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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."

More information and credits

Featured works include Bounty Hunter (2013), Mixed Up Moods (2014), Moving Day (In and Out) (2014), Russell's Corner (2014), and Penny's Change (2015).

Credits

Art21 New York Close Up Created & Produced by: Wesley Miller & Nick Ravich. Producer & Editor: RAVA Films. Cinematography: Rafael Salazar & Ava Wiland. Production Assistant: Anais Freitas Elespuru. Design & Graphics: Open. Artwork: Jamian Juliano-Villani. Thanks: Josh Abelow, Brian Belott, Marina Caron, Jonathan Goldman, Liz Goldman, Jens Hoffman, JTT, & Tanya Leighton Gallery. An Art21 Workshop Production. © Art21, Inc. 2015. All rights reserved.

Art21 New York Close Up is supported, in part, by The Lambent Foundation; the New York City Department of Cultural Affairs in partnership with the City Council; The Andy Warhol Foundation for the Visual Arts; and by individual contributors.

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Licensing

Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

Jamian Juliano-Villani was born in 1987 in Newark, New Jersey, and lives and works in New York. A painter working with sourced images, Juliano-Villani begins her process with visual references from books, magazines, and other print media she has collected since high school. She often projects images of characters from cartoons and comic books onto her canvases, allowing her to build a narrative of disparate layers. Driven by emotion and intuition, and armed with a rough aesthetic and bold palette, Juliano-Villani's process often results in lengthy, demanding working sessions in her studio.

"Painting is the thing that validates me and the thing that makes me feel good. I care about it, and they care about me... They're helping me figure out the things that I can't communicate to myself yet."

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Jamian Juliano-Villani's Painting Compulsion - Art21

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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Jamian Juliano-Villani's surrealist figurative paintings have attracted a cult following and fetched more than $400,000 at auction. But the market demands for her work have left the artist feeling limited in terms of what she can do creatively. Now, in an effort to rebrand herself "beyond my stupid, cheeseball paintings," as she put it, she's opening her own gallery in Manhattan.

"I've been wanting to do this for a while," Juliano-Villani told Artnet News. "My work is a combination of references anyway, but there's only so much I can do with painting, and I enjoy ideas way more."

The gallery, called O'Flaherty's-an homage to Irish pubs and Juliano-Villani's own drinking habits-will open in the East Village on September 8. While the space will function as a commercial gallery, she also sees it as something of a performance in disguise. "I'm going to start wearing black, really cool fake Prada suits," she said.

The first O'Flaherty's show will be an exhibition of work by Kim Dingle, a 70-year-old mixed-media artist based in Los Angeles. Dingle has shown in New York with Sperone Westwater and Andrew Kreps Gallery, but Juliano-Villani discovered her by accident.

Juliano-Villani ritually collects stacks of weird images to inspire her own work, and has long had a photo of a doll busting through a wall as her desktop background. "I was going to paint it, but then I was like, how could I make this thing any better?" she said. She never knew where it came from so she did a reverse-Google-image search and landed on Dingle's profile. It felt serendipitous. "That was kind of the impetus for me starting with the gallery," she said.

The lease on the space is for one year, after which the artist said she wants to put a pin in the project and kill it "before it sucks." So far, its programming is booked through January. The artist has lined up a roster of her artist friends, including solo exhibitions with Anthea Hamilton and Ashley Bickerton.

Juliano-Villani secured the 2,000-square-foot ground-floor space at 55 Avenue C in the East Village, which she will be paying herself. "I have a very distinct vision for this thing, and I'm such a control freak," she said. "A lot of people wanted to go in to be the partner and I was like, 'Fuck no!' Because then what happens? Then they're like, 'Can you put just like crappy Peter Saul paintings in the show?' and I don't want to do that."

Visitors can expect a merchandise shop (with everything from fly swatters to keychains) and a party scene, which will involve handing out keys to a worthy few friends to access a mysterious "cool people room," Juliano-Villani said. "The landlords know that once a month is going to be fucking rager," she said.

She plans to run the space with artist Billy Grant, musician Ruby Zarsky, and curator Lola Kramer. Their business cards read: "a fat guy, a tranny, a rich girl, and a guido walk into a bar..."

The artist said she doesn't plan to represent artists full time, and will instead offer one-off shows with no strings attached, giving artists free reign to make work that is not limited by concerns over its commercial viability.

"I haven't seen anything that cool or exciting in god knows how long, and I was like, fuck all the woke shit, like everyone being so careful or whatever," she said. "Our motto is kind of like, if you were going to die in a month and you had to do a fucked up show, what would it be? You can't do anything wrong."

Not all of the work will be for sale. Some will be on loan or consignment, other work will be made for the space. She wants the gallery to feel more welcoming and relaxed than typical Manhattan white cubes. "There's no pretense," she said. "Like, the girl at the front desk is going to compliment you on your sweater."

Still, she will be trying to sell $100,000 works of art. (Bickerton's work has sold at auction for more than $200,000). She wants to set prices that are in line with the market while still being conservative enough to make sales likely. "I have access to all these major collectors, but if I continue to do this for more than a year, I kind of want to be accessible to younger collectors."

"I have a weird feeling I'm going to do pretty good, but if we don't make money, that's fine," Juliano-Villani said. "If we do, that's a bonus. A lot of this shit is hard to sell. That's why it's good."

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'I Haven't Seen Anything Cool in So Long': Painter Jamian Juliano-Villani Is Opening a Gallery to Show Whatever She Wants (and Throw Parties)

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Jamian Juliano-Villani's surrealist figurative paintings have attracted a cult following and fetched more than $400,000 at auction. But the market demands for her work have left the artist feeling limited in terms of what she can do creatively. Now, in an effort to rebrand herself "beyond my stupid, cheeseball paintings," as she put it, she's opening her own gallery in Manhattan.

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How can art create real political and social change? This is the question that the Mexican artist Minerva Cuevas has sought to answer in her decades-long conceptual, socially-engaged art practice, in which she riffs on issues like consumer culture and unfair labor laws.

Through her sculptural installations, paintings, and videos, as well as activist interventions, Cuevas hopes to draw attention to the troubles her country faces in the wake of political upheaval and capitalist excess. This fall, Cuevas's first solo exhibition in New York City debuts at the Mishkin Gallery at Baruch College. The show, titled "Disidencia (Dissent)," features eight installations and video projections on view through November 1.

In an exclusive interview as part of Art21's series "Art in the Twenty-First Century," Cuevas begins with the statement, "we are in a general crisis." The "we," of course, is Mexico, where she was born in 1975 and has lived and worked ever since. Cuevas's art is inextricably linked to the country.

Speaking to Art21, Cuevas describes the organization she founded, Mejor Vida Corp/Better Life Corporation, which blurbs the line between social service and art, as "probably my most important work." The project began with "symbolic actions" in which she altered the barcodes on products in the grocery store to change the price of food, or on a student ID card. These interventions gave rise to organized protests and art actions, which she documents. Her work comprises what she calls "mini-sabotages." "It created this sense of freedom," she says. "It's finding the gap in the bureaucratic process."

This is an installment of "Art on Video," a collaboration between artnet News and Art21 that brings you clips of newsmaking artists. A new season of the nonprofit Art21's flagship Art in the Twenty-First Century television is available now on PBS. Watch full episodes and learn about the organization's education programs at Art21.org.

Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward.

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'It's Finding a Gap in the Bureaucratic Process': Watch Minerva Cuevas Explain How Her Artistic Acts of Sabotage Inspired Real Activism in Mexico | Artnet News

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How can art create real political and social change? This is the question that the Mexican artist Minerva Cuevas has sought to answer in her decades-long conceptual, socially-engaged art practice, in which she riffs on issues like consumer culture and unfair labor laws.

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minerva cuevas
1975, Ciudad de México

Through the intervention of images and objects of daily consumption, Minerva Cuevas invites us to rethink the role corporations play in food production and the management of natural resources. Employing irony and humor, her work seeks to provoke reflection about the impact that local actions can have on the enforcement of fair labor practices and the redistribution of monetary flow. Cuevas' practice encompasses a wide range of media, including painting, video, sculpture, photography and installation, through which she investigates the politics and power structures that underlie specific social and economic ties. Her interdisciplinary projects combine aspects of anthropology, product design and economics to explore different ways of intervening urban spaces, museums and galleries. Whilst appropriating the language of the establishment (branding, advertisement and commerce) the artist delivers a message of non-compliance and resistance. A relentless critic of reality, Cuevas discovers her source material through analyzing the notions of value, exchange and ownership that rule a capitalist economy - as well as their consequences. Her work serves as a tool to discuss the condition of the individual under a capitalist regime: constant abuse, dispossession and estrangement from ancestral and cultural identity, but also the latent possibility of revolt implicit in the everyday.

