretu is also shown working on the biggest project of her young career: a 21 by 85 foot long mural commissioned by a major financial institution in Lower Manhattan, to be completed during the most severe financial crisis since the Great Depression. Characterizing the task before her as “absurd,” she wonders “can you actually make a picture…of the history of capitalist development?” https://player.vimeo.com/video/206491896?portrait=0 761 2009-10-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/paul-mccarthy-in-transformation-segment/ Paul McCarthy in “Transformation” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/mccarthy-paul-chapter-still.jpg “My work seems to be about tearing down and opening up conventions,” says Paul McCarthy, who bristles when asked what his responsibility is to the audience for his work. “My responsibility is to the ideas,” he explains, “that’s the difference between making art and making entertainment.” The segment begins with a series of motorized architectural works installed at the Whitney Museum of American Art in New York. McCarthy’s interest in performance is introduced through a series of minimal videos in which the artist uses his body as a tool. Later works show the artist performing similarly absurd tasks, only this time adopting a character and on a sound stage. “The persona usually started with a kind of mask or some sort of costume,” he says. The segment concludes in McCarthy’s Los Angeles studio where he and his assistants are shown working on a series of drawings and sculptures that include elements from Snow White, Hummel figurines, and a bust of President George W. Bush. https://player.vimeo.com/video/206489953?portrait=0 1086 2009-10-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/cindy-sherman-in-transformation-segment/ Cindy Sherman in “Transformation” (SEGMENT) https:art21.org/wp-content/uploads/2017/02/sherman-cindy-chapter-still.jpg “I didn’t want to make what looked like art,” Cindy Sherman says about her earliest works, explaining that “film has always kind of been more influential to me than the art world.” The segment surveys thirty years of untitled works in which the artist photographs herself in various scenes and guises, grouped into informally-named series such as fairy tales, centerfolds, history portraits, Hollywood/Hampton types, and clowns. Sherman used a digital camera and green screen for her most recent series of society portraits, modifying each image’s “background with the same kind of license that a painter would take.” Sorting through test shots at the computer, Sherman leads the viewer through her iterative process. The segment later follows her to a thrift store where, upon finding several “wacky pants” she wonders if this shopping trip “might be inspiring a whole new series.” https://player.vimeo.com/video/206489953?portrait=0 1162 2009-10-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/yinka-shonibare-mbe-in-transformation-segment/ Yinka Shonibare MBE in “Transformation” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/shonibare-mbe-yinka-chapter-still.jpg “My work, all along, has been a critique of Empire,” says Yinka Shonibare MBE, adopting the honorific title of Member of the Order of the British Empire, with willful irony, as part of his name. Shown in his London studio, Shonibare is working on his first series of drawings in twelve years, taking as his subject climate change. The artist is also on hand for the installation of a retrospective of sculptures—headless, “post-racial,” mannequins dressed in vibrant costumes—at the MCA Sydney. Acting as the protagonist in two photographic series, Shonibare explores personal themes of leisure, excess, mortality, vanity and physical disability. The final work in the segment is a masked ballet that recounts the assassination of King Gustav III of Sweden. “Power creates excess,” he asserts, while playfully admitting, “I also, actually, would like to have the trappings of wealth myself, even though I may be criticizing it.” https://player.vimeo.com/video/206489953?portrait=0 857 2009-10-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/cao-fei-in-fantasy-segment/ Cao Fei in “Fantasy” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/cao-fei-chapter-still.jpg “Dear ladies and gentleman, I’m China Tracy—the avatar of Cao Fei—and I’m her interpreter.” Cao Fei’s digital "Second Life" alter ego acts as the English translator for the Chinese-speaking artist throughout the segment, guiding the viewer through seven multimedia projects. A day-in-the-life is captured in the sensitive Milkman, corporate culture is critiqued in the surrealistic Rabid Dogs, while the assimilation of American pop culture by Asians is celebrated in Cao's series of Hip Hop videos. Through a blend of documentary and magical realism, the artist investigates various aspects of role play: costumed youth and their families, workers’ dreams come to life at a Siemens light factory, and the simulated romance between avatars. The segment culminates in the artist’s ongoing project, RMB City, an artificial island built in the 3D virtual world of "Second Life" that resembles a postmodern collage of landmarks, urban over-development, and Chinese landscape painting. https://player.vimeo.com/video/206488377?portrait=0 823 2009-10-14 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/florian-maier-aichen-in-fantasy-segment/ Florian Maier-Aichen in “Fantasy” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/maier-aichen-florian-chapter-still.jpg “Photography used to be like alchemy back in the nineteenth century,” says Florian Maier-Aichen, who uses the computer to introduce imperfections and detach his photographs from reality, bringing them closer to the realm of drawing. Shown capturing his source images with a traditional large-format camera, the artist introduces painterly touches to his photographs with the aid of a digital stylus and tablet. “Illustration is just another level of abstracting,” he says, “it lifts you to another layer that is not necessarily linked to realism and it opens up your own world or your own myth-making.” Inspired by the idealized quality of postcards and maps, the segment shows how the artist remakes images of landscapes, from a nostalgic nighttime scene of Stralsund in GDR times to epic vistas such as a pass in the Swiss Alps, ski slopes in the Sierras, Half Dome in Yosemite, and the failed St. Francis Dam near Santa Clarita. https://player.vimeo.com/video/206488377?portrait=0 763 2009-10-14 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/mary-heilmann-in-fantasy-segment/ Mary Heilmann in “Fantasy” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/heilmann-mary-chapter-still.jpg “Every piece of abstract art that I make has a back story,” says Mary Heilmann, who relays youthful fantasies of wanting to be a Catholic martyr, her childhood dream to become an artist, as well as the antagonism she experienced in school when transitioning from pottery to painting. Shown completing a new body of work, the segment begins in the artist’s secluded Bridgehampton studio on Long Island. “My spiritual life is very important to me and I think the artworks are icons,” says Heilmann, who believes in the ecumenical power of art to “transport a person in a soulful, rich way, without having any fear of punishment or Hell or sin.” The segment also features Heilmann’s touring retrospective at the Wexner Center for the Arts in Columbus, Ohio, where she's designed colorful chairs on wheels that viewers can use to relax, meditate, or socialize with one another and have “a conversation through the work.” https://player.vimeo.com/video/206488377?portrait=0 714 2009-10-14 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/jeff-koons-in-fantasy-segment/ Jeff Koons in “Fantasy” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/koons-jeff-chapter-still.jpg “Art should be something really powerful,” says Jeff Koons, “but at the same time, there’s morality that comes along with that.” The segment begins in the artist’s busy studio in Manhattan, where his computer-aided but hand-made paintings and sculptures develop slowly, with a large team of dedicated assistants, in the manner of a Renaissance workshop or atelier. The segment shifts to a major retrospective at the MCA Chicago, where Koons provides a detailed analysis of two sculptures that exemplify the ethical and spiritual dimensions of art. The segment concludes outside Paris at the Chateau de Versailles, where Koons is the first contemporary American artist to have a solo exhibition, showcasing the mathematical planting of a giant flower topiary and a survey of works installed amidst the joyous decoration of the palace’s period rooms and gardens. https://player.vimeo.com/video/206488377?portrait=0 805 2009-10-14 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/doris-salcedo-in-compassion-segment/ Doris Salcedo in “Compassion” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/salcedo-doris-chapter-still.jpg “I am a Third World artist,” says Doris Salcedo, “from that perspective—from the perspective of the victim, from the perspective of the defeated people—it’s where I’m looking at the world.” Filmed in her Bogotá, Colombia studio while preparing a series of abstract sculptures based on antique household furniture, the artist devotes careful attention to the tormented wooden finishes and smooth concrete surfaces of her objects. “I don’t work based on imagination, on fiction,” she explains, characterizing her role as a “secondary witness” to the victims of violence whose testimonies she collects as research for her pieces, such as Atrabiliarios at SFMoMA, the Unland series of tables, the ephemeral installation Noviembre 6 y 7, and Shibboleth—a 160 meter crack in the foundation of Tate Modern in London. https://player.vimeo.com/video/206487015?portrait=0 964 2009-10-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/carrie-mae-weems-in-compassion-segment/ Carrie Mae Weems in “Compassion” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/weems-carrie-mae-chapter-still.jpg “Narrative and storytelling is in the blood,” declares Carrie Mae Weems. Through a mixture of archival personal photos and the artist’s first major photo-documentary series, Family Pictures and Stories, Weems takes the viewer on a personal journey through her childhood in the 1950s to a broader examination of “the history of black subjects in photography” in the series From Here I Saw What Happened and I Cried. Continually innovating, Weems has since adopted new strategies of picture making in the series Constructing History: A Requiem to Mark the Moment in which students at the Savannah College of Art and Design reenact pivotal Civil Rights and new moments from the past forty years. The segment follows the artist back to her home in Syracuse, New York, where she is seen staging the second chapter of the project in an ornate hotel ballroom, focusing on the drama of the 2008 presidential campaign. https://player.vimeo.com/video/206487015?portrait=0 887 2009-10-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/william-kentridge-in-compassion-segment/ William Kentridge in “Compassion” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/kentridge-william-chapter-still-1400x788.jpg William Kentridge asks “how does one find a way of not necessarily illustrating the society that one lives in, but allowing what happens there to be part of the work?” Shooting without a script when making his animations, Kentridge’s experimental method demonstrates “thinking with one’s hands” and proposes an “understanding of the world as process rather than as fact.” Filmed working in his Johannesburg studio with an opera singer and pianist, the artist is shown creating a video projection out of torn paper choreographed to a Puccini aria recorded through a cell phone. The segment follows Kentridge’s interest in opera as he stages a video installation and performance at the Sydney Biennial in Australia. The segment also showcases a series of anamorphic films projected onto circular tabletops, with a mirrored cylinder at the center that reconstitutes the distorted image. https://player.vimeo.com/video/206487015?portrait=0 1254 2009-10-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/allora-calzadilla-in-paradox-segment/ Allora & Calzadilla in “Paradox” (SEGMENT) https:i.vimeocdn.com/video/621530002_960x540.jpg “It’s kind of an excuse to research something,” says Jennifer Allora of the work with her collaborator since 1995, Guillermo Calzadilla. “It’s this chance to learn more about something in the world and be able to formulate some kind of response.” In their segment, the pair, often arguing and questioning each other’s ideas in order to reach common ground, explain two projects that took place on the island of Vieques, previously used as a bombing range by US military forces and only recently returned to the jurisdiction of Puerto Rico. “This frustration with absurdity, this nonsense, this paradox, all these things constitute part of the meaning of the work,” says Guillermo Calzadilla. https://player.vimeo.com/video/206481351?portrait=0 781 2007-11-18 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/robert-ryman-in-paradox-segment/ Robert Ryman in “Paradox” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/ryman-robert-chapter-still.jpg Growing up in Nashville, Robert Ryman had a strong interest in music. A bebop musician in his youth, Ryman’s musical knowledge influenced his work as a painter. His approach to learning an instrument was applied to painting: "I thought the painting should just be about what it’s about…" "In all of my paintings, I discover things," says the artist, "Sometimes I’m surprised at the result, but I know what I’m doing." Ryman does not use assistants and prefers to work alone. Using white paint on square forms, he creates works such as Philadelphia Prototype, highlighting the subtle nuances of a surface and exploring the role that context and perception play in a visual experience. https://player.vimeo.com/video/206481351?portrait=0 779 2007-11-18 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/catherine-sullivan-in-paradox-segment/ Catherine Sullivan in “Paradox” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/sullivan-catherine-chapter-still.jpg Despite a family background in the visual arts (her mother worked at the famous Los Angeles-based Gemini G.E.L. print studio), Catherine Sullivan was drawn to acting and the theater. “I was always interested in the body’s capacity for signification,” she says. “What was this kind of potential for infinite transformation?” Her interests turned to stagecraft, and eventually evolved into the merging of live theater and filmmaking. Viewers follow Sullivan from a workshop with actors and students in Poland, to an exhibition space in Avignon, to a Polish-American social hall in Chicago to observe her performance-based films, many of which are influenced by popular film, real-life conflict, or ritual. https://player.vimeo.com/video/206481351?portrait=0 763 2007-11-18 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/mark-bradford-in-paradox-segment/ Mark Bradford in “Paradox” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/bradford-paradox-still-127.jpg “My practice is both collage and décollage at the same time,” says Mark Bradford. “Décollage you take it away, and then collage, I immediately add it right back.” Using a combination of signage from the city streets, including business advertisements and merchant posters, twine, and glue, Bradford produces wall-sized paintings and installations that are a reflection of “the conditions that are going on at that particular moment at that particular location,” he says. In one installation at the Los Angeles County Museum of Art, Bradford uses video to juxtapose two events—a celebratory Martin Luther King Day parade in Los Angeles, and a busy Muslim marketplace in Cairo. https://player.vimeo.com/video/206481351?portrait=0 794 2007-11-18 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/mark-dion-in-ecology-segment/ Mark Dion in “Ecology” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/dion-mark-chapter-still.jpg Mark Dion is a collector and a shopper: “I am constantly out there buying things, going to flea markets and yard sales and junk stores, and I like to surround myself with things that are inspirational.” Intrigued by natural history and museum procedures, Dion’s collections become part of his installations and public projects that address our ideas and assumptions about nature. “I’m not one of these artists who is spending a lot of time imagining a better ecological future. I’m more the kind of artist who is holding up a mirror to the present.” Viewers follow Dion on a journey during which he brings a “nurse log”—a fallen Hemlock tree which is home to a wide variety of flora and fauna—into the heart of Seattle. https://player.vimeo.com/video/206479564?portrait=0 829 2007-11-11 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/robert-adams-in-ecology-segment/ Robert Adams in “Ecology” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/adams-robert-chapter-still.jpg While living in Colorado Springs, Robert Adams began to capture black and white photographs of a burgeoning suburban strip–highways and tract houses that marred a dramatic landscape–a development that he loathed. Yet when Adams examined the images in his darkroom, he recognized for the first time the beauty within these pictures. “The final strength in really great photographs is that they suggest more than just what they show literally,” says Adams. Working closely with his wife, Adams created Turning Back (1999-2003), which illustrates deforestation in the West, a practice that Adams describes as “not just a matter of exhaustion of resources. I do think there is involved an exhaustion of spirit.” https://player.vimeo.com/video/206479564?portrait=0 684 2007-11-11 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/inigo-manglano-ovalle-in-ecology-segment/ Iñigo Manglano-Ovalle in “Ecology” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/manglano-ovalle-inigo-chapter-still.jpg Born in Madrid to a Spanish father and a Colombian mother whose work lives were primarily in Chicago, Iñigo Manglano-Ovalle’s interest in architecture, politics, and science underscores much of his work. The documentary follows Manglano-Ovalle to an exhibition of his work in New York; his Random Sky (2006) façade in Chicago, for which computers process weather data at the installation site to generate a visual representation of climate conditions; and La Tormenta/The Storm (2007), a large-scale sculpture of two thunderstorm clouds, installed at the Citizenship and Immigration Services building in Chicago, which serves as a metaphor for the U.S. immigration process. https://player.vimeo.com/video/206479564?portrait=0 764 2007-11-11 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/ursula-von-rydingsvard-in-ecology-segment/ Ursula von Rydingsvard in “Ecology” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/von-rydingsvard-ursula-chapter-still.jpg Ursula von Rydingsvard uses sculpture, in part, as a means to express the memories of her childhood. “I grew up…in the post-World War II refugee camps for Polish people in Germany…We stayed in wooden barracks…raw wooden floors, raw wooden walls and raw wooden ceilings… so somewhere in my blood I’m dipping into that source,” she says. Von Rydingsvard’s studio is filled with massive cedar sculptures, which she painstakingly constructs layer by layer. The end result is a complex and unpredictable surface for viewers to explore and experience. “My whole cedar studio is loaded with pieces that are unfinished and I need all of those things in my environment to feed me, to give me always options.” https://player.vimeo.com/video/206479564?portrait=0 791 2007-11-11 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/jenny-holzer-in-protest-segment/ Jenny Holzer in “Protest” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/holzer-jenny-chapter-still.jpg Jenny Holzer discusses the concepts behind some of her most well-known projects, including For 7 World Trade (2006), for which she projected text onto a glass wall of the lobby. Much of Holzer’s work focuses on devastation and cruelty, and uses the words of others. “I stopped writing my own text in 2001,” she explains. “I found that I couldn’t say enough adequately and so it was with great pleasure that I went to the text of others.” Viewers observe Holzer creating new work as she prepares an exhibition of paintings and prints of declassified, redacted government documents, some of which are letter-size, while others are blown-up to an overwhelming scale “…in hopes that people will recoil,” she says. https://player.vimeo.com/video/206477953?portrait=0 749 2007-11-04 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/alfredo-jaar-in-protest-segment/ Alfredo Jaar in “Protest” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/jaar-alfredo-chapter-still.jpg “I strongly believe in the power of a single idea,” says Alfredo Jaar. “My imagination starts working based on research, based on a real life event, most of the time a tragedy that I’m just starting to analyze, to reflect on…this real life event to which I’m trying to respond.” Through his work, Jaar explores both the public’s desensitization to images and the limits of art to represent events such as genocide. Art21 follows and films Jaar in his native Chile during a major retrospective of his work, which he shares for the first time with the Chilean public—a triumphant and moving homage in his homeland after leaving to live abroad shortly after the Pinochet regime’s military coup. https://player.vimeo.com/video/206477953?portrait=0 779 2007-11-04 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/an-my-le-in-protest-segment/ An-My Lê in “Protest” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/le-an-my-chapter-still.jpg Landscape photographer An-My Lê is fascinated by military war exercises. “I think my main goal is to try to photograph landscape in such a way so that history could be suggested through the landscape, whether industrial history or my personal history,” she says. Lê discusses her return to Vietnam, where she grew up amid the violence of the Vietnam War, to photograph people’s activities, revisit childhood memories, and reconnect with her homeland, as well as her experience photographing military re-enactors, whom she found on the Internet. Unable to travel to Iraq to document current U.S. incursions in the Middle East, Lê worked with marines training at Marine Corps Base Camp Pendleton in California. https://player.vimeo.com/video/206477953?portrait=0 781 2007-11-04 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/nancy-spero-in-protest-segment/ Nancy Spero in “Protest” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/spero-nancy-chapter-still-1400x788.jpg For decades, Nancy Spero has drawn from the political to create compelling works of art that make a statement against war, the abuse of power and our male-dominated society. Regarding her paintings made during the Vietnam War, Spero says: “I guess maybe my art can be said to be a protest…The War paintings are certainly a protest because it was done with indignation.” Spero further explains how the politically-inspired work of her late husband, Leon Golub, not only stimulated, but also posed a challenge for her own work. “It was pretty damned difficult contending with someone who was so…brilliant,” she says. Viewers observe Spero as she creates a new work for the Venice Biennale. https://player.vimeo.com/video/206477953?portrait=0 752 2007-11-04 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/pierre-huyghe-in-romance-segment/ Pierre Huyghe in “Romance” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/huyghe-pierre-chapter-still.jpg “As I start a project, I always need to create a world. Then I want to enter this world, and my walk through this world is the work,” says Pierre Huyghe, who lives in both Paris and New York. Huyghe’s films, installations, and public events range from a small-town parade to a puppet theater, from a model amusement park to an expedition in Antarctica. “I’m trying to be less narrative, it’s more an emotional landscape that I’m trying to reach here,” he explains. Huyghe describes how, through the documentation of his scripted realities, he is “building a kind of mythology.” Huyghe believes that his exhibitions are not the endpoint, but rather “the starting point to go somewhere else.” https://player.vimeo.com/video/206476347?portrait=0 876 2007-10-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/judy-pfaff-in-romance-segment/ Judy Pfaff in “Romance” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/pfaff-judy-chapter-still.jpg Although she started out as a painter, Judy Pfaff was drawn to materials and sculpture. As she explains, “I found when I was a painter I couldn’t stop and until it was finished another thought didn’t enter. With the sculpture, they go on for months. It tells different kinds of stories...” The documentary follows Pfaff through the installation of a recent exhibition, one which is driven by sadness and loss, using tree roots, neon tubes, and plaster forms, among others, to explore the worlds of black and white. Pfaff describes how the show came into being after the deaths of several close friends, her mother, and her former teacher and mentor, Al Held. https://player.vimeo.com/video/206476347?portrait=0 670 2007-10-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/lari-pittman-in-romance-segment/ Lari Pittman in “Romance” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/pittman-lari-chapter-still-1400x788.jpg Lari Pittman's references and background which inspire his paintings and drawings include the freedom and chaos of the city, his memories of growing up in Columbia and his “very, very strong Mediterranean core.” Despite a charmed childhood, Pittman explains that what keeps him “radicalized” is an awareness of this country’s attitude towards the gay community. He also explains how he draws inspiration from religious images and retablos as well as gardening and landscaping. “I don’t respond to the idea of nature at large. I prefer landscaping,” says Pittman, “…landscaping as a way to push