Julie Mehretu | Workday

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Filmed in her Berlin studio, Julie Mehretu discusses the ups and downs of her daily studio practice. Mehretu is shown working on the painting Middle Grey (2007-2009), one work in a suite of seven paintings commissioned by the Deutsche Guggenheim as part of the exhibition Julie Mehretu: Grey Area, which travels to the Solomon R. Guggenheim Museum in New York later this year (May 14 – October 6, 2010).

Mehretu’s paintings and drawings refer to elements of mapping and architecture, achieving a calligraphic complexity that resembles turbulent atmospheres and dense social networks. Architectural renderings and aerial views of urban grids enter the work as fragments, losing their real-world specificity and challenging narrow geographic and cultural readings. The paintings’ wax-like surfaces—built up over weeks and months in thin translucent layers—have a luminous warmth and spatial depth, with formal qualities of light and space made all the more complex by Mehretu’s delicate depictions of fire, explosions, and perspectives in both two and three dimensions. Her works engage the history of nonobjective art—from Constructivism to Futurism—posing contemporary questions about the relationship between utopian impulses and abstraction.

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

VIDEO | Producer: Wesley Miller & Nick Ravich. Interview: Susan Sollins. Camera: Ian Serfontein. Sound: Paul Stadden. Editor: Lizzie Donahue & Paulo Padilha. Artwork Courtesy: Julie Mehretu.

William Kentridge | “Breathe”

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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.

Paul McCarthy | Animatronic Designer Jon Dawe

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Animatronic Designer Jon Dawe reveals the process behind the robotic creature effects in artist Paul McCarthy’s sculpture Bush and Pig. Dawe’s previous work, as part of Stan Winston Studio and Tatopoulos Studios, includes special effects and mechanical designs for the popular films Jurassic Park, Hellboy, Underworld, and Fantastic Four, among others.

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.

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

VIDEO | Producer: Wesley Miller & Nick Ravich. Interview: Susan Sollins. Camera: 
Bob Elfstrom. Sound: Doug Dunderdale. Editor: Lizzie Donahue & Paulo Padilha. Artwork Courtesy: Paul McCarthy. Special Thanks: Jon Dawe.

Allan McCollum | “Shapes Copper Cookie Cutters”

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Larry Little, co-founder of Aunt Holly’s Copper Cookie Cutters with his wife Holly, describes his experiences working with artist Allan McCollum on the Shapes from Maine (2009) exhibition at Friedrich Petzel Gallery in New York. Little describes the origins of his home business in Trescott, Maine, the process he developed for making cookie cutters by hand, and his working relationship with McCollum.

This project can currently be seen at Murray Guy gallery in New York through February 2010, as part of the exhibition Vertically Integrated Manufacturing including works by Francis Alÿs, Carl Andre, Fia Backström, Bernd & Hilla Becher, DAS INSTITUT, Dexter Sinister, Douglas Huebler, Stephen Prina, and Seth Price. “The works in this show put their own conditions of production on display, responding to and perhaps even anticipating changing processes of labor. If art has the capacity to bridge sensory experience and abstract thought, it might be uniquely suited to reflect on an economy that increasingly blurs differences between physical goods and immaterial services, and confuses distinctions between production and consumption.” (via the press release)

Applying strategies of mass production to hand-made objects, Allan McCollum’s labor-intensive practice questions the intrinsic value of the unique work of art. McCollum’s installations—fields of vast numbers of small-scale works, systematically arranged—are the product of many tiny gestures, built up over time. Viewing his work often produces a sublime effect as one slowly realizes that the dizzying array of thousands of identical-looking shapes is, in fact, comprised of subtly different, distinct things. Engaging assistants, scientists, and local craftspeople in his process, McCollum embraces a collaborative and democratic form of creativity.

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

VIDEO | Producer: Wesley Miller & Nick Ravich. Interview: Susan Dowling. Camera: Richard Kane & Joel Shapiro. Sound: Kenny Weinberg. Editor: Lizzie Donahue & Paulo Padilha. Artwork Courtesy: Allan McCollum. Thanks: Holly & Larry Little.