Minerva Cuevas studied BA in Visual Arts at Escuela Nacional de Artes Plásticas in Mexico City. In 2004, she was recipient of the Grant for Media Art of the Foundation of Lower Saxony at the Edith-Russ-Haus. She was artist in residence at the Berliner Künstlerprogramm en Deutscher Akademischer Austauschdienst (DAAD) in 2003 and Banff Centre for Arts and Creativity, in 1998.

Minerva Cuevas lives and works in Mexico City

Recent selected solo exhibitions include: No Room To Play, DAAD Galerie, Berlin; Disidencia, The Mishkin Gallery, New York (2019); Dissidência (vídeos), Galpao VB, Sao Paulo, Brazil (2018); Minerva Cuevas, DMA Dallas Museum of Art, United States (2017); Minerva Cuevas, Museo de la Ciudad de México, Mexico City (2012); Landings, Cornerhouse, Manchester, United Kingdom (2011); SCOOP, Whitechapel Gallery, London (2010); Minerva Cuevas, Van Abbemuseum, Eindhoven, The Netherlands (2008); Phenomena, Kunsthalle Basel, Switzerland (2007); On Society, MC Kunst, Los Angeles (2007); Egalité 2007, Le Grand Café - centre d'art contemporain, Saint-Nazaire, France (2007); Schwarzfahrer Are My Heroes, Daadgalerie, Berlin (2004); Mejor Vida Corp, Museo Tamayo, Mexico City (2000).

Cuevas has exhibited in numerous international group shows, such as: Soft Power, San Francisco Museum of Modern Art (SFMoMA), New York (2019); Down and to the Left: Reflections on Mexico in the NAFTA Era, Armory Center for the Arts, Pasadena, United States (2017); We call it Ludwig. The Museum is Turning 40! Museum Ludwig, Cologne, Germany (2017); Unsettled, The Nevada Museum of Art, Reno, United States (2017); Under the Same Sun: Art from Latin America Today, South London Gallery, (2016); Bajo un mismo Sol: Arte de America Latina hoy, Museo Jumex, Mexico City (2015); United States of Latin America, MOCAD Museum of Contemporary Art Detroit, United States (2015); Food: dal cucchiaio al mondo, MAXXI Museo nazionale delle arti del XXI secolo, Rome (2015); Sportsmanship under surveillance, LACAP - Latin American-Canadian Art Projects, Toronto, Canada (2015); Testigo del siglo, MAZ - Museo de Arte de Zapopan, Mexico (2014); Unsettled Landscapes, SITE Santa Fe, United States (2014); In/Humano, MARCO - Museo de Arte Contemporáneo de Monterrey, Mexico (2014); Under the Same Sun: Art from Latin America Today, Guggenheim Museum, New York (2014); Utopian Days, Total Museum of Contemporary Art, Seoul, South Korea (2014); Resisting the Present, Museo Amparo, Puebla, Mexico (2011) and Musée d'Art moderne de la Ville de Paris (2012); Elles, Centre Georges Pompidou, Paris (2010); Populism, Stedelijk Museum Amsterdam (2005); Hardcore, Palais de Tokyo, Paris (2003); among others.

She has also participated in the following biennials: Prospect 4, Nueva Orleans (2017); 6th Liverpool Biennial, United Kingdom (2010); 6 Berlin Biennale (2010); 9e Biennale de Lyon, France (2007); 6th Bienal do Mercosul, Porto Alegre, Brazil (2007); 27a Bienal de São Paulo, Brazil (2006); Sharjah Biennial 7, United Arab Emirates (2005); 14th Biennale of Sydney, Australia (2004); 2nd edition of the T.I.C.A.B - Tirana International Contemporary Art Biannual, Albania (2005); 8. İstanbul Bienali (2003), Turkey.

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minerva cuevas 1975, Ciudad de México Through the intervention of images and objects of daily consumption, Minerva Cuevas invites us to rethink the role corporations play in food production and the management of natural resources.

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Can an artist stay inspired day in and day out? Under near constant deadlines for the last four years, painter Jamian Juliano-Villani grapples with the demands of consistently producing new and better work. Her paintings have received widespread attention, including gallery and museum exhibitions, adding to the stresses of growing as an artist. "The main pressure is maintaining integrity and making work that you feel good about," says the artist, "even under pressure, which is really difficult."

As a teenager in New Jersey, Juliano-Villani recalls watching artists like Robert Rauschenberg and Frank Stella in the 1973 documentary Painters Painting, which inspired her to move to New York City. After taking on a variety of odd jobs-from overnight diner waitress to gymnastics instructor-her romanticized notion of the city changed, but Juliano-Villani has maintained a relentless dedication to advancing her artwork. "You're only as good as your last painting," the artist explains, "so each has got to be better."

Painting a new work in her Ridgewood, Queens studio, the artist experiments with images from her vast digital image collection in a search for solutions, looking for the right content and composition to achieve a balance between psychological depth and light humor. When she gets stuck, Juliano-Villani calls upon friend, studio neighbor and 2017 Whitney Biennial artist Ajay Kurian for input. "I really want to push the paintings, but I don't know how yet," she says, "Hopefully I'll figure it out and make them something that they aren't yet."

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Credits

New York Close Up Series Producer: Nick Ravich. Director: Nick Ravich. Editor: Anna Gustavi. Cinematography: Adam Golfer & Tim Ciavara. Sound: Tim Ciavara. Design & Graphics: Open & Urosh Perisic. Artwork Courtesy: Jamian Juliano-Villani. Music: Blue Dot Sessions. Thanks: Ajay Kurian. © Art21, Inc. 2017. All rights reserved.

New York Close Up is supported, in part, by The Lambent Foundation; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; VIA Art Fund; and by individual contributors.

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Licensing

Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

Now streaming, full segments from the new season of Art in the Twenty-First Century, dubbed "the uniformly excellent television series on contemporary art" by the Los Angeles Times. Watch now.

Jamian Juliano-Villani was born in 1987 in Newark, New Jersey, and lives and works in New York. A painter working with sourced images, Juliano-Villani begins her process with visual references from books, magazines, and other print media she has collected since high school. She often projects images of characters from cartoons and comic books onto her canvases, allowing her to build a narrative of disparate layers. Driven by emotion and intuition, and armed with a rough aesthetic and bold palette, Juliano-Villani's process often results in lengthy, demanding working sessions in her studio.

"The main pressure is maintaining integrity and making work that you feel good about-even under pressure, which is really difficult."

Watch

Contemporary Painting

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Jamian Juliano-Villani Gets to Work - Art21

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Fascinated by the lives of people she describes as "anonymous," the Berkeley-based photographer and filmmaker Katy Grannan develops long-term relationships with the residents of western American cities and towns, which generate beautiful and unsettling images. Surveying her work taking portraits of society's most invisible members to the making of her first feature-length film, "The Nine," this segment charts the collaborative and at times complicated dynamics between and an artist and her muses.

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Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

Now streaming, full segments from the new season of Art in the Twenty-First Century, dubbed "the uniformly excellent television series on contemporary art" by the Los Angeles Times. Watch now.

Katy Grannan was born in Arlington, Massachusetts, in 1969. A photographer and filmmaker, Grannan is fascinated by the lives of what she describes as "anonymous people" on the margins of society in the American West. Grannan develops long-term relationships with transient residents, which lead to stunningly beautiful and unsettling portraits.

" Discomfort is a really important feeling, and it might help you recognize some of your own limitations and the way you see the world. Or just the fact of other possibilities."

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Credits

Executive Producer: Tina Kukielski. Series Producer: Nick Ravich. Director & Producer: Christine Turner. Editor: Mary Ann Toman. Director of Photography: Tyler McPherron.

Field Producer: Laura Wagner. Production Coordinator: Ife Adelona. Curatorial Assistant: Danielle Brock. Advising Producer: Ian Forster.

Title Sequence & Typography: Afternoon Inc. Composer: Joel Pickard. Narration: Carrie Mae Weems. Additional Photography: Luca Bragagnolo, Ethan Indorf, Larry Rochfort, & Marshall Stief. Assistant Camera: Lawrence Abad, Lance Canilao, Erika Houle, Luke Lasley, Michael Lindemuth, Ines Portugal, & Dean Snodgrass. Grip: Hunter Huston. Sound: Kevin Crawford, Trokan Nagabe, & Ty Peterson. Production Associate: Trinity West. Production Assistant: Dolan Chorng. Production Intern: Alexis Salmons.

Digital Intermediate: Blue Table Post. Post-Production Producer: Oliver Lief. Colorist: Natacha Ikoli. Re-Recording Mixer & Dialogue Editor: Rich Cutler. Additional Animation: Andy Cahill & Grace Mendenhall. Assistant Editor: Caroline Berler, Adam Boese, Maya Elany, & Jonah Greenstein. Technical Evaluation: Pillar To Post.

