On View

Mega-gallery Hauser & Wirth is giving recent art-school graduates whose IRL MFA shows were cancelled a spotlight with two exhibitions in Somerset and Los Angeles.
The gallery will host the graduate exhibitions over the next four months, the first at its artist residency studios, the Maltings in Bruton, in Somerset; and the second at its Book and Printed Matter Lab, in Los Angeles this fall.
Hauser & Wirth is offering technical, curatorial, and marketing support to the students for both shows.
Ten recent graduates from four universities in the South West of England will present work in Somerset in an exhibition titled “In Real Life,” which will run from July 29 through August 2.
The artists included are Melody Addo, Betsy Bond, Samantha Davies, Kamila Dowgiert, Juliet Duckworth, Louise Hall, Lauren Horrell, Lilith Piper, Madeline Rolt, and Connor Vickery-Gearty. 
“This has been a remarkable time for our final year students,” Natasha Kidd, head of the Bath School of Art & Design’s fine art program, said in a statement.
“The degree shows were postponed—the assessments took place online, whole shows compressed into pdfs. Tutorials took place through ‘hangouts’—into an array of domestic spaces. Washing lines, hallways and even greenhouses became the site of making work—pet dogs, parents/partners or the odd passer-by on their daily exercise became the audience.”
Louise Hall, 13 Dead, Nothing Said (2020). Image ©Louise Hall. Courtesy of the artist and Hauser & Wirth.

“Providing support and a platform for artists emerging at this current moment is crucial,” says the Kent-born artist Anj Smith, who is among the artists who are contributing to the gallery’s education program. “Art has long been at the forefront of cultural progress and we need inspired, thoughtful voices now more than ever.”
The gallery is also partnering with Cal State LA to include works by MFA graduates from the 2020 class in the Los Angeles exhibition in the fall.
The project is part of the gallery’s philanthropic initiative, #artforbetter, which includes effort to support educational institutions.
“A deep-rooted commitment to education and professional development has always been at the heart of the gallery and embedded in each exhibition,” gallery cofounder Manuela Wirth said in a statement.
“It’s important to us that we remain connected to the wider creative community and artistic energy surrounding each gallery location, enabling new generations of talent to thrive by creating meaningful partnerships and support networks.”
See images of student artworks below.
Kamila Dowgiert, 24/5 (2020). Image ©Kamila Dowgiert. Courtesy of the artist and Hauser & Wirth.

Melody Addo, Chocolate Pudding (still frame) (2020). Image ©Melody Addo. Courtesy of the artist and Hauser & Wirth.

Juliet Duckworth, Apple Path – November 2019 (2019 – 2020). Image ©Juliet Duckworth. Courtesy of the artist and Hauser & Wirth.

Betsy Bond, Landscape Exhibition Space (2020). Image ©Betsy Bond. Courtesy of the artist and Hauser & Wirth.

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Remember when, seemingly overnight sometime during those first few weeks of quarantine, companies shoehorned uplifting messages of solidarity and hope into their TV ads, without ever neglecting to peddle their products?
“We’re here for a reason, and it’s bigger than selling cars,” began a Ford commercial that otherwise was just a Ford commercial.
“Now’s the time for us to show off our strength,” a Michelob Ultra ad inexplicably declared. 
For pop appropriationist Julia Wachtel, who for four decades has been mashing up mass-media images on painted canvases, the discordant tone wasn’t new. 
“That’s the COVID advertisement—which is what advertising has always been,” she tells Artnet News.
After filming snippets of commercials, reality shows, and other bits of TV, the artist created a series of short videos exaggerating this tonal tension to trippy, often humorous effect.
In one, footage of a NASCAR pit stop is intercut with shots of an electric toothbrush cleaning a corn cob. In another, a low-budget bible commercial is set to polka music. 
A still from one of Wachtel’s videos. Courtesy of the artist.

The films—her first stab at the medium—will premier weekly on Thursdays on Perrotin gallery’s Instagram. (Wachtel’s work is also included in “The Secret History of Everything,” a group show on view at the gallery’s New York location.)
They’re short and lo-fi and have a distinct, one-step-forward, two-steps-back rhythm. They’re silly, but they’re still underscored by a languid, late-capitalist sadness—like when you find yourself watching informercials in the middle of the day. 
In short, if Wachtel’s paintings were to come to life, they’d look a lot like this. 
And that makes sense, considering their origin. Not long after quarantining at her home and studio in Connecticut, Wachtel ran out of the custom-made canvases she uses for her painted work. So she decided to try her hand at video. 
The process was humble. In a habit she likens to fishing, Wachtel would turn on the TV and simply started surfing, using her phone to record little clips along the way.
After she had reeled in enough material, she would load it into iMovie and start experimenting. Eventually she graduated to Adobe Premiere, but was sure to maintain the sketch-like quality—a balance she learned to strike with her painting. 
A still from one of Wachtel’s videos. Courtesy of the artist.