Cao Fei | Avatars

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In her Beijing studio, Cao Fei reflects on the behavior of avatars in the digital environment of Second Life and the motivations behind people who explore and inhabit virtual worlds. The video showcases Cao’s project RMB City and the many avatars that frequent it, including the artist’s own avatar China Tracy.

Cao’s work reflects the fluidity of a world in which cultures have mixed and diverged in rapid evolution. Her video installations and new media works explore perception and reality in places as diverse as a Chinese factory and the virtual world of Second Life. Depictions of Chinese architecture and landscape abound in scenes of hyper-capitalistic Pearl River Delta development, in images that echo traditional Chinese painting, and in the design of her own virtual utopia, RMB City. Fascinated by the world of Second Life, Cao Fei has created several works in which she is both participant and observer through her Second Life avatar, China Tracy, who acts as a guide, philosopher, and tourist.

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

VIDEO | Producer: Wesley Miller & Nick Ravich. Interview & Translation: Phil Tinari & Xiaotong Wang. Camera: Takahisa Araki & Frank Dellario. Editor: Paulo Padilha & Mark Sutton. Voiceover: Clara S. Jo. Artwork Courtesy: Cao Fei.

Julie Mehretu & the Problem of Shooting Big

In our new column, On Location, Art21 Director of Production Nick Ravich breaks his silence and gives you the scoop on Art21’s production comings and goings including, among other things, straight-from-the-set reports on recent shoots and some (hopefully) enlightening discussions on those areas where television production and contemporary art collide. And if we’re lucky, Nick will expand his column to include some non-Art21 related musings, reviews, interviews, and other ephemera on the world of production and art in general. — Ed.

In a previous blog post, I had talked about a recent Art21 online video shoot with art teacher Lucia Vinograd’s rather amazing students at Besant Hill School in Ojai, California (Lucia is part of our Art21 Educators professional development initiative.)  At the time, I was only able to post a couple of screen grabs from the field footage, but now I’d love to give you an actual video sample. So below is a short but inspiring scene with Besant Hill School student Julie Yu painting with a very unconventional brush, assisted by fellow student Griffin Davis.

I’m also posting this short, unedited clip as a very informal way of inaugurating a new strand of Art21-produced video releases of (appropriately enough) more informal, off the cuff, backstage-revealing moments—stuff that’s a little less polished and structured than our “Exclusive” videos.  After two plus years of diligently producing online-intended video content, the staff here was looking to create a regular home for these moments that, for whatever reason, sometimes don’t make the final cut.  Additionally, the hope is that these clips point, in some way, to the behind-the-scenes production process, while also previewing future video “Exclusive” releases.

Julie Mehretu. Art21 production still, 2009.

And in keeping with today’s theme of amuse bouche video, I’m posting an uncut clip from an ambitious web-only video shoot that I know I definitely haven’t mentioned. We had the very good fortune to shoot the installation and final painting of Julie Mehretu’s monumental ten panel work at the new Goldman Sachs building in lower Manhattan (the initial creation of this painting in Berlin was an extensive part of our original broadcast segment on Julie.)  Last fall, over the course of a month, Julie and a team of studio assistants and a professional installation crew uncrated, unrolled, stretched, hung, and further painted the work, on site, in the Goldman Sachs lobby. And we were able to shoot some key moments along the way. So below is a video of the painting fully hung, but not yet finished, from the unique bird’s eye view of a scissor lift.

Now, part of the reason I’m posting this is because, well, it’s just plain cool and I wanted to make sure our viewers saw it, as well give them a quick look at the kind of stuff they’ll be seeing in our soon-to-be-released “Exclusive” segments drawing on this footage. But the other reason is a little less self-promotional. This particular shot – a vertiginous, downward angled tracking shot on a 20-foot plus tall painting that elongates the top “foreground” painting elements but compresses the bottom “background” painting elements – points to a much bigger issue: the difficulty of fairly, accurately, faithfully shooting art on video. Part of Art21’s mission is not to just represent contemporary artists “in their own words” (i.e. in as unmediated way as possible) but to represent their artwork in as a similarly undistorted way as possible. For modestly scaled, easel-size works, this is a relatively easy thing to accomplish. But for works the size of Julie’s – in this case an 80 x 23 foot painting installed in a narrow corridor — it’s basically impossible. There’s literally no position we could put the camera in that would give us a wide shot of the full painting, and certainly not one that wouldn’t create the kind of classic edge distortion – key stoning effects where right angles seem to bend at the tape — that typically happens when shooting wide angle. Additionally, the graphic complexity and density of Julie’s imagery – the tremendous variety of line, shape, and color – wreak havoc with interlaced video’s sometimes crude ability to give a stable, color-uniform image.