back, a little bit, the chaos of nature…the kind of violence of it.” https://player.vimeo.com/video/206476347?portrait=0 713 2007-10-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/laurie-simmons-in-romance-segment/ Laurie Simmons in “Romance” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/simmons-laurie-chapter-still.jpg Early in her career, Laurie Simmons used photography as a tool to create a still and pristine reality. Simmons explains how she was able to bring her still photographs to life in her first feature film, The Music of Regret (2006). Drawing from the American Songbook tradition, Simmons composed lyrics and storylines for the musical, which featured a cast of puppets, dummies, and dancers. “My inner life about my own work was very theatrical and very narrative, but that’s something I was always afraid to express,” says Simmons. Viewers follow Simmons through portions of the three-act musical, which portrays complex emotions of love, loss, and regret. https://player.vimeo.com/video/206476347?portrait=0 813 2007-10-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/night-shift-asleep-commissioned-for-play/ “Night Shift: Asleep” (Commissioned for: “Play”) https:art21.org/wp-content/uploads/2016/10/hubbard-birchler-play-chapter-still-1400x788.jpg Each episode for Season Three of Art in the Twenty-First Century concludes with an original work of video art by the artists Teresa Hubbard / Alexander Birchler. Known for their haunting video projections, Hubbard and Birchler’s work alters temporal, cinematic and architectural expectations of the viewer through the use of looping narratives. For Art in the Twenty-First Century, their first commission for television, they have created a series of beautiful and enigmatic short films. Each film uses the same setting—the interior of a police car at night—and begins when one officer brings a cup of coffee for another. Using recurring and non-recurring characters, interrelated dialogue, and ambient sound, the suite of films evoke not only the Season Three themes of Power, Memory, Structures and Play, but also sleep, dreams and longing. https://player.vimeo.com/video/206474221?portrait=0 142 2005-10-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/oliver-herring-in-play-segment/ Oliver Herring in “Play” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/herring-oliver-chapter-still-1400x788.jpg Searching for a release from his past meditative work of knitting colorless sculptures with Mylar tape, Oliver Herring began making fantastical stop-motion videos of himself, and subsequently of strangers encountered by chance. In addition to videos, Herring creates sculptures of “off-the-street” strangers, using Styrofoam covered with photographs that reproduce the skin of the model. He also photographs strangers’ faces after they've spent hours spitting colorful food dye over their faces. The portraits are intense documents of an unusual kind of intimacy. “I usually wait for a moment that brings out some kind of vulnerability,” he says. “That’s what I’m after. This personal connection with a stranger.” https://player.vimeo.com/video/206474221?portrait=0 727 2005-10-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/arturo-herrera-in-play-segment/ Arturo Herrera in “Play” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/herrera-arturo-chapter-still-1400x788.jpg “Being Latin American, you are made up of so many fragments from different cultures,” says Arturo Herrera. For the Venezuela-born artist, collage is the natural expression of his mixed identity. Herrera’s collages combine cartoon elements with abstract shapes to explore the interplay of childhood memories and adult desires. In his Berlin studio, he photographs elements of his own drawings and then develops the film canisters in various liquids, which seep in and alter the film. “I think there is a potential for these images to communicate different things to different viewers in a very touching way,” he explains. “But that experience is not a public experience, it is very private, and very personal.” https://player.vimeo.com/video/206474221?portrait=0 769 2005-10-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/ellen-gallagher-in-play-segment/ Ellen Gallagher in “Play” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/gallagher-ellen-chapter-still-1400x788.jpg Working with vintage magazines, Ellen Gallagher explores both the representation of ethnicity and the essential nature of identity. In a series of large paintings, she mounts page after page in a grid so that the viewer relates to the magazines in a spatial rather than a sequential way. “I’m collecting advertisements and stories and characters,” she says. “And I see them as conscripts in the sense that they come into my lexicon without me asking them permission.” Using an intricate printmaking process to engrave an image of Isaac Hayes, Gallagher comments “I think there is a nostalgia in my gathering of this material...yet in that gesture you’re continually moving forward and continually seeing the world.” https://player.vimeo.com/video/206474221?portrait=0 749 2005-10-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/jessica-stockholder-in-play-segment/ Jessica Stockholder in “Play” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/stockholder-jessica-chapter-still-1400x788.jpg In the studio Jessica Stockholder makes sculptures on the scale of furniture, assembling objects made of brightly colored plastic. “I love plastic. And I also just love color,” Jessica Stockholder says. “Plastic is cheap and easy to buy, and my work participates in that really quick and easy and inexpensive material that’s part of our culture.” At the Rice Gallery in Houston where she is working on a large exuberant installation, Stockholder’s fascination with systems is evident in the way she arranges mundane objects in playful, surprising ways. “I’m interested in how a thinking process can meander in unpredictable ways,” she says. Like child's play, “learning that doesn’t have a predetermined end.” https://player.vimeo.com/video/206474221?portrait=0 726 2005-10-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/night-shift-loop-commissioned-for-structures/ “Night Shift: Loop” (Commissioned for “Structures”) https:art21.org/wp-content/uploads/2016/10/hubbard-birchler-structures-chapter-still-1400x788.jpg Each episode for Season Three of Art in the Twenty-First Century concludes with an original work of video art by the artists Teresa Hubbard / Alexander Birchler. Known for their haunting video projections, Hubbard and Birchler’s work alters temporal, cinematic and architectural expectations of the viewer through the use of looping narratives. For Art in the Twenty-First Century, their first commission for television, they have created a series of beautiful and enigmatic short films. Each film uses the same setting—the interior of a police car at night—and begins when one officer brings a cup of coffee for another. Using recurring and non-recurring characters, interrelated dialogue, and ambient sound, the suite of films evoke not only the Season Three themes of Power, Memory, Structures and Play, but also sleep, dreams and longing. https://player.vimeo.com/video/206472688?portrait=0 143 2005-09-30 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/roni-horn-in-structures-segment/ Roni Horn in “Structures” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/horn-roni-chapter-still-1400x788.jpg “I almost feel like I rediscover water again and again and again,” says Roni Horn. Some Thames, Horn’s permanent installation at the University of Akureyri in Iceland, disperses 80 photographs of water throughout the school’s public spaces, echoing the ebb and flow of students and learning. While in Iceland, Horn also made You Are the Weather, a series of some 100 close-up images of one woman. “I was curious to see if I could elicit a place from her face, almost like a landscape,” she explains. Horn’s installations bridge dimensions to “compose space” through images and text. “My relationship to my work is extremely verbal, extremely language-based,” she comments. https://player.vimeo.com/video/206472688?portrait=0 789 2005-09-30 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/richard-tuttle-in-structures-segment/ Richard Tuttle in “Structures” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/tuttle-richard-chapter-still-1400x788.jpg “A painting or a sculpture really exists somewhere between what it is and what it is not,” says Richard Tuttle. Tuttle uses humble materials such as paper, wire, and string to create art “that accounts for the invisible.” Tuttle sees his current work as “a conjoining of architecture and calligraphy.” In an exhibition at The Drawing Center in New York, Tuttle creates “villages” in which sculptures invite viewers into a contemplative relationship with the artist’s diminutive drawings. “The emotion of an art response does to me feel like motion,” he observes. “We use that word moved. ‘I am moved.’ And yet we know we’re standing right there and we have this experience of being stationary and moved at the same time.” https://player.vimeo.com/video/206472688?portrait=0 643 2005-09-30 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/fred-wilson-in-structures-segment/ Fred Wilson in “Structures” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/wilson-fred-chapter-still-1400x788.jpg Fred Wilson blurs the line between art and curating by designing a museum exhibition space in Sweden that reorients archeological pieces to create new contextual meanings. “I would like to think that objects have memories, and that we have memories about certain objects,” he says. “A lot of what I do is eliciting memory from an object.” Mounting tear-shaped black glass drips on a white wall, and later creating prints of black spots, Wilson reflects on how he was “shunned” as a black child in an all-white school. “A lot of my project is trying to understand the visual world around me,” he says. “What is me, and what is something that the rest of the world has said I am?” https://player.vimeo.com/video/206472688?portrait=0 768 2005-09-30 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/matthew-ritchie-in-structures-segment/ Matthew Ritchie in “Structures” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/ritchie-matthew-chapter-still-1400x788.jpg “All anyone is trying to do is try out some new ideas,” says Matthew Ritchie in describing the project of modern art. Ambitious certainly describes Ritchie's work, which seeks to picture the known universe. In The Universal Cell, Ritchie uses computers and metal cutting equipment to transform drawings into sculpture. “If the universe is a prison, this is your cell...and you drag it with you everywhere you go.” In another show, Proposition Player, Ritchie creates a series of games to explore the continuum of risk, possibility, and universal connection. Ritchie reflects on how humans filter out information in order to go about their lives. “Can we turn the volume up just a little bit more?” he asks. https://player.vimeo.com/video/206472688?portrait=0 771 2005-09-30 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/night-shift-gone-commissioned-for-memory/ “Night Shift: Gone” (Commissioned for “Memory”) https:art21.org/wp-content/uploads/2016/10/hubbard-birchler-memory-chapter-still-1400x788.jpg Each episode for Season Three of Art in the Twenty-First Century concludes with an original work of video art by the artists Teresa Hubbard / Alexander Birchler. Known for their haunting video projections, Hubbard and Birchler’s work alters temporal, cinematic and architectural expectations of the viewer through the use of looping narratives. For Art in the Twenty-First Century, their first commission for television, they have created a series of beautiful and enigmatic short films. Each film uses the same setting—the interior of a police car at night—and begins when one officer brings a cup of coffee for another. Using recurring and non-recurring characters, interrelated dialogue, and ambient sound, the suite of films evoke not only the Season Three themes of Power, Memory, Structures and Play, but also sleep, dreams and longing. https://player.vimeo.com/video/206318290?portrait=0 142 2005-09-23 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/josiah-mcelheny-in-memory-segment/ Josiah McElheny in “Memory” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/mcelheny-josiah-chapter-still-1400x788.jpg “All of my work is essentially derived from some previous source,” says Josiah McElheny. “A lot of times what I’m doing is re-imaging something or transforming it slightly, but it’s always very much in connection to its source.” In his exhibition Total Reflective Abstraction, he uses a silvered glass technique to build on the theories of Isamu Noguchi and Buckminster Fuller proposing a completely reflective “utopia." McElheny's mirrored objects relate to one another in an infinite matrix of reflections. “The definition of being a modern person is to examine yourself, to reflect on yourself and to be a self-knowledgeable person,” he explains, as he himself reflects on the meaning of his work. https://player.vimeo.com/video/206318290?portrait=0 726 2005-09-23 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/hiroshi-sugimoto-in-memory-segment/ Hiroshi Sugimoto in “Memory” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/sugimoto-hiroshi-chapter-still-1400x788.jpg “To me photography functions as a fossilization of time,” says Tokyo-born Hiroshi Sugimoto, who uses traditional photographic techniques to produce images that preserve memory and time. “I start feeling that this is the creation of the universe and I am witnessing it,” he says of his black-and-white seascapes. Sugimoto recalls the influence of Marcel Duchamp on his art, and especially on his own exhibition where he has mounted giant white plinths with photographs of 19th-century machines. These are juxtaposed with images of three-dimensional models that illustrate mathematical theories. “It’s not just a photography show,” he says, “It’s like a space sculpture.” https://player.vimeo.com/video/206318290?portrait=0 736 2005-09-23 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/mike-kelley-in-memory-segment/ Mike Kelley in “Memory” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/kelley-memory-still.jpg In a body of work that includes sculptures, performance, and installations, Mike Kelley explores contemporary culture's obsession with repressed trauma. Many of Kelley’s projects draw on his own memory. "Educational Complex," he says, “is a model of every school I ever went to plus the home I grew up in, with all the parts I can’t remember left blank.” That project has led Kelly to create of a performance/video called Day is Done, which will eventually consist of 365 tapes, one for every day of the year. In scenes that he writes, directs and scores, Kelley has drawn on yearbooks to re-stage high school rituals with surreal elements, such as donkeys, devils, and eerie music in a student-body assembly. https://player.vimeo.com/video/206318290?portrait=0 771 2005-09-23 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/susan-rothenberg-in-memory-segment/ Susan Rothenberg in “Memory” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/rothenberg-susan-chapter-still-1400x788.jpg A transplant from New York, Susan Rothenberg produces paintings that reflect her move to an isolated home studio in New Mexico and her evolving interest in the memory of observed and experienced events. In her early career, she became noted for her series of large paintings of horses. Now, however, she does not find herself creating series. “The paintings are more of a battle to satisfy myself now and I don’t have a sense of series,” she says. Drawing on material from her daily life, she confesses that in her current work “the second painting seems to complete the series.” Sitting in her studio, Rothenberg speaks candidly about her working process and her occasional battles with artistic block. https://player.vimeo.com/video/206318290?portrait=0 738 2005-09-23 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/night-shift-perfect-commissioned-for-power/ “Night Shift: Perfect” (Commissioned for “Power”) https:art21.org/wp-content/uploads/2016/10/hubbard-birchler-power-chapter-still-1400x788.jpg Each episode for Season Three of Art in the Twenty-First Century concludes with an original work of video art by the artists Teresa Hubbard / Alexander Birchler. Known for their haunting video projections, Hubbard and Birchler’s work alters temporal, cinematic and architectural expectations of the viewer through the use of looping narratives. For Art in the Twenty-First Century, their first commission for television, they have created a series of beautiful and enigmatic short films. Each film uses the same setting—the interior of a police car at night—and begins when one officer brings a cup of coffee for another. Using recurring and non-recurring characters, interrelated dialogue, and ambient sound, the suite of films evoke not only the Season Three themes of Power, Memory, Structures and Play, but also sleep, dreams and longing. https://player.vimeo.com/video/206316815?portrait=0 141 2005-09-16 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/ida-applebroog-in-power-segment/ Ida Applebroog in “Power” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/applebroog-ida-chapter-still-1400x788.jpg True to her fiercely independent spirit, Ida Applebroog invented her own last name. In similar fashion, her diverse body of work defies labels, spanning a dizzying array of media including drawings, paintings, books, photographs, sculptures, and installations. The constant that emerges is a trenchant social commentary expressed through images culled from mass media. “It’s hard to say what your work is about” she says, “but for me, it’s about how power works: male over female, parents over children, governments over people, doctors over patients.” Her work skews ordinary images into anxious scenarios infused with irony and black humor. Once “computer illiterate,” Applebroog recently decided to embrace technology and now creates enormous photographic prints. https://player.vimeo.com/video/206316815?portrait=0 610 2005-09-16 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/krzysztof-wodiczko-in-power-segment/ Krzysztof Wodiczko in “Power” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/wodiczko-power-still-384.jpg Through grand scale audio-video projects in public spaces, Krzysztof Wodiczko transforms national monuments and architectural façades into “bodies” as he collaborates with communities to get people to “break the code of silence, to open up and speak about what’s unspeakable.” Born of a Jewish mother who escaped the ghetto in World War II Poland, Wodiczko has been deeply affected by the devastation of war and violence all his life. In Hiroshima, he works with tearful survivors of the atomic bomb, helping them “to open up and share with the world what is so painful” through a commemorative projection. In Tijuana, he projects the faces of women onto the spherical façade of the city’s cultural center as they tell detailed stories of being abused. https://player.vimeo.com/video/206316815?portrait=0 813 2005-09-16 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/laylah-ali-in-power-segment/ Laylah Ali in “Power” (SEGMENT) https:art21.org/wp-content/uploads/2011/12/ali-30080c-002.jpg Working in extremely detailed paintings that take months to create, Laylah Ali combines cartoon and folkloric aesthetics to explore notions of ethnicity and social violence. “I think when people say violence, oftentimes, we think of the violent act,” says Ali. “I’m more interested in what happens before and after.” In her studio, Ali demonstrates the tricky process of working with gouache on paper and speculates that the physiological effects of color and light on the eye may have real social effects. “Could racism be just attributed to bizarre visual phenomenon? There’s a question.” Control, a theme in much of Ali’s work, also informs her own creative process. She admits, “So much of the work is about me trying to control it...and yet it still defies me.” https://player.vimeo.com/video/206316815?portrait=0 764 2005-09-16 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/cai-guo-qiang-in-power-segment/ Cai Guo-Qiang in “Power” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/cai-guo-qiang-chapter-still-1400x788.jpg “My work is sometimes like the poppy flower. It has this almost romantic side, but yet it also represents a poison,” says Cai Guo-Qiang, who harnesses the explosive power of gunpowder to create epic works that are born in violent on-site acts of performance. For his show Inopportune at MASS MoCA, Cai explores catastrophe, pain and the meaning of terrorism in the world since September 11th with an installation of tumbling cars that follow a path through the air. In neighboring galleries, a video imagines a car bomb in Times Square and a series of stuffed tigers pierced by arrows elicits a disturbing, visceral reaction. “Behind all this is a very earnest and frank look at our society today,” says Cai. https://player.vimeo.com/video/206316815?portrait=0 783 2005-09-16 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/walton-ford-in-humor-segment/ Walton Ford in “Humor” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/ford-walton-chapter-still.jpg A voracious reader of colonial letters and diaries, Walton Ford is fascinated by the fear and wonder of nature that he finds in historical texts. “The big thing I’m always looking for in my work is a sort of attraction-repulsion, where the stuff is beautiful to begin with until you notice that some sort of horrible violence is about to happen or is in the middle of happening.” Commenting on a large watercolor depicting a frenzy of birds falling with a massive branch, he explains that the birds are “satisfying all their lusts...as they are going down.” Contrasting the romanticized tradition of Audubon with the destructive qualities of existence, Ford merge a dreamlike vision with a frenetic and comic reality. https://player.vimeo.com/video/206313565?portrait=0 671 2003-10-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/elizabeth-murray-in-humor-segment/ Elizabeth Murray in “Humor” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/murray-elizabeth-chapter-still.jpg In her studio, Elizabeth Murray is painting a shaped, colorful canvas with inflated, bulbous forms. “I want there to be conflict and I want there to be tension. And yet somehow I want to make these very conflicting things live together, and not just butt up against each other.” Murray has spent a lifetime developing her particular vision of zany and vibrant images, beginning with her time as a student at the Art Institute of Chicago where she was surrounded by great works of art such as the Abstract Expressionist paintings by DeKooning. “I just realized this was going to be my life,” says Murray. https://player.vimeo.com/video/206313565?portrait=0 779 2003-10-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/raymond-pettibon-in-humor-segment/ Raymond Pettibon in “Humor” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/pettibon-raymond-chapter-still.jpg Raymond Pettibon’s drawings and paintings pair text and image in provocative and sometimes disconcerting ways, creating a powerful comic art for adults. Pettibon explains, “even though my work is usually just one drawing, it is more of a narrative than it is a cartoon with a punch line and a resolution and a laugh at the end.” The characters of Gumby and Vavoom are recurring motifs in his work, but so are American presidents like Nixon and Reagan. Pettibon finds subjects for satire and social commentary in a broad range of images from popular culture. “I don’t feel constrained by subject matter, “ he says, “I welcome practically anything into the drawing.” https://player.vimeo.com/video/206313565?portrait=0 800 2003-10-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/eleanor-antin-in-humor-segment/ Eleanor Antin in “Humor” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/antin-eleanor-chapter-still.jpg Eleanor Antin is at work on her photographic series The Last Days of Pompeii, a commentary on the affluent residents of the paradise of La Jolla, California. There is a comparison to be made, Antin explains, “between America, as this great colonial power, and one of the early great colonial powers, Rome.” In her highly-theatrical films, photographs, and performance art, Antin draws from the childhood play, an infatuation with stand-up and slapstick comedy, and the tragic humor that is part of her Jewish heritage. “I always tend to see the funny side of things,” she says. “That’s the richest experience, when it’s the laughter and it’s the tears together.” https://player.vimeo.com/video/206313565?portrait=0 756 2003-10-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/opening-to-humor-by-charles-atlas-with-margaret-cho/ Opening to “Humor” by Charles Atlas with Margaret Cho https:art21.org/wp-content/uploads/2016/10/atlas-humor-chapter-still.jpg In the opening segment of "Humor" created by Charles Atlas, comedian Margaret Cho takes on the task of educating her audience about the subtleties of humor. Unfortunately for her model pupil, Bruce, the subject of her lecture is not comedy but antiquated medicine. Surrounded by anatomical diagrams, Cho uses Aristotle’s Theory of the Four Humors as her source material. Cho diagnoses Bruce with an excess of Blood, and covers his head with gummy worm “leeches” while praising, stone-faced, the virtues of bloodletting as a remedy. https://player.vimeo.com/video/206313565?portrait=0 108 2003-10-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/tim-hawkinson-in-time-segment/ Tim Hawkinson in “Time” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/hawkinson-tim-chapter-still.jpg Tim Hawkinson tinkers with everyday materials to build surprising mechanical art works. “I guess it comes from early on in childhood, a fascination with moving parts and sort of the magical,” he suggests. In his studio, Hawkinson explains how he used gears, switches, nozzles, buckets, and pie tins to build a drumming machine that captures random drips of