"Raoul and Spot", Source: www.johnsoncountyhumane.org

Brrrrrr… it’s cold over here in NYC.  I hope you all are staying warm wherever you are. Meanwhile, here’s What’s Cookin:

• Nicole Rounds Them Up! This week you’ll read about Tasmanian wolves, patented patterns, cartoon anthropomorphism, ancient mythology, portico projections, and a big gift…
• We’re back with Karthik Pandian on his voyage in the Wild West.  In his second installment of this Grand Canyon Journal: Let’s Get Medievalist on this Crevassse gallop through the Arthurian points in which many parts of the canyon are named. Does the tip of Excalibur Tower, which is said to look like King Arthur’s legendary sword, contain the moment when its namesake was thrust into a soon-to-be-slain dragon? Does Guinevere Castle house a temporal room in which the Queen scandalously gave herself to Lancelot?
• Transcendent: Vija Clemins and Kimsooja| Teaching With Contemporary Art Columnist, Joe Fusaro was “recently I was engaged in a little debate about whether contemporary art can truly be transcendent — taking us beyond the range of normal perception to some place else, some place free from the constraints of the material world…
• A poised student who introduced himself as  “born in 1990” commented that, while the photographs appealed to him because of their obvious skillfulness, he wanted to know what someone his age was supposed to take from work created years before his birth… Last November Catherine Wagley attended a panel discussion at LACMA on photographs of man-altered landscape. The images in question—coolly composed prints by Stephen Shore, Lewis Baltz, and Robert Adams, among others—all hailed from the 1970s. Read Catherine’s reflection on this panel discussion in her post Hollis Frampton Revival.
• Gastro Vision | Food in Contemporary Art and Visual Culture: The Fruit of Experience. Nicole gives us the scoop on the on  Fallen Fruit Collective formed six years ago through a project by artists David Burns, Matias Viegener, and Austin Young for the Journal of Aesthetics and Protest.
• Remembering artist and friend Flo McGarrell
• VIDEO EXCLUSIVE | William Kentridge, Breathe. Shot in his Johannesburg studio in South Africa, William Kentridge reveals the process behind the video work Breathe — a component of the larger project (REPEAT) from the beginning / Da Capo (2008) that debuted at the Teatro La Fenice in Venice and at the nearby Fondazione Bevilacqua La Masa in San Barnaba, Italy.
• FLASHPOINTS: Art + the Environment Wrap Up. For the past few months, our blog discussion platform, Flash Points, has hosted a conversation on Art and the Environment. Together with our readers, we looked at how art reacts to the environment, and if it can be used as a way to contextualize and understand environmental concerns.

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Shot in his Johannesburg studio in South Africa, William Kentridge reveals the process behind the video work Breathe — a component of the larger project (REPEAT) from the beginning / Da Capo (2008) that debuted at the Teatro La Fenice in Venice and at the nearby Fondazione Bevilacqua La Masa in San Barnaba, Italy.

Having witnessed first-hand one of the twentieth century’s most contentious struggles—the dissolution of apartheid—William Kentridge brings the ambiguity and subtlety of personal experience to public subjects most often framed in narrowly defined terms. Using film, drawing, sculpture, animation, and performance, he transmutes sobering political events into powerful poetic allegories. Aware of myriad ways in which we construct the world by looking, Kentridge often uses optical illusions to extend his drawings-in-time into three dimensions.

The traveling exhibition William Kentridge: Five Themes is on view at the Museum of Modern Art in New York, February 24–May 17, 2010. Kentridge’s The Nose, a multimedia production of Shostakovich’s adaptation of Gogol’s story, debuts at The Metropolitan Opera in New York, March 5-25, 2010. Get a chance to hear the artist speak about his recent projects, in conversation with Paul Holdengraber, as part of the New York Public Library’s series of talks Live from the NYPL on March 12th.

William Kentridge is featured in the Season 5 (2009) episode Compassion of the Art:21—Art in the Twenty-First Century television series on PBS.

VIDEO | Producer: Wesley Miller & Nick Ravich. Camera: Bob Elfstrom. Sound: Ray Day. Editor: Paulo Padilha & Mark Sutton. Artwork Courtesy: William Kentridge.

Flores McGarrell I lost my voice. Incredibly frustrating because I have a lot I need to say right now. I just make ridiculous squeaking sounds. […] I think I should just shut up for a while, I have a lot to think about right now anyway.

