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Artist: Paul McCarthy
Art: Transformation

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Whether satirizing society or reinventing icons of literature, art history, and popular culture, the artists in Transformation -Cindy Sherman, Yinka Shonibare MBE, and Paul McCarthy-inhabit the characters they create and capture the sensibilities of our age.

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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. Associate Curator: Wesley Miller. Production Manager: Nick Ravich. Production Coordinator: Larissa Nikola-Lisa. Consulting Director: Charles Atlas. Editor: Lizzie Donahue. Director of Photography: Philippe Charluet, Bob Elfstrom, Richard Numeroff, Ian Serfontein, & Joel Shapiro. Sound: Mark Cornish, Doug Dunderdale, Roger Phenix, Paul Stadden, & Merce Williams. Assistant Camera: Gideon Jennings, Clair Popkin, Michael Pruitt-Bruun, Adriano Vasquez, & Claudia Woloshin. On Screen Interviews: Ann Marie Peña & Damon McCarthy.

Creative Consultant: Ed Sherin. Art Direction & Design: Open, New York. Graphics Animation: Maurice Caicedo & Urosh Perishic. On-Line Editor: Don Wyllie. Composer: Peter Foley. Voice-Over Artist: Jace Alexander. Sound Editing: Margaret Crimmins & Greg Smith. Sound Mix: Cory Melious. Artwork Animation: Frank Ferrigno. Assistant Editor: Ahmed Amer, Janine Cappadona, Paulo Padilha, Joaquin Perez, Leana Siochi, & Ken Yapelli.

Artworks Courtesy of: Paul McCarthy; Cindy Sherman; Yinka Shonibare MBE; Hauser & Wirth, Zürich, London, New York; James Cohan Gallery, New York; Metro Pictures, New York; & Stephen Friedman Gallery, London.

Special Thanks: The Art21 Board of Trustees; Michael Ashburn; Amy Baumann; Travis Call; Pat Casteel and Steve Wylie; Ginger Cofield; Ralph Cuccurullo; Jon Dawe; Dog Bark Sound; Kym Elphinstone; Frame:Runner, NYC; Thomas Harris; Tom Heman; Naotaka Hiro; Rachel Kent; Angela Kunicky; Mark Lan; Margaret Lee; Sheila Lynch; The McCarthy family; Craig McIntyre; Memorial Sloan-Kettering Cancer Center Thrift Shop; Museum of Contemporary Art, Sydney; The National Gallery of Victoria, Sydney; Paul McCarthy Studio, Los Angeles; Christopher Rawson; Andre Ribuoli; Ann-Marie Rounkle; Susan Schneider; Keith Shapiro; Skarstedt Gallery, New York; Leily Soleimani; Jessica Sonders; Sound Lounge; Lauri Stern; Jacobine Van Der Meer; Kara Vander Weg; Tony Volante; Whitney Museum of American Art, New York; James Woodward; & John Wyver.

Additional Art21 Staff: Beth Allen, Mary Cook, Joe Fusaro, Jessica Hamlin, Jennifer H. Lee, Marc Mayer, Jonathan Munar, Katherine Payne, Kelly Shindler, & Sara Simonson.

Interns: Maggie Bordonaro, Krystle DeMauro, Natalia P. Good, Sophie Grant, Pinchang Huang, Joy Lai, Rachele Lam, Jamie Leonardi, Melanie K. Mambo, Pauli Ochi, Sara Odam, David Roesing, Nicole Ross, Nicole Sansone, & Julia Wright.

Public Relations: Goodman Media International. Station Relations: De Shields Associates, Inc. Legal Counsel: Albert Gottesman. Bookkeeper: Valerie Riley. Travel Agent: Lita Gottesman.

Major underwriting for "Art in the Twenty-First Century" Season Five provided by: National Endowment for the Arts; Public Broadcasting Service; Agnes Gund; Bloomberg; The Nathan Cummings Foundation; The Andy Warhol Foundation for the Visual Arts; The Broad Art Foundation; Korea Foundation; & The Horace W. Goldsmith Foundation.