Creative Growth Art Center Artists: Rosena Finister, Jackie Frank, Dan Miller, Judith Scott, William Scott, & Monica Valentine. Artwork Courtesy: Creative Growth Art Center, Katy Grannan, Lynn Hershman Leeson, Stephanie Syjuco, Andrew Edlin Gallery, Anglim Gilbert Gallery, Bridget Donahue, Catherine Clark Gallery, Fraenkel Gallery, Ryan Lee, & Waldburger Wouters. Archival Materials: Shane Bauer; California Academy of Sciences; Katy Grannan photographs installed at the Los Angeles County Museum of Art, 2012, photo © Museum Associates/LACMA; Library of Congress; "Outsider: The Life & Art of Judith Scott" by Betsy Bayha, Courtesy of Icarus Films; Prelinger Archives and the Internet Archive; Yerba Buena Center for the Arts; & ZKM | Center for Art and Media Karlsruhe. Additional Music: Kevin MacLeod.

Additional Art21 Staff: Maggie Albert, Lindsey Davis, Lolita Fierro, Joe Fusaro, & Jonathan Munar. Interns: Diane Huerta, Esther Knuth, Sunny Leerasanthanah, & Kristopher Neira. Public Relations: Sutton. Station Relations: De Shields Associates, Inc. Legal Counsel: Barbara T. Hoffman, Esq.

Special Thanks: The Art21 Board of Trustees, Edna Atterbury, BAMPFA, La Biennale di Venezia, Leon Borensztein, Francesca Buccaro, Susie Cantor, Eleanor Coppola, Becki Couch-Alvarado, Tom di Maria, Apsara DiQuinzio, Ola Dlugosz, Matt Dostal, Jonathan Duffy, Skylar Economy, Nkechi Emeruwa, Fine Arts Museums of San Francisco, A.J. Fox, Mario Furloni, Ed Gilbert, Anna Gustavi, Heky, Mark Hellor, Max Hollein, Hannah Hughes, Celia Kitchell, Colin Klingman, Jeff Lee, Kija Lucas, Nahkoura Mahnassi, Jennifer Martindale, Rae Maxwell-Ross, Sarah Galender Meyer, Cara Miller, Hiro Narita, Miriam Newcomer, Jerome Pansa, Katie Revilla, Melissa Reyes, Lawrence Rinder, Sara Roffino, Mary Ryan, Salon 94, Claudia Schmuckli, Martine Syms, Target Gallery, Catherine Valentine, India Vega, Patrick Waldburger, Peter Weibel, & David Wiley.

Series Created By: Susan Dowling & Susan Sollins.

Major support for Season 9 is provided by National Endowment for the Arts, PBS, Lambent Foundation, Agnes Gund, Ford Foundation, The Andy Warhol Foundation for the Visual Arts, The Anna-Maria and Stephen Kellen Foundation, The Horace W. Goldsmith Foundation, Toby Devan Lewis, Nion McEvoy, and The Phyllis C. Wattis Foundation.

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The San Francisco Bay Area is a magnet for artists who are drawn to its experimental atmosphere, countercultural spirit, and history of innovation. The artists in this hour are united by their steadfastness and persistence in creating; their art serves as an essential expression of their experience of the world.

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Bridging Borders, Minerva Cuevas — Art21

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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.

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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.

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Credits

Producer: Ian Forster & Nick Ravich. Interview: Stanley Nelson. Editor: Morgan Riles. Camera: Brian Ashby, Damian Hennessey, Ben Kolak & Christoph Lerch. Sound: Alex Inglizian & Grant Tye. Artwork Courtesy: Theaster Gates, Regen Projects & White Cube. Music: Outrun, SANMI & Soft and Furious. Additional Footage Courtesy: White Cube. Photography Courtesy: Milwaukee Art Museum / John R. Glembin. Special Thanks: Kunsthaus Bregenz.

Art21 Extended Play is supported, in part, by the New York City Department of Cultural Affairs in partnership with the City Council; 21c Museum Hotel, and by individual contributors.

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Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

Theaster Gates creates sculptures with clay, tar, and renovated buildings, transforming the raw material of urban neighborhoods into radically reimagined vessels of opportunity for the community. Establishing a virtuous circle between fine art and social progress, Gates strips dilapidated buildings of their components, transforming those elements into sculptures that act as bonds or investments, the proceeds of which are used to finance the rehabilitation of entire city blocks. Many of the artist's works evoke his African-American identity and the broader struggle for civil rights, from sculptures incorporating fire hoses, to events organized around soul food, and choral performances by the experimental musical ensemble Black Monks of Mississippi, led by Gates himself.

"I spend a lot of time looking for the personality of people within their collections. And then maybe even trying to tease out, in a collection, why those things are important."

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Artists as Collectors

Art21 Magazine contributor Rachel Heidenry shares the significance and recent resurgence of utilizing online archives as a method for activism and engagement.

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Credits

Executive Producer: Eve Moros Ortega. Host: Claire Danes. Director: Stanley Nelson. Producer & Production Manager: Nick Ravich. Editor: Aljernon Tunsil. Art21 Executive Director: Tina Kukielski. Curator: Wesley Miller. Associate Producer: Ian Forster. Structure Consultant: Véronique Bernard. Director of Photography: Keith Walker. Additional Photography: Don Argott, Brian Ashby, Steve Delahoyde, Jeremy Dulac, Damon Hennessey, Sam Henriques, Ben Kolak, Christoph Lerch, Stephan Mazurek, Andrew Miller, Christopher Morrison, Leslie Morrison, Murat Ötünç, Logan Siegel, Stephen Smith, & Jamin Townsley. Assistant Camera: Kyle Adcock, Joe Buhnerkempe, Alex Klein, Ian McAvoy, Sean Prange, & Liz Sung. Sound: Sean Demers, Alex Inglizian, Hayden Jackson, İlkin Kitapçı, Joe Leo, Matt Mayer, John Murphy, Richard K. Pooler, & Grant Tye. Production Assistant: Hamid Bendaas, Emmanuel Camacho, Chad Fisher, Elliot Rosen, Stanley Sievers, Chris Thurston, & Steven Walsh.

Title/Motion Design: Afternoon Inc. Composer: Joel Pickard. Online Editor: Don Wyllie. Re-Recording Mix: Tony Pipitone. Sound Edit: Neil Cedar & Jay Fisher. Artwork Animation: Anita H.M. Yu. Assistant Editor: Maria Habib, Leana Siochi, Christina Stiles, & Bahron Thomas.

Host Introduction | Creative Consultant: Tucker Gates. Director of Photography: Pete Konczal. Second Camera: Jon Cooper. Key Grip: Chris Wiesehahn. Gaffer: Jesse Newton. First Assistant Camera: Sara Boardman & Shane Duckworth. Sound: James Tate. Set Dresser: Jess Coles. Hair: Peter Butler. Makeup: Matin. Production Assistant: Agatha Lewandowski & Melanie McLean. Editor: Ilya Chaiken.

Artworks Courtesy of: Nick Cave; Theaster Gates; Barbara Kasten; Chris Ware; BAM Hamm Archives; Bortolami Gallery; Cranbrook Art Museum; Margaret Jenkins Dance Company; The New Yorker magazine and Condé Nast; James Prinz Photography; Jack Shainman Gallery; Sara Linnie Slocum; Chris Strong Photography; & White Cube. Acquired Photography: Sara Pooley; The Art Channel/Bobbin Productions; & University Art Museum, California State University Long Beach.

Special Thanks: The Art21 Board of Trustees; 900/910 Lake Shore Drive Condominium Association; Michael Aglion; Ellen Hartwell Alderman; Adam Baumgold Gallery; Naomi Beckwith; Biba Bell; Stefania Bortolami; Kate Bowen; Pat Casteel; Chicago Embassy Church; Coachman Antique Mall; Maria J. Coltharp; John Corbett; Department of Theatre & Dance, Wayne State University; Detroit School of Arts; Christina Faist; Bob Faust; Martina Feurstein; Julie Fracker; William Gill; Graham Foundation; Jen Grygiel; Sarah Herda; Jennon Bell Hoffmann; Sheree Hovsepian; Institute of Contemporary Art at the University of Pennsylvania; Istanbul Biennial; Nicola Jeffs; Jenette Kahn; Jill Katz; Alex Klein; Kunsthaus Bregenz; Jon Lowe; Sheila Lynch; Mana Contemporary Chicago; Christine Messineo; Laura Mott; Deborah Payne; Bishop Ed Peecher; Lisa Pooler; Rebuild Foundation; Diana Salier; Tim Samuelson; Amy Schachman; Zeynep Seyhun; Keith Shapiro; Alexandra Small; Jacqueline Stewart; Hamza Walker; Clara Ware; Marnie Ware; & Steve Wylie.

Additional Art21 Staff: Maggie Albert; Lindsey Davis; Joe Fusaro; Jessica Hamlin; Jonathan Munar; Bruno Nouril; Pauline Noyes; Kerri Schlottman; & Diane Vivona.

