#art21

[austinkleon]

Richard Serra in "Place" - Season 1 - "Art in the Twenty-First Century" | Art21 - YouTube

MAN: What do you do in that book all the time, Richard? 

RICHARD SERRA: Um, I keep track of myself. 

MAN: Are you writing poetry?

RICHARD SERRA: No, it’s a way of keeping your eye and your hand together.

“I think the eye is kind of a muscle,” Serra says. “The more you draw, the better shape the muscle’s in. The better you see.”

[longlistshort]

This tribute to artist Margaret Kilgallen was spotted in Los Angeles in 2014. The quote is paraphrasing what she said during an interview for the PBS program Art21. The full quote reads- “I do spend a lot of time trying to perfect my line work… when you get close up, you can always see the line waver. And I think that’s where the beauty is.” Kilgallen died of cancer in 2001, at only 33, but left behind a remarkable body of work.

You can currently see one of these works at Cantor Arts Center’s as part of the group exhibition, Day Jobs, on view until 7/21/24. The exhibition examines the impact of day jobs in the lives and work of several famous artists.

(Image courtesy of Cantor Arts Center: Margaret Kilgallen, “Money to Loan (Paintings for the San Francisco Bus Shelter Posters)” [detail], 2000. Mixed media on paper and fabric, sheet 68 × 48½ inches Courtesy of the Margaret Kilgallen Estate, photo by Tony Prikryl)

You can learn more about Kilgallen, her husband and fellow artist Barry McGee, and several other artists including Shepard Fairey, Mike Mills, Ed Templeton and Harmony Korine in Aaron Rose’s film Beautiful Losers.

[louart1]

Exploring Kara Walker’s Radical Use of Silhouettes | Art21

[thoughtportal]

Art21 proudly presents an artist segment, featuring Laylah Ali, from the "Power" episode in Season 3 of the "Art in the Twenty-First Century" series.

"Power" premiered in September 2005 on PBS.

Working in extremely detailed paintings that take months to create, Laylah Ali combines cartoon and folkloric aesthetics to explore notions of ethnicity and social violence. In her studio, Ali demonstrates the tricky process of working with gouache on paper and speculates that the physiological effects of color and light on the eye may have real social effects.

Laylah Ali was born in Buffalo, New York, in 1968, and lives and works in Williamstown, Massachusetts. Learn more about the artist at: https://art21.org/artist/Laylah-Ali

[twotrickponyyy]

Art21: Borderlands Richard Misrach

[afrotumble]

“Howardena Pindell: Inner Circle” | Art21 "Extended Play"

[subrab]

<Christine Sun Kim in “Friends & Strangers” - Season 11 | Art21

Sun Kim is an individual with profoundly deafness.

[milksockets]

detail of 'wall chart of world history from earliest times to the present' by tim hawkinson, 1997 in art21: art in the twenty-first century (2003)

[mysterieuxclairdelune]

“There's plenty of artists who don't have exhibitions. There's plenty of art that's never seen. And I think I'm intrigued by that. Making work that does not have a destination has it's loneliness and it's sadness about it. Many artists endure that for their entire lives, and it's heroic. The novel that never gets published, should it never have been written? Of course it should be. It's making a fantastic contribution to the culture of the moment because that individual has that huge urge to do that without any other qualifying pressures. Those are my sort of private thoughts that I think there's a lot about the art world and the way we experience art that's fantastic, but I think there's a lot, that's not entirely spoken about or recognized, which is the unseen and the unknown and the creative act as a deeply private experience.”

-Phyllida Barlow, via art21 on Instagram (x)

[longlistshort]

Joan Jonas: Good Night Good Morning, at the Museum of Modern Art, showcases the artist’s long and varied career. The exhibition includes her videos as well as props, sculptures, paintings and drawings. It’s a celebration of her collaborations (including Volcano Saga with actress Tilda Swinton), performances, installations, and her use of play to create all of these inventive works.

From the museum-

“I didn’t see a major difference between a poem, a sculpture, a film, or a dance,” Joan Jonas has said. For more than five decades, Jonas’s multidisciplinary work has bridged and redefined boundaries between performance, video, drawing, sculpture, and installation. The most comprehensive retrospective of the artist’s work in the United States, Joan Jonas: Good Night Good Morning traces the full breadth of her career, from works that explore the encounter between performance and technology to recent installations about ecology and the landscape.

Jonas began her decades-long career in New York’s vibrant Downtown art scene of the 1960s and ’70s, where she was one of the first artists to work in performance and video. Drawing influence from literature, Noh and Kabuki theater, and art history, her early experimental works probed how a given element—be it distance, mirrors, the camera, or even wind—could transform one’s perception.

Joan Jonas: Good Night Good Morning presents drawings, photographs, notebooks, oral histories, film screenings, performances, and a selection of the artist’s installations. Jonas continues to produce her most urgent work through immersive multimedia installations that address climate change and kinship between species. “Despite my interest in history,” she has said, “my work always takes place in the present.”

The museum’s website has several videos of her work online, as well as an interview with the Jonas in her NYC loft (seen below).

Art21 also has some great videos worth checking out to learn more.

The exhibition at MoMa closes 7/6/24.

[louart1]

Exploring Black Identity with Kerry James Marshall | Art21

[thinkingimages]

The project [that premiered at the Whitney Biennial 2022: Quiet as it’s Kept] has been a long-term investigation, a very physical, haptic process of sifting through 64,000 coins that I bought at an MTA transit auction. The lot of coins was referred to by the agency as ‘slugs,’ which are counterfeit currencies that are used to trick coin-operated devices. However this surplus I received contained a variety of coin-like objects ranging from arcade and casino tokens, to restroom and car wash tokens, as well as religious keepsakes, pendants and batteries. All these items had been used by NYC commuters as bus fare payment from 2017 to 2019. I sat with this collection for two years after purchasing it until I came to understand the random patterns that formed the internal logic. Each coin traces a possible history; it could be a remnant from a major experience or a forgotten occurrence. I’ve identified five categories: Faith, Place, Chance, Imitation, and Blank. Every coin can fit into one of these categories. I am interested in the tokens’ ripple effect, speculating as to the amount of time an individual held onto the ‘slug’ and the multiple spaces the person passed through with this object. 

[aimnerual]

Sasamoto was a pleasant surprise to come across in my contemporary artist research. She is whimsically chaotic, I love listening to her stories and theories.

[twotrickponyyy]

Art21: Borderlands

[mostlyghostly42]

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< hydra > (⚠️extreme flashing lights & patterns ⚠️)

[k00325957]

Olafur Eliasson was born in Copenhagen, Denmark, in 1967. Moving seamlessly from his early photographs to sculpture, immersive environments, large-scale public interventions, and architectural projects, Eliasson uses simple natural elements—light, color, water, and movement—to alter viewers’ sensory perceptions. Predicated on the idea that “art does not end where the real world begins,” Eliasson’s work lives in the active exchange between his creations and the viewers.

Inspired by growing up in Denmark and Iceland, Eliasson’s use of natural elements evokes an awareness of the sublime world around us and how we interact with it; his projects often point toward global environmental crises and consider art’s power to offer solutions to issues like climate change and renewable energy. In addition to his installations in galleries and museums, Eliasson’s work has increasingly engaged broader audiences through permanent architectural projects and interventions in public spaces. Since 2012, Eliasson has also run Little Sun, a certified B Corporation that produces small, solar-powered LED lamps with the aim to provide clean, affordable, and renewable light to communities without access to electricity.