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In self-reflexive photographs and films, Cindy Sherman invents myriad guises, metamorphosing from Hollywood starlet to clown to society matron. Often with the simplest of means-a camera, a wig, makeup, an outfit-Sherman fashions ambiguous but memorable characters that suggest complex lives that exist outside of the frame. Leaving her works untitled, Sherman refuses to impose descriptive language on her images-relying instead on the viewer's ability to develop narratives. While rarely revealing her private intentions, Sherman's investigations have a compelling relationship to public images, from kitsch to art history to green-screen technology.

Paul McCarthy 's video-taped performances and provocative multimedia installations lampoon polite society, ridicule authority, and bombard the viewer with a sensory overload, of often sexually-tinged, violent imagery. With irreverent wit, McCarthy often takes aim at cherished American myths and icons-Walt Disney, the Western, and even the Modern Artist-adding a touch of malice to subjects that have been traditionally revered for their innocence or purity. Whether conflating real-world political figures with fantastical characters such as Santa Claus, or treating erotic and abject content with frivolity and charm, McCarthy's work confuses codes, mixes high and low culture, and provokes an analysis of fundamental beliefs.

Known for using batik in costumed dioramas that explore race and colonialism, Yinka Shonibare MBE (RA) also employs painting, sculpture, photography, and film in work that disrupts and challenges our notions of cultural identity. Taking on the honorific MBE as part of his name in everyday use, Shonibare plays with the ambiguities and contradictions of his attitude toward the Establishment and its legacies of colonialism and class. In multimedia projects that reveal his passion for art history, literature, and philosophy, Shonibare provides a critical tour of Western civilization and its achievements and failures.

"My work seems to be about tearing down and opening up conventions."

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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Artist: Al WeiWei
Art: Change

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During his incarceration, artist Ai Weiwei's assistants, E-Shyh Wong and Inserk Yang come to New York in his place for the unveiling of Ai's public artwork near Central Park Circle of Animals/Zodiac Heads (2010). Wong and Yang provide insight into his working processes and their belief that neither they nor we should remain silent about his detention.

During his September 2011 interview with Art21, Ai comments on his marble sculpture of a surveillance camera, an object increasingly present in modern life in all societies, which, he says is used to "secretly monitor people's behavior." "But once it's marble" he continues, "it's only being watched. It's not functioning anymore."

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An outspoken human rights activist, Ai Weiwei infuses his sculptures, photographs, and public artworks with political conviction and personal poetry, often making use of recognizable and historic Chinese art forms in critical examinations of a host of contemporary Chinese political and social issues. In his sculptural works he often uses reclaimed materials-ancient pottery and wood from destroyed temples-in a conceptual gesture that connects tradition with contemporary social concerns. He also employs sarcasm, juxtaposition, and repetition to reinvigorate the potency and symbolism of traditional images and to reframe the familiar with minimal means.

"Every day people are coming up to us and giving us proposals of something they can do to help Weiwei. And you know at first we thought, okay maybe we should stay quiet a bit, because we don't want to upset the Chinese government. But then we think, what would Weiwei do? And he would probably make the most noise of anybody."

E-Shyh Wong, Assistant to Ai Weiwei

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: Hiroshi Sugimoto
Theme: Memory
Art: Memory

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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. Production Coordinator: Kelly Shindler. Producer: Charles Atlas. Editor: Lizzie Donahue. Host: Isabella Rossellini. Director of Photography: Takahisa Araki, Norbert Arnsteiner, Martial Barrault, Kurt Branstetter, Bob Elfstrom, Mead Hunt, Nancy Schreiber, Joel Shapiro, & Dyanna Taylor. Sound: Tom Bergin, Ray Day, Lori Dovi, Jim Gallup, Stacy Hruby, Gary Silver, Jean-Pierre Vial, Ullrich Vlasak, & Merce Williams. Gaffer: Todd Csernecky, Lamar Bloodworth, Ted Hayash, & Mike Lamb. Grip: Michele De Lorimier & Darryl Miller. Assistant Camera: Sean Brown, Marie Chao, Brian Hwang, Kipjaz Savoie, Dave Wightman, Lievan van Hulle, & Yahia Zadek. Production Assistant: Xavier Ballandras, Larry Fojtik, Michaela Hoeck, Kathy Kniss, Justin Leitstein, Mary Jo Mauro, Alexei Van Mourik, Scott Resnick, & Rob Zalkind. Assistant Avid Editor: Robert Achs, Jamie Courville, Sean Frechette, Mike Heffron, David Kreger, Cara Leroy O'Connell, Joaquin Perez, Aaron Sheddrick, & Lynn True. Still Photography: Alice Bertoni & Bob Elfstrom.

