Virtual Studio Visits

This week features William Kentridge from his studio in Johannesburg, South Africa.

Artist Bio:
William Kentridge was born in 1955 in Johannesburg, South Africa where he currently lives and works. Often drawing from socio-political conditions in post-apartheid South Africa, William Kentridge’s work takes on a form that is expressionist in nature. For Kentridge, the process of recording history is constructed from reconfigured fragments to arrive at a provisional understanding of the past—this act of recording, dismembering and reordering crosses over into an essential activity of the studio. His work spans a diverse range of artistic media such as drawing, performance, film, printmaking, sculpture and painting. Kentridge has also directed a number of acclaimed operas and theatrical productions.

Kentridge is the recipient of honorary doctorates from several universities including Yale and the University of London. In 2012 he presented the Charles Eliot Norton lectures at Harvard University. In 2013 he served as Humanitas Visiting Professor in Contemporary Art at Oxford University, and Distinguished Visiting Humanist at the University of Rochester, New York, and in 2015 he was appointed an Honorary Academician of the Royal Academy in London. In 2017 he received the Princesa de Asturias Award for the Arts, Spain, and in 2018, the Antonio Feltrinelli International Prize, Italy. Previous awards include the Kyoto Prize, Japan (2010), the Oskar Kokoschka Award, Vienna (2008), the Kaiserring Prize (2003), and the Sharjah Biennial 6 Prize (2003), among others.

Recent major exhibitions of his work have been shown at Kunstmuseum Basel, Switzerland (2019); and a traveling show which opened at the Whitechapel Gallery, London in 2016 and travelled to subsequent venues, including the Louisiana Museum, Copenhagen, Denmark and the Museum der Moderne, Salzburg (2017). In 2016 his 500 meter frieze Triumphs and Laments was presented along the banks of the Tiber River in Rome. Notes Towards a Model Opera, shown at the Ullens Center in Beijing, China (2015) travelled as Peripheral Thinking to The National Museum of Modern and Contemporary Art, Seoul (2016). A major traveling exhibition, Fortuna, toured multiple venues in Latin America from 2012-2015. Kentridge has participated in Documenta (2012, 2002, 1997) as well as the Venice Biennale (2015, 2005, 1999 and 1993).

This week features artist Doug Aitken. This talk was pre-recorded on February 13, 2021 and will now be available on MOCA’s YouTube channel.

Artist Bio:
Doug Aitken is an American artist and filmmaker. Defying definitions of genre, he explores every medium, from film and installations to architectural interventions.

His work has been featured in numerous exhibitions around the world, in such institutions as the Whitney Museum of American Art, The Museum of Modern Art, the Vienna Secession, the Serpentine Gallery in London and the Centre Georges Pompidou in Paris. He participated in the both the 1997 and 2000 Whitney Biennials, and earned the International Prize at the Venice Biennale in 1999 for the installation “electric earth”. Aitken received the 2012 Nam June Paik Art Center Prize, and the 2013 Smithsonian Magazine American Ingenuity Award: Visual Arts. In 2016 he received the Americans for the Arts National Arts Award: Outstanding Contributions to the Arts. In 2017 Aitken became the inaugural recipient of the Frontier Art Prize, a new contemporary art award that supports an artist to pursue bold projects that challenge the boundaries of knowledge and experience to reimagine the future of humanity.

This week features artist Sarah Sze. This talk was pre-recorded on March 20, 2021 and will now be available on MOCA’s YouTube channel.

Artist Bio:
Sarah Sze gleans objects and images from worlds both physical and digital, assembling them into complex multimedia works that shift scale between microscopic observation and macroscopic perspective on the infinite. A peerless bricoleur, Sze moves with a light touch across proliferating media. Her dynamic, generative body of work spans sculpture, painting, drawing, printmaking, video, and installation while always addressing the precarious nature of materiality and grappling with matters of entropy and temporality.

Sze was awarded a MacArthur Fellowship in 2003 and a Radcliffe Fellowship in 2005. In 2013, she represented the United States at the Venice Biennale. Her work is exhibited in museums worldwide and held in the permanent collections of prominent institutions such as The Museum of Modern Art, The Solomon R. Guggenheim Museum, The Museum of Contemporary Art (MOCA), San Francisco Museum of Modern Art, and The Tate Modern. Sze's many public works include permanent works for the Seattle Opera House, The Metropolitan Transportation Authority in New York, and LaGuardia Airport in New York.

This week features artist Doris Salcedo from a small town outside of Bogotá called Villa de Leyva, Colombian. This talk was pre-recorded on February 27, 2021 and will now be available on MOCA’s YouTube channel.

Artist Bio:
Doris Salcedo was born in Bogotá, Colombia in 1958 where she continues to live and work. Her solo exhibitions include Kunsthalle St. Annen, Lubbeck, Germany (2019); Irish Museum of Modern Art, Dublin (2019); Palacio de Cristal, Museo Nacional Centro de Arte Reina Sofía, Madrid (2017); Harvard Art Museums, Massachusetts (2016); Nasher Sculpture Center, Dallas, Texas (2016); Museum of Contemporary Art Chicago, touring to Solomon R. Guggenheim Museum, New York and Pérez Art Museum, Miami (2015–16); Hiroshima City Museum of Contemporary Art, Japan (2014); Museo Universitario Arte Contemporáneo, Mexico, touring to Moderna Museet Malmö, Sweden, Calouste Gulbenkian Museum, Lisbon, Museo nazionale delle arti del XXI secolo, Rome, White Cube, London and Pinacoteca do Estado de São Paulo (2011–13); Tate Modern, London (2007); Camden Arts Centre, London (2001); Tate Britain, London (1999); and New Museum, New York (1998).

