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    Dominated by Female Voices and Queer Perspectives, the Berlin Biennial Amplifies the Plights and Triumphs of Marginalized Communities

    What does it mean to hold a biennial exhibition in a year like this one?
    Beyond the practical limitations, compounded by the fact that many participating artists can’t travel to their own shows, any major art event taking place in 2020 necessarily makes a statement about the world we live in. In the case of the 11th Berlin Biennale, the curatorial vision that guided it came to form over the last two years, largely before the pandemic changed everything. So it is especially poignant that the show’s central issues—postcolonial struggle, gender-based and race-based injustice, queer-phobia, and the unequal impacts wrought by climate change—have met a world where these very same problems have reached an unbearable climax.
    Postponed from June to September, the show, called “The Crack Begins Within,” welcomed socially-distanced visitors across its four locations last weekend as one of the few international art events to physically open in Europe this year, despite rising infection rates. Curators María Berríos, Renata Cervetto, Lisette Lagnado, and Agustín Pérez Rubio—who are all based in South America—invited artists largely hailing from the Global South. The majority are women, many identify as queer, and few have yet to be widely exhibited in Europe.
    Curators of the 11th Berlin Biennale for Contemporary Art, f. l. t. r.: Renata Cervetto, Agustín Pérez Rubio, María Berríos, Lisette Lagnado. Photo: F. Anthea Schaap

    “It makes us extremely sad that we cannot welcome most of the participants personally at this year’s biennale because they live in high-risk areas,” Berlin Biennale’s director Gabriela Horn said in a video statement sent to the media in lieu of a press conference on preview day last Friday, September 4.
    The artworks on view—and indeed the 76-strong artist list—offers an antidote to the long-dominant white, christian mindset and the patriarchy that enshrines it, by countering what the curators describe in the videotaped statement as “patriarchal rampage” and “colonial capitalism.” Set in three main parts against institutions of the church, the museum, and the body politic, the curators find a way of rebelling against each one that is radical overall: through artworks centered on collectivity, solidarity, and compassion.
    Zehra Doğan, Xêzên Dizî [The Hidden Drawings] (2018–20). Installation view (detail), 11th Berlin Biennale, KW Institute for Contemporary Art. Courtesy Zehra DoğanPhoto: Silke Briel

    Forms of Dissent
    During their allotted time slots, press streamed through the now extra-spacious halls at two of Berlin’s major art institutions, the Gropius Bau and KW Institute for Contemporary Art, as well as the daadgalerie. This last chapter of the biennial was preceded by three smaller prelude shows, the first of which opened exactly one year ago at ExRotaprint, a historical former printing press that was occupied by a tenant co-operative in the early 2000s and now functions as a community-driven cultural initiative. That’s a model that sits well with the curators’ message. During the biennial final chapter, the main exhibition, this location serves as an archive of the entire biennial research and exhibition process.
    Meanwhile at KW Institute for Contemporary Art, the curators present a chapter themed “The Antichurch” that offers visceral perspectives on the violence of patriarchy and the subversion of it. Among the most striking works are monumental drawings by Argentinian artist Florencia Rodriguez Giles. Generously installed around the institution’s main floor, the detailed canvases in the 2018 series Biodelica depict otherworldly, sometimes nightmarish figures that are part-human, part-animal, and part-vegetable. The figures tout female genitalia and engage in actions driven by the pursuit of pleasure.
    Galli, Installation view, 11th Berlin Biennale, KW Institute for Contemporary.Photo: Silke Briel

    Similarly alluring in their fleshliness are the paintings of entangled, blood-red limbs and torsos by Galli, installed on KW’s second floor. A female member of Berlin’s “Junge Wilden” generation of the late 1970s and early 1980s—a bohemian, male-dominated group of artists, including Albert Oehlen, who all favored an expressive style of painting over the minimalist visual language of that time—Galli’s works have rightfully gained latent appreciation in the past five years. Alongside several canvases, her books of collages are also on display in glass cases as well as in a video. The artist’s hands, filmed leafing through the pages, hint towards her differently abled body.
    However, it’s a common drawback of exhibitions that seek to convey forms of community dissent, resistance, and activism through artistic means that they end up feeling more preachy than subversive, more dryly didactic than revolutionary. Too many artworks in the show, which is heavy on video art, fall into this trap. And the effectiveness of much of it is deeply reliant on wall texts. What’s more, if a feminine sensibility, as the argument here goes, is the favorable alternative to masculine rampage, why not cast it in roles less associated with victimhood?
    Andrés Pereira Paz, EGO FVLCIO COLLVMNAS EIVS [I FORTIFY YOUR COLUMNS] (2020). 11th Berlin Biennale, Gropius Bau. Courtesy Andrés Pereira Paz; Crisis Galería, Lima; Galería Isla Flotante, Buenos Aires. Photo: Mathias Völzke.