But the formal logic of painting is not the one through which she thinks and talks about the works. 
“I listen to a lot of hip hop and rap and have since 1979 when the Sugarhill Gang came out with the first rap song,” she says, citing Kendrick Lamar as a particular hero.
“If you think about scratching or sampling and the building of overlapping layers of beats and melodies, there is a visual equivalent. For me, that’s very inspirational.”  
There’s another layer between the canvases and the videos too, one that the artist is still reconciling. 
Through the act of painting, Wachtel says, she’s undermining the ocean of images from which her material comes.   
“I’m extracting out of that, and locating images in history,” the artist says. “They become objects that are made at particular moments. They’re physical things that will stay in their current form. It’s about making static something that reflects a condition that is fundamentally time-based.”
And then, after finishing her fishing expedition, she throws her catch back in the water. 
“I’m swimming with the devil now.”
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As galleries and art institutions around the world begin to reopen, we are spotlighting individual shows—online and IRL—that are worth your attention.

“Grace Weaver: Steps” at James Cohanthrough September 12, 2020
What the gallery says: “In her striking portrayals of the tragicomic everyday, Grace Weaver examines the charged social and cultural conditions that underlie self-concept, intimacy, and individual experience. Depicting elastic-limbed figures that collide on street-corners and tumble down steps, Weaver’s new paintings turn an incisive yet empathetic eye onto the self-conscious performativity and precarious footing of her contemporaries. In her work, the body itself becomes scenario: playful, sweeping lines and dense planes of luminous color act as linguistic elements, each directing [their] own physical weight and affect onto her female subjects.
Weaver’s paintings are an exploration of what she terms a ‘theater of public life’… These scenes allow her to build an audience within the painting, creating a chorality within the picture plane. The cast of characters, like Weaver, are as much subject to performing a strata of social anxieties as they are to wryly observing them.”
Why it’s worth a look: Weaver’s deft drawings and charcoal studies, which are full of lyricism and emotion, recall Eadweard Muybridge’s landmark 19th-century motion-study photographs, with each erasure marking another aspect of the body’s movement through space.
The paintings that result from Weaver’s many preparatory works are flattened with color, but not diminished in affect: the bright orange and hot pink of the female characters, outlined almost as animation cels, are hilarious and heartwarming. The balloon-shaped extremities and accordion-pleated skirts of some figures are reminiscent of Olive Oyl’s elasticity, and the tight-lipped portrait Choker II calls up an image of Daria, the surly heroine at the heart of MTV’s animated sitcom. Both are models of imperfect, fallible women—all the better for their foibles.
The “Steps” noted in the show’s title could be a simple reference to the physical flights of stairs the subjects clumsily traverse. But it could just as easily be an allusion to the steps of performance, the process of maturity, and the many hurdles of simply going about life.
What it looks like:

Grace Weaver, Affront (2020).© Grace Weaver 2020. Image courtesy the artist and James Cohan, New York. Photo by Phoebe d’Heurle.

Grace Weaver, Misstep (2020). © Grace Weaver 2020. Image courtesy the artist and James Cohan, New York. Photo by Phoebe d’Heurle.

Grace Weaver, Droop (2020). © Grace Weaver 2020. Image courtesy the artist and James Cohan, New York. Photo by Phoebe d’Heurle.

Grace Weaver, Limbo (2020). © Grace Weaver 2020. Image courtesy the artist and James Cohan, New York. Photo by Phoebe d’Heurle.

Grace Weaver, Study for ‘Limbo’ (2020). © Grace Weaver 2020. Image courtesy the artist and James Cohan, New York. Photo by Phoebe d’Heurle.

Grace Weaver, Transfer (2020). © Grace Weaver 2020. Image courtesy the artist and James Cohan, New York. Photo by Phoebe d’Heurle.

Grace Weaver, Step (2020). © Grace Weaver 2020. Image courtesy the artist and James Cohan, New York. Photo by Phoebe d’Heurle.

