Source: pegasusnews.com

• How many artists are in the world right now? Ben Street writes to us about ‘letting the outside in’ and the Museum of Everything located on Primrose Hill in London.
• Big welcome to the new Guest Blogger Maria Stenina!
• ART, art everywhere! Circling around California, through Germany, in Atlanta, and NYC … Where are YOU? Nicole rounds up a tasty menu of things to check out
• FLASHPOINTS: How does art respond to redefine the natural world? Ariana Page Russell uses her skin as a departure point…&…What does it mean for an exhibition to be both coolly barren and radical? Check out Catherine Wagley’s post on the New Topography Exhibition at LACMA.
• VROOM! VROOM! Joe Fusaro test drives the Season 5 Educator’s Guide
• On crafting the grotesque and sensual: Four questions for Alicia Ross
• Looking at Los Angeles: The Public School
• VIDEO Exclusive: Raised Eyebrows | Furrowed Foreheads — From the mouth of John Baldessari himself: some thoughts on his recent exhibition at the Marian Goodman Gallery

DOWNLOAD VIA ITUNES | SUBSCRIBE VIA RSS

During the installation of his exhibition Raised Eyebrows/ Furrowed Foreheads (2009) at Marian Goodman Gallery in New York, artist John Baldessari discusses his life-long obsession with the distinction between parts and wholes, as well as his reductive philosophy of art-making.

Synthesizing photomontage, painting, and language, Baldessari’s deadpan visual juxtapositions equate images with words and illuminate, confound, and challenge meaning. He upends commonly held expectations of how images function, often by drawing the viewer’s attention to minor details, absences, or the spaces between things.

Baldessari’s work can currently be seen at Tate Modern in London in the retrospective titled Pure Beauty (through January 2010) and at Sprüeth Magers in London in the solo exhibition Ear Sofa Nose Sconces with Flowers (in Stage Setting) (through tomorrow, November 14th).

John Baldessari 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: 
Bob Elfstrom & Sam Henriques. Sound: Tom Bergin. Ray Day. Editor: Lizzie Donahue & 
Paulo Padilha. 

Artwork Courtesy: 
John Baldessari. Thanks: Analia Saban & Marian Goodman Gallery, New York.

"Sea lions in the Palamino Islands." Source: Guardian.co.uk

Water, water, everywhere! Ever-changing and ever-constant, see a glimpse into Roni Horn’s vast exploration of this traveling landscape in this weeks Art:21 Video Exclusive.

• Her art was suffused with [a] very human hope, which she saw as being grounded in the intractability of human struggle. Her work was never crudely utopian—as she told me, “utopia, like heaven, is kind of boring…” EVER SPERO
• What do you want to know about Art21? Ask us.
• To Biennial or Not to Biennial? Notes by Kelly Huang
• $5 for Season Five! You help to make what we do possible. You can donate here.
• Another Kick in the Pants – Teaching with Contemporary Art, Joe Fusaro, and TED.com
• FLASH POINTs : Rachel Craft, NEW Flash Points Editor introduces the topic, Art and the Environment
• Center of the Artworld? Artist Glenn Ligon shares his thoughts.
• Art21 artists track the world. Round ‘em up Nicole!

Art21 Guide to PERFORMA ‘09

• DAZZING – -See it! In addition, William Kentridge will perform I am Not Me, the Horse is Not Mine
• PROMPT: A Conceptual Social Club, under the influence by the Futurist Variety Theatre. Participants include Mark Dion among many others.
• DARKLY FUNNY: The Day is Done Judson Church Dance by Mike Kelley
  Tuesday November 17 – Thursday, November 19 at 8pm and 10pm
• UNPREDICATABLE: physicality, dance and ACTION. It’s part of 3-Day Weekend, a performance piece directed by Oliver Herring. Friday, November 20, 6:30-8:30pm, Saturday, November 21, 3-5pm, and Sunday November 22, 3-6pm

Still hungry? Stay tuned.