    The Cracks Within
    The conceptual thread that runs through the chapter installed at Gropius Bau takes the museum as another patriarchal structure in need of critical overhaul. Titled “The Inverted Museum,” this segment includes generous installations that meld sensuous experiences and intellectual engagement. Of the three shows-within-the-show, it is the most successful.
    Take Bolivian artist Andrés Pereira Paz’s 2020 installation I Fortify Your Columns, commissioned and co-produced by the biennial, a landscape of minimalist sculptures that occupy the floor, walls, and ceiling of a darkened gallery. A bird’s call resonates throughout the space. It’s the sound of the Amazonian guajojó; when its habitat was ravaged by catastrophic blazes last year, a single specimen managed the extraordinary flight to Bolivia, where its sighting became a local sensation. An asylum seeker rather than a migrating bird, it has no home to return to.
    Aykan Safoğlu, Zero Deficit (in Refusal) (2020). Installation view, 11th Berlin Biennale, Gropius Bau. Prints by Lamarts, Istanbul. All works Courtesy Aykan Safoğlu. Commissioned and produced by Berlin Biennale for Contemporary Art. In collaboration with Lamarts, Istanbul. With the support of SAHA Association. With thanks to Academy of Fine Arts Vienna, PhD in Practice, doc.funds. Photo: Mathias Völzke

    While the show largely lands on South American soil, several works focus more directly on Europe-centered stories. Turkish artist Aykan Safoğlu digs into his own childhood and education at a renowned German-Turkish school in Istanbul. In a video work narrated by the artist, he weaves his personal history with 19th-century Prussian-Ottoman relations, which were based on Europe’s financial and colonial interests in Ottoman-run Anatolia (modern day Turkey), and the debt collected by European companies who leeched a bankrupt Ottoman Empire. Safoğlu notes that, as a German-speaking man in Istanbul, he is better accepted by German society than his relative who came within a huge Turkish cohort to Germany in the 1960 as “guest workers.”
    Other works addressed even more direct situations of persecution. At KW, formerly jailed Kurdish journalist and artist Zehra Doğan showed The Hidden Drawings, which she made on 103 sheets of paper sent from a friend while Doğan was imprisoned in Turkey. The drawings and texts—raw and austere, albeit not without hope—are presented on a long table behind glass, the pages form a graphic novel that depicts experiences lived and witnessed during her incarceration, contextualized within the history of the Kurdish struggle in Turkey that has been going on since the 1980s.
    In a separate room at KW, German artist Christine Meisner presents her 2020 work Unsharpness In A Possible, Episode 1: Submissions from Berlin, in which she explores the archives of the weekly Der Stürmer, a tabloid published between 1923 and 1945 that propagated anti-Semitic and Nazi ideologies (its founder was sentenced to death in the Nuremberg trials). Meisner digs out the immense amounts of anti-Semitic material submitted for publication by readers from all over Germany and Nazi-occupied territories; her installation helps to illustrate the culpability of German society at large. It is an issue that persists: Only a week ago, protesters demonstrating against state measures to stop the spread of COVID-19 stormed the steps of the German federal parliament, several waving flags associated with extreme far-right and Neo-Nazi views.
    If the biennial title, “The Crack Begins Within,” is at first interpreted as a call for change worldwide—that breaking with old ways begins with personal responsibility—this one work in particular serves as a grim reminder of the dangerous potential this holds. The crack is open, but no one can predict how deep it will get.
    The 11th Berlin Biennale is on view until November 1, 2020 at various locations across Berlin.
    To learn more about Berlin Art Week here.
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    The High Line Wants You to Weigh in on Its Next Big Commission—See Proposals From Nick Cave, Meriem Bennani, and Other Artists

    The High Line—a 1.45-mile-long elevated park on a converted railroad line, filled with verdant plants and an array of contemporary art installations—is one of the gems of Manhattan.
    Free and accessible public art has long been a draw for High Line visitors. The latest iteration in the park’s revolving art program is the Plinth commission, which has been occupied by Simone Leigh’s towering female bust Brick House since 2019. Now, the High Line wants the public to weigh in on the next work to take pride of place, with 80 artist submissions to choose from for the next two commissions, set to appear in 2022 and 2024.
    So, what do you want to see rising above the city at 30th Street and 10th Avenue? Below, see a selection of proposals and then visit the High Line website by the end of September to comment.
    Nick Cave, A·mal·gam. Courtesy of the artist and the High Line.