rain, amplifies them, and organizes them into music. “It’s not even electronics. I don’t know what it is,” he admits. One of Hawkinson’s largest projects, Überorgan, is an inflatable installation in a space the size of a football field. For a version of the artwork the artists created a score for the organ using old church hymns. https://player.vimeo.com/video/206312011?portrait=0 794 2003-09-17 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/vija-celmins-in-time-segment/ Vija Celmins in “Time” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/celmins-vija-chapter-still.jpg Patiently working at her easel, Vija Celmins dabs tiny speaks of paint on a canvas. The object of her attention is a starry night sky, an image that she has been painstakingly creating by applying paint, rethinking, sanding it off, and adding more. “This is all part of the work,” she says, “in fact, I often now talk about building a painting.” A prolific artist with a long career, Celmins has created sculptures, paintings, drawings and prints that find a timeless authenticity in natural forms from stones to waves and spider webs. “It’s like something unconsciously seeps into the work,” Celmins explains, discussing her attitude to the labor-intensive process she is well known for. https://player.vimeo.com/video/206312011?portrait=0 747 2003-09-17 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/paul-pfeiffer-in-time-segment/ Paul Pfeiffer in “Time” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/pfeiffer-paul-chapter-still.jpg Courtside at a San Antonio Spurs NBA game, Paul Pfeiffer remarks “I’m really attracted to images of amazing spectacle." Both Pfeiffer’s sensibility and his technique are products of contemporary culture as he pulls video of sports events, pageants, and newscasts off television and then digitally manipulates the images to comment on the frenetic pace and dehumanizing qualities of a consumption-oriented, media-driven culture. “There is a kind of humiliation in that process of simply becoming objects of admiration or people simply becoming consumers,” he observes. In his Long Count pieces, Pfeiffer explains he worked meticulously, frame by frame, to erase the boxers from the ring until they are mere shadows. https://player.vimeo.com/video/206312011?portrait=0 714 2003-09-17 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/martin-puryear-in-time-segment/ Martin Puryear in “Time” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/puryear-martin-chapter-still.jpg Martin Puryear’s respect for age-old techniques and his knowledge of woodworking, masonry and non-western crafts are essential to the archetypal forms he creates. “I’m really interested in vernacular cultures where people lived a little closer to the source of materials...” The artist tapped his carpentry skills to create Ladder for Booker T. Washington, a sculptural country ladder reaching 36 feet into the air. The segment continues with Puryear on a visit to Northern California where he built a massive stone folly working with a team of masons, and to a stoneyard in China and a sculpture site in Japan, revealing the complex practical and artistic calculations that go into Puryear’s large-scale work. https://player.vimeo.com/video/206312011?portrait=0 750 2003-09-17 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/opening-to-time-by-charles-atlas-with-merce-cunningham/ Opening to “Time” by Charles Atlas with Merce Cunningham https:art21.org/wp-content/uploads/2016/10/atlas-time-chapter-still-1.jpg "Tap-dancing is a way of articulating time, and it’s a long time since I did it," says pioneering dancer/choreographer Merce Cunningham in the introduction to Time created by Charles Atlas. Cunningham speaks of his childhood dance teacher, an early influence, who made a strong impression with her tap-dancing, including a remarkable moment when “she did it on the side of her foot. I never forgot it.” Cunningham begins to tap while seated, allowing the syncopated rhythms of his dance to set the tone for the episode. https://player.vimeo.com/video/206312011?portrait=0 109 2003-09-17 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/janine-antoni-in-loss-desire-segment/ Janine Antoni in “Loss & Desire” (SEGMENT) https:art21.org/wp-content/uploads/2017/09/antoni-tight-rope-096-1400x788.jpg Filmed weaving a rope out of materials donated by friends and relatives, Janine Antoni comments that the rope is like a "lifeline." The artist is later shown walking a tightrope, preparing for the video Touch where she appears to walk on the blue ocean horizon of her childhood home in the Bahamas. Antoni's use of unusual sculptural materials such as chocolate, soap, lard, and rawhide is explored as the artist takes the viewer on a tour of a major exhibition at SITE Santa Fe. "There are so many objects that...we’ve lost a connection to what they’re made of, who made them," explains the artist. https://player.vimeo.com/video/206310098?portrait=0 937 2003-09-10 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/gabriel-orozco-in-loss-desire-segment/ Gabriel Orozco in “Loss & Desire” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/orozco-gabriel-chapter-still.jpg "I don’t have a studio, so I don’t have a specific place of production," remarks Gabriel Orozco. "What happens when you don’t have a studio is that you have to be confronted with reality all the time." The segment follows Orozco as he creates situations with objects on the street and photographs them. Orozco's interest in logic, systems, and physics is revealed in his series of games and in the dramatic La D.S.—a Citroën car split down the center and reassembled to elongate its shape. "I tried to use the tools that everyone can use," explains Orozco, commenting on his use of everyday objects and his recent series of handmade clay shapes and pots. https://player.vimeo.com/video/206310098?portrait=0 913 2003-09-10 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/collier-schorr-in-loss-desire-segment/ Collier Schorr in “Loss & Desire” (SEGMENT) https:art21.org/wp-content/uploads/2017/02/Schorr-LossDesire-still-048-001.jpg "Gender, religion, nationality—they’re all sort of things that are in flux in my work," comments Collier Schorr, pointing out the ambiguity that is so important to each image. Filmed taking pictures of a wrestling practice and match, Schorr captures the physical exhaustion and camaraderie of her subjects. Shifting to the subject of art history, Schorr's images of her male model and friend, Jens, dramatize poses made by American painter Andrew Wyeth's female model Helga. The segment ends in Germany where Schorr recreates a fictionalized military occupation of the landscape, bringing to the surface the personal histories buried and repressed by war. https://player.vimeo.com/video/206310098?portrait=0 1023 2003-09-10 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/opening-to-loss-desire-by-charles-atlas-with-jane-alexander/ Opening to “Loss & Desire” by Charles Atlas with Jane Alexander https:art21.org/wp-content/uploads/2016/10/atlas-loss-chapter-still.jpg Created by Charles Atlas, the opening for Loss & Desire begins with four-time Oscar-nominated actress Jane Alexander seated before a mirror in a glamorous dressing room, reflecting on the emotions that motivate some of the characters she has brought to life on stage and screen. Alexander notes that as an actress this emotional range is “familiar territory.” Alexander introduces the artists featured in the hour, commenting that they create works that are “both personal and universal.” https://player.vimeo.com/video/206310098?portrait=0 123 2003-09-10 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/trenton-doyle-hancock-in-stories-segment/ Trenton Doyle Hancock in “Stories” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/hancock-trenton-doyle-chapter-still.jpg "In my work I feel I’m finally being able to bring together the worlds of comic book narratives and the history of abstraction," comments Trenton Doyle Hancock. Hancock's drawings, installations, paintings tell the epic story of a group of mythical creatures called Mounds. While developing the most recent installment of his story, Hancock explains that his newest series of allegorical paintings are "colorful blasts of energy or communication from Mounds, these visions of hope. So in a way it's like God’s promise with the rainbow after the flood." https://player.vimeo.com/video/206307570?portrait=0 719 2003-09-09 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/do-ho-suh-in-stories-segment/ Do Ho Suh in “Stories” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/suh-do-ho-chapter-still.jpg Do Ho Suh is filmed painting outside his childhood home. "Once my fortune teller told me that I have five horses and that means that I travel a lot," says Suh, illuminating the concept behind the artist's transportable fabric sculpture Seoul Home/L.A. Home... Themes of homesickness, public and private space, military conflict, conformity and difference, and art's relationship to architecture are touched on by Suh as he installs an exhibition at the Seattle Art Museum and travels between his life and studio in New York and a life full of memory and family ties in Seoul, South Korea. https://player.vimeo.com/video/206307570?portrait=0 783 2003-09-09 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/kiki-smith-in-stories-segment/ Kiki Smith in “Stories” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/smith-kiki-chapter-still.jpg "Basically, I think art is just a way to think," remarks Kiki Smith, "it’s like standing in the wind and letting it pull you in whatever direction it wants to go." Adept in bronze, wax, textiles, and printmaking, the segment follows Smith on a journey through a diversity of narrative subjects including witches, saints, death, animals, family members, domestic objects, and dolls. Smith explains her relationship to meaning in her work: "I’d rather make something that’s very open-ended that can have a meaning to me, but then it also can have a meaning to somebody else who can fill it up with their meaning." https://player.vimeo.com/video/206307570?portrait=0 786 2003-09-09 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/kara-walker-in-stories-segment/ Kara Walker in “Stories” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/walker-kara-chapter-still.jpg "The illusion is that most of my work is simply about past events, a point in history and nothing else," says Kara Walker about her subversive use of the traditional silhouette technique. The segment traces the evolution of Walker's work, from time spent in the studio to the artist's recent installations of projected light. "A lot of what I was wanting to do in my work and what I have been doing has been about the unexpected...that unexpected situation of wanting to be the heroine and yet wanting to kill the heroine at the same time." Projecting fiction into fact, Walker's art upsets the conventions of history and storytelling. https://player.vimeo.com/video/206307570?portrait=0 734 2003-09-09 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/opening-to-stories-by-charles-atlas-with-john-waters/ Opening to “Stories” by Charles Atlas with John Waters https:art21.org/wp-content/uploads/2016/10/atlas-stories-chapter-still.jpg Created by Charles Atlas, the opening for Stories is a gloss on the classic Masterpiece Theater host introduction. Filmmaker John Waters greets the audience dressed for the part in a checkered smoking jacket and surrounded by his extensive collection of art books in his Baltimore home. “Good art provokes and inspires,” declares Waters. For Waters, “a strong reaction” is an important measure of success. “Not everyone likes the stories I tell,” Waters modestly remarks. https://player.vimeo.com/video/206307570?portrait=0 96 2003-09-09 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/mel-chin-in-consumption-segment/ Mel Chin in “Consumption” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/chin-mel-chapter-still.jpg An interactive video game based on rug patterns of nomadic peoples and a garden with "hyperaccumulator" plants that clean up contaminated land are just two of Mel Chin's unique collaborative ventures, incorporating botany, ecology, and even alchemy. "Making art, I think, is not about one track, one method," he says. "The diversity of mediums and techniques is minor. But the diversity of ideas and how they survive and the methods that are transmitted is very important." The segment follows Chin in Detroit as he scouts locations for his latest project that converts arsoned houses into worm farms that benefit the local economy. Fractured by television static, Chin's segment resembles a subversive broadcast. https://player.vimeo.com/video/206305687?portrait=0 779 2001-09-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/andrea-zittel-in-consumption-segment/ Andrea Zittel in “Consumption” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/zittel-consumption-still-002-001.jpg From her experimental home and clothing projects to her artificial Pocket Property island off the coast of Denmark, Andrea Zittel is an artist who truly "lives" art. "We're obsessed with perfection, we're obsessed with innovation and moving forwards. But what we really want is the hope of some sort of a new and improved or better tomorrow." Filmed in Zittel's Brooklyn home and studio, which serves as her artful business A-Z Administrative Services, the artist takes the viewer on a tour of her specially designed bathroom, furniture, and wardrobe—a whimsical blend of the artist's Southern California roots and 20th Century Modernist design philosophy. https://player.vimeo.com/video/206305687?portrait=0 786 2001-09-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/matthew-barney-in-consumption-segment/ Matthew Barney in “Consumption” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/barney-matthew-chapter-still.jpg "A system that has an internal object, Freudian narratives—consumer and producer, violence, sexually driven, NFL films—these are the things I think about," says Matthew Barney. His CREMASTER series of films twist narrative flow, challenge genres, and interrogate art as they explore the ways "that violence is sublimated into form." This segment follows Barney and his crew on the set of CREMASTER 3 at the Saratoga race track and at the Solomon R. Guggenheim Museum in New York. At Saratoga, Barney transforms a group of horses into racing corpses; at the Guggenheim, the artist transforms the Museum into a set for an obstacle course/video game. https://player.vimeo.com/video/206305687?portrait=0 752 2001-09-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/michael-ray-charles-in-consumption-segment/ Michael Ray Charles in “Consumption” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/charles-michael-ray-chapter-still.jpg Michael Ray Charles is filmed on location at his home and studio in Austin, Texas. Through his studies of advertising, the minstrel tradition, and blackface, Charles seeks to deconstruct and subvert images of blackness through painting. "I've been called a sellout. People question my blackness. A lot of people accuse me of perpetuating a stereotype," he says. "I think there's a fine line between perpetuating something and questioning something. And I like to get as close to it as possible." Pointing out items from his collection of memorabilia, Charles traces the transformation of stereotypes in his work. The segment concludes at an exhibition of Charles' work in New York City. https://player.vimeo.com/video/206305687?portrait=0 737 2001-09-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/introduction-to-consumption-by-barbara-kruger-with-john-mcenroe/ Introduction to “Consumption” by Barbara Kruger with John McEnroe https:art21.org/wp-content/uploads/2016/10/kruger-barbara-chapter-still.jpg Consumption begins with an original work created by artist Barbara Kruger. Hosted by tennis star and sports commentator John McEnroe, the humorously frenetic video explores the ways in which people consume things in their daily lives, from food to money to sex. Throughout the video, Kruger's trademark phrases in red and white demand the attention and obedience of the viewer. Proclaiming "Love art, Buy art, Sell art," and "Feed me, Love me, Buy me, Sell me", Kruger's text addresses the viewer in much the same way advertisers sway a consumer to buy a product. https://player.vimeo.com/video/206305687?portrait=0 76 2001-09-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/louise-bourgeois-in-identity-segment/ Louise Bourgeois in “Identity” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/bourgois-louise-chapter-still.jpg The final segment Identity focuses on Louise Bourgeois. Active since the early 1940s, Bourgeois has consistently plumbed the her own biography for subject matter and inspiration. Working with delicate stone sculptures in public spaces and plaster casts of hands, Bourgeois explores memory, emotion, and strength through works that reach viewers on a visceral level. "A work of art doesn't have to be explained," she says. "If you do not have any feeling about this, I cannot explain it to you. If this doesn't touch you, I have failed." Bourgeois' work challenges viewers to make connections between their own lives and the lives staged in the artist's installations, drawings, and public sculptures. https://player.vimeo.com/video/206303929?portrait=0 742 2001-09-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/maya-lin-in-identity-segment/ Maya Lin in “Identity” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/lin-maya-chapter-still.jpg Maya Lin, who at twenty-one became one of America's most recognized artists with her winning design for the Vietnam Veterans Memorial, is filmed transforming an urban park in Grand Rapids, Michigan. A work that is part art and part architecture, the park features a skating rink which Lin has outfitted with sophisticated fiber optic technology to produce an image of the starry night sky onto the surface of the ice. "Everything I've done in life is about polarities, about two sides balancing out," says the artist. Carving layers of circles out of the pages of an atlas in order to create topographic islands and canyons, both Lin's studio and outdoor projects mark an identification with the land. https://player.vimeo.com/video/206303929?portrait=0 644 2001-09-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/kerry-james-marshall-in-identity-segment/ Kerry James Marshall in “Identity” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/marshall-identity-mansions-008.jpg From paintings and videos to his comic strip featuring African sculptures, Kerry James Marshall's work unites influences from Renaissance painting and African-American traditions to question the authority of history and "reclaim the image of blackness." 374 https://player.vimeo.com/video/206303929?portrait=0 806 2001-09-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/bruce-nauman-in-identity-segment/ Bruce Nauman in “Identity” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/nauman-bruce-chapter-still.jpg Bruce Nauman transforms everyday activities, speech, and objects into works that are both familiar and alien. "I needed a different way to approach the idea of being an artist," says Nauman. "I always thought that you can make something that appears to be functional, but when you try to and use it, you can't figure out what its function might be. And that's in the end what the function is, for you to figure out what to do with it." Filmed at Nauman's ranch and studio outside of Santa Fe, New Mexico, the segment features several of Nauman's recent explorations into video, text, and self-portraiture—materials and themes the artist has engaged for over thirty years. https://player.vimeo.com/video/206303929?portrait=0 785 2001-09-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/introduction-to-identity-by-william-wegman-with-steve-martin/ Introduction to “Identity” by William Wegman with Steve Martin https:art21.org/wp-content/uploads/2016/10/wegman-william-chapter-still.jpg Identity opens with a whimsical collaboration between noted photographer and artist William Wegman and actor, playwright, and comedian Steve Martin. In this opening segment, Martin (or is it just a mannequin that looks like him?) questions the fundamental nature of identity amidst playful diversions which include card tricks, the sound of a lawnmower in the distance, ringing doorbells, and Wegman's agile Weimaraner dogs. The zany opening was created by Wegman on a sound stage and plays with varying degrees of reality and theatrical illusion. At one point, Steve Martin is rendered motionless when it's revealed that throughout the segment his hands have belonged to someone else—a puppeteer. https://player.vimeo.com/video/206303929?portrait=0 133 2001-09-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/james-turrell-in-spirituality-segment/ James Turrell in “Spirituality” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/turrell-spirituality-still-029.jpg The final segment in Spirituality features James Turrell, known for his use of light as the primary material in his work. From his Quaker Meeting House to his Roden Crater project, the artist has devoted his life to capturing the ethereal properties of light and its powers to evoke transcendence and the sublime. Pursuing his vision at a great sacrifice, Turrell wryly comments "People often ask me how much this crater costs. It cost me two marriages and a relationship." This segment focuses on two new works in Houston, Texas—an underground tunnel of light and a skyspace in the ceiling of a Friends meetinghouse—in addition to Turrell's life's work in Arizona's remote Painted Desert—Roden Crater. https://player.vimeo.com/video/206302201?portrait=0 767 2001-09-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/shahzia-sikander-in-spirituality-segment/ Shahzia Sikander in “Spirituality” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/sikander-spirituality-paint-002.jpg Trained in the challenging discipline of Indian and Persian miniature painting, Shahzia Sikander has adapted an enduring artistic tradition to the task of questioning and exploring her Eastern heritage, its boundaries, and its liberating possibilities. "My whole purpose of taking on miniature painting was to break the tradition, to experiment with it, to find new ways of making meaning, to question the relevance of it," she says. The segment traces the artist's balancing act between studio and museum, small works and large-scale installations, Islamic faith and American attitudes towards Islam, and Sikander's life in the United States and her family in Pakistan. https://player.vimeo.com/video/206302201?portrait=0 749 2001-09-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/john-feodorov-in-spirituality-segment/ John Feodorov in “Spirituality” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/feodorov-spirituality-still-000-007.jpg Calling on his Native American heritage and sense of humor, John Feodorov sets tradition against modern-day kitsch to create a "hybrid mythology" in provocative multimedia installations. "I have this background," says Feodorov, "of a traditional Navajo and this sort of outsider Christian background of Jehovah Witnesses, which are completely opposed to each other. And I'm in the middle trying to make sense out of it." Filmed in Seattle, Washington, where the artist works and lives, the segment features Office Shaman, a new performance/installation which humorously joins contemporary office culture with ritual healing and sacrifice. https://player.vimeo.com/video/206302201?portrait=0 541 2001-09-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/ann-hamilton-in-spirituality-segment/ Ann Hamilton in “Spirituality” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/hamilton-ann-chapter-still.jpg Whether working with sculpture, textiles, film, and sound, or even her unique mouth-operated pinhole cameras, Ann Hamilton finds all her art to be about a "very fundamental act of making." "When I'm making work," she says, "there's a point where I can't see it. And then there's that moment where you can see it—it's like it bites you—and you think it might be beautiful." Filmed on location in Lexington, Virginia, where she is in the process of a new installation ghost: a border act, the segment travels with Hamilton to her home in Columbus, Ohio, where she is shown experimenting with bubbles that stretch from floor to ceiling. https://player.vimeo.com/video/206302201?portrait=0 901 2001-09-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/pepon-osorio-in-place-segment/ Pepon Osorio in “Place” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/osorio-pepon-chapter-still.jpg The final artist in Place is Pepón Osorio, filmed on location in his birthplace of Puerto Rico and his residence in Philadelphia, PA. Osorio leads the viewer on a tour of three complex, multidimensional installations where the artist's Puerto Rican heritage and experience as a social worker inform his staged confrontations between public life and private spaces. Says Osorio, "When this piece, The Scene of the Crime, was at the Whitney Museum, it almost felt as if I'd taken a piece of the South Bronx and placed it in the middle of Madison Avenue." Also featured in this hour is the work Home Visits which transforms the homes of ordinary people into neighborhood-based galleries for a traveling work of art. https://player.vimeo.com/video/206300453?portrait=0 752 2001-09-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/barry-mcgee-margaret-kilgallen-in-place-segment/ Barry McGee & Margaret Kilgallen in “Place” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/mcgee-kilgallen-chapter-still.jpg "I like things that are handmade," says Margaret Kilgallen, referring to the hand-painted signs of San Francisco's Mission District that influenced her work. "In that they did it themselves—that's what I find beautiful." The segment follows Kilgallen as she bikes around the Mission, paints in her studio, visits the San Francisco train yards with artist and husband Barry McGee, and creates a new painting installation at the UCLA/Armand Hammer Museum. While hand-painting wall sized letters on a ladder, Kilgallen describes her process: "I do spend