Source: Vallatra-Adventures.com

]]> http://blog.art21.org/2009/11/08/whats-cookin-at-the-art21-blog-a-weekly-index-12/feed/ 0 http://blog.art21.org/2009/11/08/whats-cookin-at-the-art21-blog-a-weekly-index-12/ http://feedproxy.google.com/~r/Art21BlogVideo/~3/dmJNTiEDC08/ http://blog.art21.org/2009/11/06/roni-horn-water/#comments Fri, 06 Nov 2009 15:21:31 +0000 Wesley Miller, Art21 Associate Curator http://blog.art21.org/?p=11383

Artist Roni Horn discusses the paradoxical identity and dependency of water, paired with scenes of Icelandic landscapes. Water and Iceland serve as both subjects and metaphors in the artist’s work, coming together most recently in Vatnasafn/Library of Water, a building designed by the artist in Stykkishólmur, Iceland.

Roni Horn explores the mutable nature of art through sculptures, works on paper, photography, and books. Horn describes drawing as the key activity in all her work because drawing is about composing relationships. Horn crafts complex relationships between the viewer and her work by installing a single piece on opposing walls or in adjoining rooms.

Horn’s work can be seen in two exhibitions currently on view in New York: Roni Horn aka Roni Horn, a retrospective at the Whitney Museum of American Art (through January 24th, 2010) and Paired, Gold: Felix Gonzalez-Torres and Roni Horn at the Guggenheim Museum (through January 6th, 2010).

VIDEO | Producer: Wesley Miller & Nick Ravich. Interview: Susan Sollins. Camera: Terry Doe & Mead Hunt. Sound: Ron Garson & Mark Mandler. Editor: Jenny Chiurco. Special Thanks: Hauser & Wirth, London.

William Kentridge: I Am Not Me, the Horse is Not Mine
Monday, November 9 – Tuesday, November 10, 8:00pm
A comic and visually dazzling performance by Season 5 artist William Kentridge, in I Am Not Me, the Horse is Not Mine, Kentridge gives an unusual presentation related to his current opera-in-progress: a work inspired by Russian composer Dmitri Shostakovich’s satirical opera The Nose, based on the Nikolai Gogol short story of the same name.
>> WATCH: William Kentridge preview from Art:21 Season 5

The PROMPT (a night club)
Wednesday, November 11 – Sunday, November 15, 8:00pm
A conceptual social club under the influence of Futurist Variety Theater, cues and propositions are offered each night in the form of conversation pieces, rules, performances and soundtracks, transforming this destination into a pressure cooker for ideas and intimacies. Participants include Art21 artist Mark Dion, among many, many others. Space is limited. RSVP: theprompt@kunstverein.us
>> WATCH: Mark Dion in Art:21 Season 4

Mike Kelley: Day is Done Judson Church Dance
Tuesday November 17 – Thursday, November 19 at 8pm and 10pm
In the first of two related Performa projects, Season 3 artist Mike Kelley will present three short dance/performance pieces in the Judson Memorial Church inspired by the darkly funny vignettes in his 2005 film and video installation Day Is Done. Premiering will be Extracurricular Activity Projective Reconstruction #33 (Ladder Piece), a work involving 13 people assembled on and around a large ladder playing music on horns.
>> WATCH: Mike Kelley directing Day is Done (Art:21 Season 3)

Oliver Herring: 3 Day Weekend
Friday, November 20, 6:30-8:30pm, Saturday, November 21, 3-5pm, and Sunday November 22, 3-6pm
3 Day Weekend is both a performance and material for a live video shoot. The Weekend will unfold as a series of interactions built over the course of three days with a group of people who were chosen through an open application process. The actions will be physical, dance related, mostly unrehearsed and therefore unpredictable. Art21 artist Oliver Herring will both “direct” the actions and film the footage.
>> WATCH: Participant Davis Thompson-Moss talking about working with Oliver Herring (Art:21 Exclusive)