    Iván Argote, Dinosaur. Courtesy of the artist and the High Line.

    Meriem Bennani, Bouncy Storm. Courtesy of the artist and the High Line.

    Bronwyn Katz, Untitled (roots). Courtesy of the artist and the High Line.

    Mary Sibande, Old Wars are Out and a New Reason of Humanity is In. Courtesy of the High Line.

    Carlos Motta, Koray Duman, and Theodore Kerr, THE VOID. Courtesy of the artists and the High Line.

    Amanda Williams, Sandra’s refuge: Safe Passage for Free Movement in Public Space.

    Banu Cennetoğlu, right?. Courtesy of the artist and the High Line.

    Willie Cole, Totem. Courtesy of the artist and High Line.

    Nina Beier, Women & Children. Courtesy of the artist and the High Line.

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    Coverage: “8th Ply” Group Show in Amsterdam, Netherlands

    Continuing their successful collaboration Sasha Bogojev and Mark Chalmers team up again for 8th Ply. Curated by Sasha Bogojev and presented by The Garage Amsterdam, 8th Ply is a group exhibition featuring artists whose lives were, and are, significantly marked by their connection with skateboarding.
    Seven layers of maple wood, or 7-ply, is the core construction of the skateboard deck and the bedrock of this globally popular sport/lifestyle. In a year when skateboarding was destined to debut as an official Olympic sport for the first time in history, 8th Ply is here to put a focus on another layer of this popular activity.
    Working in a variety of mediums, applying different techniques, and using a diverse range of aesthetics to express their creativity, the presentation aims to provide a glimpse at the uniqueness, imagination, and resourcefulness of the people closely connected to skateboarding. And while skateboarding itself is now a big part of popular culture and is getting heavily branded as a mainstream sport, 8th Ply serves as a metaphor for the cardinal ingredient that turns a wooden plank into a form of identification.
    The exhibition features artists whose lives were, and are, significantly marked by their connection with skateboarding, such as Ed Templeton, James Jarvis, Jean Jullien, Adam Neate, Boris Tellegen, Parra, Josh Jefferson, Andrew Schoultz, and Jeffrey Cheung.

    “From my perspective, 8th Ply represents the channeling of human energy and emotion into the artifact of the skateboard. The combination of board and rider together allows each to become greater than the sum of their parts. My work across the globe bears witness to the inspiring magic that occurs when skateboarders—particularly among SOC—are allowed to move beyond the local and contribute their viewpoints, actions, and activism to the global language of skateboarding culture. Each rider carries a different thread of humanity which, when woven into the broader fabric of skateboarding, emboldens the next generation to see skateboarding as an outlet for their voice.
    As a young Black teenager, I witnessed firsthand how overt and covert racism negatively affected the lives of people of color, and I sought ways to disrupt its effects. Once discovering skateboarding, I found a new space of freedom and self-expression, as part of a multi-gendered, multiracial collective dedicated to pushing through life’s challenges atop 7-Plys of Hardrock-maple. The diversity within our coalition offered a blueprint, which demonstrated that when harnessed correctly, skateboarding culture might offer the possibility to challenge power, build community, and create social change.” – Dr. Neftalie Williams, Artist. Scholar. Diplomat. Activist. Skateboarder.

     The Garage Amsterdam was created in 2004 by Mark Chalmers, a creative director and founder of the internationally lauded Creative Social. Mark also runs the international studio Chalming.Co where he is working with artists and art to build global brands through culture. Brands such as Nike, Dior, Google and Patagonia. Fascinated by the power of grassroots networks, Chalmers started The Garage Amsterdam, as a place where artists could stay while in Amsterdam, create and exhibit work and connect with other artists.
    Scroll down below for more photos of the group show.