Creative Consultant: Ed Sherin. Art Design & Animation: Open, New York. 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 & Sound Lounge. Animation Stand: Frank Ferrigno & Frame:Runner NYC. Introductory Host Segments Created by: INTERspectacular. Commissioned Video Art by: Teresa Hubbard / Alexander Birchler.

Artworks Courtesy of: Mike Kelley; Josiah McElheny; Susan Rothenberg; Hiroshi Sugimoto; © 2005 Susan Rothenberg / Artists Rights Society (ARS), New York; © 2005 Artists Rights Society (ARS), New York / ADAGP, Paris / Succession Marcel Duchamp; Des Moines Art Center; Electronic Arts Intermix; Jablonka Galerie, Köln; Metro Pictures, New York; Sperone Westwater, New York; & Donald Young Gallery, Chicago. Archival Footage Courtesy of: Artist Network Pictures/Takahisa Araki.

Special Thanks: Gen Aihara; The Art21 Board of Trustees; Tatiana Bliss; Hervé Chandès; Linda Chenit; Fondation Cartier pour l'art contemporain; Curious Pictures; Michael Davis Stained Glass; Bernhard Fleischer; Martha Friedman; Andrea Hall; Achim Hochdörfer; Miani Johnson; Norman Keyes; Tomoko Kimata; Dominic Mercier; Michelle Menotti; Museum of Modern Art, New York; Museum Moderner Kunst Stiftung Ludwig Wien; Karen Polack; Grazia Quaroni; Philadelphia Museum of Art; Anders Rydstedt; Soundtrack F/T; Gregg Stanger; Mary Clare Stevens; Jennifer Tobias; Valley Plaza Recreation Center, North Hollywood; & Lisa Williamson.

Director of Education & Outreach: Jessica Hamlin. Director of Development: Kathi Pavlick. Development Associate: Sara Simonson.

Interns: Susan Agliata, Nathan Townes-Anderson, Hannah Blumenthal, Agnes Bolt, Lisa Charde, Mary Chou, Kate Crawford, Amanda Donnan, Sophie Dunoyer de Segonzac, Suzy Foster, Jules Gaffney, Katie Hen, Heather Hughes, Adam Krakowski, Georgia Kung, David Mark Kupperberg, Maiko Kyogoku, Phil Logan, Lisa Margulies, Michelle Maydanchik, Carla Meyers, Christine Miller, Geoffrey Pan, Sujay Pandit, Jihan Robinson, Jennifer Sarkilahti, Megan Scally, Karen Seapker, Greg Shilling, Sarah Sliwa, Jennifer Smith, & Elizabeth Swift.

Public Relations: Kelly & Salerno Communications. Station Relations: De Shields Associates, Inc. Legal Counsel: Albert Gottesman. Bookkeeper: Marea Alverio-Chaveco & William Handy.

Major underwriting for Art in the Twenty-First Century Season Three provided by: National Endowment for the Arts; Public Broadcasting Service; Agnes Gund and Daniel Shapiro; Nathan Cummings Foundation; Corporation for Public Broadcasting; Jon and Mary Shirley Foundation; Bagley Wright Fund; Bloomberg; The Horace W. Goldsmith Foundation; JPMorgan Chase; Melva Bucksbaum and Raymond Learsy; The Paul G. Allen Family Foundation; & The Andy Warhol Foundation for the Visual Arts.

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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: Bruce Nauman
Theme: Identity
Art: Poke in the eyes/nose/ears

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Filmed in August 2000, Bruce Nauman discusses his video work Poke in the Eye/Nose/Ear (1994). The artist filmed himself poking his face and then slowed the footage down, forcing viewers to pay attention to the formal qualities of each frame.

Nauman reflects on how fellow artists such as John Cage, Merce Cunningham, and Andy Warhol also reconsidered time and duration.

More information and credits

Credits

Producer: Ian Forster. Consulting Producers: Wesley Miller & Nick Ravich. Interview: Susan Sollins. Camera: Bob Elfstrom. Sound: David Brownlow. Editor: Morgan Riles. Artwork Courtesy: Bruce Nauman / Artists Rights Society (ARS), New York & Walker Art Center. Theme Music: Peter Foley.