A Fantastic World Superimposed on Reality: A Select History of Experimental Music
Friday, November 20 and Saturday, November 21, 6pm – midnight
Mike Kelley project #2: a mini noise music festival. In 1973, Kelley formed his own band, Destroy All Monsters. A Fantastic World continues Kelley’s continued interest in musical subcultures and focuses specifically on avant-garde music and sound art. Staged over two days, the festival will present both historic works from artists such as John Cage, Fred Frith, Fluxus, Bruce Nauman, and Max Neuhaus as well as performances by contemporary proponents of experimental music including Airway, Joan La Barbara, Tony Conrad, Jad Fair & Lumberob, Arto Lindsay, Genesis Breyer P.Orridge, z’ev, and John Zorn.
>> WATCH: Mike Kelley playing and recording music (Art:21 Season 3)

DOWNLOAD VIA ITUNES | SUBSCRIBE VIA RSS

EXCLUSIVE: From his studio in New York City, Jeff Koons discusses his 2008 exhibition at the Château de Versailles in France. Koons explores the power and sensuality of the grounds at Versailles, citing Louis Quatorze (Louis XIV) as an inspriation for his 1992 piece, Puppy, a large floral sculpture made out of 60,000 large flowers.

Jeff Koons plucks images and objects from popular culture, framing questions about taste and pleasure. His contextual sleight-of-hand, which transforms banal items into sumptuous icons, takes on a psychological dimension through dramatic shifts in scale, spectacularly engineered surfaces, and subliminal allegories of animals, humans, and anthropomorphized objects. The subject of art history is a constant undercurrent, whether Koons elevates kitsch to the level of Classical art, produces photos in the manner of Baroque paintings, or develops public works that borrow techniques and elements of seventeenth-century French garden design. Organizing his own studio production in a manner that rivals a Renaissance workshop, Koons makes computer-assisted, handcrafted works that communicate through their meticulous attention to detail.

Jeff Koons is featured in the Season 5 (2009) episode Fantasy of the Art:21—Art in the Twenty-First Century television series on PBS. Watch the full episode online in the PBS Video portal (available for a limited time, through November 13, 2009).

Jeff Koons. Split Rocker, 2000. Stainless steel, soil, geotextile fabric, internal irrigation system, and live flowering plants, 441 x 465 x 426 inches. Installation view, “Jeff Koons Versailles,” Château de Versailles, France, October 9, 2008–April 1, 2009. © Jeff Koons. Courtesy the artist.

VIDEO | Producer: Wesley Miller & Nick Ravich. Interview: Susan Sollins. Camera: Martial Barrault & Joel Shapiro. Sound: Mark Mandler. Editor: Paulo Padilha & Mark Sutton. Artwork Courtesy: Jeff Koons. Special Thanks: L’Etablissement Public du musée et du domaine national de Versailles.

DOWNLOAD VIA ITUNES | SUBSCRIBE VIA RSS

EXCLUSIVE: In her Long Island studio, Mary Heilmann discusses two inspirations for her work: tea bowls that adhere to the Japanese aesthetic philosophy of Wabi-sabi and the cartoon color pallette used in The Simpsons television show. Heilmann contrasts her working method with that of the Abtract Expressionists, preferring to find “the easiest way to do it” which often involves thinking through the compositions and colors with a computer. The video features ceramics and paintings installed as part of the artist’s traveling retrospective To Be Someone at the New Museum and the Wexner Center for the Arts.

For every piece of Mary Heilmann’s work—abstract paintings, ceramics, and furniture—there is a backstory. Imbued with recollections, stories spun from her imagination, and references to music, aesthetic influences, and dreams, her paintings are like meditations or icons. Her compositions are often hybrid spatial environments that juxtapose two- and three-dimensional renderings in a single frame, join several canvases into new works, or create diptychs of paintings and photographs in the form of prints, slideshows, and videos. Heilmann sometimes installs her paintings alongside chairs and benches that she builds by hand, an open invitation for viewers to socialize and contemplate her work communally.

Mary Heilmann is featured in the Season 5 (2009) episode Fantasy of the Art:21—Art in the Twenty-First Century television series on PBS. Watch the full episode online in the PBS Video portal (available for a limited time, through November 13, 2009).