    Images by Rene Messman

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    A Guide to Berlin Art Week Assembled By 9 of the City’s Most Plugged-In Curators

    This year’s annual Berlin Art Week is ready to open around the German capital. In a year marred by cancelations, the decentralized event is one of the few dates on the art calendar that has not been moved or erased completely.
    With a truly wide-ranging schedule of shows that occur at small project spaces, private collections, and even a nightclub, it can sometimes be hard to know where to head first. That’s why we decided to ask those who probably know best.
    Below, nine talented Berlin-based curators tell us which exhibition they are most looking forward to seeing next week and why it’s worth a look.

    Övül Ö. Durmusoglu and Joanna Warsza, Autostrada Biennale co-curators
    PICK: “Aby Warburg: Bilderatlas Mnemosyne” at Haus der Kulturen der Welt and “Studio Berlin” at Berghain
    “Aby Warburg: Bilderatlas Mnemosyne – The Original.” at Haus der Kulturen der Welt. Installation view. © Silke Briel / HKW

    “In the 1920s, the historian of art and culture Aby Warburg created his Bilderatlas Mnemosyne, tracing recurring visual themes and patterns across time, from antiquity to the Renaissance to contemporary culture, setting a new understanding of art history. His way of reading and connecting images over epochs, geographies, cultures, and civilizations is still one of the richest sources for visual and media studies.
    This exhibition, realized in collaboration with the Warburg Institute in London, creates a very special occasion that brings together all panels of Warburg’s unfinished magnum opus for the first time after his death. It is a must-see for everyone who is intrigued with reimagining the world.
    Equally, Berghain has been the place bringing many scenes together in Berlin and it has been deeply missed by many in the city since its closure in March due to COVID-19 measures. The club has been engaged with realizing different visual projects before, but so far “Studio Berlin” will be the most expanded project to take place at the large former power facility, with around 80 artists involved. We will see how site-specificity will acquire new meanings in this project devoted to Berlin artists.”

    Fabian Schöneich, Curator
    PICK: Lerato Shadi’s “Maru a Pula Is a Song of Happiness” at KINDL – Zentrum für zeitgenössische Kunst

    Lerato Shadi’s Lefa Le (2019). Photo: dewil.ch (cc by-nc-nd), 2019. Courtesy Kindl zentrum für zeitgenössische kunst.

    “I am excited to see the exhibition of Lerato Shadi at the KINDL – Zentrum für zeitgenössische Kunst. Shadi works primarily with performance and in her works negotiates established systems of suppression and exclusion.
    So far, I only know the video work Mabogo Dinku (2019). In this piece you can see a hand gesturally moving back and forth. Shadi is singing a verse of a folk song in Setswana, her mother tongue. The song talks about the history of her people, who were excluded during apartheid and whose history is lost in the history of the colonizers.
    This is one of the reasons why she does not use a translation or subtitles. She refuses to accept the western system of historiography and language. I look forward to seeing more works and learning more from her.”

    Sam Bardaouil, 16th Lyon Biennale co-curator and affiliate curator, Gropius Bau

    Shoufay Derz, not this, not that. Installation view, Künstlerhaus Bethanien, Berlin. Photo: David Brandt

    “To learn about some dynamic positions slightly far from the gallery crowds, I strongly recommend a visit to Künstlerhaus Bethanien, an artist-in-residence program with workspaces for professional artists and exhibition spaces. Their current exhibition provides insights into five diverse practices featuring installations by a selection of their 2020 resident artists: Yang Chi-Chuan, Rie Nagai, Shoufay Derz, Katsuhiko Matsubara, and Yurika Sunada.
    Yang has produced ceramic works, which take their shapes and colors from climbing gyms and discarded items of trash. Nagai created a series of paintings that evoke her experience of Berlin’s night life. Derz presents over 24 photographic prints and a new video work, deriving from her Loving the Alien performance/project. Matubara is showing 15 large-scale canvases comprised of thick layers of vibrantly hued oil paint, provoking a visceral reaction in their audience. Sunada’s installation features a slowly moving spot-lit sphere made from curved lengths of shiny steel, reflective of her experience of time during lockdown in Berlin.”