Public Relations: Cultural Counsel. Station Relations: De Shields Associates, Inc. Legal Counsel: Albert Gottesman.

Dedicated To: Susan Sollins, Art21 Founder.

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Credits Executive Producer: Eve Moros Ortega. Host: Claire Danes. Director: Stanley Nelson. Producer & Production Manager: Nick Ravich. Editor: Aljernon Tunsil. Art21 Executive Director: Tina Kukielski. Curator: Wesley Miller. Associate Producer: Ian Forster. Structure Consultant: Véronique Bernard. Director of Photography: Keith Walker.

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Credits

Executive Producer: Eve Moros Ortega. Host: Claire Danes. Director: Stanley Nelson. Producer & Production Manager: Nick Ravich. Editor: Aljernon Tunsil. Art21 Executive Director: Tina Kukielski. Curator: Wesley Miller. Associate Producer: Ian Forster. Structure Consultant: Véronique Bernard. Director of Photography: Keith Walker. Additional Photography: Don Argott, Brian Ashby, Steve Delahoyde, Jeremy Dulac, Damon Hennessey, Sam Henriques, Ben Kolak, Christoph Lerch, Stephan Mazurek, Andrew Miller, Christopher Morrison, Leslie Morrison, Murat Ötünç, Logan Siegel, Stephen Smith, & Jamin Townsley. Assistant Camera: Kyle Adcock, Joe Buhnerkempe, Alex Klein, Ian McAvoy, Sean Prange, & Liz Sung. Sound: Sean Demers, Alex Inglizian, Hayden Jackson, İlkin Kitapçı, Joe Leo, Matt Mayer, John Murphy, Richard K. Pooler, & Grant Tye. Production Assistant: Hamid Bendaas, Emmanuel Camacho, Chad Fisher, Elliot Rosen, Stanley Sievers, Chris Thurston, & Steven Walsh.

Title/Motion Design: Afternoon Inc. Composer: Joel Pickard. Online Editor: Don Wyllie. Re-Recording Mix: Tony Pipitone. Sound Edit: Neil Cedar & Jay Fisher. Artwork Animation: Anita H.M. Yu. Assistant Editor: Maria Habib, Leana Siochi, Christina Stiles, & Bahron Thomas.

Host Introduction | Creative Consultant: Tucker Gates. Director of Photography: Pete Konczal. Second Camera: Jon Cooper. Key Grip: Chris Wiesehahn. Gaffer: Jesse Newton. First Assistant Camera: Sara Boardman & Shane Duckworth. Sound: James Tate. Set Dresser: Jess Coles. Hair: Peter Butler. Makeup: Matin. Production Assistant: Agatha Lewandowski & Melanie McLean. Editor: Ilya Chaiken.

Artworks Courtesy of: Nick Cave; Theaster Gates; Barbara Kasten; Chris Ware; BAM Hamm Archives; Bortolami Gallery; Cranbrook Art Museum; Margaret Jenkins Dance Company; The New Yorker magazine and Condé Nast; James Prinz Photography; Jack Shainman Gallery; Sara Linnie Slocum; Chris Strong Photography; & White Cube. Acquired Photography: Sara Pooley; The Art Channel/Bobbin Productions; & University Art Museum, California State University Long Beach.

Special Thanks: The Art21 Board of Trustees; 900/910 Lake Shore Drive Condominium Association; Michael Aglion; Ellen Hartwell Alderman; Adam Baumgold Gallery; Naomi Beckwith; Biba Bell; Stefania Bortolami; Kate Bowen; Pat Casteel; Chicago Embassy Church; Coachman Antique Mall; Maria J. Coltharp; John Corbett; Department of Theatre & Dance, Wayne State University; Detroit School of Arts; Christina Faist; Bob Faust; Martina Feurstein; Julie Fracker; William Gill; Graham Foundation; Jen Grygiel; Sarah Herda; Jennon Bell Hoffmann; Sheree Hovsepian; Institute of Contemporary Art at the University of Pennsylvania; Istanbul Biennial; Nicola Jeffs; Jenette Kahn; Jill Katz; Alex Klein; Kunsthaus Bregenz; Jon Lowe; Sheila Lynch; Mana Contemporary Chicago; Christine Messineo; Laura Mott; Deborah Payne; Bishop Ed Peecher; Lisa Pooler; Rebuild Foundation; Diana Salier; Tim Samuelson; Amy Schachman; Zeynep Seyhun; Keith Shapiro; Alexandra Small; Jacqueline Stewart; Hamza Walker; Clara Ware; Marnie Ware; & Steve Wylie.

Additional Art21 Staff: Maggie Albert; Lindsey Davis; Joe Fusaro; Jessica Hamlin; Jonathan Munar; Bruno Nouril; Pauline Noyes; Kerri Schlottman; & Diane Vivona.

Public Relations: Cultural Counsel. Station Relations: De Shields Associates, Inc. Legal Counsel: Albert Gottesman.

Dedicated To: Susan Sollins, Art21 Founder.

Major underwriting for Season 8 of Art in the Twenty-First Century is provided by National Endowment for the Arts, PBS, Lambent Foundation, Agnes Gund, The Andy Warhol Foundation for the Visual Arts, and The Anna-Maria and Stephen Kellen Foundation.

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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.

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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).

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Credits

Art21 New York Close Up Created & Produced by: Wesley Miller & Nick Ravich. Director & Co-Producer: RAVA Films. Cinematography & Editing: Rafael Salazar & Ava Wiland. Aerial Photography: John Marton. Design & Graphics: Open & Uros Perisic. Artwork: Marela Zacarías. Music: Ergo Phizmiz & Margita Zalite, Jackson F. Smith, Podington Bear & Yacht. Thanks: Colleen RJC Bratton, David Foarde, Katherine Garcia, Emily Mason, Christian Maychack, Coralina Meyer, Drew Miller, Weston Pew, Michael Roopenian, Ray Smith, Mordy Steinfeld, Sean William Sweeney, José Luis Tranche, The Brooklyn Arts Council & The William Vale Hotel. An Art21 Workshop Production. © Art21, Inc. 2016. All rights reserved.

Art21 New York Close Up is supported, in part, by The Lambent Foundation; the New York City Department of Cultural Affairs in partnership with the City Council; The Andy Warhol Foundation for the Visual Arts; and by individual contributors.

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Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

Now streaming, full segments from the new season of Art in the Twenty-First Century, dubbed "the uniformly excellent television series on contemporary art" by the Los Angeles Times. Watch now.

Marela Zacarías was born in 1978 in Mexico City, Mexico, and currently lives and works between New York and Mexico City. A muralist painter for more than ten years, Zacarías wanted to bring walls into three-dimensional space. Her resulting wall-mounted painted sculptures twist and turn in unruly ways, built from window screens, joint compound, and polymer before being painted in bold, geometric, abstract patterns. Explaining her shift away from figurative painting, Zacarías says, "I feel like abstraction really allows for the story to be filtered and to come out in a different way in which people can see it or not see it at all."

"Grad school put me upside down. 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."

Watch

"New York Close Up"

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Marela Zacarías's Great Expectations - Art21

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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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).

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Credits

Art21 New York Close Up Created & Produced by: Wesley Miller & Nick Ravich. Producer & Editor: Rafael Salazar & Ava Wiland. Cinematography: Rafael Salazar, Ava Wiland & Nick Ravich. Sound: Nick Ravich & Ava Wiland. Associate Producer: Ian Forster. Design & Graphics: Crux Studio & Open. Artwork: Marela Zacarías. Music: Los Músicos de Jose. Thanks: Michael Aitken, Walter Andersons, Brooklyn Museum, Angela Jann, LaGuardia and Wagner Archives, Steven McClure, New York City Housing Authority, Alex Nuñez (A.K.A. DJ Miami Heat), Isaac Parker, Weston Pew, Ben Pomeroy, Michael Roopenian, Eugenie Tsai, Sally Williams, Jeffrey Wisotsky. An Art21 Workshop Production. © Art21, Inc. 2013. All rights reserved.

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Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

Marela Zacarías was born in 1978 in Mexico City, Mexico, and currently lives and works between New York and Mexico City. A muralist painter for more than ten years, Zacarías wanted to bring walls into three-dimensional space. Her resulting wall-mounted painted sculptures twist and turn in unruly ways, built from window screens, joint compound, and polymer before being painted in bold, geometric, abstract patterns. Explaining her shift away from figurative painting, Zacarías says, "I feel like abstraction really allows for the story to be filtered and to come out in a different way in which people can see it or not see it at all."

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What connections exist between art of the past and the work that artists are creating today?

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"New York Close Up"

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Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Marela Zacarías's Work Finds A Good Home - Art21

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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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."