January 12 at 9:43pm · Comment · Like

This is what everybody who cared about Flo McGarrell was confronted with on his Facebook wall, from January 12 onwards. An outpouring of solicitous messages from friends, relatives, and peers filled his wall again and again and again for days. The first hopeful piece of information that was posted informed us that Flo’s good friend Sue Frame, who was visiting him in Haiti, had survived the earthquake and she knew where Flo was trapped.

I will skip everything else in between and take you to a few days ago, when Sue Frame finally made it back to the States with her friend. Flo McGarrell (1974-2010) passed away on Tuesday, January 12, when the Peace of Mind Hotel collapsed while Flo and Sue were inside. They were making a quick stop on their way back to Jacmel from Port-Au-Prince.

It was not so long ago that I worked with Flo on a post for this site, and I absolutely hate that I am now writing a Remembering artist and friend Flo McGarrell piece. You see, when I think of Flo, I instantly think of an enormous inflatable TV, a bright pink installation, beavers, cats, and her passion to turn trash into treasures. I met Flo when he was a young woman – we were both graduate students at The School of the Art Institute of Chicago in 2002. He had intense sky-blue eyes, a memorable hairdo, a huggable frame, and a hospitable home. There was a drive, a force, and a spirit so well entrenched that they made Flo indestructible. He often raised his left eyebrow. I could never tell what that meant.

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Fallen Fruit Collective, "Elysian Park," 2005. Giclee print, 40 x 60 in. Courtesy the artists.

Fallen Fruit Collective formed six years ago through a project by artists David Burns, Matias Viegener, and Austin Young for the Journal of Aesthetics and Protest. The trio created a street-by-street diagram of fruit trees growing on or over public property in their Silver Lake neighborhood of Los Angeles. While the city boasts bananas, peaches, avocados, lemons, oranges, kumquats, plums, pomegranates, and other fruits growing year-round, this bounty is not always shared. Mapping “public fruit” was a way to approach food resource and accessibility concerns in urban space. From the beginning, Fallen Fruit urged city officials, urban planning groups, and property owners to plant with the goal of yielding edible goods for the local populace. You might call Burns, Viegener, and Young the locavores of contemporary art.

Next month, Fallen Fruit will launch EATLACMA, a year-long investigation into food, art, culture, and politics at the Los Angeles County Museum of Art. Their ambitious plan consists of an exhibition culled from the museum’s collection; a newly commissioned work; seven curated artist gardens on the museum campus; two fruit tree giveaways; a participatory YouTube project; and Let Them Eat LACMA, a day of public performance and engagement involving over fifty artists and collectives. EATLACMA grew out of Fallen Fruit’s participation in a program at the museum in 2008 (organized by Machine Project), for which they mapped fruit in the permanent collection and designed thematic tours. In a recent interview, Burns explained this way of looking at the history of art:

“When you start organizing painting or history by looking at the subject/object/symbol of fruit, it’s really fascinating the way it collapses art. People put so much importance on the stroke, which is valid, and in what Impressionism [for instance] means, but forget that the reason [an artist] is painting oranges is because they’re colorful. Or you go back a hundred years and Dutch painters are painting them because they’re exotic, expensive, and oranges do not grow in Northern Europe. It’s a luxury item that is only possible because of shipping industries and world trade.”

In EATLACMA, depictions of fruit serve to connect the museum’s holdings in a whole new way and shed light on food in the history of human contact. (Burns informed me that fruit exists in the history of art more than any other food.) But it is living fruit that Burns, Viegener, and Young use to connect people today.

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Hollis Frampton, "Nostalgia," 1973. Film still.

Last November, I attended a panel discussion, held at LACMA, on photographs of man-altered landscape. The images in question—coolly composed prints by Stephen Shore, Lewis Baltz, and Robert Adams, among others—all hailed from the 1970s. Of all the panelists, only Douglas Crimp had been a full-fledged adult when the images first debuted. The others, including MOCA curator Philipp Kaiser and LACMA’s Britt Salvesen, had still been in the thick of growing up.

The ages of the panelists didn’t seem to matter much until, during the Q&A, a poised student who introduced himself as  “born in 1990” commented that, while the photographs appealed to him because of their obvious skillfulness, he wanted to know what someone his age was supposed to take from work created years before his birth. The panelists understandably stumbled—how do you convince someone to value a history he didn’t experience?