    Lisa Long, Curator, Julia Stoschek Collection

    Vivian Suter, studio view, Panajachel, Guatemala, 2018. Courtesy of the Artist and Gladstone Gallery, New York/Brussels; House of Gaga; Karma International; and Proyectos Ultravioleta. Photo: David Regen

    “I am excited to see Vivian Suter’s exhibition at Brücke Museum. The building and interior, especially the carpets, are very particular and I’m keen to see how Suter positions her works amongst the collection, a selection made by her mother, artist Elisabeth Wild. Collages by Wild will also be in the show, and in my mind this proposes a matriarchal lineage counter to [and inserted] amongst Kirchner, Nolde, Schmidt-Rottluff, Heckel, Müller, Pechstein, and Kaus.”

    Ellen Blumenstein, Curator, Artistic Director Imagine the City, Hamburg

    Michael Müller’s studio, 2020. Photo: Marco Funke. © Courtesy the artist and Galerie Thomas Schulte, Berlin

    “Michael Müller is clearly unstoppable: Having started his career in the medium of drawing, he spent the last decade or so creating ever more complex conceptual installations crisscrossing all artistic genres, from meticulous mega-drawings to seemingly casual scribblings, from ready-made sculptures to artisanal objects, from scripted audio plays to ambitious sci-fi animations.
    This insatiable tour through artistic strategies, all of which he champions brilliantly, arrives at a new chapter: this is his first exhibition focusing on painting. One could quite rightly call this hunger for peeing on every tree presumptuous. But just as well one could follow this highly inquisitive, inventive, and clairvoyant mind expediting art way beyond what one usually gets to see.”

    “I am very much looking forward to seeing the works of indigenous Canadian artist Walter Scott, presented at the project space Ashley Berlin [full disclosure: Artnet News’s EU Editor Kate Brown is a co-organizer of the show]. I’ve been following his constructed character ‘Wendy’ for some time now; it chronicles the adventurous and tiresome reality of a young woman artist placed into a sinister, satirical, funny, and true-to-life version of today’s contemporary art world. I thought about Wendy last week when someone said that sometimes the art world can be the worst mixture of exhausting and boring at the same time. I’m excited to see how his long-term investigation into the character of Wendy and her narrative translates into a spatial setting and how this is embedded in his larger practice that looks at questions of representation and narrative construction.”

    Nadim Samman, Curator at KW Institute for Contemporary Art, Berlin

    Katrín Inga Jónsdóttir Hjördísardóttir, still from performance, LAND SELF LOVE – your self is land of love (2020) at Gallery Gudmundsdottir. Courtesy the artist and Gallery Gudmundsdottir, Berlin.

    “I’m looking forward to seeing Katrín Inga Jónsdóttir’s solo at the newly established Gallery Gudmundsdottir in Mitte. The exact location of this dealer’s space is a secret—their address is given out only on request, but I can say that it is in an old air raid shelter. Gudmundsdottir’s all-female roster of mostly Icelandic artists is a breath of fresh air for this town, and I’m expecting something energetic and kinky from Katrin.”

    Tomke Braun, Curator Kunstverein Göttingen

    Benedikte Bjerre “My Dream Is Longer Than The Night.” Courtesy the artist and Goeben.

    “What draws me to Benedikte Bjerre’s work is her bold approach to materials and everyday objects. The Copenhagen-based artist claims My Dream Is Longer Than The Night in an exhibition at Goeben that promises to emerge from a state of mind many involuntarily inhabit in our current situation. Having previously dealt with how overconsumption increasingly disconnects time and space, the recycled reality of dreams marks a new chapter in her practice. With tongue in cheek while questioning socioeconomic conditions, Bjerre expands her sculptures into an installation inviting visitors to encounter an animated and outraged air circulation system.”

    Berlin Art Week is opening from September 9 through 13 around the city. For more information about the official program, see their website.

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    in Street Art

    Guerilla Take Over of 100 UK Billboards in Anti-Car Protest

    Environmental activist groups from the ‘Brandalism’ network have installed over 100 parody car advert posters on billboards and bus stops in England and Wales. The guerilla artworks featuring brands such as Range Rover, Ford, Volkswagen, BMW, Citroen, Lamborghini and Vauxhall were installed without permission in Bristol, Birmingham, Cardiff, Leeds, London and Exeter.
    The billboard posters criticise the car industry for misleading adverts that have driven up demand for polluting vehicles and private car use – resulting in increased carbon emissions from road transport and worsening air pollution and congestion in towns and cities.