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Jessica Stockholder is a pioneer of multimedia genre-bending installations that have become a prominent language in contemporary art. Her site-specific interventions and autonomous floor and wall pieces have been described as "paintings in space." Stockholder's complex installations incorporate the architecture in which they have been conceived, blanketing the floor, scaling walls and ceiling, and even spilling out of windows, through doors, and into the surrounding landscape. Her work is energetic, cacophonous, and idiosyncratic, but close observation reveals formal decisions about color and composition, and a tempering of chaos with control.

"I'm interested in how a thinking process can meander in unpredictable ways."

Interview

Jessica Stockholder discusses her work's relation to play, fun, and Abstract Expressionism.

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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From her home in New Haven, Connecticut, Jessica Stockholder discusses the strength of form and the difficulty in articulating the meaning behind abstract shapes.

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Credits

Producer: Wesley Miller and Nick Ravich. Interview: Susan Sollins. Camera: Mead Hunt. Sound: Merce Williams. Editor: Jenny Chiurco and Mary Ann Toman. Artwork Courtesy: Jessica Stockholder.

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Licensing

Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

Jessica Stockholder is a pioneer of multimedia genre-bending installations that have become a prominent language in contemporary art. Her site-specific interventions and autonomous floor and wall pieces have been described as "paintings in space." Stockholder's complex installations incorporate the architecture in which they have been conceived, blanketing the floor, scaling walls and ceiling, and even spilling out of windows, through doors, and into the surrounding landscape. Her work is energetic, cacophonous, and idiosyncratic, but close observation reveals formal decisions about color and composition, and a tempering of chaos with control.

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Interview

In this interview, Jessica Stockholder talks about her ideas of beauty and abstraction in relation to formalist aesthetics.

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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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.

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Credits

Producer: Wesley Miller & Nick Ravich. Interview: Susan Sollins. Camera: Mead Hunt. Sound: Merce Williams. Editor: Mary Ann Toman. Artwork Courtesy: Jessica Stockholder. Special Thanks: Charles Pippin Chamberlain.

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New films are here: Five premieres every other Wednesday through April 1. Tune in.

Jessica Stockholder is a pioneer of multimedia genre-bending installations that have become a prominent language in contemporary art. Her site-specific interventions and autonomous floor and wall pieces have been described as "paintings in space." Stockholder's complex installations incorporate the architecture in which they have been conceived, blanketing the floor, scaling walls and ceiling, and even spilling out of windows, through doors, and into the surrounding landscape. Her work is energetic, cacophonous, and idiosyncratic, but close observation reveals formal decisions about color and composition, and a tempering of chaos with control.

"I always loved art class in school, but... I don't remember thinking I was going to be an artist. I just set about doing it."

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Jessica Stockholder

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Becoming an Artist, Jessica Stockholder - Art21

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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One of five new films kicking off Art21's 2019 programming season
Does the past have a sound? Celebrated for his material-oriented practice, Kevin Beasley juxtaposes sound, silence, and sculpture to examine the legacy of cotton in the American South. Set to the beat of his improvised drumming, the film shows Beasley at work in his Queens studio finishing his multipart exhibition, " A view of a landscape," at the Whitney Museum of American Art-his most ambitious work to date.

The installation is centered around the motor of a modern cotton gin-a machine originally invented in the late 1700s that streamlined the most labor-intensive part of cotton production, separating the fiber from the seed. Acquired on eBay, the motor was in operation from 1940-1973 in Maplesville, Alabama; in parallel to an era of intense social change that encompassed both the Great Migration and the passing of the Civil Rights Act. Housed in a glass soundproof chamber, the running motor is a visual, yet silent experience. Divorcing its sound was inspired by the motor's former owner, who was unable to articulate its sound to Beasley upon purchasing, but as a feeling that will "shake your insides."

The industrial roar is channeled into an adjacent gallery, recorded by an array of specialized microphones surrounding the motor in the vitrine-a complete sensory switch from the gallery next door. A noted musician, Beasley manipulates and enhances the motor's tones through a soundboard, each vibration embedded with a sonic history of the Southern soil. For Beasley, "sound is just as tactile as any other material, and has increasingly become a way to process the world."

Revealing the personal story that inspired the installation, Beasley describes his emotional response when he saw cotton growing on his family's Virginia farm. "Why am I so mad at this plant? This plant is not doing anything except growing and being beautiful." This creative journey is chronicled in three large "slab" sculptures. These wall-like assemblages are composed of seemingly disparate materials-a Yale sweater, durags, and sound equipment-set into place by a wall of Virgina-cotton, and mirror the contemporary complexity of race in the United States.

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Credits

Director & Producer: Christine Turner. Series Producer: Nick Ravich. Editor: Troy Herion. Cinematography: Jon Chen & Nick Fitzhugh. Location Sound: Edward Morris II. Production Coordinator: Danielle Brock. Music: Troy Herion. Color Correction: Jonah Greenstein. Design & Graphics: Chips. Artwork Courtesy: Kevin Beasley. Archival Media Courtesy: Library Of Congress. Thanks: Casey Kaplan, Stephen Decker, Em Joseph, Veronica Levitt, Shani Strand, & Whitney Museum Of American Art.

This film is possible thanks to Hedy Fischer and Randy Shull. Additional support of New York Close Up is provided, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and by individual contributors.

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Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

Kevin Beasley was born in 1985 in Lynchburg, Virginia. He lives and works in Queens, New York. Beasley creates sculptures and installations made from found materials, including clothing, sports equipment, personal artifacts, and cultural ephemera. These items weave together Beasley's own memories and experiences, along with historical and cultural references, in order to examine the role of power and race in American society. Interested in the tactile dimension of sound, Beasley connects sound production and the movement of the physical body through his performances and sound installations.

"Sound has always been important to me, and it has increasingly become a way for me to process the world."

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Deconstructing History

9:37

7:22

8:11

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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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.

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Credits

Producer: Ian Forster. Consulting Producer: Wesley Miller & Nick Ravich. Interview: Ian Forster. Camera: Ben Hernstrom, Rafael Salazar & Ava Wiland. Sound: Ava Wiland. Editor: Morgan Riles. Artwork Courtesy: Janine Antoni & Mattress Factory. Theme Music: Peter Foley.

Art21 Exclusive is supported, in part, by the New York City Department of Cultural Affairs in partnership with the City Council; 21c Museum Hotel, and by individual contributors.

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Now streaming, full segments from the new season of Art in the Twenty-First Century, dubbed "the uniformly excellent television series on contemporary art" by the Los Angeles Times. Watch now.

Janine Antoni 's work blurs the distinction between performance art and sculpture. Transforming everyday activities such as eating, bathing, and sleeping into ways of making art, Antoni's primary tool for making sculpture has always been her own body. She has chiseled cubes of lard and chocolate with her teeth, washed away the faces of soap busts made in her own likeness, and used the brainwave signals recorded while she dreamed at night as a pattern for weaving a blanket the following morning.

"The reality is that we are in contact with a lot of objects, and we have no idea how they're made."

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Interview

Artist Janine Antoni discusses her video piece Touch and her sculptural installation Moor.

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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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.

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Credits

Created by: Susan Sollins & Susan Dowling. Executive Producer & Curator: Susan Sollins. Series Producer: Eve-Laure Moros Ortega. Associate Producer: Migs Wright. Assistant Curator: Wesley Miller. Production Manager: Alice Bertoni & Laura Recht. Production Coordinator: Kelly Shindler & Sara Simonson. Director of Education & Outreach: Jessica Hamlin. Consulting Director: Charles Atlas. Editor: Joanna Kiernan. Host Segment Artist: Charles Atlas. Host: Jane Alexander. Director of Photography: Martial Barrault, Bob Elfstrom, Mead Hunt, Ken Kobland, William Rexer, Joel Shapiro, & Dyanna Taylor. Sound: Doug Dunderdale, Jim Gallup, Judith Karp, Mark Mandler, Caleb Mose, Andre Rigaud, & Bill Wander. Gaffer/Grip: Chris Flurry, Jeff Howison, Alan Jacobsen, Michael Lamb, & Zach Zamboni. Assistant Camera: Jarred Alterman, Steve Banister, Cyril Mulon, Kipjaz Savoie, & Lieven Van Hulle. Host Make-Up: Joanne Nöél. Props: Jesus Aguilar & Sandy Handloser. Production Assistant: Eric Kutner, Guillermo Luna Rosales, Dawn Watson, & Yahia Zadek. Assistant Avid Editor: Anne Alvergue, Geoff Gruetzmacher, Jeremy Siefer, & Lynn True. Still Photography: Alice Bertoni, Bob Elfstrom, & Julie Graber.

Creative Consultant: Ed Sherin. Graphic Design & Animation: Open, New York. Animation, Visual Effects & Compositing: Spontaneous Combustion. On-Line Editor: Don Wyllie & Frame:Runner NYC. Composer: Peter Foley. Voice-Over Artist: Jace Alexander. Sound Editing: Margaret Crimmins, Greg Smith, & Dog Bark Sound. Sound Mix: Tony Volante & Soundtrack F/T. Animation Stand: Frank Ferrigno & Frame:Runner NYC.