Art21 Exclusive is supported, in part, by 21c Museum Hotel 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.

Bruce Nauman has been recognized since the early 1970s as one of the most innovative and provocative of America's contemporary artists. Nauman finds inspiration in the activities, speech, and materials of everyday life. Working in the diverse mediums of sculpture, video, film, printmaking, performance, and installation, Nauman concentrates less on the development of a characteristic style and more on the way in which a process or activity can transform or become a work of art. A survey of his diverse output demonstrates the alternately political, prosaic, spiritual, and crass methods by which Nauman examines life in all its gory details, mapping the human arc between life and death.

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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Stroryteller Miriam Mills tells the story of The Abduction of Sita

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"The Abduction of Sita" - An Excerpt from the Ramayana (The Life of Rama)

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Artist Khadim Ali talks about the series of workshops he did with kids from Afghanistan.

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Artist Profile: Khadim Ali on his Drawing Workshops with Children | ArtBabble

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Artist Khadim Ali discusses a series of drawing workshops that he conducted around themes from the Persian epic Shahnameh (Book of kings) with children from Bamiyan in central Afghanistan and at the Fukuoka Asian Art Museum and schools in Fukuoka, Japan.

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This work is about a couple named Wah Nu and Tun Win Aung, how they make art as a family, and how they use images and stories from their childhood to make art

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Artist Profile: Wah Nu and Tun Win Aung's Background | ArtBabble

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Wah Nu and Tun Win Aung reflect on how they collaborate artistically as a family, and discuss ideas of community around their ongoing project to share art and art making in Myanmar's rural areas. The artists describe how they make use of iconography from their own childhoods, incorporating images by U Ba Kyi, for example, in their work A Thousand Pieces (of White).

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Luis Camnitzer - Art Thinking
Theme - Learning

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Artist Profile: Luis Camnitzer on "Art Thinking" and Art History | ArtBabble

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Artist and educator Luis Camnitzer details his conception of "art thinking," describing it as a system for "organizing and acquiring knowledge." Recalling his own previous experience of slide-based art history classes, Camnitzer goes on to argue that the subject's exclusive focus is determined by individuals in positions of power.

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Christopher Wool

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Vandy Rattana "Bomb Ponds".

These water-filled craters are the result of the bombs that were dropped during the Vietnam War.

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Artist Profile: Vandy Rattana's "Bomb Ponds" Photographs and Video | ArtBabble

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Vandy Rattana describes the genesis of his series. While he was taking photographs of rubber plantations for another project, Walking Through, he became inspired to learn more about the recent history of Cambodia. Curator June Yap notes that these striking, almost surreal images of water-filled craters-traces of bombing raids carried out during the Vietnam War-exhibit a degree of exoticism in spite of the features' familiarity.

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Lindsay Howard

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H umans have an innate need to adapt and improve what surrounds them. The strong desire to create a better, more meaningful future can be seen through each culture's artistic and technological developments. Though we as a species are programmed to aspire, grow, and create, the invention of something truly novel-whether it takes the shape of a groundbreaking artwork or a new technology that revolutionizes daily life-is rare. One, therefore, has to wonder: what are the circumstances that enable creativity and invention?

In the 1950s, Mervin Kelly became the president of Bell Labs, the New Jersey research facility, and set out to transform it into an "institute of creative technology," an initiative that ultimately led to the invention of the laser, transistor, and solar cell, to name a few. He enacted social and architectural strategies to empower researchers, including a mandatory open-door policy that encouraged interactions between engineers, chemists, and mathematicians in a collaborative, interdisciplinary environment. Kelly also offered researchers the latitude to delve into self-directed inquiries for years at a time without a specific result in mind. He even designed some of the hallways at Bell Labs to be exceptionally long so that, in walking from one place to another, one would come across acquaintances, who might inspire fresh ideas or diversions. This synergistic, go-for-broke mindset became firmly embedded in the Bell Labs culture and laid the groundwork for radical breakthroughs and collaborations across disciplines between employees and others beyond the walls of Bell Labs.