    “Car adverts promote private car ownership as a status symbol. Themes of power, success and social status are mixed with exotic locations and empty roads to promote a myth of freedom and mobility. The resulting problems of traffic congestion, worsening air pollution and climate breakdown are left out of these glitzy ads.
    Outdoor advertising billboards are used to promote new cars to motorists stuck in traffic. It’s absurd.
    Our towns and cities have become so dominated by private cars that we’re struggling to implement sustainable alternatives as the health and social costs mount. The active promotion of polluting vehicles through advertising campaigns isn’t helping the situation. We need a cultural shift away from cars,”Peter Marcuse from Brandalism said.

    Over 30 international artists including Paul Insect, Jimmy Cauty, street artist Dr.D, Fokawolf, satirist Darren Cullen, Matt Bonner and Michelle Tylicki created 45 different artwork designs.

    One poster by Birmingham street artist Fokawolf: “Ignore the Kids, Burn the Planet’ with a picture of an SUV.

    Brandalism is an international collective of artists that challenge corporate power, greed and corruption around the world. Intervening into ad spaces that usually celebrate consumption, Brandalism use ‘subvertising’ as a lens through which we can view the intersectional social & environmental justice issues that capitalism creates.
    In January 2020, 41 artists instigated Australia’s largest unsanctioned art campaign in Melbourne, Sydney and Brisbane in the wake of devastating wildfires and inaction on the climate crisis. In 2015, the Brandalism group replaced 600 bus stop posters in Paris ahead of the UN climate talks critiquing major polluters such as Volkswagen and Air France.
    Check out below for more photos of the advert posters.

    Another billboard featured the highly fuel inefficient BMW X5 reading “Embrace the traffic jam, Driving you into Climate Breakdown.”

    A mock Lambourghini advert by 006 – Michelle Tylicki presented the bright SUV within a hellscape of 16th century artist Hieronymus Bosch

    Artwork by Paul Insect

    Artwork by Dave Walker

    Artwork by satirist Darren Cullen

    Artwork by Hogre

    Artwork by Matt Bonner

    Artwork by Paul Insect

    Artwork by Matt Manson

    Artwork by Dr.D

    Artwork by Jimmy Cauty

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    ‘My Work Has Always Been Political, Comic—and Also Sad’: Watch Artist Eleanor Antin Bring Her Paper Dolls of Presidential Candidates to Life

    In exactly two months, Americans will vote in the presidential election, determining the social, economic, and cultural trajectory of the country for the foreseeable future.
    In a prescient artwork aptly titled Theatre of the Absurd, the multitalented artist Eleanor Antin crafted paper dolls to resemble the outrageous characters running as Republican candidates in the 2016 presidential race. In an exclusive interview with Art21, Antin laughed darkly, saying, “I thought that I was finished working with paper dolls and was on to other things until those idiotic Republican debates and that insane list of characters.”
    The installation features a diminutive Donald Trump hamming for the camera, Marco Rubio “trying to be noticed,” and Ted Cruz, who Antin describes as vampiric.
    In the video, which originally aired in 2016 as part of Art21’s Extended Play series, Antin describes the surreality of seeing her work reinvented and re-performed as life unfolds it through a contemporary lens at this moment in time “with the similarities and the ambiguities—I realize, oh my god, this is like I was prophesying!”

    Production still from the Art21 “Extended Play” film, “Eleanor Antin: Politics & Paper Dolls.” © Art21, Inc. 2016.

    Antin’s opulent photographic series “The Last Days of Pompeii,” shot in La Jolla, California, draws parallels between the picturesque ancient city that was unknowingly on the brink of ruin and that of a wealthy 21st-century enclave, blissfully ignorant to the impending climate crisis, economic collapse, and societal inequities.
    Antin’s work with paper dolls has also included creating likenesses of other artists she admires, including feminist icon Judy Chicago, the poet Jackson Mac Low, and the late painter Elizabeth Murray. Working with the figures allows Antin to keep their presence in her life, she says. “My work has always been political, has always been comic—and also sad” 
    Watch the video, which originally appeared as part of Art21’s series “Extended Play,” below.
    [embedded content]
    This is an installment of “Art on Video,” a collaboration between Artnet News and Art21 that brings you clips of newsmaking artists. A new series of the nonprofit Art21’s flagship series Art in the Twenty-First Century is available now on PBS. Catch all episodes of other series like New York Close Up and Extended Play and learn about the organization’s educational programs at Art21.org.

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