Premiering Friday June 23 on @PBS: “Bodies of Knowledge” 📺 “Bodies of Knowledge” from Season 11 of @Art21’s acclaimed “Art in the Twenty-First Century” series premieres online and on PBS on Friday, June 23, 2023 at 10 PM ET (check local listings). Featuring: Guerrilla Girls (@guerrillagirls) Anicka Yi (@anickayi_studio) Tauba Auerbach (@tau_au) Hank Willis Thomas (@hankwillisthomas) The artists in this hour pilot new ways to understand ourselves and the world at a time when a belief in truth and the historical record is fast eroding. All artist segments will be available to watch on @art21 after the premiere. Director @malikazw Producer @dsvarga Editor @sjgexp1023 DP @naitigamez Mixers @noiagisela, @konsonantmusic Color @cutandmeasure Designers @ryancarlstudio, @nikitaiziev Composer @andreworkin Promos @loroto #TeaserTrailer #Art21 #ArtintheTwentyFirstCentury #GuerrillaGirls #TaubaAuerbach #HankWillisThomas #AnickaYi

Anicka Yi in Art21’s newest episode: “Bodies of Knowledge” 📺 “Bodies of Knowledge” from Season 11 of @Art21’s acclaimed “Art in the Twenty-First Century” series premieres online and on PBS on Friday, June 23, 2023 at 10 PM ET (check local listings). Anicka Yi (@anickayi_studio) was born in 1971 in Seoul, South Korea, and currently lives and works in New York City. The artist studied at Hunter College and the University of California Los Angeles. Yi works with unexpected and unpredictable materials, ranging from bacteria to tempura batter to artificial intelligence, creating works that embrace ephemerality and challenge our expectations and biases. Using tools and techniques from varied disciplines, Yi’s practice manifests our culture’s fictions, fears, and possible futures, asking where they might come from and how we might actualize or move beyond them. “Bodies of Knowledge” Features: Guerrilla Girls (@guerrillagirls) Anicka Yi (@anickayi_studio) Tauba Auerbach (@tau_au) Hank Willis Thomas (@hankwillisthomas) Link in bio to watch the “Bodies of Knowledge” Teaser Trailer. Director @malikazw Producer @dsvarga Editor @sjgexp1023 DP @naitigamez Mixers @noiagisela, @konsonantmusic Color @cutandmeasure Designers @ryancarlstudio, @nikitaiziev Composer @andreworkin Promos @loroto #Art21Season11 #Art21 #BodiesofKnowledge #GuerrillaGirls #AnickaYi #HankWillisThomas #TaubaAuerbach @pirelli_hangarbicocca @gladstone.gallery @tate @estherschippergallery @cantorarts @stanford @mitlistarts @momaps1

Guerrilla Girls in Art21’s newest episode: “Bodies of Knowledge” 📺 “Bodies of Knowledge” from Season 11 of @Art21’s acclaimed “Art in the Twenty-First Century” series premieres online and on PBS on Friday, June 23, 2023 at 10 PM ET (check local listings). Guerrilla Girls (@guerrillagirls) are an anonymous collective of women artist-activists who began working together in 1985. Working across various media, the collective challenges the systems and individuals perpetuating discrimination and inequality in the art world by publicly sharing data and statistics about the representation of women and artists of color in commercial and institutional art spaces. Embracing the disruptive, confrontational, and irreverent, Guerrilla Girls draw from street art and the legacies of feminist activism to launch their critique of the art world. “Bodies of Knowledge” Features: Guerrilla Girls (@guerrillagirls) Anicka Yi (@anickayi_studio) Tauba Auerbach (@tau_au) Hank Willis Thomas (@hankwillisthomas) Link in bio to watch the “Bodies of Knowledge” Teaser Trailer. Art21 Susan Sollins Executive Director and Chief Curator: @tinakukielski Art21 Assistant Curator: @jurrelllewis Art21 Director of Video Programming & Production: @nickyravich Art21 Senior Producer: @ianjforster Art21 Associate Producer: @andreaycchung Director @malikazw Producer @dsvarga Editor @sjgexp1023 DP @naitigamez Mixers @noiagisela, @konsonantmusic Color @cutandmeasure Designers @ryancarlstudio, @nikitaiziev Composer @andreworkin Promos @loroto #Art21Season11 #Art21 #BodiesofKnowledge #GuerrillaGirls #AnickaYi #HankWillisThomas #TaubaAuerbach @dctvny @mkghamburg @brooklynmuseum