A sense of possibility expanded on both sides, and the artists gave Klüver wish lists for newly available or not yet imagined technologies

Billy Klüver joined Bell Labs as an electrical engineer during Kelly's tenure. He was encouraged to follow his passion for cinema and regularly attended film screenings and exhibitions in New York. Before long, Klüver met Robert Rauschenberg at the Museum of Modern Art, followed by John Cage, Merce Cunningham, Jasper Johns, Yvonne Rainer, and Andy Warhol. Over the course of their conversations, Klüver and the artists realized that their combined skills and resources could lead to the creation of works that merge artistic vision with cutting-edge research at Bell Labs. A sense of possibility expanded on both sides, and the artists gave Klüver wish lists for newly available or not yet imagined technologies. Klüver and the engineers at Bell Labs went into production mode, developing inventions such as modified TV sets and projectors that displayed abstract images in response to a musical tone, a Doppler sonar that translated movement into sound, and FM transmitters that relayed sounds from the human body to loudspeakers. The resulting artworks were not only ambitious but also the first of their kind, pushing both sets of collaborators to consider the creative possibilities and implications of emerging technologies. In October 1966, they were introduced to the public in a performance series, called 9 Evenings: Theatre and Engineering, at the 69th Regiment Armory. A few months later, Klüver and Rauschenberg, in collaboration with Fred Waldhauer and Robert Whitman, launched Experiments in Art and Technology (E.A.T.), a nonprofit organization established to support collaborations between artists and engineers.

Through these seminal collaborations and the decades of partnerships that followed, both artists and engineers experienced the advantages of multidisciplinary collaboration. While engineers tend to address challenges in a reductive, linear way, artists generally create artworks using a broader, more divergent approach that can also inspire tangible contributions to a technologist's research. The engineer will often take a general or universal question and break it down into small components while an artist can observe something that's seemingly simple and create a whole universe froman it. Though different, the approaches are complementary because both parties are working in an abstract way toward new discoveries. The goal of ascertaining some new or deeper understanding of the world is a commonality between them.

Early in 2017, Bell Labs partnered with NEW INC, the art, technology, and design incubator founded by the New Museum, to reinstate the E.A.T. program with a year-long artist residency. The artists are granted traditional Bell Labs privileges: access to the company's research, tools, resources, and fabrication studios as well as the freedom to explore countless avenues of research in order to identify relationships and areas of interest, open collaboration with researchers who are exploring everything from machine learning to multi-touch sensors, and a long-term scope to try, perhaps fail, learn, and try again.

In order to reach our greatest potential, it's imperative that we support those who are operating at the edge of possibility

Two artists and one artistic collaboration-Sougwen Chung, Lisa Park, and the dance duo Hammerstep-are working with engineers to propel their practices forward. Chung began the residency after years of participating in a drawing collaboration with a robotic arm; through her discussions at Bell Labs, she is increasing the robot's intelligence and multiplying it in order to study crowd behavior, influence, and empathy. Park is building upon her past work with brainwave sensors and heart-rate monitors to create a holographic installation that responds to human touch. Hammerstep is turning their futuristic dystopian written narrative into an immersive theater experience using interactive projections, motion- and biometric sensing, and low-latency locational technology. While these alternative and often poetic interpretations diverge from the engineer's initial intentions, they have the ability to reveal aspects of technology-and our relationship to it-that wouldn't have existed any other way.

On a daily basis, artists and engineers seek original ideas, processes, and devices for the benefit of humankind. Through close examination of past successes, we learn that the ability to take creative or intellectual risks without fear of failure, to participate in multidisciplinary collaborations, and to have freedom to develop seeds of ideas over a long period of time are essential for nurturing invention. Art and technology will define the future of humanity. In order to reach our greatest potential, it's imperative that we support those who are operating at the edge of possibility.

1. Jon Gertner, "True Innovation," New York Times, February 25, 2012.

Lindsay Howard is an independent curator specializing in how the internet is shaping art and culture. She curated the first and second digital art auctions at Phillips in New York and London, which were called an "art breakthrough" by WIRED magazine. Previously, she served as the Curatorial Fellow at Eyebeam, the leading art and technology center in the United States, and founded the exhibition program at 319 Scholes. She is currently producing an artist residency between Bell Labs and the New Museum.

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Inventing the Future: Art and Technology | Art21 Magazine

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H umans have an innate need to adapt and improve what surrounds them. The strong desire to create a better, more meaningful future can be seen through each culture's artistic and technological developments.