a lot of time trying to perfect my line work...when you get close up, you can always see the line waver. And I think that's where the beauty is." Barry McGee, who has a passion for graffiti art, says, "I like that process of a thing discarded, then picked up, and intercepted." In this segment, McGee discloses an urban inspiration for his art. The segment follows McGee and Kilgallen to the local train yards where the artists point out their favorite markings and leave some of their own, contributing to a graphic conversation that spans train cars across the nation. McGee is also filmed atop a water tower painting one of his signature figures. Traveling to the UCLA/Armand Hammer Museum, the segment follows McGee as he installs a new room-sized work, a two-story mural, as well as a storefront painting looking out on the streets of Los Angeles. https://player.vimeo.com/video/206300453?portrait=0 731 2001-09-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/sally-mann-in-place-segment/ Sally Mann in “Place” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/mann-sally-chapter-still.jpg The documentary shifts to Lexington, Virginia where Sally Mann is working in her studio on a new series of "dog bone" photographs. “What I like about these dog bones is their ambiguity. I mean, I love that aspect of photography, the mendacity of photography. It’s got to have some kind of peculiarity in it or it’s not interesting to me.” The work-ethic of Sally Mann, whose intricate photographic techniques record the historical scars and romanticism of the South, is as she takes photos both in her studio and outdoors. The farm where Mann lives and works becomes a meaningful backdrop as her inspired process of capturing it on film is revealed. https://player.vimeo.com/video/206300453?portrait=0 851 2001-09-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/richard-serra-in-place-segment/ Richard Serra in “Place” (SEGMENT) https:art21.org/wp-content/uploads/2016/10/serra-richard-chapter-still.jpg The segment follows Richard Serra as he guides the viewer through several massive installations he has done in New York, San Francisco, and Bilbao, Spain. Having worked with metal for the past forty years, Serra creates sculptures shape and stretch steel like rubber, carving intimate moments out of public spaces. "I was surprised that people who had absolutely no information about sculpture were able to enter into these pieces," says the artist. "The experience for them was fulfilling because, in some sense, it was startling, it was new, because they couldn't locate themselves." https://player.vimeo.com/video/206300453?portrait=0 653 2001-09-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/introduction-to-place-by-laurie-anderson/ Introduction to “Place” by Laurie Anderson https:art21.org/wp-content/uploads/2016/10/anderson-laurie-chapter-still_0.jpg "Most of the work that I do as an artist, whether it's music, or images or a story, begins with a place," says renown multi-media performance and recording artist Laurie Anderson in the introductory segment she created for Art21. "A room, a road, a city, a country...these places become jumping off points for my imagination." Filmed on location in New York City and featuring talking and tropical billboards, the Statue of Liberty, a choreographed dance with red chinese fans, and a trip to a Japanese grocery store, Anderson's whimsical work plays with scale, point of view, and virtual spaces to create a fanciful dreamscape. For this premiere opening segment, Anderson combines the roles of artists and host. https://player.vimeo.com/video/206300453?portrait=0 123 2001-09-21 yes no https://art21.org/watch/new-york-close-up/new-york-close-up-series-trailer-year-1-2011/ “New York Close Up” Series Trailer, Year 1 (2011) https:i.vimeocdn.com/video/158048243_1280x720.jpg Art21 presents a new documentary series on art and life in New York. "New York Close Up" premiered online June 13th, 2011. Music: "Simultaneously" (2011) by MEN. https://player.vimeo.com/video/24052932?portrait=0 140 2011-05-27 yes no https://art21.org/watch/new-york-close-up/tommy-hartungs-underground-movies/ Tommy Hartung’s Underground Movies https:art21.org/wp-content/uploads/2016/10/10Tommy-Underground-final-MAT-fix-62511-3-1400x788.jpg How little does an artist need in a moving image to tell a story? In this film, artist Tommy Hartung employs minimal means and materials to create animated movies, performing a series of experiments in his basement studio in Ridgewood, Queens. Hartung’s remodeled underground space functions as a workshop—or in the words of a friend, an “arena”—with colored lights, dioramas, and puppet-like characters. Using stop-motion photography, Hartung records a series of simple actions: blowing smoke through an artificial mouth, dripping Karo syrup on a frog, crumpling plastic wrap, adjusting a doll’s clothing, and funnelling salt through a hole. Preferring what the artist terms “dead cinema,” Hartung’s hand-crafted props and their intentionally un-lifelike movements are against the grain of current computer-generated animation spectacles. 361 https://player.vimeo.com/video/25667485?portrait=0 395 2011-06-27 yes no https://art21.org/watch/new-york-close-up/rashid-johnson-makes-things-to-put-things-on/ Rashid Johnson Makes Things to Put Things On https:art21.org/wp-content/uploads/2016/10/johnson-makes-things-still-012-1-1400x788.jpg How does an artist contribute his own personal story in the face of prevailing historical narratives? In this film, artist Rashid Johnson discusses the fluid nature of black identity in America and its escapist tendencies, from the Afrocentric politics of Marcus Garvey to the cosmic philosophy of Sun Ra. Johnson’s invented secret society—The New Negro Escapist Social and Athletic Club—is a framework through which the artist humorously upends, through repetition and juxtaposition, conventional expectations of historical influence and legacy. Inspired by a story by the artist Lawrence Weiner in which one character says to another that “a table is something to put something on,” Johnson creates sculptures of shelf-like structures from materials such as black wax, mirror, tile, and branded wood. Each structure is filled with culturally resonant objects—such as Miles Davis and Ramsey Lewis jazz records, books by comedians Dick Gregory and Bill Cosby, and treatises by scholars such as W.E.B. Du Bois and Debra J. Dickerson—as well as the artist’s own photographs and hand-made objects. 360 https://player.vimeo.com/video/25347429?portrait=0 344 2011-06-20 yes no https://art21.org/watch/new-york-close-up/mika-tajima-wants-to-hire-contortionists/ Mika Tajima Wants to Hire Contortionists https:art21.org/wp-content/uploads/2016/10/003MikaTajimaScreengrabs10-1400x788.jpg How do you activate a white cube gallery space? In this film, artist Mika Tajima works with two amateur contortionists to create a series of dance-like movements that respond to her sculptural installation of re-purposed vintage office cubicles and ergonomic chairs. The performance is the culmination of a long and delicate exchange between the artist and her multiple collaborators, with Tajima proposing the idea to her gallery over the phone and months later directing the performers to improvise a series of a poses only hours before the event. Beginning with simple positions, the contortionists' bodies begin to take on striking shapes as music by Tajima's music collective New Humans asserts a steady rhythm. https://player.vimeo.com/video/25235454?portrait=0 368 2011-06-17 yes no https://art21.org/watch/new-york-close-up/martha-colburn-the-musicians-live/ Martha Colburn & the Musicians, LIVE! https:art21.org/wp-content/uploads/2017/03/036-nycu-production-colburn-1400x788.jpg How does an artist transform a solitary practice into a communal experience? In this film, artist Martha Colburn leads a group of musicians in a series of live performances to her animated films at the Museum of the Moving Image in Astoria, Queens. The raucous energy of the musical accompaniment to Colburn’s work—itself intensely kinetic and colorful, often depicting historically-inspired scenes of aggression and violence—belies the time-consuming and meticulous process by which the artist creates her stop-motion films. The night’s musical performances range in origin from fully composed scores to improvised jams, with the instrumentation matching the narrative highs and lows of each film. Colburn herself performs with multiple projections of hand-painted and found footage, manipulating the images by fanning colored gels, refracting light through lenses, and physically moving the projectors. 358 https://player.vimeo.com/video/25563347?portrait=0 321 2011-06-24 yes no https://art21.org/watch/new-york-close-up/mariah-robertson-wears-a-yellow-suit-to-work/ Mariah Robertson Wears a Yellow Suit to Work https:art21.org/wp-content/uploads/2016/10/09Mariah-yellow-suit-online-final-MAT-fix-062511-1-1-1400x788.jpg How does an artist make work in extreme circumstances? In this film, artist Mariah Robertson wears a makeshift hazmat suit, face mask, and breathing apparatus to create a series of hand-processed color photographs in her darkroom in Greenpoint, Brooklyn. Navigating both a toxic process and discontinued materials, Robertson’s ability to perfect her technique is a race against time, dwindling resources, and her ability to endure difficult conditions. The artist’s unorthodox, photo-based projects often employ multiple techniques in a single image: enlarging negatives, employing filters, crafting hand-made patterns of colored gels, and placing objects—such as agate, hoses, and glass—directly on the paper. In addition, Robertson achieves one-of-a-kind results by developing each photo in an artisinal fashion by spraying chemicals and by controlling reactions with variable temperatures and the strength of her materials. In the end, Roberton’s tragicomic images poke fun at a traditional photography culture while exploring the slow obsolescence of analog processes in a digital era. https://player.vimeo.com/video/25669208?portrait=0 402 2011-06-27 yes no https://art21.org/watch/new-york-close-up/lucas-blalocks-99%c2%a2-store-still-lifes/ Lucas Blalock’s 99¢ Store Still Lifes https:art21.org/wp-content/uploads/2016/10/007BlalockStillLives-07-1400x788.jpg How does an artist make working at home interesting? In this film, artist Lucas Blalock photographs mundane objects from local discount stores in the living room of his Williamsburg apartment & studio. Shooting with a large format camera, Blalock arranges a series of sculptural, tabletop still lifes on colorful backdrops and patterned fabric. Quickly moving from one setup to the next, Blalock manipulates each scene by employing mirrors, adjusting the camera’s vantage point, and repeating objects. Finding time to work on nights and weekends in between his day job, Blalock discusses how the conditions and context of his environment structure his relationship to making images. 356 https://player.vimeo.com/video/25559106?portrait=0 380 2011-06-24 yes no https://art21.org/watch/new-york-close-up/latoya-ruby-frazier-takes-on-levis/ LaToya Ruby Frazier Takes on Levi’s https:art21.org/wp-content/uploads/2017/03/015-nycu-production-frazier-1400x788.jpg What is the responsibility of an artist to her community? In this film, artist and activist LaToya Ruby Frazier discusses the economic and environmental decline of her hometown—Braddock, Pennsylvania—the city that the clothing company Levi’s used as inspiration and backdrop for a major advertising campaign in 2010. Having photographed in Braddock since she was sixteen years old, Frazier’s black-and-white images of her family and their surroundings present a stark contrast to the campaign images of “urban pioneers” and slogans such as “everybody’s work is equally important.” In a performance developed in collaboration with the artist Liz Magic Laser, Frazier carries out a choreographed series of movements on the sidewalk in front of the temporary Levi’s Photo Workshop in SoHo. Wearing a costume of ordinary Levi’s clothes, the artist’s repetitive and relentless motion ultimately destroys the jeans she’s wearing. https://player.vimeo.com/video/25235922?portrait=0 391 2011-06-17 yes no https://art21.org/watch/new-york-close-up/kalup-linzy-james-franco-thats-entertainment/ Kalup Linzy & James Franco, That’s Entertainment! https:art21.org/wp-content/uploads/2017/03/030-nycu-production-linzy-1400x788.jpg What’s the difference between art and entertainment? In this film, artist Kalup Linzy prepares for his debut performance as Kalup & Franco—a performance art music-based collaboration with the actor James Franco—at Rob Pruitt’s 2010 Art Awards at Webster Hall in the East Village. Kalup & Franco are the closing act for a Hollywood-style awards show where celebrity and contemporary art merge in ambiguous ways. Featuring excerpts of Linzy’s original songs Chewing Gum, Hot Mess, and Asshole, along with cameos by artists Marina Abramovic, John Currin, Rachel Feinstein, Mary Heilmann, Marilyn Minter, and Rob Pruitt; curators Klaus Biesenbach and Tom Eccles; dealer Jeanne Greenberg Rohatyn; and critic Jerry Saltz. Kalup & Franco’s debut EP titled Turn It Up, co-produced by DJ /rupture, was released July 12, 2011 on the label Dutty Artz. https://player.vimeo.com/video/25040150?portrait=0 504 2011-06-13 yes no https://art21.org/watch/new-york-close-up/a-brief-history-of-shana-moulton-whispering-pines/ A Brief History of Shana Moulton & Whispering Pines https:art21.org/wp-content/uploads/2016/10/01Shana-History-online-061011-PM-final-credits-1-1400x788.jpg Should an artist separate herself from the character she creates? In this film, artist Shana Moulton traces the development of her ongoing video and performance series Whispering Pines and its central protagonist Cynthia. Moulton charts the various ways in which fiction and autobiography meld and diverge in the character of Cynthia, played by the artist herself. The title of the series is an homage to David Lynch’s Twin Peaks and adopts the name of Shana’s childhood home: a trailer park for seniors near Yosemite, California. Featuring video and music from several episodes of Whispering Pines—a mix of live action, computer animation, and original songs by Jacob Ciocci and Nick Hallett. https://player.vimeo.com/video/25039353?portrait=0 429 2011-06-13 yes no https://art21.org/watch/extended-play/paul-mccarthy-central-symmetrical-rotation-movement-short/ Paul McCarthy: “Central Symmetrical Rotation Movement” (SHORT) https:i.vimeocdn.com/video/614479830_960x540.jpg Artist Paul McCarthy discusses his interest in art as political theater and his sculptures as akin to amusement park rides. Featuring the works Bang Bang Room (1992), Spinning Room (2008), and Mad House (2008) in the exhibition Paul McCarthy: Central Symmetrical Rotation Movement, Three Installations, Two Films (2008) at the Whitney Museum of American Art. Whether conflating real-world political figures with fantastical characters such as Santa Claus, or treating erotic and abject content with frivolity and charm, McCarthy's work confuses codes, mixes high and low culture, and provokes an analysis of fundamental beliefs. https://player.vimeo.com/video/200747860?portrait=0 260 2011-05-13 yes no https://art21.org/watch/extended-play/hiroshi-sugimoto-becoming-an-artist-short/ Hiroshi Sugimoto: Becoming an Artist (SHORT) https:art21.org/wp-content/uploads/2016/10/emvideo-bliptv-5084404.jpg Filmed in his New York studio, artist Hiroshi Sugimoto recounts his student days studying Western philosophy (Hegel, Kant, Marx) in Tokyo, encountering Oriental philosophy (such as Zen Buddhism) in California, and his interest in the history of Modernism—all schools of thought that demonstrate "the human ability to see things in a different way." Central to Hiroshi Sugimoto’s work is the idea that photography is a time machine, a method of preserving and picturing memory and time. Sugimoto sees with the eye of the sculptor, painter, architect, and philosopher. He creates images that seem to convey his subjects’ essence, whether architectural, sculptural, painterly, or of the natural world. https://player.vimeo.com/video/201760898?portrait=0 191 2011-04-29 yes no https://art21.org/watch/extended-play/cao-fei-prd-anti-heroes-short/ Cao Fei: “PRD Anti-Heroes” (SHORT) https:i.vimeocdn.com/video/611984030_960x540.jpg Artist Cao Fei discusses her multi-media theatrical work PRD Anti-Heroes (2005), a play performed by non-professional actors. Investigating the "anonymous and unsung heroes" of the Pearl River Delta or "the factory of the world," Cao's production incorporates elements of traditional Chinese legends, Hong Kong soap operas, and Cantonese farces. Cao's work reflects the fluidity of a world in which cultures have mixed and diverged in rapid evolution. Her video installations and new media works explore perception and reality in places as diverse as a Chinese factory and the virtual world of "Second Life." Depictions of Chinese architecture and landscape abound in scenes of hyper-capitalistic Pearl River Delta development, in images that echo traditional Chinese painting, and in the design of her own virtual utopia, RMB City. Fascinated by the world of "Second Life," Cao Fei has created several works in which she is both participant and observer through her "Second Life" avatar, China Tracy, who acts as a guide, philosopher, and tourist. https://player.vimeo.com/video/198756203?portrait=0 242 2011-04-15 yes no https://art21.org/watch/extended-play/cindy-sherman-characters-short/ Cindy Sherman: Characters (SHORT) https:i.vimeocdn.com/video/616000843_960x540.jpg Cindy Sherman reveals how dressing up in character began as a kind of performance and evolved into her earliest photographic series such as Bus Riders (1976), Untitled Film Stills (1977-1980), and the untitled rear screen projections (1980). In self-reflexive photographs and films, Cindy Sherman invents myriad guises, metamorphosing from Hollywood starlet to clown to society matron. Often with the simplest of means—a camera, a wig, makeup, an outfit—Sherman fashions ambiguous but memorable characters that suggest complex lives lived out of frame. Sherman's investigations have a compelling relationship to public images, from kitsch (film stills and centerfolds) to art history (Old Masters and Surrealism) to green-screen technology and the latest advances in digital photography. https://player.vimeo.com/video/202065855?portrait=0 215 2011-04-01 yes no https://art21.org/watch/extended-play/carrie-mae-weems-the-kitchen-table-series-short/ Carrie Mae Weems: “The Kitchen Table Series” (SHORT) https:art21.org/wp-content/uploads/2016/10/emvideo-bliptv-4902649-1400x762.jpg Filmed in her Syracuse studio, artist Carrie Mae Weems discusses the impetus for her work The Kitchen Table Series (1990), a photographic investigation of a single domestic space in which the artist staged scenes of "the battle around the family" between women and men, friends and lovers, parents and children. https://player.vimeo.com/video/201752370?portrait=0 188 2011-03-18 yes no https://art21.org/watch/extended-play/allan-mccollum-lost-objects-natural-copies-short/ Allan McCollum: “Lost Objects” & “Natural Copies” (SHORT) https:i.vimeocdn.com/video/614504253_960x540.jpg Filmed in his Brooklyn studio, artist Allan McCollum discusses two projects utilizing dinosaur fossils—Lost Objects (begun 1991) and Natural Copies (begun 1994)—and his interest in how both scientific and local communities define the historical value of objects. https://player.vimeo.com/video/200876270?portrait=0 250 2011-03-04 yes no https://art21.org/watch/extended-play/an-my-le-29-palms-short/ An-My Lê: “29 Palms” (SHORT) https:i.vimeocdn.com/video/613693920_960x540.jpg "I just wanted to approach the idea of war in a more complicated and more challenging way” says artist An-My Lê, whose photographic series and film 29 Palms (2003–04) explore the training exercises and desert landscape near Joshua Tree National Park as a staging ground for the conflicts in Iraq and Afghanistan. https://player.vimeo.com/video/200240315?portrait=0 242 2011-02-08 yes no https://art21.org/watch/extended-play/hiroshi-sugimoto-cabinet-of-curiosities-short/ Hiroshi Sugimoto: Cabinet of Curiosities (SHORT) https:art21.org/wp-content/uploads/2016/10/emvideo-bliptv-4721669_0.jpg Filmed in his New York studio, artist Hiroshi Sugimoto gives a tour of his private cabinet of curiosities which includes meteorites, stone age tools, and whimsical toys. https://player.vimeo.com/video/202117813?portrait=0 192 2011-02-04 yes no https://art21.org/watch/extended-play/william-kentridge-the-magic-flute-short/ William Kentridge: “The Magic Flute” (SHORT) https:i.vimeocdn.com/video/613469016_960x540.jpg In his 2005 production of Mozart’s The Magic Flute (1791), artist William Kentridge reframes the opera’s original themes of Enlightenment philosophy through the bitter legacy of colonialism. “The most toxic combination in the world is…the certainty of being right and a monopoly of power,” says the artist, who casts the character of Sarastro in the role of a colonial overlord, “a benevolent figure that hides a monster.” https://player.vimeo.com/video/200060505?portrait=0 264 2011-01-21 yes no https://art21.org/watch/extended-play/krzysztof-wodiczko-designer-adam-whiton-short/ Krzysztof Wodiczko: Designer Adam Whiton (SHORT) https:i.vimeocdn.com/video/612339003_960x540.jpg Filmed at the Interrogative Design Group offices at MIT in Cambridge, Massachusetts, designer Adam Whiton discusses his work with artist Krzysztof Wodiczko. By developing innovative technology for projects such as The Tijuana Projection (2001), Dis-Armor (1999–2000), and Aegis (2000), Wodiczko and Whiton explore the potential for design to be used in a way that will “get people to think more…trigger questions and make people uncomfortable.” https://player.vimeo.com/video/199163663?portrait=0 179 2011-01-07 yes no https://art21.org/watch/extended-play/paul-mccarthy-art-entertainment-short/ Paul McCarthy: Art & Entertainment (SHORT) https:i.vimeocdn.com/video/614479381_960x540.jpg Filmed in his Los Angeles studio alongside his son and frequent collaborator Damon McCarthy, artist Paul McCarthy reflects on the documentary process and on being interviewed about his work, drawing conclusions about how it’s the nature of television “to simplify existence” and the “difference between making art and making entertainment.” https://player.vimeo.com/video/200746947?portrait=0 190 2010-12-07 yes no https://art21.org/watch/extended-play/paul-mccarthy-black-white-tapes-short/ Paul McCarthy: “Black & White Tapes” (SHORT) https:i.vimeocdn.com/video/614478742_960x540.jpg Interviewed in his Los Angeles studio, Paul McCarthy discusses the genesis of his Black and White Tapes (1970–75), a suite of 13 videos begun while he was a student at the University of Southern California (USC). Also featuring excerpts from the video Ma Bell (1971) and works in the exhibition Central Symmetrical Rotation Movement—Three Installations, Two Films (2008) at the Whitney Museum of American Art in New York. https://player.vimeo.com/video/200746796?portrait=0 300 2010-11-12 yes no https://art21.org/watch/extended-play/william-kentridge-collaboration-short/ William Kentridge: Collaboration (SHORT) https:i.vimeocdn.com/video/613462960_960x540.jpg Three of William Kentridge's long-time collaborators — Sabine Theunissen (Set Design), Catherine Meyburgh (Video Composite & Editing), and Kim Gunning (Video Control & Projection)—recount the creative process of mounting a production of The Nose (2010) at The Metropolitan Opera, New York. https://player.vimeo.com/video/200054748?portrait=0 209 2010-11-05 yes no https://art21.org/watch/extended-play/william-kentridge-studio-manager-anne-mcilleron-short/ William Kentridge: Studio Manager Anne McIlleron (SHORT) https:i.vimeocdn.com/video/613466601_960x540.jpg Anne McIlleron, William Kentridge's studio manager, discusses the artist's working method and penchant for collaboration. Featuring behind-the-scenes moments from the artist's studio in Johannesburg, South Africa; a performance of I am not me, the horse is not mine (2008) at the 16th Biennale of Sydney, Australia; and rehearsals for Kentridge's production of The Nose (2010) at The Metropolitan Opera, New York. https://player.vimeo.com/video/200056216?portrait=0 179 2010-10-29 yes no https://art21.org/watch/extended-play/william-kentridge-the-nose-opera-curtain-short/ William Kentridge: “The Nose” Opera Curtain (SHORT) https:i.vimeocdn.com/video/613464325_960x540.jpg Set designer Sabine Theunissen and scenic artist John Pitts share how the opera curtain for William Kentridge's production of The Nose (2010) was enlarged, by hand, from a humble collage. Filmed on location at Kentridge's studio in Johannesburg, South Africa, and at The Metropolitan Opera's workshop in The Bronx, New York. https://player.vimeo.com/video/200054927?portrait=0 253 2010-10-21 yes no https://art21.org/watch/extended-play/william-kentridge-weaver-marguerite-stephens-short/ William Kentridge: Weaver Marguerite Stephens (SHORT) https:i.vimeocdn.com/video/613467313_960x540.jpg Weaver Marguerite Stephens discusses translating the artist William Kentridge's original concepts into intricate, large-scale tapestries. Located in Diepsloot (a suburb of Johannesburg, South Africa), the Stephens Tapestry Studio employs a team of local weavers, spinners, and dyers who work on vertical looms using mohair spun in Swaziland. https://player.vimeo.com/video/200056276?portrait=0 227 2010-10-15 yes no https://art21.org/watch/extended-play/william-kentridge-composer-phillip-miller-short/ William Kentridge: Composer Phillip Miller (SHORT) https:i.vimeocdn.com/video/613464866_960x540.jpg Composer Philip Miller talks about his long-time collaboration with William Kentridge, scoring and performing original music for the artist’s animated films such as Felix in Exile (1994) and the multi-channel video installation I am not me, the horse is not mine (2009). Miller’s compositions synthesize and draw inspiration from various musical traditions, from the romantic classicism of Antonín Dvořák, to the modern atonality of Dmitri Shostakovich, to the folk instrumentation and harmonies of contemporary South African