In the Studio: Haig Aivazian examines how tools and technologies are put to political use. “In my practice, generally, drawing has always been formative. For “You May Own The Lanterns,” I don't know if I knew I was going to redraw everything from the jump. It was more as I began to construct the film when putting the footage I found from different eras of cartoons on a singular timeline, that I realized, oh, I like this particular scene and this particular composition, I just wish that the person in the scene was holding a martini glass instead of a VHS tape for example. So I approached Chadi Aoun, who did the animation. I would do the reference drawings for the most part, sometimes two or three per scene, and then he would go from those and add and animate. One of the many things that draws me to animation is that it seems to me a privileged site to explore metamorphosis, and the idea that we would recognize characters despite them transforming all the time was something I was excited to attempt in the edit... So there's been just this crazy shit that's been happening in Beirut in the last three years. I don't know of any truer way to say it. And there are mobilizations, of course, in response to all of those things, because people don't have a choice. People who've lost loved ones in the explosion three years ago, have seen nothing but meddling from the political class who only acts to protect their own, and to make sure no one is brought to justice. As I experience it, on the one hand there is the sheer unfathomable scale and madness and an all-encompassing onslaught on any notion of dignified life, and then on the other, a kind of impoverished repertoire of tools. Linguistically in particular, but also organizationally, politically, et cetera. Those things have been taken away from us historically and systemically and have to be reconstructed anew.” —Haig Aivazian Link in bio to read the full article. Interview: @maymakki1 📷 @myriamboulos Images 6-10: Pairs of film stills from “You May Own The Lanterns, But We Own The Lights” (2022). Courtesy the artist.

Premiering next Friday, June 23rd, “Bodies of Knowledge” features artists Tauba Auerbach (@tau_au), Guerrilla Girls (@guerrillagirls), Hank Willis Thomas (@hankwillisthomas), and Anicka Yi (@anickayi_studio). The artists in this hour pilot new ways to understand ourselves and the world at a time when a belief in truth and the historical record is fast eroding. "Bodies of Knowledge" from Season 11 of "Art in the Twenty-First Century" premieres online and on @PBS on Friday, June 23, 2023 at 10 PM EST (check local listings). Link in bio to watch an Extended Sneak Peek on YouTube. Art21 Susan Sollins Executive Director and Chief Curator: @tinakukielski Art21 Assistant Curator: @jurrelllewis Art21 Director of Video Programming & Production: @nickyravich Art21 Senior Producer: @ianjforster Art21 Associate Producer: @andreaycchung Director @malikazw Producer @dsvarga Editor @sjgexp1023 DP @naitigamez Mixers @noiagisela, @konsonantmusic Color @cutandmeasure Designers @ryancarlstudio, @nikitaiziev Composer @andreworkin Promos @loroto #Art21Season11 #Art21 #BodiesofKnowledge #GuerrillaGirls #AnickaYi #HankWillisThomas #TaubaAuerbach @dctvny @mkghamburg @brooklynmuseum @pirelli_hangarbicocca @gladstone.gallery @tate @estherschippergallery @cantorarts @stanford @mitlistarts @momaps1 @eji_org @thekingcenter @kaynegriffingallery @pacegallery @wallawallafoundry @massdesigngroup @embracebos @bostonfdn @jackshainman @sfmoma @nbsigns @paulacoopergaller fridericianum @publicartfund @printedmatterinc

Collier Schorr wants to put things forward “Gender, religion, nationality—they’re all sort of things that are in flux in my work,” says the artist in our “Loss & Desire” episode. Best known for her portraits of adolescent men and women, Collier Schorr’s pictures (@collierschorrstudio) often blend photographic realism with elements of fiction and youthful fantasy. “They all build on each other, this idea of you’re not sure what you’re looking at, echoing you’re not sure what you are, you’re not sure what someone else is. I wanted to make work that spoke to as many people’s desires as possible, be it a sort of maternal desire, or a fraternal desire… the desire to revisit your youth, the desire for romance. For me there is no progress unless you put things forward, unless you sort of unveil you know desire, unless you unveil repression.” Link in bio to explore our “Pride Unveiled” playlist and to watch the full film. #CollierSchorr #Photography #Art21

Salman Toor paints queer friendships “The paintings are a reflection of most of the conversations I have with my friends,” says the artist in our “New York Close Up” film. “Queer friendships about young, fem guys involved or ensconced in cosmopolitan culture.” Working on multiple small canvases at the same time, Salman Toor (@salman.toor) paints images of queer sociality: “femme” and fashionable young men dancing together in living rooms, gathering at bars, and grooming before mirrors. Link in bio to explore our “Pride Unveiled” playlist and to watch the full film. #SalmanToor #Pride #Art21 #QueerFriendships