Hollis Frampton on "Screening Room with Robert Gardner," 1977.

A new screening series featuring the work of experimental filmmaker Hollis Frampton brings this weird tension between the oldness and edginess of “historical” work into exciting focus. Frampton, who began his art-making career as a photographer, made most of his films in the 1960s and 1970s,  toying with the physical medium of film as much as with its narrative potential (in Frampton’s Critical Mass, screened last Sunday, a couple quarrels continuously and the breaks, repetitions, and strange overlaps in the frames make human behavior seem absurdly circular–the medium and story are indistinguishable). He also gave incisively smart interviews, and wrote about the practices and ideas behind film-making in a voice that managed to be both theoretically acute and imaginatively candid.

A recent book of Frampton’s writings, collected and edited by Bruce Jenkins, has contributed to an upswing in Frampton enthusiasm over the past two years. During the same time, Los Angeles gallerist Leila Khastoo began considering a potential exhibition of Frampton’s photographs, many of which have never been seen. This proved more difficult than anticipated, since the photographs belonged to public institutions and acquiring them would require a fair amount of finagling. But the process brought Khastoo in contact with Adam Hyman, Executive Director of the Los Angeles Filmforum. Hyman had also been interested in Frampton for some time (Filmforum screened Frampton’s Magellan series ten years ago, but most of Frampton’s work has not been screened in L.A.) and the two decided to collaborate.

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Vija Celmins, "Untitled (Big Sea #1)," 1969. Graphite on acrylic ground on paper, 34 1/8 x 45 1/4 inches. Private collection. Courtesy McKee Gallery, New York.

Recently I was engaged in a little debate about whether contemporary art can truly be transcendent — taking us beyond the range of normal perception to some place else, some place free from the constraints of the material world. While I immediately thought of Season 5 artist, Kimsooja, and her ability to highlight the artistic context in everyday activities (sewing, cleaning, decorating, etc.), I also thought about the repetitive nature of her work and how repetition is one path to transcendence that many other artists most certainly incorporate. One of these artists, Vija Celmins, is featured in Season 2 and utilizes repetition in her seascapes and night skies. They are meticulously drawn and painted to the point that the viewer isn’t looking at a picture as much as they are looking into one. And when you look close enough, similar to the experience thousands of students have when really seeing a painting by George Seurat or Chuck Close, you go someplace else; you see beyond what the picture is.

I try to make a piece that’s strong and thorough and doesn’t jump off the paper. It’s neither ocean nor a piece of paper. It becomes a third thing.   

— Vija Celmins

Any teacher that has experienced the hum of fluorescent lights and a roomful of students engaged to the point that you can actually hear ideas being scratched into paper or canvas has experienced another kind of transcendent moment. These are the times we feel that “buzz” of work and the rhythm of not necessarily moving through the room, but of the room moving through us, through our own energy and the work we’re facilitating. It’s our job to create spaces for these kinds of moments where students become immersed in the ideas they are shaping and shaping them slowly, without rushing, but with a sense of urgency.

Pierre Huyghe, "Streamside Day," production still, 2003, Film and video transfers, 26 minutes, color, sound. Photo by Aaron S. Davidson. © Pierre Huyghe, courtesy Marian Goodman Gallery, Paris/New York.

The natural world is a marvel, a playground, an intrinsic adventure, a multi-layered curiosity, an embodiment of fear and  absolute wonderment. It is an artists’ gym where one can exercise by wrapping his or her brain around concerns that affect us now and the efforts that sustain the pulsing planet that we inhabit. For the past few months, our blog discussion platform, Flash Points, has hosted a conversation on Art and the Environment. Together with our readers, we looked at how art reacts to the environment, and if it can be used as a way to contextualize and understand environmental concerns.

Flash Points Editor Rachel Craft kicked off the discussion:

From sustainability and alternative energy solutions, to green-collared jobs and maintaining a low carbon footprint, environmental concerns and how our world is addressing them is an ever-present issue. As artist Mark Dion stated [in the Art:21 Ecology episode], “We have a test ahead of us in terms of our relationship to the natural world. If we pass the test we get to keep the planet, but I don’t really see us doing a very good job of that right now.”