VIDEO | Producer: Wesley Miller & Nick Ravich. Interview: Susan Sollins. Camera: Mark Falstad & Joel Shapiro. Sound: Roger Phenix. Editor: Paulo Padilha & Mark Sutton. Artwork Courtesy: Mary Heilmann. Special Thanks: Wexner Center for the Arts, Columbus, & The New Museum, New York.

DOWNLOAD VIA ITUNES | SUBSCRIBE VIA RSS

EXCLUSIVE: As part of a panel discussion moderated by Baraka Sele at the 20th National Black Arts Festival in Atlanta, Georgia, artist Carrie Mae Weems poses thirteen questions to musician Wynton Marsalis and professor Cornel West, followed by an impromptu song and dance by the participants and audience.

Weems’s vibrant explorations of photography, video, and verse breathe new life into traditional narrative forms—social documentary, tableaux, self-portrait, and oral history. Eliciting epic contexts from individually framed moments, Weems debunks racist and sexist labels, examines the relationship between power and aesthetics, and uses personal biography to articulate broader truths. Whether adapting or appropriating archival images, restaging famous news photographs, or creating altogether new scenes, she traces an indirect history of the depiction of African Americans for more than a century.

Carrie Mae Weems is featured in the Season 5 (2009) episode Compassion of the Art:21—Art in the Twenty-First Century television series on PBS. Watch the full episode online in the PBS Video portal (available for a limited time, through November 13, 2009).

VIDEO | Producer: Wesley Miller & Nick Ravich. Camera: Joel Shapiro. Sound: Evan McIntosh. Editor: Paulo Padilha & Mark Sutton. Thanks: Wynton Marsalis, Baraka Sele, Dr. Cornel West, and the National Black Arts Festival.

DOWNLOAD VIA ITUNES | SUBSCRIBE VIA RSS

EXCLUSIVE: Artist Josiah McElheny discusses the relationship between artworks and the context in which they were created, highlighting the distinctions between history and the personal and interpretive reinvention of historical facts.

Josiah McElheny creates finely crafted, handmade glass objects that he combines with photographs, text, and museological displays to evoke notions of meaning and memory. McElheny’s work takes as its subject the object, idea, and social nexus of glass. Influenced by the writings of Jorge Luis Borges, McElheny’s work often takes the form of historical fictions. Part of McElheny’s fascination with storytelling is that glassmaking is part of an oral tradition handed down generation to generation, artisan to artisan. Sculptural models of Modernist ideals, these totally reflective environments are both elegant seductions as well as parables of the vices of utopian aspirations.

Josiah McElheny is featured in the Season 3 (2005) episode Memory of the Art:21—Art in the Twenty-First Century television series on PBS.

VIDEO | Producer: Wesley Miller and Nick Ravich. Interview: Susan Sollins. Camera & Sound: Kurt Branstetter, Joel Shapiro, and Tom Bergin. Editor: Jenny Chiurco. Artwork Courtesy: Josiah McElheny. Special Thanks: Donald Young Gallery, Chicago and MoMA QNS, Long Island City.

Artist Richard Tuttle pays homage to American art giants Jackson Pollock and Louis Comfort Tiffany, placing his work in an aesthetic tradition that spans abstraction and craft, expressionism and pragmatism. Interviewed outside his home New Mexico, Tuttle’s dialogue on being the “brush of society” versus “using society as your paintbrush” is paired with a retrospective of his works installed at The Whitney Museum of American Art in New York.

Richard Tuttle commonly refers to his art as drawing rather than sculpture, emphasizing the diminutive scale and idea-based nature of his work. He subverts the conventions of modernist sculptural practice by creating small, eccentrically playful objects in decidedly humble materials. Influences on his work include calligraphy, architecture, and poetry.

VIDEO | Producer: Wesley Miller & Nick Ravich. Interview: Susan Sollins. Camera: Bob Elfstrom & Sam Henriques. Sound: Ray Day & Merce Williams. Editor: Jenny Chiurco. Artwork Courtesy: Richard Tuttle. Special Thanks: The Whitney Museum of American Art, New York.