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Exhibit - Under The Same Sun
Artists - Carlos Amorales, Amalia Pica, Jonathas de Adrade
Theme - Community

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Exhibition Overview: An Introduction to "Under the Same Sun" | ArtBabble

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Pablo León de la Barra, Guggenheim UBS MAP Curator, Latin America, introduces Under the Same Sun and details how many of the exhibition's artists use the region's history to characterize its present.

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Sopheap Pich "Morning Glory".

This work is about Cambodian history and his own personal experiences.

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Artist Profile: Sopheap Pich on "Morning Glory" as Food and Artwork | ArtBabble

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Artist Sopheap Pich and curator June Yap talk about the genesis and significance of his 2011 sculpture Morning Glory , discussing the ways in which it reflects both Cambodian history and his own personal experiences.

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Raymond Pettibon 'Humor"
This art is about humor

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Hi Wenda on United Nations - Babel of the mille

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Gu Wenda on united nations - babel of the millennium | ArtBabble

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Artist profile: Ori Gersht on his still life series and art studio

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Artist Profile: Ori Gersht on his Still Life Series and Art Studio | ArtBabble

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From his London studio, artist Ori Gersht describes his practices in analogue and digital photography, filmmaking, and editing, and the environment in which he produces work. He highlights some of his still life works, including Pomegranate and Big Bang, which illuminate the use of particular exposure lengths and pictorial qualities, and which focus on depictions of violence.

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Tom Loeser - Truth or Consequence
Theme - Creativity

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Tom Loeser- Truth or Consequence | ArtBabble

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This stop animation film, created for the exhibition Tom Loeser: It Could Have Been Kindling at the Museum of Wisconsin Art, demonstrates how Loeser's Truth or Consequence functions.

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Elizabeth Murray "Bop" This art is about humor in art

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Filmed in 2002, Elizabeth Murray (1940-2007) is shown working on the large-scale painting Bop (2002-03) in her Manhattan studio. As Murray adds and removes shapes and colors to its interconnected canvases, she expresses frustration but later satisfaction with the piece.

To Murray, experiences like this, of finding resolution after struggling, was a highlight of being an artist. The completed artwork is shown at The Pace Gallery.

More information and credits

Credits

Producer: Ian Forster. Consulting Producer: Wesley Miller & Nick Ravich. Interview: Alice Bertoni & Susan Sollins. Camera: Ken Kobland. Sound: Judy Karp. Editor: Morgan Riles. Artwork Courtesy: Elizabeth Murray & The Pace Gallery.

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Licensing

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

A pioneer in painting, Elizabeth Murray 's distinctively shaped canvases break with the art-historical tradition of illusionistic space in two-dimensions. Jutting out from the wall and sculptural in form, Murray's paintings and watercolors playfully blur the line between the painting as an object and the painting as a space for depicting objects. Breathing life into domestic subject matter, Murray's paintings often include images of cups, drawers, utensils, chairs, and tables. These familiar objects are matched with cartoonish fingers and floating eyeballs-macabre images that are as nightmarish as they are goofy. Taken as a whole, Murray's paintings are abstract compositions rendered in bold colors and multiple layers of paint, but the details of the paintings reveal a fascination with dream states and the psychological underbelly of domestic life.

"When I start to really hate it, it starts to go some place.

You have to get down into that place where you absolutely hate it and want to rip it off the wall- rip it to pieces and throw it out -to start getting into it."

Interview

Elizabeth Murray discusses her 2002 oil on canvas painting, "Bop."

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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Ori Gersht “Evaders”.
This work is about attempting to cross the border between France and Spain.

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Artist Profile: Ori Gersht on Journeys, Borders and "Evaders" | ArtBabble

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Ori Gersht recounts an emotionally charged train journey from Krakow to Auschwitz that he took in 1999, also describing the resultant photographic experiment and the White Noise series to which it led. A decade later, Gersht again explored ideas of journey, memory, and suffering in his two-channel film Evaders, which depicts an ephemeral figure attempting to cross the border between France and Spain.

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Evgenia Arbugaeva “Tiksi”.
This work is about returning to childhood.