• Corinna Kirsch offered her insights on the importance of public art and sustainability in respect to the Twin Cities, Minnesota (Minneapolis / St. Paul), a forefront of what Grant Kesler of October Magazine might call an example of contemporary co-authorship. What could be more contemporary than a network of institutions and individuals collaboratively utilizing a public space in the name of art?
• What about becoming an activist? Stacy Ward Kelly speaks about the importance of using art as a tool to advocate for the preservation, restoration, and improvement of the natural environment.
• Julia Walker points out that many of the changes that need to occur in order for real sustainable architecture to thrive must take place in policy-making at the municipal, state, and federal levels.
• Nova Benway talks about art in relationship to sincerity and looks at sculptor David Olsen, whose work focuses on Newtown Creek in Brooklyn.
• Anna Kryczka quotes John Dewey and the understanding of art as an experience that is embodied in the Chinati Foundation: “every successive part flows freely without unfilled blanks into what ensues.” A moment of coherence—where art, architecture, landscape, and activity all enliven one another—is the art of the Chinati Foundation.
• Catherine Wagley looks at what happens when nature takes over. Much of the talk about climate change and green living focuses on common missions and shared responsibility to nature. So how much of this conversation is really about preserving ourselves?
• Catherine also attended “What’s at Stake? New Topographics and the Man-Altered Landscape,” a LACMA symposium focused on restaging the 1975 exhibition with regard to curatorial practice, urbanism, environmentalism, and architecture.
• Inhale. Exhale. Whew. Nicole Caruth explores the power of positive thinking in relationship to climate change.
• Kevin Buist sees the link between the work of Robert Smithson and Eames Demetrios in how they both marry natural sites with epic mythologies.

Among the many related posts of the last few months, there were numerous interviews that focused on art and the environment in different ways, including:

• Flash Points Editor Rachel Craft interviewed David R. Collens, Director and Curator of Storm King Art Center, about the institution’s focus on the relationship between art and nature. How does the interaction between art and nature inform the core of Storm King’s programming?
• Andrea Zittel is building a floating island in Indiana. Richard McCoy interviews her about this project.
• The wonder years are here to stay. Find some slug eggs, make the light bulb light up, get the microscope to focus, harvest a tomato, nurture a seed…it’s wonderful! Joe Fusaro interviews Abbe Futterman, former graduate of the Pratt Institute and now a science teacher at the Earth School, about the importance of drawing and scientific illustration as a unique way of exploring the world.
• Nicole Sansone conducts a “blogalogue” with EcoArtTech, a collaborative platform for digital environmental art (also here), as well as talks with ETeam.
• Matthias Merkel Hess interviews Catherine Page Harris, a professor of the new Art and Ecology program at the University of New Mexico.

Honing in on another facet of the conversation, artists speak about their artistic processes, projects and recent exhibitions:

• Roni Horn discusses the paradoxical identity and dependency of water, paired with scenes of Icelandic landscapes in this video exclusive.
• Alexis Avlamis:  “I use the highly fluid state of encaustic to document and elaborate constant movement and changes reminiscent of weather, rock and cloud patterns, veins, markings, organs, rivers, cast shadows, biomorphic figures, and creatures…”
• Eirik Johnson returned to the Northwest to make work that addressed the complicated relationship between the region’s landscape, industries that rely upon natural resources, and the communities they support.
• Ariana Page Russell uses her skin condition as a tool and her body as a canvas in self-exploration.
• Noah Fischer writes about his site-specific installation, Electric Forest: Made in Troy.
• Katie Holten features her current project, Tree Museum, a public artwork in the Bronx, New York.

Is there anything that you would like to add to this discussion? Who are the artists in your community and what institution(s) do you see utilizing art as a tool to understand our environment?

With the haunting mix of bodily certainty and existential confusion that characterizes a case of morning wood, the naked, supine torso of Ed Harris comes to sudden erection in a primeval forest, shooting up into the verdant frame like a rake that’s been stepped on. The shot is a crucial one in the opening sequence of George A. Romero’s Knightriders. The precipitousness of the montage conjures up both the identification of man and nature, as figured by Harris’s out-of-body “crow’s eye view” flight through the forest as well as his sudden awakening to the central conflict between the Rousseauist utopianism of the merry band of Medievalist motorcyclists he leads versus the alienating threat that modernity and capital pose to their way of life.