choral music. https://player.vimeo.com/video/200055090?portrait=0 318 2010-10-08 yes no https://art21.org/watch/extended-play/william-kentridge-peter-gelb-metropolitan-opera-short/ William Kentridge: Peter Gelb, Metropolitan Opera (SHORT) https:i.vimeocdn.com/video/613466037_960x540.jpg Peter Gelb, General Manager of the Metropolitan Opera in New York, discusses the historical context and artistic sensibility of William Kentridge’s 2010 production of Dmitri Shostakovich’s The Nose (1928), based on the short story by Nikolai Gogol (1836). Featuring behind-the-scenes technical and dress rehearsals, as well as performances from the production’s opening night. https://player.vimeo.com/video/200055427?portrait=0 327 2010-10-01 yes no https://art21.org/watch/extended-play/krzysztof-wodiczko-peace-short/ Krzysztof Wodiczko: Peace (SHORT) https:i.vimeocdn.com/video/612338887_960x540.jpg "You cannot work towards peace being peaceful” says artist Krzysztof Wodiczko, who explains this paradoxical position in terms of his personal experiences growing up in Poland under communist rule. Filmed at the Center for Advanced Visual Studies at MIT in Cambridge, Massachusetts, Wodiczko’s interview is punctuated by the sound of sirens from outside, the city in a state of “full alert.” https://player.vimeo.com/video/199163704?portrait=0 205 2010-09-24 yes no https://art21.org/watch/extended-play/carrie-mae-weems-roaming-short/ Carrie Mae Weems: “Roaming” (SHORT) https:art21.org/wp-content/uploads/2016/10/emvideo-bliptv-4105304_0.jpg Carrie Mae Weems describes the impetus for her series Roaming (2006). An investigation into “the edifice of power,” Weems performed a series of photographic actions throughout Rome, Italy, contrasting her body with grand architectural structures and monumental surroundings. https://player.vimeo.com/video/201751027?portrait=0 155 2010-09-10 yes no https://art21.org/watch/extended-play/laylah-ali-choreographer-dean-moss-short/ Laylah Ali: Choreographer Dean Moss (SHORT) https:i.vimeocdn.com/video/611020047_960x540.jpg Dancer/choreographer Dean Moss discusses his collaboration with visual artist Laylah Ali, entitled figures on a field (2005). This behind-the-scenes look features preliminary rehearsals at MASS MoCA in North Adams, Massachusetts, as well as a preview performance at The Kitchen in New York City. An artist working in both dance and video, Dean Moss’s recent projects use the irrational logic of the body to articulate personal, cultural, and socioeconomic forces that impact a perception of self and environment. https://player.vimeo.com/video/198121877?portrait=0 329 2010-09-03 yes no https://art21.org/watch/extended-play/mike-kelley-bad-boy-short/ Mike Kelley: Bad Boy (SHORT) https:i.vimeocdn.com/video/613447532_960x540.jpg Mike Kelley sets the record straight about being called a “bad boy” throughout his career, describing the shifting tastes of critics and artists towards abject art in recent years. https://player.vimeo.com/video/200044079?portrait=0 178 2010-08-06 yes no https://art21.org/watch/extended-play/mary-heilmann-abstract-painting-short/ Mary Heilmann: Abstract Painting (SHORT) https:i.vimeocdn.com/video/612373779_960x540.jpg Mary Heilmann describes a breakthrough she had of combining gestural and hard-edge abstracton in a single painting, combining the legacies of Willem de Kooning and Josef Albers. https://player.vimeo.com/video/199191906?portrait=0 119 2010-07-30 yes no https://art21.org/watch/extended-play/doris-salcedo-istanbul-short/ Doris Salcedo: Istanbul (SHORT) https:i.vimeocdn.com/video/615971277_960x540.jpg Doris Salcedo discusses her installation for the Istanbul Biennial, describing how she wanted to create a "topography of war" that would transcend the specificity of historical events. https://player.vimeo.com/video/202045068?portrait=0 105 2010-07-23 yes no https://art21.org/watch/extended-play/kimsooja-art-everyday-life-short/ Kimsooja: Art & Everyday Life (SHORT) https:i.vimeocdn.com/video/613641549_960x540.jpg With her video Sewing into Walking as a backdrop, Kimsooja tells a story about mending traditional Korean bed covers and realizing that art can be drawn out of everyday activities. https://player.vimeo.com/video/200199203?portrait=0 171 2010-07-16 yes no https://art21.org/watch/extended-play/florian-maier-aichen-rejecting-tradition-short/ Florian Maier-Aichen: Rejecting Tradition (SHORT) https:i.vimeocdn.com/video/613720598_960x540.jpg Florian Maier-Aichen talks about rejecting the dogmatic approach and lighting sensibility of the Dusseldorf School of photography, traveling to Los Angeles to make a fresh start. https://player.vimeo.com/video/200261019?portrait=0 158 2010-07-09 yes no https://art21.org/watch/extended-play/jeff-koons-art-history-short/ Jeff Koons: Art History (SHORT) https:i.vimeocdn.com/video/613644587_960x540.jpg Jeff Koons describes how he likes to "communicate with other artists" by making art historical references—from Classical to Modern—in his sculptures and paintings. https://player.vimeo.com/video/200201109?portrait=0 157 2010-07-02 yes no https://art21.org/watch/specials/carrie-mae-weems-david-alan-grier-in-conversation/ Carrie Mae Weems & David Alan Grier: In Conversation https:i.vimeocdn.com/video/621700970_960x540.jpg Carrie Mae Weems and David Alan Grier have an intimate discussion on a range of topics including childhood idols, the definition of blackness, race and politics during Obama's presidency, and a desire to make work that addresses not only personal identity but also the broader human condition. David Alan Grier started his career in New York, on Broadway in the production of "The First" playing the role of Jackie Robinson for which he was nominated for a Tony Award. Grier has appeared in many productions on the New York stage, including "Soldiers Play", and Shakespeare In The Park. On Broadway he has been seen in "Dream Girls", "A Funny Thing Happened On The Way To The Forum", and starred in "Race", written and directed by David Mamet, for which he received a Tony nomination. Grier has appeared in over 30 films, most recently "Dance Flick", "The Woodsman", "Bewitched", and "The Poker House". Grier won the Golden Lion award for best actor for the film "Streamers" directed by Robert Altman at the Venice film festival. On television he has appeared in "The Chocolate News" and for four seasons in the Emmy award winning series "In Living Color". Grier is the author of the book "Barack Like Me: The Chocolate Covered Truth". Grier has been an avid collector of art, and has collaborated on a performance piece "The Alchemy Of Comedy, Stupid" with the artist Edgar Arceneaux which was included in the 2008 Whitney Biennial. https://player.vimeo.com/video/206625245?portrait=0 534 2010-06-25 yes no https://art21.org/watch/extended-play/yinka-shonibare-mbe-nelsons-ship-in-a-bottle-short/ Yinka Shonibare MBE: “Nelson’s Ship in a Bottle” (SHORT) https:i.vimeocdn.com/video/616007582_960x540.jpg Yinka Shonibare MBE discusses the theatricality and sense of wonder inherent in his public sculpture Nelson's Ship in a Bottle, installed on the 4th Plinth in Trafalgar Square, London. Situated across from Nelson's Column, a monument erected to honor Admiral Lord Nelson's death at the Battle of Trafalgar in 1805 during the Napoleonic Wars, the brightly-colored sails of Shonibare's boat reference the complex heritage of British colonialism and its multicultural present. https://player.vimeo.com/video/202073574?portrait=0 233 2010-06-18 yes no https://art21.org/watch/extended-play/jeff-koons-potential-short/ Jeff Koons: Potential (SHORT) https:i.vimeocdn.com/video/613645489_960x540.jpg Jeff Koons tells a story from his childhood about finding a sense of self through making art, asserting that art has the potential to inspire similar transformations within each viewer. https://player.vimeo.com/video/200201273?portrait=0 151 2010-06-04 yes no https://art21.org/watch/extended-play/florian-maier-aichen-infrared-landscapes-short/ Florian Maier-Aichen: Infrared Landscapes (SHORT) https:i.vimeocdn.com/video/613720263_960x540.jpg Florian Maier-Aichen likens his use of infrared film to an in-between state, discussing photography’s role in picturing the American West and its ability to confound past and present. https://player.vimeo.com/video/200260980?portrait=0 168 2010-05-28 yes no https://art21.org/watch/extended-play/julie-mehretu-mural-short/ Julie Mehretu: “Mural” (SHORT) https:i.vimeocdn.com/video/614532604_960x540.jpg Julie Mehretu puts the finishing touches on her large-scale painting Mural at Goldman Sachs, adjusting shapes and colors in dialogue with the architecture and views from the street. https://player.vimeo.com/video/200900667?portrait=0 312 2010-05-14 yes no https://art21.org/watch/extended-play/susan-rothenberg-bruce-the-studio-short/ Susan Rothenberg: Bruce & the Studio (SHORT) https:i.vimeocdn.com/video/615761300_960x540.jpg Susan Rothenberg describes the blend of studio time and ranch work that she shares with her husband, the artist Bruce Nauman, at their New Mexico home. https://player.vimeo.com/video/201881407?portrait=0 256 2010-05-07 yes no https://art21.org/watch/extended-play/mike-kelley-day-is-done-short/ Mike Kelley: “Day Is Done” (SHORT) https:i.vimeocdn.com/video/613448047_960x540.jpg Mike Kelley reveals how photographs from yearbooks and newspapers in Detroit served as the inspiration behind the performative project Day Is Done, shown installed at Gagosian Gallery. https://player.vimeo.com/video/200043865?portrait=0 280 2010-04-30 yes no https://art21.org/watch/extended-play/mary-heilmann-home-studio-short/ Mary Heilmann: Home & Studio (SHORT) https:i.vimeocdn.com/video/612374537_960x540.jpg Mary Heilmann leads a tour of her home and studio on Long Island, pointing out how she’s modified the surrounding landscape and the ways in which the scenery has seeped into her paintings. https://player.vimeo.com/video/199191956?portrait=0 190 2010-04-16 yes no https://art21.org/watch/extended-play/julie-mehretu-painting-conservator-luca-bonetti-short/ Julie Mehretu: Painting Conservator Luca Bonetti (SHORT) https:i.vimeocdn.com/video/614532005_960x540.jpg Luca Bonetti leads the installation of artist Julie Mehretu’s massive painting Mural (2009) at Goldman Sachs, coordinating a team of installers and studio assistants. https://player.vimeo.com/video/200900288?portrait=0 390 2010-04-09 yes no https://art21.org/watch/extended-play/william-kentridge-pain-sympathy-short/ William Kentridge: Pain & Sympathy (SHORT) https:i.vimeocdn.com/video/613465512_960x540.jpg With his video History of the Main Complaint (1996) serving as a backdrop, William Kentridge discusses how artists draw upon tragedy as subject matter for their work and how drawing itself can be a compassionate act. https://player.vimeo.com/video/200055328?portrait=0 173 2010-04-02 yes no https://art21.org/watch/extended-play/susan-rothenberg-emotions-short/ Susan Rothenberg: Emotions (SHORT) https:i.vimeocdn.com/video/615762636_960x540.jpg Filmed at her home and studio in New Mexico, artist Susan Rothenberg explains how she transforms personal experiences and feelings into works that can become an "emotional moment" for the viewer. While discussing the loss of her dog, Rothenberg describes the process of recovering a memory of her pet through the act of painting. https://player.vimeo.com/video/201881609?portrait=0 226 2010-03-26 yes no https://art21.org/watch/extended-play/jeff-koons-money-value-short/ Jeff Koons: Money & Value (SHORT) https:i.vimeocdn.com/video/613645062_960x540.jpg Artist Jeff Koons discusses themes of money, desire, perfection, and moral responsibility. Filmed in his busy New York studio and surrounded by numerous assistants at work on paintings and sculptures, Koons describes how the practicalities of running a business are often in service to creative ends. https://player.vimeo.com/video/200201171?portrait=0 183 2010-03-19 yes no https://art21.org/watch/extended-play/julie-mehretu-studio-assistants-short/ Julie Mehretu: Studio Assistants (SHORT) https:i.vimeocdn.com/video/614533070_960x540.jpg Filmed in her Berlin studio, a group of Julie Mehretu's assistants—Sarah Rentz, Damien Young, Erika Fortner and Harmony Murphy—discuss how they each bring different areas of expertise to the process of making paintings, from fine art backgrounds in printmaking and illustration to furniture polishing techniques and administrative skills. https://player.vimeo.com/video/200900921?portrait=0 290 2010-03-12 yes no https://art21.org/watch/extended-play/jessica-stockholder-form-short/ Jessica Stockholder: Form (SHORT) https:i.vimeocdn.com/video/616048367_960x540.jpg From her home in New Haven, Connecticut, Jessica Stockholder discusses the strength of form and the difficulty in articulating the meaning behind abstract shapes. https://player.vimeo.com/video/202105054?portrait=0 121 2010-03-05 yes no https://art21.org/watch/extended-play/paul-mccarthy-lifecasting-short/ Paul McCarthy: Lifecasting (SHORT) https:i.vimeocdn.com/video/614478289_960x540.jpg Surrounded by various figurative sculptures in progress in his Los Angeles studio, including an over-sized bust of President George W. Bush, artist Paul McCarthy discusses the process of casting from life and the resulting perfections and imperfections. https://player.vimeo.com/video/200747038?portrait=0 176 2010-02-26 yes no https://art21.org/watch/extended-play/william-kentridge-return-short/ William Kentridge: “Return” (SHORT) https:i.vimeocdn.com/video/613463648_960x540.jpg Shot in his Johannesburg studio in South Africa, William Kentridge reveals the process and unusual presentation of the video work Return—a component of the larger project (REPEAT) from the beginning / Da Capo (2008) — which had its debut on the fire screen of Teatro La Fenice opera house in Venice, Italy. https://player.vimeo.com/video/200054827?portrait=0 177 2010-02-19 yes no https://art21.org/watch/extended-play/julie-mehretu-workday-short/ Julie Mehretu: Workday (SHORT) https:i.vimeocdn.com/video/614532882_960x540.jpg Filmed in her Berlin studio, Julie Mehretu discusses the ups and downs of her daily studio practice. Mehretu is shown working on the painting Middle Grey (2007–2009), one work in a suite of seven paintings commissioned by the Deutsche Guggenheim as part of the exhibition Julie Mehretu: Grey Area. https://player.vimeo.com/video/200901134?portrait=0 128 2010-02-05 yes no https://art21.org/watch/extended-play/william-kentridge-breathe-short/ William Kentridge: “Breathe” (SHORT) https:i.vimeocdn.com/video/613461931_960x540.jpg Shot in his Johannesburg studio in South Africa, William Kentridge reveals the process behind the video work Breathe—a component of the larger project (REPEAT) from the beginning / Da Capo that debuted at the Teatro La Fenice in Venice and at the nearby Fondazione Bevilacqua La Masa in San Barnaba, Italy. https://player.vimeo.com/video/200054597?portrait=0 181 2009-10-23 yes no https://art21.org/watch/extended-play/paul-mccarthy-animatronic-designer-jon-dawe-short/ Paul McCarthy: Animatronic Designer Jon Dawe (SHORT) https:i.vimeocdn.com/video/614477374_960x540.jpg Animatronic Designer Jon Dawe reveals the process behind the robotic creature effects in artist Paul McCarthy's sculpture Bush and Pig. Dawe's previous work, as part of Stan Winston Studio and Tatopoulos Studios, includes special effects and mechanical designs for the popular films Jurassic Park, Hellboy, Underworld, and Fantastic Four, among others. https://player.vimeo.com/video/200746594?portrait=0 215 2010-01-21 yes no https://art21.org/watch/extended-play/cao-fei-avatars-short/ Cao Fei: Avatars (SHORT) https:i.vimeocdn.com/video/611983415_960x540.jpg In her Beijing studio, Cao Fei reflects on the behavior of avatars in the digital environment of "Second Life" and the motivations behind people who explore and inhabit virtual worlds. The video showcases Cao’s project RMB City and the many avatars that frequent it, including the artist’s own avatar China Tracy. https://player.vimeo.com/video/198756368?portrait=0 146 2010-01-08 yes no https://art21.org/watch/extended-play/cindy-sherman-mannequins-masks-short/ Cindy Sherman: Mannequins & Masks (SHORT) https:i.vimeocdn.com/video/616000392_960x540.jpg Surveying some of the props she's used over the years, including masks and mannequin parts, artist Cindy Sherman demonstrates how she uses stand-ins to gauge the focus and composition of her images. https://player.vimeo.com/video/202065511?portrait=0 160 2009-12-17 yes no https://art21.org/watch/extended-play/doris-salcedo-third-world-identity-short/ Doris Salcedo: Third World Identity (SHORT) https:i.vimeocdn.com/video/615970765_960x540.jpg In her Bogotá studio, artist Doris Salcedo discusses the stereotypes she faces as a citizen of a Third World country and how she embraces these first-hand experiences of discrimination to inform her art. Shown working alongside her team of assistants, whose collective labor underscores the political messages of her sculptures, Salcedo proposes a more humble role for artists working today. https://player.vimeo.com/video/202044973?portrait=0 171 2009-12-10 yes no https://art21.org/watch/extended-play/kimsooja-a-beggar-woman-a-homeless-woman-short/ Kimsooja: “A Beggar Woman” & “A Homeless Woman” (SHORT) https:i.vimeocdn.com/video/613642233_960x540.jpg Artist Kimsooja reflects on her series of videotaped performances—A Beggar Woman and A Homeless Woman (both 2000–01)—realized in cities around the world: Cairo, Delhi, Lagos, and Mexico City. https://player.vimeo.com/video/200199054?portrait=0 215 2009-12-03 yes no https://art21.org/watch/extended-play/yinka-shonibare-mbe-being-an-artist-short/ Yinka Shonibare MBE: Being an Artist (SHORT) https:i.vimeocdn.com/video/646696622_960x540.jpg In his London studio, artist Yinka Shonibare MBE (RA) reflects on what it means for him to be an artist, how he views his occupation as a utopian pursuit, and how the lines between the personal and professional aspects of his life are blurred. https://player.vimeo.com/video/202073508?portrait=0 138 2009-11-30 yes no https://art21.org/watch/extended-play/paul-mccarthy-piccadilly-circus-short/ Paul McCarthy: “Piccadilly Circus” (SHORT) https:i.vimeocdn.com/video/614476818_960x540.jpg Artist Paul McCarthy describes the improvisational process and performances behind the video work Piccadilly Circus (2003). Filmed at an unoccupied London bank before being renovated by Hauser & Wirth gallery in 2002, and shot several months before the start of the Iraq War, the work features costumed players in the roles of President George W. Bush, Osama Bin Laden, and the Queen Mum (in three versions). https://player.vimeo.com/video/200746673?portrait=0 253 2009-11-19 yes no https://art21.org/watch/extended-play/roni-horn-water-short/ Roni Horn: Water (SHORT) https:i.vimeocdn.com/video/613248202_960x540.jpg Artist Roni Horn discusses the paradoxical identity and dependency of water, paired with scenes of Icelandic landscapes. Water and Iceland serve as both subjects and metaphors in the artist’s work, coming together most recently in Vatnasafn/Library of Water, a building designed by the artist in Stykkishólmur, Iceland. https://player.vimeo.com/video/199885227?portrait=0 112 2009-11-05 yes no https://art21.org/watch/extended-play/jeff-koons-versailles-short/ Jeff Koons: Versailles (SHORT) https:i.vimeocdn.com/video/613644053_960x540.jpg From his studio in New York City, Jeff Koons discusses his 2008 exhibition at the Château de Versailles in France. Koons explores the power and sensuality of the grounds at Versailles, citing Louis Quatorze (Louis XIV) as an inspiration for his 1992 piece, Puppy, a large floral sculpture made out of 60,000 large flowers. https://player.vimeo.com/video/200201023?portrait=0 168 2009-10-29 yes no https://art21.org/watch/extended-play/josiah-mcelheny-assistant-anders-rydstedt-short/ Josiah McElheny: Assistant Anders Rydstedt (SHORT) https:i.vimeocdn.com/video/614519870_960x540.jpg Long-time assistant and collaborator Anders Rydstedt discusses the differences between creating traditional forms in glass—such as vases—with Josiah McElheny's sculptural objects and installations. Filmed at the Michael Davis Stained Glass workshop in Long Island City, New York, objects from this session were later given a mirrored surface as part of the artist's Total Reflective Abstraction series of works that took as their point of departure a conversation between Buckminster Fuller and Isamu Noguchi. https://player.vimeo.com/video/200890861?portrait=0 127 2009-08-13 yes no https://art21.org/watch/extended-play/arturo-herrera-assistant-jeff-bechtel-short/ Arturo Herrera: Assistant Jeff Bechtel (SHORT) https:i.vimeocdn.com/video/612378778_960x540.jpg Arturo Herrera's assistant Jeff Bechtel describes the process for translating one of the artist's complex drawings into a refined monochromatic paper collage. Filmed in Herrera's New York studio, Bechtel discusses how cartoon sources and stock imagery become abstracted into larger systems. https://player.vimeo.com/video/199195339?portrait=0 141 2009-08-07 yes no https://art21.org/watch/extended-play/laylah-ali-television-short/ Laylah Ali: Television (SHORT) https:i.vimeocdn.com/video/611018703_960x540.jpg In her Williamstown, Massachusetts studio, artist Laylah Ali describes how the television cartoons she watched as a child inform the way she works and thinks today. https://player.vimeo.com/video/198120598?portrait=0 114 2009-07-30 yes no https://art21.org/watch/extended-play/jessica-stockholder-vortex-in-the-play-of-theater-with-real-passion-in-memory-of-kay-stockholder-short/ Jessica Stockholder: “Vortex in the Play of Theater with Real Passion: In Memory of Kay Stockholder” (SHORT) https:i.vimeocdn.com/video/616048749_960x540.jpg At her home in New Haven, Jessica Stockholder discusses the inspiration for Vortex in the Play of Theater with Real Passion: In Memory of Kay Stockholder (2000) at the Kunstmuseum St. Gallen in Switzerland. A temporary site-specific installation, the materials for the project include Duplo, work site construction containers, and elements from a theatrical stage. https://player.vimeo.com/video/202105132?portrait=0 167 2009-07-23 yes no https://art21.org/watch/extended-play/oliver-herring-participant-davide-borella-short/ Oliver Herring: Participant Davide Borella (SHORT) https:i.vimeocdn.com/video/612423295_960x540.jpg On the roof of his Brooklyn studio, artist Oliver Herring photographs Davide Borella during an exhausting performance as Borella spits various colors of water, tinted by food dye, up into the air and onto his face. https://player.vimeo.com/video/199230065?portrait=0 189 2009-07-16 yes no https://art21.org/watch/extended-play/ida-applebroog-inspiration-short/ Ida Applebroog: Inspiration (SHORT) https:i.vimeocdn.com/video/611756873_960x540.jpg Ida Applebroog discusses her life as an "image scavenger" in her New York studio, while working on her "Photogenetics" series—a blend of photography, sculpture, painting and digital media. https://player.vimeo.com/video/198707501?portrait=0 95 2009-07-09 yes no https://art21.org/watch/extended-play/richard-tuttle-art-life-short/ Richard Tuttle: Art & Life (SHORT) https:art21.org/wp-content/uploads/2016/10/emvideo-bliptv-2312222_0.jpg Richard Tuttle discusses his philosophical relationship to art and life in his New Mexico studio. https://player.vimeo.com/video/201758782?portrait=0 154 2009-07-02 yes no https://art21.org/watch/extended-play/josiah-mcelheny-beauty-seduction-short/ Josiah McElheny: Beauty & Seduction (SHORT) https:i.vimeocdn.com/video/614518413_960x540.jpg Artist Josiah McElheny discusses the intentionally problematic nature of beauty and seduction in his Total Reflective Abstraction (2004) installation, on view at Donald Young Gallery in Chicago, as well as works by fellow artists and architectural masterpieces such as Renaissance palaces. https://player.vimeo.com/video/200890954?portrait=0 208 2009-06-25 yes no https://art21.org/watch/extended-play/arturo-herrera-powerful-images-short/ Arturo Herrera: Powerful Images (SHORT) https:i.vimeocdn.com/video/612417584_960x542.jpg In his Berlin studio, Arturo Herrera discusses his relationship to creating abstract collages and images. Herrera takes the process of abstraction a step further by photographing fragments of his collages, such as in the work Untitled (2005), a series of 80 black and white photographs. He submerges the undeveloped film in hot and cold water, coffee, and tea, creating unpredictable results when printed. Editing the photos into a grid of images, Herrera creates a work that‘s greater than it‘s individual parts. https://player.vimeo.com/video/199195477?portrait=0 163 2009-06-18 yes no https://art21.org/watch/extended-play/laylah-ali-designer-nicole-parente-short/ Laylah Ali: Designer Nicole Parente (SHORT) https:i.vimeocdn.com/video/611019510_960x540.jpg Artist Laylah Ali and graphic designer Nicole Parente work together in the designer's home office in Cambridge, MA. The artist's hand-drawn notes are transformed into precise digital illustrations otherwise impossible without a computer. https://player.vimeo.com/video/198120456?portrait=0 123 2009-06-11 yes no https://art21.org/watch/extended-play/ellen-gallagher-master-printer-craig-zammiello-short/ Ellen Gallagher: Master Printer Craig Zammiello (SHORT) https:i.vimeocdn.com/video/612213412_960x540.jpg Master Printer Craig Zammiello and artist Ellen Gallagher discuss their working relationship during the process of creating DeLuxe (2004–05), a suite of 60 individual works employing both traditional and non-traditional printmaking techniques. https://player.vimeo.com/video/199063913?portrait=0 174 2009-06-04 yes no https://art21.org/watch/extended-play/ida-applebroog-collecting-short/ Ida Applebroog: Collecting (SHORT) https:i.vimeocdn.com/video/611755413_960x540.jpg Artist Ida Applebroog leads a tour of her personal collection of thrift store and auction finds, in her home and studio in upstate New York. https://player.vimeo.com/video/198707431?portrait=0 106 2009-05-28 yes no https://art21.org/watch/extended-play/josiah-mcelheny-assistant-martha-friedman-short/ Josiah McElheny: Assistant Martha Friedman (SHORT) https:i.vimeocdn.com/video/614520298_960x540.jpg Watch artist Josiah McElheny and assistant Martha Friedman