Grace Weaver, Choker II [detail] (2020). © Grace Weaver 2020. Image courtesy the artist and James Cohan, New York. Photo by Phoebe d’Heurle.

Grace Weaver, Stunt (2020). Courtesy of James Cohan Gallery.© Grace Weaver 2020. Image courtesy the artist and James Cohan, New York. Photo by Phoebe d’Heurle.

Grace Weaver, Crying (I, Upwards) (2020). © Grace Weaver 2020. Image courtesy the artist and James Cohan, New York. Photo by Phoebe d’Heurle.

Grace Weaver, Confrontation (2020). © Grace Weaver 2020. Image courtesy the artist and James Cohan, New York. Photo by Phoebe d’Heurle.

Grace Weaver, Crying (II, Downwards) (2020). © Grace Weaver 2020. Image courtesy the artist and James Cohan, New York. Photo by Phoebe d’Heurle.

Grace Weaver, Shame (2020). © Grace Weaver 2020. Image courtesy the artist and James Cohan, New York. Photo by Phoebe d’Heurle.

Grace Weaver, Sunshower (2020). © Grace Weaver 2020. Image courtesy the artist and James Cohan, New York. Photo by Phoebe d’Heurle.

Grace Weaver, Choker I (2020).  © Grace Weaver 2020. Image courtesy the artist and James Cohan, New York. Photo by Phoebe d’Heurle.

Grace Weaver, Split Leap (2020). © Grace Weaver 2020. Image courtesy the artist and James Cohan, New York. Photo by Phoebe d’Heurle.

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Everything Chicago-born artist Theaster Gates sees, hears, touches, even imagines, is material just waiting to be transformed into art.
In 2016, in an exclusive interview with Art21 as part of its “Art in the Twenty-first Century” series, Gates explained his circuitous career route.
He began as an urban planner with an interest in religious studies, defecting along the way to try his hand at being a potter.
“I stopped making pots and was looking for a thing to do, and remembered that I had good hands,” he says in the interview, recalling how his father, a roofer by profession, had taught him from an early age to build things.
With this realization, the artist began to set his sights on large buildings as the raw materials for his work, transforming crumbling buildings into revitalized community-gathering spaces, balancing art with social responsibility.
The structures, which Gates strips and transforms into sculptures, are sold as bonds or investments to benefit rehabilitation projects, which many banks declined to fund.
Newly restored buildings are turned into repositories for Black culture, and there is even space for artists to live.
“The world is ripe for a making, for a re-making, for a re-shaping,” he says in the Art21 interview.
“Can art and culture change communities?” he asks. “It does all the time… I’m asking questions of what the Black world might look like if we invested in it, if we gave a damn.”
Watch the video, which originally appeared as part of Art21’s series Art in the Twenty-First Century, below.
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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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As galleries and art institutions around the world begin to reopen, we are spotlighting individual shows—online and IRL—that are worth your attention.

“Friend of Ours”at Rental Gallery, East Hamptonthrough July 30

What the gallery says: “‘Friend of Ours’ presents leading contemporary artists who bend reality in such a way as to make the viewer question their own lying eyes. Who even knows what is real anymore? Beyond any pedestrian sense of ‘fake news,’ we drift in an epoch wherein no one seems to agree on any basic premise. Everything we look at is presumed to have always already been face-tuned and photoshopped, and when our brains attempt to decode art objects they are filtered through our presumption that they have been ‘fixed in post.’
Using a variety of strategies, all of the artists included in ‘Friend of Ours’ complicate the reading of reality. Many of the artists in the exhibition make objects that seem to have been digitally altered when in fact they are what they are. Others use form and scale to confuse our ability to read what is before our eyes in subtler ways. The line where craft and After Effects meet is blurred and rendered moot. As a whole, the works in the exhibition operate as a new form of trompe-l’oeil, confusing our digitally native brains’ perceptive abilities.”
Why it’s worth a look: If you’re lucky enough to be out east this summer, there’s no shortage of gallery shows offering (socially distanced) viewing experiences. At Rental Gallery—which set up shop on Newton Lane long before it was pandemic trendy—a group show of quirky, thoughtful, and timely works is the perfect re-entry into IRL art exploration.
Some of the works are clearly reflections on the current state of the world, including Rashid Johnson’s Untitled Anxious Red Drawing (2020), a frenetic red canvas produced during quarantine, and Sayre Gomez’s Untitled (2020), a gray canvas painted with “BLM” and “I can’t breathe” and accompanied by an illustration of the grim reaper. Other works are more ambiguous, though it seems like everything these days has new meaning, such as Mungo Thompson’s Snowman, a bronze-cast sculpture of three Amazon delivery boxes, the new omnipresent accessories of life in lockdown.
The show is curated by Joel Mesler, who owns the gallery, and Benjamin Godsill of the art advisory Curatorial Services. It features artists Farah Al Qasimi, Sayre Gomez, Henry Gunderson, Hugh Hayden, Alex Israel, Matt Johnson, Rashid Johnson, Josh Kline, Fredrick Kunath, Robert Longo, Tony Matelli, Borna Sammak, Mungo Thomson, Austyn Weiner, Jonas Wood, and Anicka Yi.
The gallery is donating a portion of proceeds from exhibition sales to Black Lives Matter and Stony Brook Southampton Hospital’s Healthcare Heroes Fund for COVID-19.‍
What it looks like:

Installation view, “Friend of Ours” at Rental Gallery, July 2020.

Josh Kline, Keep the Change (Texas Roadhouse Waiter’s Head with Cap) [detail] (2018). Courtesy of the artist.

Friedrich Kunath, For the Last Time, Hello (2020). Courtesy of the artist.

Matt Johnson, 3 Intersecting Books (Henry Moore, Michelangelo, and Bonsai) (2020). Courtesy of the artist.

Installation view, “Friend of Ours” at Rental Gallery, July 2020.

Jonas Wood, Shelf Still Life (2015). Courtesy of the artist.

Alex Israel, Casting (2015). Courtesy of the artist.

Farah Al Qasimi, Curtain Shop (2019). Courtesy of the artist.

Anicka Yi, Cascade of Failure (2020). Courtesy of the artist.

Austyn Weiner, Working Through Not Knowing a Damn Thing About Any Thing (2020). Courtesy of the artist.

Sayre Gomez, Untitled (2020). Courtesy of the artist.

Installation view, “Friend of Ours” at Rental Gallery, July 2020.

Installation view, “Friend of Ours” at Rental Gallery, July 2020.

Installation view, “Friends of Ours” at Rental Gallery, July 2020.

Rashid Johnson, Untitled Anxious Red Drawing (2020). Courtesy of the artist.

Robert Longo, Study of Rio Cops, Baltimore (2016). Courtesy of the artist.

Henry Gunderson, Henry Sux #3 (2020). Courtesy of the artist.

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A traveling blockbuster exhibition featuring the treasures of King Tutankhamun, the famed boy pharaoh, may have breached Egyptian laws meant to protect antiquities.
In a new documentary, BBC News Arabic investigates the legality of the show, billed as the largest collection of King Tut’s treasures ever to leave Egypt. It was organized with the help of Egyptologist Zahi Hawass, formerly Egypt’s minister for antiquities, and a controversial figure in the field of archaeology.
“Tutankhamun: Treasures of the Golden Pharaoh” is the work of Exhibitions International, an events company that specializes in sports, entertainment, and fashion. The show, which celebrates the 100th anniversary of the discovery of King Tut’s tomb, debuted at the California Science Center in Los Angeles in March 2018 as part of a 10-city tour. Following a stop in Paris, it was most recently on view at the Saatchi Gallery in London.
When the show was planned, Egypt’s Antiquities Protection Law permitted the international exhibition of ancient artifacts provided they were “not unique” and were “exchanged with states, museums, and scientific institutions”—but not commercial companies.
Tutankhamun’s Wishing Cup in the Form of an Open Lotus. Image courtesy Laboratoriorosso, Viterbo, Italy.

The law was amended in 2018, allowing Egypt’s council of antiquities to approve international artifact loans without restrictions. But Exhibitions International signed its contract with the government in September 2017, before the legal amendment.
An Egyptian lawyer, Sayed Said, has filed a lawsuit against the country’s ministry of antiquities over the exhibition, arguing that the show contains unique artifacts that have been unlawfully lent to a commercial business.
IMG, the parent company of Exhibitions International (and Frieze Art Fair), told the BBC that the artifacts in the King Tut show were not unique, but part of a series. Hawass says that “these touring artifacts aren’t of any importance,” a claim that directly contradicts a promotional quote he offered for the show in 2017, in which he claimed that “each object is unique.”
Gilded Wooden Bed (Reign of Tutankhamun 1336-1326 B.C.E.)© Laboratoriorosso, Viterbo/Italy