While this image may seem an unlikely entry point into the Grand Canyon, the proliferation of Arthurian place names in the Canyon (Excalibur Tower, Modred Abyss, Lancelot Point, Holy Grail, Gawain Abyss, Bedivere Point, The Dragon, Guinevere Castle, Merlin Abyss, Elaine Castle, and Galahad Point) speaks otherwise. Moreover, Ed Harris’s ontological sit-up echoes the axial leap of the horizontal geological striations that spatialize time along the canyon’s walls to the arbitrariness of the names (an arbitrariness that we will hungrily feast upon) that identify vertical rock formations and voids.

Geological section of the Grand Canyon covering roughly 1.5 billion years of sedimentation

Let us rewind for a moment to the Edenic state of nature envisaged before “the rise” of Ed, if you will. During the “crow-cam” sequence that opens Knightriders, we can now imagine Ed Harris lying down naked, out of frame, presumably asleep or dreaming on the forest floor. In this as-yet-unseen state, the Ed Harris-to-come is a kind of pure potential, a horizontal being that has yet to emerge from the plenitude of the forest. This avatar of Ed Harris finds his mirror image in the horizontal geological strata exposed on the walls of the Grand Canyon. Whereas Ed, in his latent form, is being as pure potential, the spatialization of time and temporalization of space that characterizes the geological stratum make it a crucible for the materialization of being as history in which space and time are co-extensive. In the layers of the Grand Canyon, space and time refine and compress one another. Being travels further and further away from pure potential until it almost sublimates into it; hence, the feeling of irreality that, like the veils of smog that descend into the chasm during peak season, tends to both intensify and obscure the experience of the Canyon.

What does it mean to point to time? Could we point to the Middle Ages on the geological calendar wall of the Grand Canyon? Does the tip of Excalibur Tower, which is said to look like King Arthur’s legendary sword, contain the moment when its namesake was thrust into a soon-to-be-slain dragon? Does Guinevere Castle house a temporal room in which the Queen scandalously gave herself to Lancelot? The answer is no, since even the uppermost strata of the Canyon are approximately 200 million years old. Kim Novak’s character from Vertigo would have to ethereally drive a few hundred miles away from that ringed redwood in order to ethereally point to a time that would approximate that temporal distance.

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Walton Ford, "The Island", 2009. Watercolor, gouache, pencil, and ink on paper. Panel 1: 95 1/2 x 36 in. Panel 2: 95 1/2 x 60 in. Panel 3: 95 1/2 x 36 in. © 2009 Walton Ford. Photo: Christopher Burke Studio. via Crystal Bridges Museum of American Art.

In this week’s roundup you’ll read about Tasmanian wolves, patented patterns, cartoon anthropomorphism, ancient mythology, portico projections, and a big gift:

• Bestiarium, a large-scale survey exhibition of watercolor paintings by Season 2 artist Walton Ford, is on view at the Hamburger Bahnhof in Berlin. His new large-scale painting The Island, recently acquired by the Crystal Bridges Museum of American Art in Betonville, Arkansas, is included in the exhibition. In this composition Ford presents, via the press release, “a writhing pyramidal mass of Tasmanian wolves (thylacines) grappling with each other and a few doomed lambs. The violent extermination of the thylacines, which were hunted to extinction in the early 20th century, calls into question who is hunter and hunted in this savage tableau.” Bestiarium is on view in Berlin through May 24. In June, the show will travel to Vienna’s Albertina Museum. This is Ford’s first show in Europe.

• Through March 21, Vancouver Art Gallery will project works from the exhibition CUE: Artists’ Videos onto the portico of their Robson Street facade. The show consists of more than 80 titles by artists from countries across the globe, such as Art21′s William Kentridge (Season 5). Cinematic language in video, and the unfolding of world events are some of the subjects covered in CUE. The videos have been arranged into seven thematic programs. Each program runs continuously on selected days between 5am – 2am.

• Works by Raymond Pettibon (Season 2) are on view in the group exhibition Shudder at The Drawing Room in London. The artists in Shudder use animation to develop characters and investigate personal states of mind and relationships. Their works tap into, among other things, the cartoon tradition of anthropomorphism. Shudder will include a brand new piece by Pettibon titled Zephyr; the artist describes it as a baby playing with the wind and traveling in the sky. Zephyr continues the themes explored in Pettibon’s The Place, Where We Were created in 2008. Shudder continues through March 14.