transform clear hand-blown glass objects into mirrored surfaces in his Brooklyn, NY studio. https://player.vimeo.com/video/200890917?portrait=0 158 2009-05-21 yes no https://art21.org/watch/extended-play/richard-tuttle-reality-illusion-short/ Richard Tuttle: Reality & Illusion (SHORT) https:art21.org/wp-content/uploads/2016/10/emvideo-bliptv-2114042_0.jpg Artist Richard Tuttle installs the work Ten Kinds of Memory and Memory Itself (1973) at the Whitney Museum of American Art, New York. https://player.vimeo.com/video/201758855?portrait=0 252 2009-05-14 yes no https://art21.org/watch/extended-play/arturo-herrera-music-short/ Arturo Herrera: Music (SHORT) https:i.vimeocdn.com/video/612380149_960x540.jpg Filmed in his Berlin studio, artist Arturo Herrera discusses themes of subjectivity and abstraction while drawing connections between his love of music and his hopes for how audiences come to appreciate his visual work. https://player.vimeo.com/video/199195433?portrait=0 142 2009-05-07 yes no https://art21.org/watch/extended-play/ellen-gallagher-projections-short/ Ellen Gallagher: Projections (SHORT) https:i.vimeocdn.com/video/612214105_960x540.jpg Artist Ellen Gallagher recounts her childhood obsession with projecting films, paired with documentation of her work Murmur (2003-04) installed at Gagosian Gallery in New York. https://player.vimeo.com/video/199063972?portrait=0 109 2009-04-30 yes no https://art21.org/watch/extended-play/jessica-stockholder-master-papermaker-paul-wong-short/ Jessica Stockholder: Master Papermaker Paul Wong (SHORT) https:i.vimeocdn.com/video/616049260_960x540.jpg Master Papermaker Paul Wong discusses his collaboration with artist Jessica Stockholder during her residency at the Dieu Donné Papermill in New York. https://player.vimeo.com/video/202105093?portrait=0 140 2009-04-20 yes no https://art21.org/watch/extended-play/jenny-holzer-projection-for-chicago-short/ Jenny Holzer: “Projection for Chicago” (SHORT) https:i.vimeocdn.com/video/613241033_960x540.jpg Jenny Holzer discusses the process behind her ongoing series of Xenon Projections as part of the exhibition PROTECT PROTECT at the Museum of Contemporary Art, Chicago. Featured works include Projection for Chicago (2008), a multi-part projection of the texts of Polish poet Wislawa Szymborska on building facades around the city, including the Lyric Opera House & Riverside Plaza, among others. https://player.vimeo.com/video/199872513?portrait=0 155 2009-03-08 yes no https://art21.org/watch/extended-play/oliver-herring-legacy-short/ Oliver Herring: Legacy (SHORT) https:i.vimeocdn.com/video/612422761_960x540.jpg Artist Oliver Herring discusses what he perceives as generational shifts in our relationship to the camera, mortality, and legacy, accompanied by scenes from his five-channel video installation Little Dances of Misfortunes (2001)—created after 9/11—which depicts amateur dancers illuminated by phosphorescent body paint. https://player.vimeo.com/video/199230025?portrait=0 188 2009-02-19 yes no https://art21.org/watch/extended-play/jessica-stockholder-beauty-politics-short/ Jessica Stockholder: Beauty & Politics (SHORT) https:i.vimeocdn.com/video/616047537_960x540.jpg From her New Haven studio, Jessica Stockholder discusses the relationship between taste, beauty, and pleasure in art— as well as the omniscient manner in which politics permeate each of these conventions. “I think pleasure is very political. Pleasure is part of what controls people,” says Stockholder. “Advertising is directed at our pleasure, and homophobia is about where people find pleasure. And taste is tied to class, and hierarchy, and social structure, and has something to do with beauty too. Those words get mixed up—what’s tasteful and what’s beautiful.” https://player.vimeo.com/video/202104973?portrait=0 201 2009-02-11 yes no https://art21.org/watch/extended-play/laylah-ali-newspaper-clippings-short/ Laylah Ali: Newspaper Clippings (SHORT) https:i.vimeocdn.com/video/611018336_960x540.jpg From her studio in Williamstown, MA, Laylah Ali discusses her system of organizing newspaper clippings. She gathers the clippings to discern the overarching narrative of what the media is reporting on at the time. From there, she clips away any interesting images and categorizes them into a series of files, bearing names such as “Corpses,” “Fire and Explosions,” and “The American Flag.” https://player.vimeo.com/video/198120548?portrait=0 170 2009-02-04 yes no https://art21.org/watch/extended-play/jenny-holzer-programming-short/ Jenny Holzer: Programming (SHORT) https:i.vimeocdn.com/video/613242597_960x540.jpg Jenny Holzer’s history as a typesetter feels obvious, once you're acquainted with her signature text-based artworks. From PROTECT PROTECT at the Museum of Contemporary Art, Chicago, Holzer recounts her fondness for programming the LED electronics that display her statements. Within the programming process, Holzer curates the speed of the revolving message, and orchestrates the pauses and flashes of the phrase. The emission of light by the LEDs is affected by each of these variables, simultaneously influencing the mood and energy of the exhibition space. https://player.vimeo.com/video/199872385?portrait=0 159 2009-01-27 yes no https://art21.org/watch/extended-play/jenny-holzer-writing-difficulty-short/ Jenny Holzer: Writing & Difficulty (SHORT) https:i.vimeocdn.com/video/613241812_960x531.jpg “I have no idea whether I’ll write again,” says Jenny Holzer, a text-based artist who has not written her own content for years. “One reason why I left it is because I tend to write about the most ghastly subjects. So it's not just the difficulty in having something turn out right, it's the difficulty of staying with the material long enough to complete it.” While multiple factors have contributed to Holzer’s writing hiatus, her body of work remains as poignant and provocative as ever. Whether questioning capitalist impulses, or describing torture, Holzer’s art expresses concepts and questions through subversive lightworks which present her queries through projections or streamlined LED marquis. “My work might be like theater in that I hope there’s an audience,” says Holzer during the installation of PROTECT PROTECT at the Museum of Contemporary Art, Chicago. https://player.vimeo.com/video/199872452?portrait=0 168 2009-01-22 yes no https://art21.org/watch/extended-play/robert-ryman-possibilities-short/ Robert Ryman: Possibilities (SHORT) https:i.vimeocdn.com/video/615770168_960x540.jpg Neither abstract nor entirely monochromatic, Robert Ryman’s paintings are paradoxically realist according to the artist’s own lexicon. For over fifty years, Ryman has been experimenting with painting, constantly modifying his technique to resist the temptations of artistic routine. “My painting is not limited at all,” Ryman insists. “I have many possibilities of approach. The reason I have that, I think, is because I’m not limited by a certain narrative that I want to get across with paint, or symbolism, or some kind of story that I need to tell… I’m not limited because I don’t have any of those things to stop me from experimenting.” https://player.vimeo.com/video/201888405?portrait=0 74 2009-01-14 yes no https://art21.org/watch/extended-play/robert-adams-light-short/ Robert Adams: Light (SHORT) https:i.vimeocdn.com/video/610973611_960x540.jpg “Light is a loaded thing,” says photographer Robert Adams. Speaking both of a physical connection with light, and an appreciation for its naturally metaphorical qualities, Adams describes his intimate relationship with light, even claiming that his connection with the sun’s rays would affect him in the confinements of his dark room. “Kenneth Clark remarked in one of his books, that the thing that distinguished a landscape painter is an especially intense, emotional, response to light,” says the artist, “and I do believe that that's true.” As a photographer of environments typically void of human presence, it is clear that Adams’ infatuation with light is passionately explored through his work. “Light, it is a physical thing that you're working with. It’s also obviously metaphor. It's what you're working with to arrive at metaphor,” says the artist, “It’s the age old symbol for truth, or an expression of truth… But fundamentally though, it’s just a deeply mysterious, compelling ingredient for your understanding of life and your response to it.” https://player.vimeo.com/video/198079957?portrait=0 121 2009-01-04 yes no https://art21.org/watch/extended-play/judy-pfaff-assistant-rob-van-erve-short/ Judy Pfaff: Assistant Rob van Erve (SHORT) https:i.vimeocdn.com/video/615525002_960x540.jpg Rob van Erve has worked for Judy Pfaff since 1994, and after twelve years, he has nothing but praise for his boss. “I can’t think the way that she can,” says van Erve, “but I’ve learned an enormous amount here, that I would have never gotten to. Not through the best programs in the world, I think.” Through a unique fusion of sculpture, architecture, and painting, Pfaff’s dynamic environments exist in both two and free dimensions, exuding an impossible sense of lightness and energy collaged in time and space. https://player.vimeo.com/video/201692807?portrait=0 111 2009-01-04 yes no https://art21.org/watch/extended-play/lari-pittman-teaching-short/ Lari Pittman: Teaching (SHORT) https:i.vimeocdn.com/video/615540630_960x540.jpg “I find it very useful, that I have to say it and not just paint it,” says Lari Pittman in his Los Angeles home. In this film, Pittman describes the benefits of teaching from an artistic perspective, emphasizing the positive effects of verbalizing your process and artistic intentions. “What's been helpful about teaching is that I constantly have to exteriorize, through language, what I’m thinking,” says the artist. “If you're exclusively in the studio, you're really not called upon to do that.” https://player.vimeo.com/video/201704815?portrait=0 88 2008-12-17 yes no https://art21.org/watch/extended-play/mark-dion-methodology-short/ Mark Dion: Methodology (SHORT) https:i.vimeocdn.com/video/612161999_960x540.jpg Just like his artwork, Mark Dion’s artistic practice strays far away from the mold of a traditional studio artist. From his Pennsylvania home and studio, Dion describes how he began his unconventional artistic process. “When I’m starting a new project, I tend to adhere to a particular kind of methodology,” says the artist. “I’m not really very much a studio-oriented kind of person, I like to make things on-site.” To those who are familiar with the grandiosity of Dion’s work, it is unsurprising to discover that the artist’s simultaneously analytical yet imaginative ecologically-inspired artworks begin with physical tinkering outdoors, rather than sketching in a confined studio space. “I bring with me, my sort of suitcase of ideas and the history of my work and concerns, and I begin to sort of come up with ideas,” says Dion. “I try to insert myself into the specific social history of the place.” 271 https://player.vimeo.com/video/199024860?portrait=0 149 2008-12-10 yes no https://art21.org/watch/extended-play/robert-adams-working-along-freeways-short/ Robert Adams: Working Along Freeways (SHORT) https:i.vimeocdn.com/video/610972680_960x540.jpg “I spent several years working along freeways,” Robert Adams says in his Oregon studio. Adams’ photographs range from scenic and picturesque to tattered and crumbling, describing the evolution of the Western landscape and revealing the unignorable and predominantly negative effects of humans. Despite being typically devoid of human subjects, Adams’s photographs convey human presence through physical traces of life imposed on the natural landscape: a garbage-strewn roadside, a clear-cut forest, or a half-built house. However, Adams’ work also conveys a sense of hope that change can be effected to preserve the American West. https://player.vimeo.com/video/198080008?portrait=0 73 2008-12-03 yes no https://art21.org/watch/extended-play/laurie-simmons-choreographer-helen-pickett-short/ Laurie Simmons: Choreographer Helen Pickett (SHORT) https:i.vimeocdn.com/video/616017323_960x540.jpg Choreographer Helen Pickett describes the physical demeanors of the characters in Laurie Simmons’ 2006 film The Music of Regret at the Alvin Ailey Dance Studio in New York. Simmons’ first film, The Music of Regret features characters such as the Dress, the Cupcake, the Book, and the Pocket Watch. “She really wanted the different objects to have their own personality,” Pickett recalls. “It’s every object's little story.” Simmons extends her photographic practice to performance within this forty minute “mini-musical,” incorporating musicians, professional puppeteers, dancers, Hollywood cinematographer Ed Lachman, and actress Meryl Streep. https://player.vimeo.com/video/202080881?portrait=0 110 2008-11-26 yes no https://art21.org/watch/extended-play/gabriel-orozco-on-photography-short/ Gabriel Orozco: On Photography (SHORT) https:i.vimeocdn.com/video/614710980_960x540.jpg While Gabriel Orozco claims that photography is a very useful tool as an artist, he is by no means “somebody that always has a camera.” In this interview, Orozco describes the various ways in which photography influences his practice. Orozco’s photography relays a spectrum of styles, at times appearing sculptural, painterly, or even photojournalistic, although he still insists that it is not his first reaction to take a picture when he “sees something fabulous.” https://player.vimeo.com/video/201038050?portrait=0 108 2008-11-19 yes no https://art21.org/watch/extended-play/ursula-von-rydingsvard-weeping-plates-short/ Ursula von Rydingsvard: “Weeping Plates” (SHORT) https:art21.org/wp-content/uploads/2016/10/emvideo-bliptv-754162_0.jpg Ursula von Rydingsvard has worked with red cedar for over thirty years. Soft and fragrant, the cedar beams cut, assembled, and glued by the artist can, at times, resemble fabric more than it resembles wood. Her use of monumental scale and organic form is exemplified through her 2005 sculpture, Weeping Plates, of which the artist says, “I feel this is to be one of the most vulnerable pieces that I have made.” The artist’s puzzle-like surfaces tend to visually reference other man-made tools that seem to echo the artist’s family heritage in pre-industrial Poland, before the second World War. https://player.vimeo.com/video/201757358?portrait=0 98 2008-11-13 yes no https://art21.org/watch/extended-play/gabriel-orozco-samurai-tree-short/ Gabriel Orozco: “Samurai Tree” (SHORT) https:i.vimeocdn.com/video/614711342_960x540.jpg Grandson of renowned Mexican muralist Jose Clemente Orozco, Gabriel Orozco’s photographs, installations, and sculptures propose a distinctive model for the ways in which artists can affect the world with their work. Within the artist’s 2008 series The Samurai Tree, Orozco employs a structured set of rules, through which he fills his paintings with abstracted, and at times biomorphic, variations of ellipses. “I thought that by establishing some rules, I could build up a structure that behaves like a sculpture,” says the artist, “So it's a flat mobile maybe, or it's a diagram thats rotating and moving. And behaving not like a painting, in a way.” https://player.vimeo.com/video/201038909?portrait=0 146 2008-11-06 yes no https://art21.org/watch/extended-play/judy-pfaff-assistant-ryan-muller-short/ Judy Pfaff: Assistant Ryan Muller (SHORT) https:i.vimeocdn.com/video/615524630_960x540.jpg Ryan Muller acts as an assistant to sculptor Judy Pfaff, working in the artist’s studio in Tivoli, New York. While Muller is an artist himself, his history lies in years of experience in construction. “As an artist myself, or as somebody who is constantly trying to make their own art, she taught me a lot,” says Muller. “She’s in the studio constantly… She was just saying earlier that a lot of her work gets done after we leave.” https://player.vimeo.com/video/201692886?portrait=0 141 2008-10-30 yes no https://art21.org/watch/extended-play/judy-pfaff-assistant-kate-hodges-short/ Judy Pfaff: Assistant Kate Hodges (SHORT) https:i.vimeocdn.com/video/615525753_960x540.jpg In the time that Kate Hodges has worked for Judy Pfaff, she has sculpted using a myriad of eccentric materials to help Pfaff realize her visions. “She’s had me working with steel, working with stumps, big trees, working on all kinds of stuff.” says Hodges. Hodges relishes the inherent sense of community she finds in Pfaff's studio, as she works with “all kinds of people,” describing Pfaff herself as “a very giving person”—an artist whose ego doesn't “get in the way.” Hodges asserts with a smile, “She’s just a real human being.” https://player.vimeo.com/video/201692742?portrait=0 76 2008-10-30 yes no https://art21.org/watch/extended-play/lari-pittman-aesthetics-short/ Lari Pittman: Aesthetics (SHORT) https:i.vimeocdn.com/video/615539469_960x540.jpg In this film, Lari Pittman is shown amongst the cacti of his Los Angeles home. In a revealing interview, Pittman describes the emotional foundation behind the aesthetic of his work. “The micromanaging of aesthetics and beauty both in the work, and in the way Roy and I conduct our life, I think comes from acknowledging something a little sad, actually,” says the artist. “And I think that we both conflate this state, or the managed state, of beauty and aesthetics, as a zone that allows safety. For us, then, at times manic articulation of our surroundings is actually a form of creating a safe zone.” https://player.vimeo.com/video/201704703?portrait=0 78 2008-10-23 yes no https://art21.org/watch/extended-play/jenny-holzer-collaboration-short/ Jenny Holzer: Collaboration (SHORT) https:i.vimeocdn.com/video/613240055_960x540.jpg “During the time of torture, the bag was on my head. After I was injured, they took me to another room and told me to say that I had fallen down and no one beat me.” —Excerpt from Jenny Holzer’s Redaction Paintings Jenny Holzer is best known for her innovative use of text to publicly display thought provoking anecdotes both in public spaces, via an extremely powerful projector, or within institutional settings. Holzer speaks with poet Henri Cole in her Hoosick Falls, New York studio, describing the advantages of creating collaboratively. Redaction Paintings, a series in which Holzer creates artworks from formerly classified government documents, combines the physical qualities of abstract expressionist color blocks with the conceptual intrigue of systematic war and conquest. Holzer explores the insidiousness of these documents through her series, often enlarging them to better emphasize the readability of the text, or to more prominently address the tragic irony of the opaquely skewed portions of the archive. https://player.vimeo.com/video/199872550?portrait=0 91 2008-10-16 yes no https://art21.org/watch/extended-play/gabriel-orozco-obit-short/ Gabriel Orozco: “Obit” (SHORT) https:i.vimeocdn.com/video/614709713_960x540.jpg “I am not a person who reads obituaries,” says Gabriel Orozco. Yet the artist could not help but feel inspired when quirky—and at times, downright funny—obituary headlines would appear on the pages of The New York Times. Fascinated by headlines such as “Once a Rival to Shirley Temple” and “Master of Lightbulbs,” Orozco collected the most provocative, intriguing, or banal texts to create Obit, an artwork in which Orozco examines both how human life is reduced to language after death, and the semiotics of the news as a poetic entity. Through the recontextualization of obituaries in the form of a linguistic collage, Orozco calls attention to the drama and absurdity of the press’ perception of public life. “It’s a little bit like a mausoleum,” Orozco admits. “I think it’s a very existential piece, in a way. It’s like we are all language… The way we behave and interact; we are language.” https://player.vimeo.com/video/201037614?portrait=0 139 2008-10-09 yes no https://art21.org/watch/extended-play/matthew-ritchie-architect-benjamin-aranda-short/ Matthew Ritchie: Architect Benjamin Aranda (SHORT) https:i.vimeocdn.com/video/615756174_960x540.jpg Architect Benjamin Aranda describes the intricacies of Matthew Ritchie’s sprawling, biomorphic, hybrid structure, The Morning Line. “One way to understand the project, is that it’s basically just a set of arches,” Aranda explains. “Where it gets a little looser, is when we grow these smaller units off the primary structure…That’s where it gets more interesting. It adds a kind of filigree, in a way, to the reading of this arch.” The project was conceived by Ritchie as a collaborative platform investigating the relationships and reciprocity of art, architecture, cosmology and music. The Morning Line exists as a three dimensional drawing in space, in which a series of lines and fractals form a network of intertwining figures and narratives. The work is outfitted with a series of speakers and controls, transforming the piece into an innovative sound environment through which various composers and sound artists can play their music. https://player.vimeo.com/video/201876560?portrait=0 124 2008-10-02 yes no https://art21.org/watch/extended-play/kerry-james-marshall-on-museums-short/ Kerry James Marshall: On Museums (SHORT) https:i.vimeocdn.com/video/606576499_960x540.jpg Kerry James Marshall confronts art institutions, and the canon of Western Art in general, about the unignorable absence of black artists. “We take it for granted that this is just the way art history is structured…” says Marshall. “They [the artists featured in museums] are all Europeans. And when do other people start to come into the field? Well, only after they have been dominated and colonized by Europeans.” https://player.vimeo.com/video/194582029?portrait=0 129 2008-09-25 yes no https://art21.org/watch/extended-play/gabriel-orozco-mobile-matrix-short/ Gabriel Orozco: “Mobile Matrix” (SHORT) https:i.vimeocdn.com/video/614709250_960x540.jpg On February 8, 2006, the remains of a beached whale were preserved by a team of specialists who, after obtaining permission from the Mexican authorities, extracted the natural oils from the skeleton’s bones. The next phase of the whale’s afterlife was a repurposing by artist Gabriel Orozco, who restructured the skeleton’s bones onto a metal armature, and deemed it an artwork to be hung in the central lobby of Mexico’s national library. Entitled Mobile Matrix, the whale has remained on permanent display at la Biblioteca José Vasconcelos in Mexico City, with the exception of an excursion to MoMA for Orozco's 2009 retrospective. Six thousand pencils were employed by assistants under Orozco’s supervision to create the concentric circles on the skeleton's 163 bones. “In the end, it was a lot of labor to fill it with graphite,” Orozco admits, “and I like the graphite because it’s like lead. It has certain qualities that aren’t like painting on the bone, it’s more like dust. I always liked the idea of this dark mineral against the bone, how they contrast.” https://player.vimeo.com/video/201037293?portrait=0 273 2008-09-18 yes no https://art21.org/watch/extended-play/nancy-spero-leon-golubs-gigantomachy-ii-short/ Nancy Spero: Leon Golub’s “Gigantomachy II” (SHORT) https:i.vimeocdn.com/video/616042293_960x540.jpg Nancy Spero cannot conceal her awe for the artwork of her husband, Leon Golub. In this film, Spero and her assistant praise Golub’s 1966 Gigantomachy II from the artist’s New York studio. The “vicious masterwork,” as Spero refers to it, relates to her own sculpture, Maypole: Take No Prisoners, a 2007 piece created for the 57th Venice Biennale. “And here I have the victims of all this brutality,” says Spero, while gesturing to one of the dismembered heads hanging from the flagpole. “From Vietnam to Iraq,” she continues, “there’s a terrible similarity running through all of this stuff.” https://player.vimeo.com/video/202100579?portrait=0 62 2008-09-11 yes no https://art21.org/watch/extended-play/matthew-ritchie-the-morning-line-short/ Matthew Ritchie: “The Morning Line” (SHORT) https:i.vimeocdn.com/video/615755730_960x540.jpg “In the last couple of years, I’ve been exploring the idea of how to move drawing into the environment,” Matthew Ritchie explains before describing the inspiration for his hybrid sculpture, The Morning Line. The project was conceived as a collaborative platform investigating the relationships and reciprocity of art, architecture, cosmology, and music. The Morning Line exists as a three dimensional drawing in space, where a series of lines and fractals form a network of intertwining figures and narratives. The work is outfitted with a series of speakers and controls, transforming the installation into an innovative sound environment through which various composers and sound artists can play their music. https://player.vimeo.com/video/201876611?portrait=0 128 2008-09-04 yes no https://art21.org/watch/extended-play/alfredo-jaar-gramsci-pasolini-short/ Alfredo Jaar: Gramsci & Pasolini (SHORT) https:i.vimeocdn.com/video/613413923_960x540.jpg "There are two Italian thinkers that I admire greatly," says artist Alfredo Jarr as he stands between the rhythmic bars of his 2004 installation Infinite Cell. Jarr is referring to Antonio Gramsci and Pier Paolo Pasolini. Gramsci, a Marxist theorist, is best remembered as a martyr of communist ideology, having died while imprisoned by Benito Mussolini during the Fascist period. The latter, Pasolini, was an a film director, poet, writer and intellectual. “In one of Pasolini’s writings, he says that culture is a prison,” Jarr recalls, “and we intellectuals, we have to get out of that prison.” Infinite Cell refers to both Pasolini’s metaphorical prison of thought and the literal prison in which Gramsci died for his anti-fascist beliefs. Serving as a symbol for intellectualism in Italy today, the vacant space also represents a void—the absence of a culture capable of revolutionary debate. https://player.vimeo.com/video/200015784?portrait=0 139 2008-08-28 yes no https://art21.org/watch/extended-play/matthew-ritchie-apocalypse-short/ Matthew Ritchie: Apocalypse (SHORT) https:i.vimeocdn.com/video/615755109_960x540.jpg In this film, Matthew Ritchie describes his fascination with using post-apocalyptic imagery. Focusing on the aftermath of destruction fabricated within his video works The Iron City (2007) and Raphael (2007), Ritchie describes the relevance