Artworks courtesy of: Janine Antoni; Gabriel Orozco; Collier Schorr; Galerie Chantal Crousel, Paris; Luhring Augustine Gallery; Magasin 3, Stockholm; Marian Goodman Gallery; Museum of Contemporary Art San Diego; SITE Santa Fe; & 303 Gallery. Archival footage courtesy of: Juan Carlos Martín.

Special Thanks: The Art21 Board of Trustees; Rocío Barajas; Jamie Bennett; Blair Academy; Scott Cohen; Cate Ellison; The Graduate School and University Center/CUNY; Nora Kabat; Megan Laborious; La Tuilerie, Treigny; Herbert Molner; SITE Santa Fe; & West Point US Military Academy.

Interns: Sharon Ber, Elana Davidian, Eliza Geddes, Karmin Guzder, Ehren Joseph, Lisa Kalikow, Lila Kanner, Crystal Kui, Daniela Leonard, Ronny Merdinger, Parth Savla, Kristen Smith, Whitney Smith, Morgan Soloski, Jo-ey Tang, Asya Varshishky, Jesse Whittle-Utter, & Jeremy Zilar.

Public Relations: Kelly & Salerno Communications. Legal Counsel: Albert Gottesman. Bookkeeper: William Handy.

Major underwriting for Art in the Twenty-First Century Season Two provided by: National Endowment for the Arts; Public Broadcasting Service; Corporation for Public Broadcasting; The Allen Foundation for the Arts; Agnes Gund and Daniel Shapiro; Bloomberg; The Jon and Mary Shirley Foundation; Nonprofit Finance Fund; JPMorgan Chase; The Andy Warhol Foundation for the Visual Arts; The Horace W. Goldsmith Foundation; New York Arts Recovery Fund; Peter Norton Family Foundation; New York Times Company Foundation; Dorothea L. Leonhart Foundation; & Elizabeth Firestone Graham Foundation.

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

Best known for her portraits of adolescent men and women, Collier Schorr 's pictures often blend photographic realism with elements of fiction and youthful fantasy. For her 1998 project, Neue Soldaten, Schorr juxtaposed documentary-style pictures of a Swedish army battalion with pictures of fake Swedish soldiers played by German teenagers. Schorr's images not only call into question the fractured role of soldiering in today's society, but also examine the way nationality, gender, and sexuality influence an individual's identity.

Gabriel Orozco uses the urban landscape and the everyday objects found within it to twist conventional notions of reality and engage the imagination of the viewer. Orozco's interest in complex geometry and mapping find expression in works like the patterned human skull of Black Kites, and the curvilinear logic of Oval Billiard Table. He considers philosophical problems, such as the concept of infinity, and evokes them in humble moments. Matching his passion for political engagement with the poetry of chance encounters, Orozco's photographs, sculptures, and installations propose a distinctive model for the ways in which artists can affect the world with their work.

Janine Antoni 's work blurs the distinction between performance art and sculpture. Transforming everyday activities such as eating, bathing, and sleeping into ways of making art, Antoni's primary tool for making sculpture has always been her own body. She has chiseled cubes of lard and chocolate with her teeth, washed away the faces of soap busts made in her own likeness, and used the brainwave signals recorded while she dreamed at night as a pattern for weaving a blanket the following morning.

"Gender, religion, nationality-they're all sort of things that are in flux in my work."

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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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.

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Credits

Created by: Susan Sollins & Susan Dowling. Executive Producer & Curator: Susan Sollins. Series Producer: Eve-Laure Moros Ortega. Associate Producer: Migs Wright. Assistant Curator: Wesley Miller. Production Manager: Alice Bertoni & Laura Recht. Production Coordinator: Kelly Shindler & Sara Simonson. Director of Education & Outreach: Jessica Hamlin. Consulting Director: Charles Atlas. Editor: Joanna Kiernan. Host Segment Artist: Charles Atlas. Host: Jane Alexander. Director of Photography: Martial Barrault, Bob Elfstrom, Mead Hunt, Ken Kobland, William Rexer, Joel Shapiro, & Dyanna Taylor. Sound: Doug Dunderdale, Jim Gallup, Judith Karp, Mark Mandler, Caleb Mose, Andre Rigaud, & Bill Wander. Gaffer/Grip: Chris Flurry, Jeff Howison, Alan Jacobsen, Michael Lamb, & Zach Zamboni. Assistant Camera: Jarred Alterman, Steve Banister, Cyril Mulon, Kipjaz Savoie, & Lieven Van Hulle. Host Make-Up: Joanne Nöél. Props: Jesus Aguilar & Sandy Handloser. Production Assistant: Eric Kutner, Guillermo Luna Rosales, Dawn Watson, & Yahia Zadek. Assistant Avid Editor: Anne Alvergue, Geoff Gruetzmacher, Jeremy Siefer, & Lynn True. Still Photography: Alice Bertoni, Bob Elfstrom, & Julie Graber.

Creative Consultant: Ed Sherin. Graphic Design & Animation: Open, New York. Animation, Visual Effects & Compositing: Spontaneous Combustion. On-Line Editor: Don Wyllie & Frame:Runner NYC. Composer: Peter Foley. Voice-Over Artist: Jace Alexander. Sound Editing: Margaret Crimmins, Greg Smith, & Dog Bark Sound. Sound Mix: Tony Volante & Soundtrack F/T. Animation Stand: Frank Ferrigno & Frame:Runner NYC.

Artworks courtesy of: Janine Antoni; Gabriel Orozco; Collier Schorr; Galerie Chantal Crousel, Paris; Luhring Augustine Gallery; Magasin 3, Stockholm; Marian Goodman Gallery; Museum of Contemporary Art San Diego; SITE Santa Fe; & 303 Gallery. Archival footage courtesy of: Juan Carlos Martín.

Special Thanks: The Art21 Board of Trustees; Rocío Barajas; Jamie Bennett; Blair Academy; Scott Cohen; Cate Ellison; The Graduate School and University Center/CUNY; Nora Kabat; Megan Laborious; La Tuilerie, Treigny; Herbert Molner; SITE Santa Fe; & West Point US Military Academy.

Interns: Sharon Ber, Elana Davidian, Eliza Geddes, Karmin Guzder, Ehren Joseph, Lisa Kalikow, Lila Kanner, Crystal Kui, Daniela Leonard, Ronny Merdinger, Parth Savla, Kristen Smith, Whitney Smith, Morgan Soloski, Jo-ey Tang, Asya Varshishky, Jesse Whittle-Utter, & Jeremy Zilar.

Public Relations: Kelly & Salerno Communications. Legal Counsel: Albert Gottesman. Bookkeeper: William Handy.

Major underwriting for Season 2 of Art in the Twenty-First Century is provided by National Endowment for the Arts, PBS, Corporation for Public Broadcasting, The Allen Foundation for the Arts, Agnes Gund and Daniel Shapiro, Bloomberg, The Jon and Mary Shirley Foundation, Nonprofit Finance Fund, JPMorgan Chase, The Andy Warhol Foundation for the Visual Arts, The Horace W. Goldsmith Foundation, New York Arts Recovery Fund, Peter Norton Family Foundation, New York Times Company Foundation, Dorothea L. Leonhart Foundation, and Elizabeth Firestone Graham Foundation.

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Through the Art21 Translation Project, multilingual audiences from around the globe can contribute translations, making Art21 films more accessible worldwide.

Licensing

Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

Janine Antoni 's work blurs the distinction between performance art and sculpture. Transforming everyday activities such as eating, bathing, and sleeping into ways of making art, Antoni's primary tool for making sculpture has always been her own body. She has chiseled cubes of lard and chocolate with her teeth, washed away the faces of soap busts made in her own likeness, and used the brainwave signals recorded while she dreamed at night as a pattern for weaving a blanket the following morning.

"There's so many objects that we come in contact with that we've somehow lost the connection to what they're made of and who made them.

So that's really important for me to- in the object and on the surface of the object-somehow give you a history of how that object has made its way into the world."

Interview

Janine Antoni discusses her 1993 work, "Lick and Lather."

More from "Loss & Desire"

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Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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Everyone Should Have a Studio, Liz Magor — Art21

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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.”

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Liz Magor makes uncannily realistic casts of humble objects-gloves, cardboard boxes, cigarettes-that speak to mortality and local histories.

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Liz Magor makes uncannily realistic casts of humble objects-garments, cardboard boxes, ashtrays-that speak to mortality and local histories. Magor's delicate copies are often combined with found ephemera, whether tiny vices-such as cigarettes, candy, and alcohol-animals in the form of taxidermied birds and stuffed toy dogs, or small mementos given to her by friends. Social narratives of how things in the world are created, enter our lives, and depart to the junk heap as part of a vast human waste stream are folded together with personal anxieties and small worries, such as the desire to afford nice things, to mend what's broken, and to preserve order against inevitable entropy.