Sarah Sze marks time through emotion “For this show, I wanted to only have paintings bigger than your body,” says the artist in @art21’s new “Extended Play” film. “The paintings became portals to interior landscapes. They tell us about how we see inside our heads, how memories are collected, how they’re lost, how they’re misinterpreted, reinterpreted.” Through scale, perception, and material, Sarah Sze’s 2023 “Timelapse” exhibition impacts the behaviors of museum-goers as they navigate the radical space and architecture of New York City’s Guggenheim Museum (@guggenheim). “This is one of the most radical architectures built. It’s the air, it’s the light, it’s the tilt. It’s all of these things that really create an entirely new inner world when you enter this museum. During the pandemic, it was very hard to measure time. For most of us, our serendipitous interaction with people was cut down dramatically. Those moments have emotional intensity. What you were wearing, what it smelled like, what it sounded like, all of those things helped us mark time. Art can show you how time is marked through emotion like no other medium.” “Sarah Sze: Timelapse” is on view now through September 10, 2023. @guggenheim for more information. Link in @art21 bio to watch the full film. Directed by: @ianjforster Cinematography: @jarredalterman, @rsalazarmoreno, @seen.hanley #SarahSze #SarahSzeTimelapse #Art21 #Guggenheim

Sarah Sze meets the cusp of fragility “There’s a sense that any wind could just topple it,” says the artist (@sarahszestudio) in our new “Extended Play” film. “That’s really the cusp that I’m interested in meeting where things are right at the point of coming together but really at this fragile point where you could imagine them falling apart at any time.” Sarah Sze’s “Slice (2023)” is a towering, scaffold-like structure made of mundane objects and photographs, seeming on the verge of falling apart. The structure is one of many site-specific works in Sze’s 2023 exhibition, “Timelapse” on view now at the @guggenheim. “I use very mundane materials to really push at that question of how you imbue value in inanimate objects. Looking at it, you can try and trace a history of how it’s made. It’s all there for you. You can see the clamps, you can see the props.” Link in @art21 bio to watch the full film. #SarahSze #Art21ExtendedPlay #Guggenheim

For Sarah Sze, art is a time capsule “Every artwork is a timekeeper,” says Sarah Sze in our newly released “Extended Play” film. “It’s a time capsule of what it means to be alive.” Sarah Sze emphasizes how both art and architecture impact one’s experience of the world in her 2023 exhibition, “Timelapse.” “To go see an ancient artwork and realize this was touched by human beings, this was seen by centuries of people, and I am now having a conversation with all of those human beings through an object. Anything in this museum is here because hundreds of people have shepherded that work through. The artist is just one piece of that. I’m really grateful for the people I work with. When I was young, I look at my painter friends and I would say they spend the whole day alone. Now that I have children, and I teach, and I have older parents, being alone in a room with a painting is an incredible pleasure.” Link in @art21 bio to watch the full film. Directed by: @ianjforster Cinematography: @jarredalterman, @rsalazarmoreno, @seen.hanley #SarahSze #Art21ExtendedPlay #Guggenheim #TimeCapsule

Joiri Minaya commemorates colonial resistance “I’m thinking of a way to re-signify the public space used to commemorate colonial history,” Minaya explains in our “New York Close Up” film. “And instead trying to commemorate the people who resisted colonialism.” Joiri Minaya (@joiriminaya) created her textiles featuring repeats of plants that played important roles to Native and Afro-diasporic peoples in the Americas, then used the spandex to cover monuments of colonizers in the series “The Cloaking (2020).” “I’ve been designing patterns that look tropical and are playing with the visual language of botanical illustration. But, looking at plants that were used by people who resisted colonial processes through the use of these plants. The main way that I’ve showcased this is printing them on fabric that is then used to cover colonizer statues. Just thinking of public space as this space that’s supposed to be democratic, but then, of course, there’s like forces that determine what is more significant and what is left out. I’m trying to tell the stories that remain untold.” Link in bio to watch the full film. Directed by @alinarancier #JoiriMinaya #NewYorkCloseUp #Art21

Joiri Minaya remains opaque “I’m interested in the idea of opacity,” says Minaya in our newest “New York Close Up” film. “A right to remain opaque, even to yourself, even things that you may not understand about yourself, and being at peace with that and not having to explain yourself to others.” In her collages, photographs, performances, and installations, Joiri Minaya (@joiriminaya) uses pattern, camouflage, and opacity as a “tool for liberation” from outside judgment. “As we navigate society, this idea of blending in or being visible, and having control of that, I think is a tool for liberation, in a way. I think the way it manifests in my work is through all these layers that I’m playing with. Particularly as it relates to the idea of camouflage. I’ve been interested in patterns as a metaphor for society. How people repeat and embody these patterns. I’m interested in how an image has the power to transmit a lot in a very short time, but then how you can spend a longer time with that image and unpack all of these other things.” Link in bio to watch the full film. Directed by @alinarancier #JoiriMinaya #NewYorkCloseUp #Art21