of apocalyptic imagery in entertainment. “All of the movies just show the world turning into different versions of the same apocalypse. Everyone get’s really excited about the end of the world," says the artist. "But imagine a movie that was just touring around the ruins afterward. It’s a totally different feeling—they don’t make movies about that." That unrealized movie is best embodied in the artist’s The Iron City, a densely layered audio and visual projection that shifts in response to human presence within the gallery. Through a round aperture reminiscent of the porthole of a ship, or the lens of a camera, the viewer experiences a tunnel-visioned perspective of a post-apocalyptic world. https://player.vimeo.com/video/201876501?portrait=0 132 2008-08-21 yes no https://art21.org/watch/extended-play/ursula-von-rydingsvard-giotto-short/ Ursula von Rydingsvard: Giotto (SHORT) https:art21.org/wp-content/uploads/2016/10/emvideo-bliptv-916427_0.jpg From her Brooklyn studio, Ursula von Rydingsvard details her infatuation with Florentine painter, Giotto di Bondone. “I think if I were to dip into art history, I would choose Giotto as a role model,” says the artist. “There’s something so earnest and contained about the psychological reaping that he does with his faces, with his hands, and even the cloth that he puts on his people.” https://player.vimeo.com/video/201757334?portrait=0 56 2008-08-14 yes no https://art21.org/watch/extended-play/mark-dion-herbarium-perrine-marine-algae-short/ Mark Dion: “Herbarium Perrine (Marine Algae)” (SHORT) https:i.vimeocdn.com/video/612160671_960x540.jpg In this film, Mark Dion describes the artistic benefits of marine algae as an art medium in his Pennsylvania home. No stranger to the incorporation of natural elements as art-making materials, Dion’s innate infatuation with nature is evident as he describes the effect of the aquatic plant when pressed onto paper: “We collect the algaes, we put them in this press between blotter paper. And then, over a period of about three weeks, they sort of dry.” “I like very much the way that seaweeds have a natural glue to them,” Dion explains, comparing the two-dimensionality and crispness of the dried seaweed to an illustration on paper. https://player.vimeo.com/video/199024793?portrait=0 113 2008-08-07 yes no https://art21.org/watch/extended-play/mark-bradford-paper-short/ Mark Bradford: Paper (SHORT) https:i.vimeocdn.com/video/635158601_960x540.jpg In this film, Mark Bradford describes his quest for the perfect materials while creating his 2006 mixed media collage Ridin’ Dirty in his Los Angeles studio. “I always say, well, what I need is not here,” says the artist. “So I just have to make myself available to the universe. So I start walking, looking for paper, looking for the right paper. I’ll know it when I see it.” Through a unique combination of collage and painting, Bradford's work addresses various aspects of urban life through layered, warped, and partially liquefied paper, twine, and glue. https://player.vimeo.com/video/198752234?portrait=0 104 2008-07-31 yes no https://art21.org/watch/extended-play/pierre-huyghe-anlee-short/ Pierre Huyghe: “Anlee” (SHORT) https:i.vimeocdn.com/video/613262607_960x540.jpg French artist Pierre Huyghe discusses his use of Anlee, a Japanese manga character whose copyrights he purchased and loans out to other artists. "Normally this kind of sign [Anlee] is bought by people to make advertising or cartoon. It’s a support for narrative," says the artist. "We give this character to different artists. Different authors speak through this character, in a certain way." Anlee has been featured in Huyghe's One Million Kingdoms (2001), Two Minutes Out of Time (2000), and as part of No Ghost Just a Shell (1999–2003), a collaboration with artist Philippe Parreno. https://player.vimeo.com/video/199896467?portrait=0 100 2008-07-24 yes no https://art21.org/watch/extended-play/inigo-manglano-ovalle-casta-paintings-short/ Iñigo Manglano-Ovalle: Casta Paintings (SHORT) https:i.vimeocdn.com/video/614329031_960x540.jpg Iñigo Manglano-Ovalle traces his understanding of otherness to the first time he saw a 19th century Spanish casta painting. Historically, casta paintings visually articulated the hierarchical system of race classifications in eighteenth century Hispanic America. In this film, Manglano-Ovalle recalls the effect and inspiration casta paintings instilled in him at a young age, against a backdrop of photographs of the artist’s 1998 installation The Garden of Earthly Delights at the XXIV Sao Paulo Bienal. “I remember at the age of ten, difference was locatable to a particular sort of event...seeing eighteenth century casta paintings in a museum and not understanding them until somebody pointed out to me, that I was in one of those paintings,” says the artist. “They pointed to a painting where there’s ‘un espanol’ and ‘a mestizo,’ which is a mix between Español and India—a term that they invented.” https://player.vimeo.com/video/200744507?portrait=0 87 2008-07-16 yes no https://art21.org/watch/extended-play/eleanor-antin-inventing-histories-short/ Eleanor Antin: Inventing Histories (SHORT) https:i.vimeocdn.com/video/611187862_960x540.jpg Eleanor Antin reveals the process behind her 2007 photographic series Helen’s Odyssey, comparing the painstaking staging of her photographs to filmmaking. “It is very much like making movies because I have to set them all up, with makeup, and costumes, and casting, and locations... The whole thing,” says the artist. Antin is best known for her reinterpretations of ancient mythology, through which she reimagines the worlds of Greece and Rome through the inherently modern lens of photography. Antin's intentions lie in a desire to reconstruct the ancient world, incorporating elements of 19th century salon painting style in order to “evoke aspects of the contemporary world.” “I had a lot of fun casting my dead trojans,” the artist confesses, highlighting the wicked sense of humor underscored within her photographs. https://player.vimeo.com/video/198250164?portrait=0 170 2008-07-10 yes no https://art21.org/watch/extended-play/kerry-james-marshall-being-an-artist-short/ Kerry James Marshall: Being an Artist (SHORT) https:i.vimeocdn.com/video/606576614_960x540.jpg Drawing inspiration from Langston Hughes' influential 1926 essay, “The Negro Artist and the Racial Mountain,” Kerry James Marshall recalls the essay’s famous introduction, in which Hughes describes the struggle of a fellow African American writer. “I don’t want to be a black poet, I just want to be a poet,” Hughes wrote, referring to the inherent burden of race on a young writer's identity. The artwork of Kerry James Marshall investigates and reclaims the essence of blackness. Through the oversaturation of his figures’ skin tones to near pitch-blackness, Marshall challenges American culture’s needless fear of darkness. “In his essay, he says what that the artist is really saying is that ‘I want to be a white artist. Because they aren’t burdened by the problem of race,’” says Marshall, accompanied by his Black Romantic series installed at Jack Shainman Gallery in New York. “So who needs to not know, or who needs to not think of you as a black artist, in order for you to become a real artist?” Marshall asks. https://player.vimeo.com/video/194581894?portrait=0 92 2008-07-03 yes no https://art21.org/watch/extended-play/kerry-james-marshall-black-romantic-short/ Kerry James Marshall: “Black Romantic” (SHORT) https:i.vimeocdn.com/video/606576538_960x540.jpg Kerry James Marshall discusses what it means to create Black Art during the installation of his 2008 exhibition Black Romantic at Jack Shainman Gallery in New York. The subject matter of Marshall’s work is entrenched in the geography of his upbringing. “You can’t be born in Birmingham, Alabama, in 1955 and grow up in South Central [Los Angeles] near the Black Panthers headquarters, and not feel like you’ve got some kind of social responsibility," says the artist. "You can’t move to Watts in 1963 and not speak about it. That determined a lot of where my work was going to go." https://player.vimeo.com/video/194581972?portrait=0 122 2008-06-26 yes no https://art21.org/watch/extended-play/mel-chin-paydirt-short/ Mel Chin: “Paydirt” (SHORT) https:i.vimeocdn.com/video/612011861_960x540.jpg Mel Chin describes the origins and motivations behind his nationwide art project Paydirt in a keynote address at the 2008 National Art Education Association Convention. The high lead content in New Orleans’ soil—among the worst in the country—was exacerbated by the havoc wreaked by the 2005 hurricane. Discovering that “the disaster was in the soil before the disaster,” Chin felt compelled to do something. Speaking before a crowd of thousands of art educators from across the country, Chin recalls his disillusionment: “I remember standing in the ruins of the Ninth Ward and realizing as a creative individual that I felt hopeless and inadequate. And I was flooded by this terrible insecurity that being an artist was not enough to deal with the tragedy that was before me.” Thus Paydirt and its sister initiative, the "Fundred Dollar Bill Project" was born. https://player.vimeo.com/video/198907120?portrait=0 144 2008-06-19 yes no https://art21.org/watch/extended-play/eleanor-antin-helens-odyssey-short/ Eleanor Antin: “Helen’s Odyssey” (SHORT) https:i.vimeocdn.com/video/611188543_960x540.jpg In this film, artist Eleanor Antin considers the various representations of Helen of Troy. “Frequently she’s depicted as this dumb blonde because she was a much hated person” says Antin, “but at the same time, [she was] an image of great fascination because of her incredible beauty and the power she obviously wielded.” Within the artist’s 2007 series of photographs, Helen’s Odyssey, Helen of Troy is finally able to speak for herself through historically reimagined scenes Antin has meticulously composed. https://player.vimeo.com/video/198250204?portrait=0 151 2008-06-12 yes no https://art21.org/watch/extended-play/an-my-le-becoming-an-artist-short/ An-My Lê: Becoming an Artist (SHORT) https:i.vimeocdn.com/video/613694873_960x540.jpg When An-My Lê describes her transition from biology student to artist, she claims that she really didn’t know what she should do. “As any responsible child of an immigrant, I knew I should do something that would be more practical. My brothers were engineers and went to business school, and I thought engineering would be too dry; so I thought, why not biology and become a doctor?” Lê recalls, while printing a photograph from the series Trap Rock (2006) in her New York studio. Within her photography and films, Lê examines the ramifications and representations of war, reflecting on U.S. foreign policy’s role in her own life as both a perpetrator of violence and as a savior. https://player.vimeo.com/video/200240549?portrait=0 68 2008-06-05 yes no https://art21.org/watch/extended-play/josiah-mcelheny-conceptual-drawings-for-a-chandelier-1965-short/ Josiah McElheny: “Conceptual Drawings for a Chandelier, 1965” (SHORT) https:i.vimeocdn.com/video/614518062_960x540.jpg Josiah McElheny describes the inspiration and creative process behind his first film, Conceptual Drawings for a Chandelier 1965 (2005). Inspired by the discovery of The Big Bang in 1965, McElheny aims to recreate the momentous scientific revelation through the Lobmeyr chandeliers at the Metropolitan Opera in New York. McElheny recounts his first encounter with the chandeliers during a visit to the opera, likening them to “some pop image of The Big Bang—some explosion of matter and light.” https://player.vimeo.com/video/200890741?portrait=0 205 2008-05-29 yes no https://art21.org/watch/extended-play/mark-dion-neukom-vivarium-short/ Mark Dion: “Neukom Vivarium” (SHORT) https:i.vimeocdn.com/video/612161438_960x540.jpg In this film, Mark Dion leads a discussion of his installation Neukom Vivarium (2006) at the Olympic Sculpture Park in Seattle. “I don’t really care if people call it art or not; that’s really not my question,” says the artist. “As far as I know, that question was solved. You know, Duchamp’s urinal was complacently sitting in MoMA before I wet my first diaper.” The artwork of Mark Dion straddles science and fine art, as he configures natural ecology and decay into his practice. “What I care about is: is [the artwork] interesting?” Dion persists. “Am I making a kind of contribution to visual culture that's engaging, that brings up questions, that produces dialogue and discourse?” https://player.vimeo.com/video/199025011?portrait=0 109 2008-05-18 yes no https://art21.org/watch/extended-play/josiah-mcelheny-the-alpine-cathedral-and-the-city-crown-short/ Josiah McElheny: “The Alpine Cathedral and the City-Crown” (SHORT) https:i.vimeocdn.com/video/614519393_960x540.jpg “Let’s design a world; an imaginary world,” Bruno Taut once said to his secret society of architects back in 1917. Known as The Crystal Chain, Taut and his followers aimed to create fantastical landmarks never intended for actual construction. Many of their ideas consisted of impossible structures, which while unfit for human habitation, exuded a sense of beauty and sleekness associated with modernist aesthetic. This modern style is embodied today through the work of artist Josiah McElheny, whose typically reflective works echo Modernist notions of both literal and mental reflection. In this film, McElheny describes the historical influence of Taut’s utopian glass designs, as well as the role they’ve played within his own practice. McElheny’s The Alpine Cathedral and the City-Crown (2007) exists as an architectural model of Taut’s vision, epitomizing the sleek and crystalline structures Taut and his followers dreamed of in the wake of World War I’s senseless carnage. https://player.vimeo.com/video/200890814?portrait=0 119 2008-05-15 yes no https://art21.org/watch/extended-play/lari-pittman-craft-short/ Lari Pittman: Craft (SHORT) https:i.vimeocdn.com/video/615540145_960x540.jpg Lari Pittman reflects on his use of craft from his Los Angeles studio. While touching up his 2006 painting Palace, Pittman describes craft as a channel through which he can convey his pride and love for the art object. Pittman also challenges the historical association of women and feminism with craft, referring to the rebellious energy of his paintings as a kind of protest to prescribed gender roles and binary systems. “As a male, it's about a type of focus and social comportment that usually isn’t expected of a male,” says the artist, “I guess there's a dutifulness [in craft] that maybe has historically been referenced or attributed to females. So I guess I’ve always seen my devotion to craft as a type of protest.” https://player.vimeo.com/video/201704755?portrait=0 107 2008-05-08 yes no https://art21.org/watch/extended-play/allora-calzadilla-form-short/ Allora & Calzadilla: Form (SHORT) https:i.vimeocdn.com/video/611138123_960x540.jpg “Who decides what forms last and which forms are destroyed?” Jennifer Allora, of the artist collective Allora & Calzadilla inquires. Set against footage of the artists' 2006 installation, Ruin, Allora & Calzadilla reflect on the subject of form, contemplating how materiality and idealism influence a form’s various mutations, and how the concept of form influences their work as a whole. “You talk about form and you think of an aesthetic discussion of the weight and scale and body and physicality or size of this thing,” says Guillermo Calzadilla. “You can talk about aesthetic form, but you can talk about forms of violence, forms of oppression, forms of genocide, believable forms—who decides what's beautiful?”  https://player.vimeo.com/video/198214561?portrait=0 61 2008-05-01 yes no https://art21.org/watch/extended-play/inigo-manglano-ovalle-oppenheimer-short/ Iñigo Manglano-Ovalle: “Oppenheimer” (SHORT) https:i.vimeocdn.com/video/614328643_960x540.jpg The work of Iñigo Manglano-Ovalle blends the naturally occuring with the technologically engineered, conveying complex social issues through a symbolic lexicon of digitally rendered artworks inspired by naturally occurring phenomena. The artist's strategy of representing nature through information explores the underlying forces that shape the planet, as well as the structures in which we function and the ways we understand our ecology. “If art for me is a platform from which to speak, but not tell you something, that’s good,” says the artist. “And if that's the way from which I give you a platform to think and debate it, that’s even better. Because art for me does not reside in the object, it’s about what's said about the object. “ https://player.vimeo.com/video/200744539?portrait=0 124 2008-04-24 yes no https://art21.org/watch/extended-play/nancy-spero-becoming-an-artist-short/ Nancy Spero: Becoming an Artist (SHORT) https:i.vimeocdn.com/video/616041888_960x540.jpg “I suppose I felt doomed to be an artist early on, because of the way I drew all over the margins of my textbooks...” recalled Nancy Spero, when asked if she had always wanted to be an artist. Nancy Spero is best remembered as a pioneer of the feminist art movement. Her work remained irreverent over her five-decade long career, often drawing inspiration from the atrocities of war and torture. A montage of the artist's life in photos chronicles that career, while an interview describes her reservations about becoming an artist. https://player.vimeo.com/video/202100555?portrait=0 76 2008-04-17 yes no https://art21.org/watch/extended-play/judy-pfaff-buckets-of-rain-time-lapse-short/ Judy Pfaff: “Buckets of Rain” Time Lapse (SHORT) https:i.vimeocdn.com/video/615523963_960x540.jpg Judy Pfaff harmonizes deliberate planning with improvisation as she composes her sprawling sculptures and installations. “When you’re making something, you’re always focused on finishing it,”says the artist in this film. “And then, when you step back, you start seeing all of these things that you didn’t plan.” Through a unique fusion of sculpture, architecture, and painting, Pfaff’s dynamic environments exist in both the second and third dimensions; exuding an impossible sense of lightness and energy collaged in time and space. By means of wood, steel, wax, plaster, fluorescent lights, paint, black foil, expanding foam, and tape, Pfaff created Buckets of Rain, a large scale installation occupying two galleries. This timelapse video chronicles the work’s two week installation at Ameringer & Yohe Fine Art, New York in 2006. When asked about the emotional elements of the piece Pfaff said the installation “was directly about a great loss or a kind of drama, and more about choices- black and white, life and death, good and bad, and the impact of that. It just embarrasses me even to think that way, that I did that. But, you know, I didn’t feel I had a choice." https://player.vimeo.com/video/201692996?portrait=0 85 2008-04-10 yes no https://art21.org/watch/extended-play/catherine-sullivan-empathy-short/ Catherine Sullivan: Empathy (SHORT) https:art21.org/wp-content/uploads/2016/10/emvideo-bliptv-754064_0.jpg “There is some kind of very abstract, basic, human identification that theater at it’s center activates,” says artist Catherine Sullivan. A cacophony of references and influences from vaudeville to film noir to modern dance, Sullivan’s appropriation of classic filming styles, period costumes, and contemporary spaces draws the viewer’s attention away from traditional narratives and towards an examination of performance itself. In this film, Sullivan's exploration of behavior’s origins is illustrated through excerpts of her works Big Hunt (2002), Ice Floes of Franz Joseph Land (2003), and The Chittendens (2006). https://player.vimeo.com/video/201760830?portrait=0 97 2008-04-03 yes no https://art21.org/watch/extended-play/laurie-simmons-dancer-greg-sinacori-short/ Laurie Simmons: Dancer Greg Sinacori (SHORT) https:i.vimeocdn.com/video/616016688_960x540.jpg The Music of Regret,(2006) Laurie Simmons’ first film, extends her photographic practice to performance; incorporating musicians, professional puppeteers, Alvin Ailey dancers, Hollywood cinematographer Ed Lachman, and actress Meryl Streep within her three-act “mini-musical.” Forty minutes long, the work features an ensemble of dancing objects, including a pocket watch and a gun. In this film, dancer Greg Sinacori, who plays the role of “The House,” discusses the effect of the costumes’ weight and form on his dancing and movement. “At first, I didn’t know what being a house was going to entail,” Sinacori confessed during preparations for the performance. https://player.vimeo.com/video/202081002?portrait=0 81 2008-03-27 yes no https://art21.org/watch/extended-play/mel-chin-fundred-at-george-jackson-academy-short/ Mel Chin: “Fundred” at George Jackson Academy (SHORT) https:i.vimeocdn.com/video/621299780_960x540.jpg Originated by Mel Chin in 2006, “The Fundred Dollar Bill Project” invites students of all ages to participate in a giant performance artwork, designed to achieve financial relief for the destruction of New Orleans by Hurricane Katrina, and to educate the public on the dangers of lead poisoning through the environmentally responsible rebuilding of the impoverished city. Through the design of dollar bill-shaped artworks created by students, the youth of America found a vehicle through which they were able to visually communicate their sympathy and concern for New Orleans in the aftermath of the historically lethal storm. The student-created artworks are collected and brought to the Federal Reserve and Congress in Washington D.C. where an even exchange of the value of their art currency for actual funds or services is requested. Today, “The Fundred Dollar Bill Project” continues to raise money and spread awareness about the dangers of lead poisoning. 232 https://player.vimeo.com/video/206313495?portrait=0 230 2008-03-19 yes no https://art21.org/watch/extended-play/robert-adams-books-gravures-short/ Robert Adams: Books & Gravures (SHORT) https:i.vimeocdn.com/video/610970917_960x540.jpg Drawing inspiration from nature’s inherent beauty, the photography of Robert Adams describes the evolution of the Western landscape over the past four decades; revealing the impact of human activity on the last vestiges of wilderness and open space. Through his refined and sparsely populated black-and-white photographs, Adams exposes the hollowness of the nineteenth-century American doctrine, Manifest Destiny. In this film, Adams describes the importance of developing relationships between photographs while composing an art book, and discusses the intrinsic beauty of working with photogravure plates. https://player.vimeo.com/video/198079918?portrait=0 122 2008-03-20 yes no https://art21.org/watch/extended-play/mark-bradford-super-8-movies-short/ Mark Bradford: Super 8 Movies (SHORT) https:i.vimeocdn.com/video/611813671_960x540.jpg From his home in Los Angeles, artist Mark Bradford shares childhood memories of creating films with friends. Set against a backdrop from the artist's own collection of Super 8 footage, the movies reveal aspects of the artist's childhood, as collected through his own perspective. “As a kid, I would lay down on this grass and look up at the sky and I would see clouds.” Bradford recounts, “And I remember one day, I told my friends, 'I’m going to make a movie, and we’re all going to watch a movie, and it’s going to be free...and I was going to project it on the cloud.” https://player.vimeo.com/video/198752267?portrait=0 103 2008-03-13 yes no https://art21.org/watch/extended-play/john-baldessari-recycling-images-short/ John Baldessari: Recycling Images (SHORT) https:i.vimeocdn.com/video/611784448_960x540.jpg While sifting through boxes of film stills in his Santa Monica studio, artist John Baldessari talks about being a pack rat and discusses his attitude towards appropriating images. https://player.vimeo.com/video/198727995?portrait=0 117 2010-02-12 yes no https://art21.org/watch/extended-play/john-baldessari-raised-eyebrows-furrowed-foreheads-short/ John Baldessari: “Raised Eyebrows/ Furrowed Foreheads” (SHORT) https:i.vimeocdn.com/video/611783746_960x540.jpg During the installation of his exhibition Raised Eyebrows/ Furrowed Foreheads (2009) at Marian Goodman Gallery in New York, artist John Baldessari discusses his life-long obsession with the distinction between parts and wholes, as well as his reductive philosophy of art-making. https://player.vimeo.com/video/198728044?portrait=0 162 2009-11-12 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/systems-allan-mccollum/ Systems: Allan McCollum https:art21.org/wp-content/uploads/2016/10/mccollum-allan-chapter-still-1.jpg What new grammars and logics do artists invent in today’s supercharged, information-based society? Why do we find comfort in some systems while rebelling against others? The Art in the Twenty-First Century documentary Systems explores these questions in the work of the artists Julie Mehretu, John Baldessari, Kimsooja, and Allan McCollum. https://player.vimeo.com/video/206491896?portrait=0 0 2009-10-28 yes no https://art21.org/watch/extended-play/allan-mccollum-over-ten-thousand-individual-works-short/ Allan McCollum: “Over Ten Thousand Individual Works” (SHORT) https:i.vimeocdn.com/video/614499031_960x540.jpg Filmed in his Brooklyn studio, Allan McCollum reveals the process and logic behind the project Over Ten Thousand Individual Works (begun in 1982). Cast in plaster, hand-painted, and displayed in vast quantities, each Individual Work is a unique combination of shapes adapted from commercially-produced objects. https://player.vimeo.com/video/200875793?portrait=0 323 2010-11-19 yes no https://art21.org/watch/extended-play/allan-mccollum-surrogate-paintings-plaster-surrogates-short/ Allan McCollum: “Surrogate Paintings” & “Plaster Surrogates” (SHORT) https:i.vimeocdn.com/video/614499605_960x540.jpg Filmed in his Brooklyn studio, Allan McCollum discusses his Surrogate Paintings (begun in 1978) and Plaster Surrogates (begun in 1982). Wanting to “construct an emblem” for what an artist does and demystify what it means to be an artist, McCollum’s symbolic works reveal the social game of looking at, selling, and making art through theatrical installations of mass-produced objects. https://player.vimeo.com/video/200875907?portrait=0 221 2010-09-14 yes no https://art21.org/watch/extended-play/allan-mccollum-shapes-ornaments-short/ Allan McCollum: “Shapes Ornaments” (SHORT) https:i.vimeocdn.com/video/614500213_960x540.jpg Horace & Noella Varnum in Sedgwick, Maine, describe their experiences working with artist Allan McCollum on the Shapes from Maine (2009) exhibition at Friedrich Petzel Gallery in New York. https://player.vimeo.com/video/200875993?portrait=0 258 2010-06-11 yes no https://art21.org/watch/extended-play/allan-mccollum-shapes-copper-cookie-cutters-short/ Allan McCollum: “Shapes Copper Cookie Cutters” (SHORT) https:i.vimeocdn.com/video/614500542_960x540.jpg Larry Little, co-founder of Aunt Holly's Copper Cookie Cutters with his wife Holly, describes his experiences working with artist Allan McCollum on the Shapes from Maine (2009) exhibition at Friedrich Petzel Gallery in New York. Little describes the origins of his home business in Trescott, Maine, the process he developed for making cookie cutters by hand, and his working relationship with McCollum. https://player.vimeo.com/video/200876115?portrait=0 267 2010-01-04 yes no https://art21.org/watch/new-york-close-up/keltie-ferris-has-a-show/ Keltie Ferris Has a Show https:art21.org/wp-content/uploads/2016/10/005-Ferris-Show-EpisodeSC-022-1400x788.jpg When does a painting stop being a private object and start becoming a public work? In this film, artist Keltie Ferris prepares for her show KF + CM 4EVER (2010) by crating a new series of paintings in her Bushwick studio, shipping the work across town in a van, and installing the exhibition at Horton Gallery in Chelsea—all in the same day. The artist and a team of art handlers shadowbox a “tacky” painting and roll a second painting that’s too large to fit through the studio door. As the paintings are moved, Ferris’s studio transforms from a vibrant space filled with energetic abstract paintings—all titled with symbols, such as the works ((!!!!!)) (2010) and !