#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.

[itscolossal]

Coinciding with the Season 11 Launch, Art21 Will Release All Past Episodes on YouTube to Stream for Free

[louart1]

Exploring Kara Walker’s Radical Use of Silhouettes | Art21

[twotrickponyyy]

Art 21

Rose B. Simpson: Everyday Icons

[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

[aimnerual]

Kiki Smith on death via Art21.

[peppenappa]

[retoxx]

I sobbed through this whole thing, took me 2 days to finish this 17 minute video. Aguiñiga is an artist living and practicing at and around the physical border between the US and Mexico. Her collaborative and performance pieces truly spoke to me - I felt all of this deep within my chest.

[subrab]

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

Sun Kim is an individual with profoundly deafness.

[s-hodne]

Joan Jonas - Drawings

study day Joan Jonas “Dog Drawing” from a performance with Robert Ashley at La MaMa, New York, 2009 Oil stick on paper 60 × 40.6 cm Joan Jonas was born in New York in 1936. She received a BA from Mount Holyoke College, South Hadley, Massachusetts, in 1958, and an MFA in sculpture from Columbia University, New York, in 1965. Her work has been exhibited internationally, with recent solo…

[longlistshort]

magnetic instinct, Liz Larner’s current exhibition at Regen Projects balances the textures and colors of her unique ceramic sculptures with the simplicity of her 1989 work Rubber Divider. The show is also part of the Getty’s PST ART: Art and Science Collide programming.

From the press release-

“…for wander is a verb that needs no object…My aim is to limit myself to the ingenuity of innate action, to be awed by it, and not to try and clear up its mysteries.” —Fernand Deligny, The Arachnean and Other Texts, 2015, pp. 37/46

The exhibition presents new ceramic works surrounding Larner’s “Rubber Divider, 1989—two sheets of pure gum rubber connected to steel rods attached to two flame-cut, solid steel blocks that hold the tension of the opposing pull of weight and elasticity of the rubber sheets. Their opposition and mutual dependence underscores Larner’s longstanding interest in the relationship between structural support and the attitude of the object.

Engaged with the many possibilities of sculpture and abstract form, Larner uses material to encourage discoveries led by an intrinsic link between impulse and perception. Polished to a mirror finish, the brass and aluminum of these sculptures allows them to be positioned on the wall, as the side of the glazed ceramic facing the wall is reflected in the cool light of aluminum and the warm glow of brass. Each surface has its own quality, from the extremely reflective to a textured matte, and these differences create a varying vibrancy of reflected light. Larner’s ceramics highlight a symbiotic continuity that troubles definitions of art and environment, object and subject.

Larner’s morphological research thinks likewise with ecological networks, as described in the writings of Fernand Deligny, or by the botanist Anne Pringle, in “Establishing New Worlds: The Lichens of Petersham.” The dialogue between these new works and Larner’s more historic sculpture, Rubber Divider—which debuted in the 1989 Whitney Biennial—underscores the interplay between support, form, surface effect, and infrastructure, that has often animated her practice, exploring how our observed experience of the world is innately personal but based on connection. Mindful of the specter of the Anthropocene, it also occasions a meditation on how we distinguish past and present, wondering what forms, what artifacts of human action and intelligence will last, and outlast us.

Distinguished by the unique physical rules that govern its transition, from soft to fragile to almost indestructible, Larner engages clay in part because of its apparent self-determination and pliancy, a kind of material agency and chemical intelligence distinct from our own. The ceramic forms in this exhibition are molded by impressions with ubiquitous forms made with a precision that often goes unnoticed. These forms are softened by the contact of the clay being shaped by them. The consequence of this method of forming is ghostly and transpositional. Among many other potential interpretations and resonances, the exhibition’s title points to these principles, and likens them to the same encodings that inform human perception and the activity of many other life-forms, as we are learning to be of and with.

Larner’s work is also currently on view as part of Transformative Currents: Art and Action in the Pacific Ocean at the Orange County Museum of Art and For Dear Life: Art, Medicine, and Disability at the Museum of Contemporary Art San Diego . Both shows are also part of PST ART: Art and Science Collide.

For more on her creative process, and earlier work, check out the video below from Art21 in 2016.

[tartyfart]

Watch Tau Lewis: Shreds of Memory | Art21 "New York Close Up”

Fabric sculptures, massive masks and recycled/reused textiles

[louart1]

Artist Francis Upritchard: I Can't Help the Whole World Heal | Louisiana...

[twotrickponyyy]

Art21: Borderlands Richard Misrach