"My main talent is my ability to pay attention."

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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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.

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Credits

Executive Producer: Eve Moros Ortega. Host: Claire Danes. Director: Pamela Mason Wagner. Curator & Producer: Wesley Miller. Editor: Mary Ann Toman. Art21 Executive Director: Tina Kukielski. Director of Production: Nick Ravich. Associate Producer: Ian Forster. Structure Consultant: Véronique Bernard. Director of Photography: Greg Bartels. Additional Photography: Johan Legraie, John Marton, Rafael Salazar, Ian Serfontein, & Ava Wiland. Assistant Camera: Brian Cheung, Patrick Morrisey, Hélène Motteau, & Angel Navarro. Sound: Brent Calkin, Jeff Carter, Keith Henderson, James Irons, Theresa Radka, & Matthieu Roche.

Title/Motion Design: Afternoon Inc. Composer: Joel Pickard. Online Editor: Don Wyllie. Re-Recording Mix: Tony Pipitone. Sound Edit: Neil Cedar & Jay Fisher. Artwork Animation: Anita H.M. Yu. Assistant Editor: Maria Habib, Leana Siochi, Christina Stiles, & Bahron Thomas.

Host Introduction | Creative Consultant: Tucker Gates. Director of Photography: Pete Konczal. Second Camera: Jon Cooper. Key Grip: Chris Wiesehahn. Gaffer: Jesse Newton. First Assistant Camera: Sara Boardman & Shane Duckworth. Sound: James Tate. Set Dresser: Jess Coles. Hair: Peter Butler. Makeup: Matin. Production Assistant: Agatha Lewandowski & Melanie McLean. Editor: Ilya Chaiken.

Artworks Courtesy of: Stan Douglas; Brian Jungen; Liz Magor; Jeff Wall; Art Gallery of Ontario; Kathleen and Laing Brown; Canadian Stage; Marian Goodman Gallery; Susan Hobbs; Katsushika Hokusai; Catriona Jeffries; Casey Kaplan; NFB Digital Studio; Rennie Museum; Vancouver Art Gallery; & David Zwirner. Acquired Photography: ARTtube.nl; Glenn Baglo; Walter H. Calder; City of Vancouver Archives; Byron Charles Jennings; Jeroen van der Poel; Robbie Schweiger; Stedelijk Museum Amsterdam; Vancouver Public Library; & Vancouver Sun.

Special Thanks: The Art21 Board of Trustees; Michael Aglion; Catherine Belloy; Brooklyn Academy of Music; Pat Casteel; Wendy Chang; Linda Chinfen; Kevin Doherty; Caroline Dumalin; Marten Elder; Christina Faist; Christopher Fedorak; Brigitte and Henning Freybe; Peter Gazendam; Go Fish Ocean Emporium; Mike Grill; Ari Hiroshige; Paul Jackson; Debbie Johnsen; Sherrie Johnson; Jenette Kahn; Kwinten Lavigne; Khan Lee; Lindsay Lorraine; Anne Low; Kelly Lycan; Sheila Lynch; Ella Dawn McGeough; Sarah McMenimen; Scott Moore; Katrina Niebergal; Walker Olesen; Nigel Prince; Bob Rennie; Diana Salier; Sandy Sawotka; Keith Shapiro; Dirk Snauwaert; Cedrik Toselli; Western Front; Wiels Contemporary Art Centre; Andrea-Jo Wilson; & Steve Wylie.

No animals were harmed in the making of this film.

Public Relations: Cultural Counsel. Station Relations: De Shields Associates, Inc. Legal Counsel: Albert Gottesman.

Additional Art21 Staff: Maggie Albert; Lindsey Davis; Joe Fusaro; Jessica Hamlin; Jonathan Munar; Bruno Nouril; Pauline Noyes; Kerri Schlottman; & Diane Vivona.

Dedicated To: Susan Sollins, Art21 Founder.

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"What I like about Vancouver is the fact that it's on the edge of the continent.

I call it breathing space."

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

# data[].attributes.attachment_link.description
Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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Katy Grannan (b. 1969, Arlington, Massachusetts) was first recognized in 1998 for an intimate series of portraits of strangers she met through newspaper advertisements. Grannan worked for years throughout the northeast and produced several different series entitled Poughkeepsie Journal, Morning Call, Sugar Camp Road, and Mystic Lake, each referring to a local newspaper source or secluded location. Grannan's process and the consequent images are informed by her own childhood in the American northeast. Each photograph is imbued with secrecy, desire, and hidden intentions.

With her move to California in 2006, Grannan photographed "new pioneers," people who, like herself, encountered something very different from the mythological "West" with its promise of eternal summer and personal reinvention. Instead, these new settlers face the end of a continent and the potential for failure as they struggle to define themselves under the scrutiny of the relentless Western sunlight. The Westerns explores the relationship between aspiration and delusion - where our shared desire to be of worth, to be paid some attention - confronts the uneasy prospect of anonymity.

Grannan's Boulevard marked the beginning of a lengthy series of "street portraits." These photographs appear to be made without the subjects' knowledge, but are in fact, spontaneous collaborations between Grannan and strangers met on the streets of San Francisco and Hollywood (and later throughout the Central Valley). Boulevard and the subsequent series, 99, unfold as an enormous procession of humanity - a dance macabre of marginalized and powerless members of society. Grannan uses the ubiquitous white walls of city buildings and the glaring noon sunlight to serve as an impromptu, decontextualized backdrop that emphasizes each individual and defies any preconceived assumption of their "anonymity." Grannan exhibited Boulevard at Fraenkel Gallery and Salon 94, New York in 2011. The Los Angeles County Museum of Art (LACMA) mounted a comprehensive exhibition of this series and a three channel video installation entitled The Believers in a two-person show in 2012, titled The Sun and Other Stars: Katy Grannan and Charlie White. The series was also the subject of a solo exhibition at FOAM Fotografiemuseum Amsterdam in 2015.

The 99, Grannan's continuation of "street portraits" refers to Highway 99, which runs down the spine of California through the Central Valley - a place Joan Didion described as "the trail of an intention gone haywire." Grannan followed Dorothea Lange's trajectory (made famous in American Exodus: A Record of Human Erosion) and discovered a similarly austere terrain and stoic sensibility. Grannan's large black and white vistas describe a uniquely psychological landscape enveloping cities along Highway 99, where for most, the "American Dream" is pure myth. The region and its inhabitants remain overlooked and undervalued, yet there exists a quiet beauty in the seemingly mundane interactions among those living within this parched landscape.

The Nine is the title of Grannan's film about a marginalized and charismatic community in the Central Valley that struggles to find meaning and moments of grace in a hostile environment.

There are six monographs of Grannan's work: Model American, The Westerns, Boulevard, The Ninety Nine and The Nine, and Hundreds of Sparrows. Her photographs are included in the collections of the Whitney Museum of American Art, The Metropolitan Museum of Art, the Museum of Modern Art, New York, the Guggenheim Museum, New York, the San Francisco Museum of Modern Art, and the Los Angeles County Museum of Art, among others. She lives and works in Berkeley, CA.

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Katy Grannan (b. 1969, Arlington, Massachusetts) was first recognized in 1998 for an intimate series of portraits of strangers she met through newspaper advertisements. Grannan worked for years throughout the northeast and produced several different series entitled Poughkeepsie Journal, Morning Call, Sugar Camp Road, and Mystic Lake, each referring to a local newspaper source or secluded location.

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Mary Mattingly’s Waterfront Development — Art21

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Art21 is the world’s leading source to learn directly from the artists of our time. The mission of Art21 is to educate and expand access to contemporary art through the production of documentary films, resources, and public programs.

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Light Work | A non-profit photography organization supporting artists since 1973

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Light Work is pleased to present Mass and Obstruction, a solo exhibition of work by artist Mary Mattingly. In conjunction with her exhibition at Light Work, Mary Mattingly will be presenting Human and Object, a selection of video works at Urban Video Project (UVP) at the Everson Museum of Art. The exhibition will be on view January 20-30, from dusk-11pm. Find more info online at www.urbanvideoproject.com.
Mary Mattingly creates photographs, sculpture, video and large-scale public art projects ostensibly about climate change but revealing deeper focus on survival and endurance in the face of ecological degradation and violence. Describing photography as the universal language of storytelling, Mattingly blurs the line between fact and fiction, present and future. Using her camera both to document and fictionalize over thirteen years of her environmental art and activism, she creates images by digitally collaging together multiple locations. These fictional, non-specific locations often look strangely futuristic and allow for a conversation about the earth and our impact on it. For Mattingly the "location" is the world's ecosystem. She looks at the big picture and forces us as viewers to confront our own culpability and the ethics of our choices, a fundamentally important pre-requisite for personal or political change. For the exhibition Mass and Obstruction, the artist presents images and objects that emerge from an unflinching scrutiny of her own consumption and life style as an artist.