@#$%^&*() (2010)—to an empty room absent of color. The process is reversed at the gallery as the works are uncrated and where dealer Sean Horton personally hangs each painting, consults with the artist on placement, and talks with prospective collectors. https://player.vimeo.com/video/25346754?portrait=0 394 2011-06-20 yes no https://art21.org/watch/extended-play/beryl-korot-text-and-commentary-short/ Beryl Korot: “Text and Commentary” (SHORT) https:i.vimeocdn.com/video/613663548_960x540.jpg Featuring excerpts from her groundbreaking video installation Text and Commentary (1977), artist Beryl Korot discusses how information has been encoded in lines and patterns throughout human history, whether in print media, through video, or on a weaving loom https://player.vimeo.com/video/200214895?portrait=0 183 2010-12-11 yes no https://art21.org/watch/william-kentridge-anything-is-possible/full-program-william-kentridge-anything-is-possible/ FULL PROGRAM: “William Kentridge: Anything Is Possible” https:i.vimeocdn.com/video/621730518_1280x720.jpg William Kentridge: Anything Is Possible gives viewers an intimate look into the mind and creative process of William Kentridge, the South African artist whose acclaimed charcoal drawings, animations, video installations, shadow plays, mechanical puppets, tapestries, sculptures, live performance pieces, and operas have made him one of the most dynamic and exciting contemporary artists working today. With its rich historical references and undertones of political and social commentary, Kentridge's work has earned him inclusion in Time magazine's 2009 list of the 100 most influential people in the world. This documentary features exclusive interviews with Kentridge as he works in his studio and discusses his artistic philosophy and techniques. In the film, Kentridge talks about how his personal history as a white South African of Jewish heritage has informed recurring themes in his work—including violent oppression, class struggle, and social and political hierarchies. Additionally, Kentridge discusses his experiments with "machines that tell you what it is to look" and how the very mechanism of vision is a metaphor for "the agency we have, whether we like it or not, to make sense of the world." We see Kentridge in his studio as he creates animations, music, video, and projection pieces for his various projects, including Breathe (2008); I am not me, the horse is not mine (2008); and the opera The Nose (2010), which premiered earlier this year at New York's Metropolitan Opera to rave reviews. With its playful bending of reality and observations on hierarchical systems, the world of The Nose provides an ideal vehicle for Kentridge. The absurdism, he explains in the documentary's closing, "...is in fact an accurate and a productive way of understanding the world. Why should we be interested in a clearly impossible story? Because, as Gogol says, in fact the impossible is what happens all the time." https://player.vimeo.com/video/206644614?portrait=0 3192 2010-10-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/systems/ “Systems” https:i.vimeocdn.com/video/621532480_1280x720.jpg Systems features four artists—Julie Mehretu, Kimsooja, John Baldessari, and Allan McCollum—who invent new grammars and logics, finding comfort in some systems while rebelling against others in todays supercharged, information-based society. Whether through acts of appropriation, repetition, or accumulation, the artists in this episode realize projects both vast in scope and beyond comprehension. https://player.vimeo.com/video/206491896?portrait=0 3251 2009-10-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/transformation/ “Transformation” https:i.vimeocdn.com/video/621532407_1280x720.jpg Whether satirizing society or reinventing icons of literature, art history, and popular culture, the artists in Transformation—Cindy Sherman, Yinka Shonibare MBE, and Paul McCarthy—inhabit the characters they create and capture the sensibilities of our age. https://player.vimeo.com/video/206489953?portrait=0 3270 2009-10-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/fantasy/ “Fantasy” https:i.vimeocdn.com/video/621532395_1280x720.jpg Fantasy presents artists whose works defy convention and transport us to unreal worlds and altered states of consciousness. With works at times hallucinatory, irreverent, and sublime, each of these artists pursues a vision first held in the mind’s eye. https://player.vimeo.com/video/206488377?portrait=0 3270 2009-10-14 yes no https://art21.org/watch/art-in-the-twenty-first-century/s5/compassion/ “Compassion” https:i.vimeocdn.com/video/621532344_1280x720.jpg Compassion features three artists—William Kentridge, Doris Salcedo, and Carrie Mae Weems—whose works explore conscience and the possibility of understanding and reconciling past and present, while exposing injustice and expressing tolerance for others. https://player.vimeo.com/video/206487015?portrait=0 3270 2009-10-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/paradox/ “Paradox” https:i.vimeocdn.com/video/621530002_960x540.jpg The artists in this episode investigate the boundaries between abstraction and representation, fact and fiction, order and chaos. Creating juxtapositions that are at times disorienting, playful, and unexpected, these artists engage with the uncertain and plumb accepted assumptions of meaning in art. Paradox was shot on location in New York, New York; Philadelphia, Pennsylvania; Los Angeles, California; Chicago, Illinois; Miami, Florida; San Juan, Puerto Rico; São Paulo, Brazil; Warsaw, Poland; Paris, France; and Avignon, France. https://player.vimeo.com/video/206481351?portrait=0 3265 2007-11-18 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/protest/ “Protest” https:i.vimeocdn.com/video/621530095_960x540.jpg This episode examines the ways in which contemporary artists picture and question war, express outrage, and empathize with the suffering of others. Whether bearing witness to tragic events, presenting alternative histories, or engaging in activism, the artists interviewed in Protest use visual art as a means to provoke personal transformations and question social revolutions. Protest is shot on location in New York, New York; Hoosick Falls, New York; Wappingers Falls, New York; Marine Corps Base Camp Pendleton, California; and Santiago, Chile. https://player.vimeo.com/video/206477953?portrait=0 3208 2007-11-04 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/ecology/ “Ecology” https:i.vimeocdn.com/video/621530034_960x540.jpg This episode delves into the work of four artists who explore the relationship of nature and culture, including the submission of wilderness to civilization, the foundations of scientific knowledge, the impact of technology on biology, and our relationship to the earth forged by working the land. Ecology was shot on location in New York, New York; Los Angeles, California; Chicago, Illinois; Rochester, Minnesota; Seattle, Washington; Astoria, Oregon; Cape Disappointment, Washington; King County, Washington; Beach Lake, PA; and Williamstown, Massachusetts. https://player.vimeo.com/video/206479564?portrait=0 3216 2007-11-11 yes no https://art21.org/watch/art-in-the-twenty-first-century/s4/romance/ “Romance” https:i.vimeocdn.com/video/621530157_960x540.jpg How do contemporary artists respond to traditionally romantic ideals such as sentimentality, pathos, and the philosophy of art for art’s sake? This episode poses questions about the value of pleasure in art and features artists whose works are extended meditations on mortality, love, reality and make-believe. Romance is shot on location in New York, New York, Tivoli, New York; Kingston, New York; Los Angeles, California; Berlin, Germany; London, England; and Paris, France. https://player.vimeo.com/video/206476347?portrait=0 3219 2007-10-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/play/ “Play” https:i.vimeocdn.com/video/621523667_960x540.jpg The artists in Play improvise games, draw inspiration from dance and music, and employ color, pattern, and movement to elicit delight. Indulging in process, these artists transform naïve impulses into critical statements about the nature of identity, creative expression, and pleasure. Introduced by Grant Hill, Play was shot on location in Brooklyn, New York; Berlin, Germany; Santiago de Compostela, Spain; New Haven, Connecticut; Houston, Texas; and Austin, Texas. https://player.vimeo.com/video/206474221?portrait=0 3249 2005-10-07 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/structures/ “Structures” https:art21.org/wp-content/uploads/2016/10/structures-stack-001-16x9.jpg The artists in Structures create systems, shift contexts, and engage with perception, utilizing unconventional devices such as exhibitions within exhibitions and dramatic shifts in scale between microcosm and macrocosm. Introduced by actor Sam Waterston, Structures is shot on location in Akureyri, Iceland; London, England; New York, New York; Houston, Texas; North Adams, Massachussetts; São Paolo, Brazil; Newark, New Jersey; Göteborg, Sweden; Santa Fe, New Mexico; and Austin, Texas. https://player.vimeo.com/video/206472688?portrait=0 3250 2005-09-30 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/memory/ “Memory” https:i.vimeocdn.com/video/621307294_960x540.jpg Whether critical, irreverent, or introspective, the artists in Memory delve into personal memory and the past, transforming them in their work. The artists wrestle with complex topics such as the veracity of history, the nature of interpretation, subjective versus objective truth, and the ways in which objects and images from the past embody cultural memory. Introduced by actor Isabella Rossellini, Memory is shot on location in Galisteo, New Mexico; Los Angeles, California; Paris, France; New York, New York; Chicago, Illinois; and Austin, Texas. https://player.vimeo.com/video/206318290?portrait=0 3250 2005-09-23 yes no https://art21.org/watch/art-in-the-twenty-first-century/s3/power/ “Power” https:i.vimeocdn.com/video/621307412_960x540.jpg The artists in Power challenge authority, oppression, and control. Each artist humanizes difficult issues by acting as a witness to violence, working to heal communities, or achieving a balance between constructive and destructive energies. Introduced by actor and comedian, David Alan Grier, Power is shot on location in New York, New York; Washington, D.C.; São Paolo, Brazil; North Adams, Massachusetts; Williamstown, Massachusetts; Cambridge, Massachusetts; Boston, Massachusetts; Hiroshima, Japan; Tijuana, Mexico; and Austin, Texas. https://player.vimeo.com/video/206316815?portrait=0 3250 2005-09-16 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/humor/ “Humor” https:i.vimeocdn.com/video/621303359_960x540.jpg The four artists profiled in Humor have been influenced by the history of humor and comedy, including vaudeville, cartoons, and comic books. The artists in this hour reveal how humor and satire can stimulate laughter as well as serve as a vehicle to explore serious subjects, such as feminism, the natural environment, the excesses of consumer culture, social injustice, and war. Filmed on location in San Diego, California; Hermosa Beach, California; New York, New York; and Great Barrington, New York. https://player.vimeo.com/video/206313565?portrait=0 3220 2003-10-01 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/time/ “Time” https:i.vimeocdn.com/video/621300684_960x540.jpg Time is always present in our interaction with works of art, whether we sit to contemplate a painting, stroll past a sculpture, or watch a video piece for its entire duration or cycle. Some works of art are time-based in that the viewer must experience them through the passage of time, as with music, while others refer to time through links or references to art history, our collective human history, or the timelessness of nature. Filmed on location in China; Japan; New York, New York; San Antonio, Texas; Cambridge, Massachusetts; and Los Angeles, California. https://player.vimeo.com/video/206312011?portrait=0 3220 2003-09-17 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/loss-desire/ “Loss & Desire” https:i.vimeocdn.com/video/621300750_960x540.jpg Thoughts and responses to themes of Loss & Desire surface in many areas of our lives, from the philosophical to the emotional. In this episode, specific works of art cause us to contemplate issues such as war and peace; the loss of community and the desire for connection; and the age-old human longing for perfection. Filmed on location in New York, New York; West Point, New York; Blair, New Jersey; Stuttgard, Germany; Paris, France; Mexico; and Santa Fe, New Mexico. https://player.vimeo.com/video/206310098?portrait=0 3104 2003-09-17 yes no https://art21.org/watch/art-in-the-twenty-first-century/s2/stories/ “Stories” https:art21.org/wp-content/uploads/2016/10/stories-stack-001-16x9.jpg The artists profiled in Stories tell tales—autobiographical, fictional, satirical, or fantastical—through architecture, literature, mythology, fairytales, and history. These artists provoke us to think about our own stories, the characters and caricatures, the morals and messages that define our real and imagined lives. Filmed on location in São Paolo, Brazil; New York, New York; Saratoga Springs, New York; [foundry], New Jersey; Philadelphia, Pennsylvania, Seoul, South Korea; Seattle Washington; Houston, Texas; and Dallas, Texas. https://player.vimeo.com/video/206307570?portrait=0 3224 2003-09-09 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/consumption/ “Consumption” https:i.vimeocdn.com/video/621293866_960x540.jpg “All of these artists reference the other kinds of images we are familiar with,” writes Katy Siegel in her essay for the Art in the Twenty-First Century Companion Book. “We spend our whole lives training to understand movies and television and video games and clothes and beds and houses. And so contemporary art often invokes these experiences and objects; art often looks like a commodity, because in a consumer culture, nothing could be more essential.” https://player.vimeo.com/video/206305687?portrait=0 3240 2001-09-28 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/identity/ “Identity” https:i.vimeocdn.com/video/621291467_960x540.jpg “Too often those who are quickest to assert their identity or loudest in proclaiming it have fastened on a single, supposedly fixed aspect of their nature or background to the detriment of the rest,” writes Robert Storr in an essay for the Art in the Twenty-First Century Companion Book. “Whatever the reasons for them, the work of the artists discussed here demonstrate the error and the futility of such ostensibly self-protective but in actuality self-restrictive measures.” https://player.vimeo.com/video/206303929?portrait=0 3220 2001-09-28 yes no https://art21.org/watch/extended-play/mary-heilmann-inspiration-short/ Mary Heilmann: Inspiration (SHORT) https:i.vimeocdn.com/video/612374956_960x540.jpg In her Long Island studio, Mary Heilmann discusses two inspirations for her work: tea bowls that adhere to the Japanese aesthetic philosophy of "Wabi-sabi" and the cartoon color palette used in The Simpsons television show. Heilmann contrasts her working method with that of the Abtract Expressionists, preferring to find "the easiest way to do it" which often involves thinking through the compositions and colors with a computer. The video features ceramics and paintings installed as part of the artist's traveling retrospective To Be Someone at the New Museum and the Wexner Center for the Arts. https://player.vimeo.com/video/199192041?portrait=0 167 2009-10-23 yes no https://art21.org/watch/extended-play/carrie-mae-weems-thirteen-questions-for-wynton-marsalis-cornel-west-short/ Carrie Mae Weems: Thirteen Questions for Wynton Marsalis & Cornel West (SHORT) https:art21.org/wp-content/uploads/2016/10/emvideo-bliptv-2728990_0.jpg As part of a panel discussion moderated by Baraka Sele at the 20th National Black Arts Festival in Atlanta, Georgia, artist Carrie Mae Weems poses thirteen questions to musician Wynton Marsalis and professor Cornel West, followed by an impromptu song and dance by the participants and audience. https://player.vimeo.com/video/201750850?portrait=0 308 2009-10-16 yes no https://art21.org/watch/extended-play/josiah-mcelheny-history-originality-short/ Josiah McElheny: History & Originality (SHORT) https:i.vimeocdn.com/video/614521142_960x541.jpg Artist Josiah McElheny discusses the relationship between artworks and the context in which they were created, highlighting the distinctions between history and the personal and interpretive reinvention of historical facts. https://player.vimeo.com/video/200891000?portrait=0 182 2009-10-09 yes no https://art21.org/watch/extended-play/richard-tuttle-pollock-tiffany-short/ Richard Tuttle: Pollock & Tiffany (SHORT) https:art21.org/wp-content/uploads/2016/10/emvideo-bliptv-2367263_0.jpg Artist Richard Tuttle pays homage to American art giants Jackson Pollock and Louis Comfort Tiffany, placing his work in an aesthetic tradition that spans abstraction and craft, expressionism and pragmatism. Interviewed outside his home New Mexico, Tuttle's dialogue on being the "brush of society" versus "using society as your paintbrush" is paired with a retrospective of his works installed at The Whitney Museum of American Art in New York. https://player.vimeo.com/video/201758819?portrait=0 153 2009-10-01 yes no https://art21.org/watch/extended-play/arturo-herrera-failure-short/ Arturo Herrera: Failure (SHORT) https:i.vimeocdn.com/video/612379351_960x542.jpg In his Berlin studio, Arturo Herrera discusses the importance of accepting failure in order to be able to learn and grow as an artist. https://player.vimeo.com/video/199195394?portrait=0 121 2009-09-25 yes no https://art21.org/watch/extended-play/laylah-ali-meaning-short/ Laylah Ali: Meaning (SHORT) https:i.vimeocdn.com/video/611019377_960x540.jpg While painting in her Williamstown, Massachusetts studio, artist Laylah Ali discusses the imperative she feels to make things, and the nuanced relationship of political and personal events to the work. https://player.vimeo.com/video/198120488?portrait=0 178 2009-09-17 yes no https://art21.org/watch/extended-play/ida-applebroog-city-country-short/ Ida Applebroog: City & Country (SHORT) https:i.vimeocdn.com/video/611756357_960x540.jpg Artist Ida Applebroog discusses the differences between living and making work in New York City versus her home in Upstate New York. https://player.vimeo.com/video/198707464?portrait=0 114 2009-09-10 yes no https://art21.org/watch/extended-play/jessica-stockholder-becoming-an-artist-short/ Jessica Stockholder: Becoming an Artist (SHORT) https:i.vimeocdn.com/video/616047720_960x540.jpg Artist Jessica Stockholder recounts her earliest memories of wanting to become an artist while she and her son Charlie paint and draw in the basement of their home in New Haven, Connecticut. https://player.vimeo.com/video/202105021?portrait=0 109 2009-09-03 yes no https://art21.org/watch/extended-play/oliver-herring-participant-davis-thompson-moss-short/ Oliver Herring: Participant Davis Thompson-Moss (SHORT) https:i.vimeocdn.com/video/612423815_960x540.jpg Artist Davis Thompson-Moss discusses his experiences appearing as a performer, alongside his brother, in two videos by Oliver Herring: BASIC (2003) and THE DAY I PERSUADED TWO BROTHERS TO TURN THEIR BACKYARD INTO A MUD POOL (2004). https://player.vimeo.com/video/199230109?portrait=0 110 2009-08-07 yes no https://art21.org/watch/extended-play/oliver-herring-participant-joyce-pensato-short/ Oliver Herring: Participant Joyce Pensato (SHORT) https:i.vimeocdn.com/video/612424329_960x540.jpg Artist Joyce Pensato discusses her experiences appearing as a performer in Oliver Herring's videos. The work, which also features participant Davis-Thompson Moss, is the first in a series of Oliver Herring videos that feature the pair of performers. https://player.vimeo.com/video/199230133?portrait=0 115 2009-08-20 yes no https://art21.org/watch/extended-play/beryl-korot-radical-software-1970-74-short/ Beryl Korot: “Radical Software” 1970-74 (SHORT) https:i.vimeocdn.com/video/613662738_960x540.jpg Beryl Korot describes the impetus behind the innovative 1970s publication Radical Software, elucidating the history of video in art and the impact of mass media on society. Emerging from an independent video community that included media visionaries such as Marshall McLuhan and groups such as Televisionaries, Videofreex, People's Video Theater, and Global Village, the first issue of Radical Software debuted in Spring of 1970 as a publication by the Raindance Corporation. Beryl Korot and Phyllis Segura (Gershuny) acted as Editors, while Michael Shamburg served as Publisher with Ira Schneider as co-Originator. Early contributors included Nam June Paik, Buckminster Fuller, Ant Farm, Frank Gillette, and Paul Ryan, among others. After eleven issues, Radical Software ceased publication in the Spring of 1974 and is now an invaluable time capsule of an era. https://player.vimeo.com/video/200214739?portrait=0 247 2010-04-23 yes no https://art21.org/watch/extended-play/beryl-korot-dachau-1974-short/ Beryl Korot: “Dachau, 1974” (SHORT) https:i.vimeocdn.com/video/613661218_960x540.jpg Beryl Korot narrates the process of creating one of the first multi-channel works of video art—Dachau, 1974—a haunting document of tourists visiting the notorious Nazi concentration camp. https://player.vimeo.com/video/200214594?portrait=0 259 2010-05-01 yes no https://art21.org/watch/extended-play/beryl-korot-babel-the-7-minute-scroll-short/ Beryl Korot: “Babel: the 7 minute scroll” (SHORT) https:i.vimeocdn.com/video/613660686_960x540.jpg Beryl Korot discusses a recent work—Babel: the 7 minute scroll (2007)—which takes the form as both a large-scale print and an animated digital video. With pictographs that reference ancient Egypt and the biblical story of the Tower of Babel, Korot's work investigates the history of tools and technology, language and narrative. https://player.vimeo.com/video/200214395?portrait=0 226 2010-12-03 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/spirituality-introduction-by-beryl-korot-and-s-epatha-merkerson/ Spirituality: Introduction by Beryl Korot and S. Epatha Merkerson https:art21.org/wp-content/uploads/2016/10/korot-beryl-chapter-still.jpg Spirituality opens with an original work by artist, Beryl Korot. While quilting, actress and host S. Epatha Merkerson evokes the theme of spirituality as a "thread which connects us all." Using found material culled from the broadcast, Korot manipulated the footage on her computer: slowing down, colorizing, and looping isolated gestures and sounds. Meditative in its pace, Korot's work harnesses the power of modern technology to create a space for reflection and intimacy. Korot's piece blends together fleeting moments such as a sunset in the Arizona desert, a guitar ballad by John Feodorov, and the preparation of tea by Shahzia Sikander for her miniature painting. https://player.vimeo.com/video/206302201?portrait=0 151 2001-09-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/spirituality/ “Spirituality” https:art21.org/wp-content/uploads/2016/10/spirituality-stack-001-16x9_0.jpg “Spirituality is such a vibrant and integral part of our lives that even our changing times and all the apparent obstacles have not stifled the powerful partnership of spirituality and art in the modern era,” writes Lynn M. Herbert in her essay for the Companion Book to the Art in the Twenty-First Century series. “The realm of the spiritual is mysterious and inviting,” writes Herbert, “It is a place where we are encouraged to explore the unknown.” https://player.vimeo.com/video/206302201?portrait=0 3220 2001-09-21 yes no https://art21.org/watch/art-in-the-twenty-first-century/s1/place/ “Place” https:i.vimeocdn.com/video/621290993_960x540.jpg “America is a country made of places,” writes curator Thelma Golden for the Art in the Twenty-First Century companion book, “not just the places marked by road signs and maps, but also the less tangible but no less meaningful places forged in the crucible of memory, longing and desire.” Place is shot on location in New York, New York; San Francisco, California; Lexington, Virginia; Philadelphia, Pennsylvania; San Juan, Puerto Rico; and Bilbao, Spain. https://player.vimeo.com/video/206300453?portrait=0 3220 2001-09-21 yes no