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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.More information
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Kicking off our year-long 21st anniversary celebration: a special series of new films, premiering every other Wednesday through March 21.
Graciela Iturbide’s interest lies in what her eyes see and what her heart feels—what moves her and touches her. Although she has produced studies of landscapes and culture in India, Italy, and the Unites States, her principal concern has been the exploration and investigation of Mexico—her own cultural environment—through black-and-white photographs of landscapes and their inhabitants, abstract compositions, and self-portraits. Her images of Mexico’s indigenous people—the Zapotec, Mixtec, and Seri—are poignant studies of lives within the bounds of traditional ways of life, now confronted by the contemporary world.
Although often mistaken for accumulations of found objects, Leonardo Drew’s sculptures are instead made of “brand new stuff”—materials such as wood, rusted iron, cotton, paper, mud—that he intentionally subjects to processes of weathering, burning, oxidization, and decay. Whether jutting from a wall or traversing rooms as freestanding installations, his pieces challenge the architecture of the space in which they’re shown. Never content with work that comes easily, Drew constantly reaches beyond “what’s comfortable” and charts a course of daily investigation, never knowing what the work will be about but letting it find its way, and asking, “What if….”
Thomas Hirschhorn shapes public discourse that relates to political discontent, and offers alternative models for thinking and being. Believing that every person has an innate understanding of art, Hirschhorn resists exclusionary and elitist aesthetic criteria—for example, quality—in favor of dynamic principles of energy and coexistence. He creates sprawling installations from mundane materials (packing tape, cardboard, foil) that engage the senses. Using collage as a form of interpretation and critique, Hirschhorn presents intellectual history and philosophical theory much as he does everyday objects and images, and poses questions about aesthetic value, moral responsibility, political agency, consumerism, and media spectacle.