So what to do?

Continue reading »

Cindy Sherman | Mannequins & Masks

Surveying some of the props she’s used over the years, including masks and mannequin parts, artist Cindy Sherman demonstrates how she uses stand-ins to gauge the focus and composition of her images.

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 lived out of frame. Sherman’s investigations have a compelling relationship to public images, from kitsch (film stills and centerfolds) to art history (Old Masters and Surrealism) to green-screen technology and the latest advances in digital photography.

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

VIDEO | Producer: Wesley Miller & Nick Ravich. Interview: Susan Sollins. Camera: Joel Shapiro. Sound: Roger Phenix. Editor: Lizzie Donahue & Paulo Padilha. Artwork Courtesy: Cindy Sherman.

Art21 “Exclusive” Video, Year 2

What a year it’s been! We’re taking a look back at the 42 Exclusive videos that premiered here on the Art21 Blog, and subsequently on YouTube and iTunes. We hope you’ve enjoyed this new feature for 2009 and, as always, look forward to your comments.

What’s our New Year’s resolution? We’ll be premiering more behind-the-scenes moments with contemporary artists such as Beryl Korot, Shahzia Sikander, Allan McCollum, Julie Mehretu, Cao Fei, Florian Maier-Aichen, and many, many more. Check out what happened in year one.

What’s Cookin at the Art21 Blog: A Weekly Index

Cheese Fondue, Source: JustHungry.com

• VIDEO EXCLUSIVE — Doris Salcedo | Third World Identity
• New Guest Blogger: Kelly Rakowski, a graphic designer and Head of the Book Department at Todd Oldham Studio.
• Check out this post of images of the Costumes of the Katsinas as part of her Nothing is New project.
• Future Russia
• Nicole Caruth ROUNDS THEM UP! In this week’s Art21 artist news you’ll read about a forty-million dollar art collection in Las Vegas, a major exhibition of work by Korean and Korean American artists, an installation made of yogurt caps, a massive concrete sculpture in Canada, and more.
• Justice Potter Stewart and Contemporary Art… What does art look like?
  Ben Street writes to us from London
• TEACHING WITH CONTEMPORART ART | Confronting History
  Joe Fusaro refers to Doris Salcedo : “As an artist, I have a responsibility. I have to look at historical events and work with whatever material is given to me.”
• On Location: Filming Art21 Educators in Southern California
• FLASHPOINTS: How does art respond to the natural world? | Deference to the Vernacular , Artists and Athletes:Riyas Komu’s Mark Him … and a Tree Museum!
• Dutch Bound Books | Wolfsonian Library
• Blogalogue, Part 4: Lee Montgomery … and now.
• Looking at Los Angeles: Squeak Carnwath’s Unique Lexicon Channels the Universal

Doris Salcedo | Third World Identity

In her Bogotá studio, artist Doris Salcedo discusses the stereotypes she faces as a citizen of a Third World country and how she embraces these first-hand experiences of discrimination to inform her art. Shown working alongside her team of assistants, whose collective labor underscores the political messages of her sculptures, Salcedo proposes a more humble role for artists working today.

Doris Salcedo’s understated sculptures and installations embody the silenced lives of the marginalized, from individual victims of violence to the disempowered of the Third World. Although elegiac in tone, her works are not memorials: Salcedo concretizes absence, oppression, and the gap between the disempowered and powerful. While abstract in form and open to interpretation, her works serve as testimonies on behalf of both victims and perpetrators. Salcedo’s work reflects a collective effort and close collaboration with a team of architects, engineers, and assistants and—as Salcedo says—with the victims of the senseless and brutal acts to which her work refers.

Doris Salcedo 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. Interview: Susan Sollins. Camera: Bob Elfstrom. Sound: Ray Day. Editor: Paulo Padilha & Mark Sutton. Artwork Courtesy: Doris Salcedo.