• On January 27, London’s contemporary art gallery Sadie Coles HQ will open an exhibition of works by Season 2 artist Matthew Barney. Barney will present a new group of drawings related to his performance and film project Ancient Evenings, based on Norman Mailer’s bestselling novel by the same title. Mailer’s 1983 text reimagined ancient Egyptian mythology and ritual. Barney’s operatic performance (a collaboration with composer Jonathan Bepler) occurs in seven acts symbolizing the seven stages the soul passes through after death in ancient Egyptian belief: Ren, Khu, Sekhem, Ba, Ka, Khaibit and Sekhu. The exhibition closes on March 6.

• Get a closer look at a new installation by Season 1 artist Barry McGee on the blog Arrested Motion. According to SLAMXHYPE, this installation — part of SF MoMA’s year-long Anniversary Show — is made up of many individual works created over the years including drawings, personal photos, and McGee’s iconic (and patented) patterns. The installation is on view through January 2011.

• Kelowna.com reports that Toronto art collector and philanthropist Ydessa Hendeles has offered to donate 32 Canadian and international works to the Art Gallery of Ontario. This would be the biggest single gift of contemporary art in the museum’s history. The donation includes works by artists Krzysztof Wodiczko (Season 3), James Coleman, Gary Hill, Thomas Schutte, Kim Adams, Ian Carr-Harris, Max Dean, Betty Goodwin, and Liz Magor. Plans are underway to exhibit the Hendeles donation within the next 18 months.

• Alfredo Jaar (Season 4) will participate in the panel discussion “Participatory Art: Creative Approaches to the Concept of Community“ organized by LaRete Art Projects and the Legislative Assembly of the Emilia Romagna Region in Italy. The event is part of Arte Fiera Art First 2010, Bologna, a yearly international art fair for modern and contemporary art. The event takes place Saturday, January 30 at 2pm.

"Emily and Rishi crawl in the grass", Source: http://photos.ellen.warnerbros.com/galleries/cute_pictures

Have you ever …

…wanted to live on an island? Andrea Zittel did …so she’s making one! If you are in Indianapolis, visit the IMA and meet the “park ranger” living on Zittel’s island. Hopefully he will invite you aboard and show you around! Meanwhile, check out this interview with Andrea Zittel  by Richard McCoy.

…flown over the Grand Canyon? Re-visit David Copperfield’s and float across with artist and new (!) guest blogger Karthik Pandian in this first installament (ie Journal #1) of a series of posts involving a straight-up escavation of his journey from Las Vegas to the Grand Canyon. YouTube is Karthik’s co-pilot.

…found some slug eggs, made the  light bulb light up,  got a  microscope to focus, harvested a tomato, nurtured a seed? Joe Fusaro Interviews Abbe Futterman, former graduate of Pratt Institute now science teacher at the Earth School about the importance of  drawing and scientific illustration as a unique way of  exploring  the world. According to Abbe “Discovery that is the result of an imaginative act– one’s own “wonderful idea”– is a powerful thing. I believe that when children experience their own agency in this way, they learn that they can change the world…”

…been an archivist at a museum? Read about the importance of conservation and exploration of different roles in archiving from someone knowledgeable in the position of caring for art at the Indianapolis Museum of Art.  Richard McCoy interviews former Associate Curator from the IMA, Rebecca Uchill.

…thought about how sports, the human body,  GAP t-shirts, and MLK day can all come together? Nicole Rounds Them Up!

…painted yourself blue and gone to the movies? In this week’s Letter from London Ben Street thinks about the psychological effects that the film Avatar has had on some people as well as the film’s vibrant fan base. How does this cinematic explosion fall into place in the context of art history?

…aughta, coulda, shoulda made that list? It’s better late then never. Check out this post looking back on the decade with no name with these Art21 Bloggers 2009 Round Up up “art- things remembered”.

…enjoyed a trivia night with Art21? Come one come all to Culture Wars (!) a NEW trivia event inspired by contemporary art and the culture of our time presented by Art21 and 92YTribeca

…wondered about the mechanics behind the functioning of a robot? In this VIDEO EXCLUSIVE Animatronic Designer Jon Dawe reveals the process behind the robotic creature effects in artist Paul McCarthy’s sculpture Bush and Pig.

There’s been a lot Cookin’ at Art21 this past week!