There is precedent for shutting down international exhibitions of Egyptian artifacts. In 2011, a court in Cairo found that Cleopatra exhibition in Ohio, also organized by Exhibitions International, was unlawful, and demanded the artifacts’ return. (The Cleopatra show took place prior to IMG’s purchase of Exhibitions International in 2018.)
The London show, originally scheduled to run through May 3, 2020, has been closed indefinitely since March. It will not reopen, according to the Art Newspaper, and subsequent stops on the tour have been suspended indefinitely.
The show attracted 1.4 million visitors in Paris and 580,000 in London, and brought in approximately $57 million. Los Angeles attendance figures were not available. Admission ran as high as £37.50 ($46) at Saatchi, which is normally free.
Colossal Statue. Image courtesy of Laboratoriorosso, Viterbo,  Italy.

At the tour’s end in 2024, the 150 artifacts are slated to return to Egypt, where they will go on permanent display at the long-delayed Grand Egyptian Museum near the Pyramids of Giza, where construction underway. The museum, which has struggled financially, is slated for completion in 2021—which means it will debut without the works in the international exhibition.
The touring show is supporting the $1 billion new museum, with contractual earnings of at least $5 million in each city, and bonuses to be paid out after 400,000 visitors at each stop. IMG has reportedly paid the Egyptian government $20 million to date.
Mostafa Waziry, the secretary general of Egypt’s antiquities ministry who approved the current show, told the BBC that “holding exhibitions abroad yields huge results, not just economic, but political and touristic results.”
As head of the council of antiquities, Hawass previously coordinated Exhibitions International’s 17-city blockbuster “Tutankhamun and the Golden Age of the Pharaohs,” on tour between 2004 and 2011 and featuring 50 artifacts. (Venues included the Los Angeles County Museum of Art, the de Young Museum in San Francisco, Chicago’s Field Museum, and Discovery Times Square in New York.)
Gold Inlaid Canopic Coffinette of Tutankhamun Dedicated to Imseti and Isis(Reign of Tutankhamun 1336-1326 B.C.E) ©Laboratoriorosso, Viterbo, Italy

King Tut’s first international outing was the famed “Treasures of Tutankhamun” exhibition that ran from 1972 to 1981, fueling an Egyptomania craze. The show, which contained 55 pieces from Tut’s tomb, became an international sensation, including stops in seven US cities.
The current exhibition includes 60 works that have never before left Egyptian soil. King Tut’s tomb, the only pharaoh’s burial site found intact, had over 5,000 objects.
John Norman, the head Exhibitions International, told the BBC he was not concerned about a legal challenge to the show.
“We have legal documents that were done by the government,” he said.

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As galleries and art institutions around the world begin to reopen, we are spotlighting individual shows—online and IRL—that are worth your attention.

“Catherine Opie: Rhetorical Landscapes”at Lehmann Maupin, New Yorkthrough July 26

What the gallery says: “This exhibition, featuring large-scale photography and stop motion animations, examines our current climate, both political and ecological, through digital collages of magazine clippings and photographs of the Okefenokee swamp land. Taken together, these works create a portrait of contemporary America—plagued by the divisive and violent rhetoric used by our current administration and facing looming ecological destruction due to climate change, which is especially threatening for the wetlands Opie features here.
One of the most significant American photographers of her generation, Opie has produced over two decades of work that examines and often exposes the ideals and norms surrounding American identity and the concept of the “American Dream” while giving visibility to communities overlooked within those narratives. She first gained recognition during the 1990s for her series of studio portraits titled ‘Being and Having,’ in which she photographed gay, lesbian, and transgender individuals drawn from her circle of friends and artists. Opie has also traveled extensively across the country exploring the diversity of America’s communities and landscapes, documenting quintessential American subjects including LA’s freeway system, high school football players, the 2008 presidential inauguration, and US National Parks. In her portraits and landscapes, Opie often establishes levels of ambiguity—of identity and place—through manipulating the focus of her images through cropping, blurring, intense close ups or distance shots, and playing with orientation, often swapping landscape and portrait formats.”
Why it’s worth a look: At first glance, it might seem strange that photographer Catherine Opie’s new body of work focuses on swamps. After all, Opie is best known for her intimate and unflinching portraits that challenge stereotypes of beauty and gender. But upon closer examination, Opie is traversing similar territory here, taking as a subject something that is often misunderstood: the swamp, which is riddled with negative connotations (“drain the swamp,” for instance, one of President Trump’s favorite rallying cries). For Opie, though, swamps are necessary and under-sung ecosystems that the current administration is literally threatening with its changes to the Environmental Protection Agency.
In these large-scale photographs of Okefenokee swamps throughout southern Georgia and northern Florida, Opie turns her lens on a diverse community of creatures—owls and alligators appear hiding amid the dense foliage—and exposes its raw beauty. Juxtaposed with the swamps are a suite of Opie’s self-described “political collages,” stop-motion animated films based on cut-out images from contemporary magazines. The films are projected on hand-painted grids, harkening back to Opie’s series “The Modernist,” and riffing on the actual politics of landscapes in cities across America.
What it looks like:

Installation view, “Catherine Opie: Rhetorical Landscapes” at Lehmann Maupin. Photo: Elisabeth Bernstein.

Catherine Opie, Untitled #3 (Swamps) (2019). © Catherine Opie. Courtesy of Regen Projects, Los Angeles and Lehmann Maupin, New York, Hong Kong, and Seoul.

Catherine Opie, Untitled #2 (Swamps) (2019). © Catherine Opie. Courtesy of Regen Projects, Los Angeles and Lehmann Maupin, New York, Hong Kong, and Seoul.

Catherine Opie, Untitled #7 (Political Collage), (2019). © Catherine Opie. Courtesy of Regen Projects, Los Angeles and Lehmann Maupin, New York, Hong Kong, and Seoul.

Catherine Opie, Untitled #8 (Political Collage), (2019). © Catherine Opie. Courtesy of Regen Projects, Los Angeles and Lehmann Maupin, New York, Hong Kong, and Seoul.

Installation view, “Catherine Opie: Rhetorical Landscapes” at Lehmann Maupin. Photo: Elisabeth Boernstein.

Catherine Opie, Untitled #1 (Swamps) (2019). © Catherine Opie. Courtesy of Regen Projects, Los Angeles and Lehmann Maupin, New York, Hong Kong, and Seoul.

Catherine Opie, Untitled #4 (Political Collage), (2019). © Catherine Opie. Courtesy of Regen Projects, Los Angeles and Lehmann Maupin, New York, Hong Kong, and Seoul.

Installation view, “Catherine Opie: Rhetorical Landscapes” at Lehmann Maupin. Photo: Elisabeth Bernstein.

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In 1981, actor Ben Vereen was invited to perform at a gala to celebrate the inauguration of President Ronald Reagan. His act was an homage to renowned vaudevillian Bert Williams, the first Black man to have a lead role in a feature film.
The two-part performance began with a minstrel show featuring Vereen in blackface, followed by a critique of such racist acts and a tribute to Williams’s perseverance. But as artist Los Angeles-based Edgar Arceneaux explains in an exclusive interview with Art21, that’s not what Americans saw when it aired on live television.
“ABC edited out that second part,” Arceneaux explained in the 2016 interview. The station “only showed him doing a minstrel show for Ronald Reagan and 25,000 white Republicans.” In short order, Vereen’s friends and peers abandoned him for what they saw as an unforgivable act. But Arceneaux wondered, even if they had seen the second part of the show, would they have understood?

Production still from the “Chicago” episode of “Art in the Twenty-First Century,” Season 8. © Art21, Inc. 2016.

That question is at the heart of a play Arceneaux staged called “Until, Until, Until,” commissioned for Performa 15 and based on Vereen’s original performance. Arceneaux told Art21 that ambiguity like that at the center of the Vereen controversy is the fuel that drives his art practice.
“The power of what art is, which is distinctive from other fields, is its unruliness,” he said. “Art is not inherently good. It’s not inherently bad. But it is inherently contradictory. Its nature is to ask new questions.”
Before he staged his rendition of the tragically misunderstood 1981 performance, Arceneaux spoke to Ben Vereen himself. “I was brought to tears during the call,” Arceneaux said, imagining how Vereen must have felt having his work so taken out of context. “I could sense from [Vereen] that, he knows there’s people out there that care now about what he tried to do 30 years ago. Maybe now is that time.”

Watch the video, which originally appeared as part of Art21’s series Extended Play, below. This week, Performa is re-broadcasting the play “Until, Until, Until” online. 
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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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