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Evgenia Arbugaeva: Returning to my Childhood | ArtBabble

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"Tiksi" though is much more than the personal hunt for a lost childhood. Since 1991, the year, Evgenia Arbugaeva and her family left the town of Tiksi, the Russian Arctic has changed dramatically. Once a symbol of Soviet ambition to conquer the arctic, the town of Tiksi today is nearly abandoned, the number of inhabitants has been reduced from 12.000 to 4.000.

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Jennifer Reeves “The Time We Killed (2004)”.
This work is a film mainly around the theme of memory.

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Jennifer Reeves, featured artist. Filmmaker Jennifer Reeves visited the National Gallery of Art on May 30, 2015, to introduce her film The Time We Killed (2004), a feature-length, experimental narrative that delves inside the mind of an agoraphobic writer unable to leave her New York apartment in the wake of the events of September 11, 2001.

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Khadim Ali "Miniature Painting".

This work talks about characters and themes of Persian Shahnameh(Book of Kings).

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Artist Profile: Khadim Ali on Miniature Painting and his Process | ArtBabble

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Artist Khadim Ali talks about the history and meaning of miniature painting in Afghanistan, and his use of traditional tools and techniques to represent characters and themes from the epic Persian Shahnameh (Book of kings)-including the heroic figure of Rustam.

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Artist Federico Herrero on his residency project at south London gallery

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Artist Federico Herrero on his residency project at South London Gallery | ArtBabble

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Guggenheim UBS MAP artist Federico Herrero discusses his residency at Pelican Estate in Peckham as part of the South London Gallery's presentation of "Under the Same Sun: Art from Latin America Today," which was arranged in association with the Pelican Plus Tenants and Residents Association and Joan Morris, the association's chair.

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MARINA ABRAMOVIĆ & ULAY

THE STORY OF MARINA ABRAMOVIĆ & ULAY

"Cool When 2 Artists get Married"

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The Story of Marina Abramović & Ulay | ArtBabble

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Ulay (Frank Uwe Laysiepen, b. 1943) is a German artist, now based in Amsterdam, Holland, and Ljubljana, Slovenia. Ulay received international recognition for his work as a photographer, mainly in Polaroid, from the late 1960s, and later as a performance artist, including his collaborative performances with Marina Abramović from 1976 to 1988.

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ears

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COLLECTION HIGHLIGHTS: EAST BUILDING-AMERICAN SIGN LANGUAGE (ASL): ONE YEAR THE MILKWEED, GORKY (ASL)

"I Always Liked Sign Language, And Maybe Someday Learn It"

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Collection Highlights: East Building-American Sign Language (ASL): One Year the Milkweed, Gorky (ASL) | ArtBabble

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This is one of several so-called color veil paintings Gorky made in 1944, in which films of paint have been washed unevenly across the canvas and evocative but indistinct forms have been brushed in. Gorky thinned his paint with turpentine and might have applied it with a turkey baster.

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arnav is a rockstar

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Elden Mckay                          ERGIN ÇAVUŞOĞLU

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Elden Mckay                          ERGIN ÇAVUŞOĞLU

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CRYSTAL & FLAME

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Artist Profile: Ergin Çavuşoğlu on "Crystal & Flame" | ArtBabble

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Ergin Çavuşoğlu discusses his video installation Crystal & Flame, on view at the Guggenheim in But a Storm Is Blowing from Paradise , in terms of the expressive languages of theater and film.

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Guggenheim
GLOBAL ART

How global art is changing Guggenhiem's collection.

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guggenheim ubs map global art initiative

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Global Art and Changing the Guggenheim’s Collection

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The Guggenheim UBS MAP Global Art Initiative aims to "present a more inclusive view of art history for generations to come," says Joan Young. In this video, Young and the initiative's three dedicated curators-June Yap, Pablo León de la Barra, and Sara Raza-discuss working with artists hailing from South and Southeast Asia, Latin America, and the Middle East and North Africa in order to strengthen the museum's collection.

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Alfredo Jaar "Title". This work is about how America is gross.

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Alfredo Jaar's "A Logo for America" in Piccadilly Circus | ArtBabble

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On the occasion of A Logo for America's first UK activation, artist Alfredo Jaar and curator Pablo León de la Barra discuss the artwork's conception as a "modest gesture" and its acquisition of "a new urgency and a new meaning" in the current geopolitical context.