Mary Mattingly is an artist based in New York. Her work has been exhibited at the Brooklyn Museum of Art, The Kitchen, Museo National de Belles Artes de la Habana, International Center of Photography, The Seoul Art Center, The Bronx Museum of the Arts, The New York Public Library, deCordova Museum and Sculpture Park, and The Palais de Tokyo. She participated in smARTpower, an initiative between the U.S. Department of State and the Bronx Museum of the Arts in the Philippines. She has been awarded grants and fellowships from the James L. Knight Foundation, A Blade of Grass, Eyebeam Center for Art and Technology, Yale University School of Art, The Harpo Foundation, NYFA, The Jerome Foundation, and The Art Matters Foundation. Her work has been featured in Aperture Magazine, Art in America, Artforum, Sculpture Magazine, The New York Times, New York Magazine, Le Monde Magazine, The New Yorker, The Wall Street Journal, on BBC News, MSNBC, Fox News, NPR, NBC, as well as on Art21's "New York Close Up" series. Her work has been included in books such as the Whitechapel/MIT Press Documents of Contemporary Art series titled Nature, edited by Jeffrey Kastner, Triple Canopy's Speculations, the Future Is... published by Artbook, and Henry Sayer's A World of Art, 8th edition, published by Pearson Education Inc. Mattingly participated in Light Work's Artist-in-Residence program in November 2014.
www.marymattingly.com

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Mary Mattingly: Mass and Obstruction | Light Work

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Light Work is pleased to present Mass and Obstruction, a solo exhibition of work by artist Mary Mattingly. In conjunction with her exhibition at Light Work, Mary Mattingly will be presenting Human and Object, a selection of video works at Urban Video Project (UVP) at the Everson Museum of Art.

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One of four new films from Art21's spring 2021 programming
How do you create comfort and care in the realm of the digital? Synthesizing the traditional mediums of painting and sculpture with new technologies like augmented and virtual reality, Rachel Rossin fluidly blurs the digital and physical, exploring the emotional potential of an in-between space. The artist recounts the intensity of her childhood in Florida, how she taught herself to hack and program computer software, and her use of both the Internet and artmaking as vehicles for escape and refuge.

From her DUMBO, Brooklyn studio, Rossin works on a new painting and plays with the markerless motion capture software that she often uses for her virtual works. For VR works such as Skin Suits (2019) and Man Mask (2016), Rossin pulled from an archive of characters and imagery that she hacked from video games, including the male avatar from her teen years playing the popular first-person shooter game, Call of Duty. For Rossin, the male avatar is not just a creative choice, but a reaction to the reality of being a young woman in a male-dominated online gaming culture and the need to protect oneself from online harassment and bullying.

Working on a series of plexiglass sculptures for an exhibition with Rhizome and Hyundai Motor Company, Rossin uses her own body to shape and mold the panels into three-dimensional sculptures. The resulting forms act as hollow-body imprints of the artist and protective shields. The central image embedded into the plexi surface-a half-woman, half-bird harpy avatar that Rossin has used throughout her creative life-is fundamental to the artist's sense of herself and the larger cultural experience of being in two places at once. "So much of our emotional, cognitive space [is] lived in virtual spaces," says the artist. "For me, it always comes back to my own embodiment and how to anchor this very abstract loose [digital] space in the same dimension that I'm in."

This film is among a collection that comprise Art21's participation in the multi-institutional Feminist Art Coalition initiative. Feminist Art Coalition (FAC) is a platform for art projects informed by feminisms, fostering collaborations between arts institutions that aim to make public their commitment to social justice and structural change.

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Credits

New York Close Up Series Producer: Nick Ravich. Directors: Danielle Brock and Vicky Du. Producer: Vicky Du. Editor: Winnie Cheung. Cinematography & Sound: Jia Li. Additional Camera: Julia Lohmann. Production Services: Meerkat Media. Color Correction: Addison Post. Sound Design & Mix: Gisela Fullà-Silvestre. Design & Graphics: Chips. Music: APM Music. Artwork Courtesy: Rachel Rossin. Archival Media: Hyundai Motorstudio Beijing, Pioneer Works, and Karen Rossin. Thanks: 14a, Marie Becker, Michael Connor, Elene Damenia, Rhizome, Rob Ruth, and Smoo (Studio Cat).

New York Close Up is supported by The Andy Warhol Foundation for the Arts; and, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; Dawn and Chris Fleischner; and by individual contributors.

Digital exhibition of New York Close Up films is made possible in part by the New York State Council on the Arts.

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Licensing

Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

Rachel Rossin was born in 1987 in West Palm Beach, Florida, and lives and works in Brooklyn, New York. She received a Bachelor of Arts and Science from Florida State University. A self-taught programmer working in painting, installation, and virtual reality, Rossin examines the slippage between virtual and physical space, building hybrid sites for escape and reflection.

"The way that I was making art before I knew it was art, it was like making homes- just trying to find home."

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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‘It Was Like Making Homes’: Watch Artist Rachel Rossin Build Entire Worlds in Her Hybrid Digital Artwork | Artnet News

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Artist Rachel Rossin describes how she blends virtual imagery culled from video games and computer programs with traditional painting.

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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.

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Credits

Art21 New York Close Up Created & Produced by: Wesley Miller & Nick Ravich. Editor: Rafael Salazar & Ava Wiland. Cinematography: Rafael Salazar, Andrew David Watson, and Ava Wiland. Sound: Nicholas Lindner & Ava Wiland. Associate Producer: Ian Forster. Design: Crux Studio & Open. Artwork: Shana Moulton. Music & Lyrics: Nick Hallett. Thanks: Max Abeles, Shelley Burgon, Travis Chamberlain, Jeff Cook, Lauren Cornell, Duncan Cutler, Katie Eastburn, Experimental Television Center, Harvestworks Digital Media Arts Center, Craig LeBlang, Bronk Monroe, The New Museum of Contemporary Art, Daisy Press, Rhizome, Adam Rokhsar, Elyse Singer, and Joshua White. An Art21 Workshop Production. © Art21, Inc. 2014. All rights reserved.

Art21 New York Close Up is supported, in part, by The Lambent Foundation; the New York City Department of Cultural Affairs in partnership with the City Council; The Andy Warhol Foundation for the Visual Arts; and by individual contributors.

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Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

Now streaming, full segments from the new season of Art in the Twenty-First Century, dubbed "the uniformly excellent television series on contemporary art" by the Los Angeles Times. Watch now.

Shana Moulton was born in 1976 in Oakhurst, California, where she currently resides after spending a number of years living and working in New York. Moulton's humorous performances and videos are built around her kitschy alter ego, Cynthia, a character the artist developed during graduate school. Loosely rooted in Moulton's childhood experiences growing up in a senior-citizen trailer park that her parents owned in the foothills of the Sierra Nevada Mountains, her videos are fantastical renderings in bubblegum hues, with a hint of the dark side lurking just below the surface.

Nick Hallett was born in 1974 in Boston, and lives and works in Brooklyn, New York. A composer and vocalist, Hallett works in the overlapping worlds of music, visual art, and performance. He draws on a wide range of seemingly contrasting musical genres-from indie rock to early Romantic to electronica to opera-to create arrangements that deploy the voice as an instrument.

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Shana Moulton & Nick Hallett Stage An Opera - Art21

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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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.

More information and credits

Credits

Art21 "New York Close Up" Created & Produced by: Wesley Miller & Nick Ravich. Editor: Mary Ann Toman. Cinematography: Andrew David Watson. Sound: Nicholas Lindner & Nick Ravich. Associate Producer: Ian Forster. Production Assistant: Paulina V. Ahlstrom, Don Edler & Maren Miller. Design: Open. Artwork: Shana Moulton. Thanks: Bronx River Art Center, Sean Carroll, Lower Manhattan Cultural Council, Marisa Olsen, Erin Riley-Lopez & Chad Stayrook. An Art21 Workshop Production. © Art21, Inc. 2011. All rights reserved.

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Licensing

Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

Shana Moulton was born in 1976 in Oakhurst, California, where she currently resides after spending a number of years living and working in New York. Moulton's humorous performances and videos are built around her kitschy alter ego, Cynthia, a character the artist developed during graduate school. Loosely rooted in Moulton's childhood experiences growing up in a senior-citizen trailer park that her parents owned in the foothills of the Sierra Nevada Mountains, her videos are fantastical renderings in bubblegum hues, with a hint of the dark side lurking just below the surface.

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Shana Moulton's Portable Performance - Art21

# data[].attributes.attachment_link.description
Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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Artist Shana Moulton on creating a surreal, wellness-obsessed alter-ego

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Using video, opera, and performance, the artist and professor uses ‘Cynthia’ as a means to channel contemporary anxieties