Salcedo has participated in numerous group exhibitions, including Fondation Beyeler, Basel (2014); Solomon R. Guggenheim Museum, New York (2013); Hayward Gallery, London (2010); MoMA PS1 Contemporary Art Centre, New York (2008); 8th International Istanbul Biennial (2003); Documenta 11, Kassel, Germany (2002); and 24th Biennale de São Paulo (1998).

Salcedo was the recipient of the 2020 inaugural Nomura art prize and also received the 2019 Possehl Prize for International Art; Rolf Schock Prize in the Visual Arts (2017); Nasher Sculpture Prize (2015).

This week features artist Simone Forti. This talk was pre-recorded on January 16, 2020 and will now be available on MOCA’s YouTube channel.    

Artist Bio:
Simone Forti (b. 1935 Florence, Italy) is a dancer/choreographer/artist/ writer based in Los Angeles. A seminal figure in the history of dance, performance, and body-based practices, Forti has been at the forefront of artistic investigations relating to movement improvisation. Forti’s work informs viewers to experience the intricate dynamics between movement, bodies, objects, language and sound that she has pioneered for more than five decades.

In 1955 she began dancing with Anna Halprin who was doing pioneering work in dance improvisation. In 1959 Forti moved to New York where she studied at the Merce Cunningham Studio, and began working informally with choreographers including Trisha Brown, Yvonne Rainer, and Steve Paxton. In the spring of 1961 Forti presented a full evening of pieces she called Dance Constructions, at Yoko Ono’s loft studio. These pieces proved to be influential in both the fields of dance and visual arts, and have been performed around the world since their development.

This week features Tomás Saraceno. This talk was pre-recorded on October 24, 2020 and will now be available on MOCA’s YouTube channel.    

About the artist:
Tomás Saraceno’s practice is informed by concepts linking art, life science, and the social sciences. In an unorthodox collaboration with cosmic webs, the air, spider/webs and indigenous communities, energies converge in a new practice of solidarity. In our era of climate emergency—when ecosystems are at risk—Saraceno’s work envisions ethical relationships with the terrestrial, atmospheric, and cosmic realms, deepening our understanding of environmental justice and interspecies cohabitation, carried out through the artist’s initiated projects Aerocene and Arachnophilia.

Saraceno has most recently exhibited with Moving Atmospheres, Garage Museum, Moscow (2020), Event Horizon, Cisternene, Copenhagen (2020), Aria, Palazzo Strozzi, Florence (2020), La Biennale di Venezia as part of May You Live In Interesting Times (2019) and ON AIR, Palais de Tokyo, Paris (2018). Saraceno has collaborated with MIT, Max Planck Institute, the Nanyang Technological University, and has held select residencies at CNES (2014–2015), MIT CAST (2012–ongoing), and Atelier Calder (2010).

Saraceno lives and works in and beyond the planet Earth.

This week features Huma Bhabha from her home in Poughkeepsie, New York. This talk was pre-recorded on October 10, 2020 and will now be available on MOCA’s YouTube channel.    

About the artist:
Huma Bhabha’s (b. 1962 in Karachi, Pakistan) work addresses themes of memory, war, displacement, and the pervasive histories of colonialism. Using found materials and the detritus of everyday life, she creates haunting human figures that hover between abstraction and figuration, monumentality and entropy. Her work includes references to ancient Greek Kouroi, Gandharan Buddhas, African sculpture and Egyptian reliquary while remaining insistently modern, looking to Giacometti, Picasso and Rauschenberg for inspiration, as well as to science fiction, horror movies, and popular novels. Bhabha has been the subject of numerous solo exhibitions including her current survey retrospective at Baltic Centre for Contemporary Art, Gateshead, UK (2020-21); They Live, Institute of Contemporary Art, Boston, MA (2019); We Come in Peace, Metropolitan Museum of Art, New York (2018); Other Forms of Life, The Contemporary Austin, TX (2018); and Unnatural Histories, MoMA PS1, New York (2013). She has been featured in group exhibitions worldwide, including the 22nd Biennale of Sydney: NIRIN (2020); the 57th Carnegie International (2018); the 56th Venice Biennale (2015); Intense Proximity- La Triennale 2012, Palais de Tokyo, Paris (2012); Greater New York, MoMA PS1, New York (2012 and 2005); The Whitney Biennial, Whitney Museum of Art, New York (2010); and the 7th Gwangju Biennale, Korea (2008). Bhabha lives and works in Poughkeepsie, New York.

This week's Virtual Studio Visit features Katharina Grosse from her home in Berlin. This talk was pre-recorded on May 9, 2020 and is now available on MOCA’s YouTube channel.

About the artist: 
Born in Freiburg im Breisgau in 1961, Katharina Grosse studied at Kunstakademie Münster and Kunstakademie Düsseldorf. Her recent institutional exhibitions and in situ paintings include psychylustro, for Philadelphia Mural Arts Programme (2014); yes no why later at Garage Museum of Contemporary Art, Moscow (2015); Seven Hours, Eight Rooms, Three Trees at Museum Wiesbaden (2015); Untitled Trumpet for the 56th Biennale di Venezia (2015); Katharina Grosse at Museum Frieder Burda, Baden-Baden (2016); Rockaway! for MoMA PS1’s Rockaway! programme in Fort Tilden, New York (2016); Asphalt Air and Hair at ARoS Triennial, Aarhus (2017); This Drove My Mother Up the Wall at South London Gallery (2017); The Horse Trotted Another Couple of Metres, Then It Stopped at Carriageworks, Sydney (2018); Wunderbild at National Gallery in Prague (2018/2019); Mumbling Mud at chi K11 art museum in Shanghai (2018/2019) as well as at chi K11 art space in Guangzhou (2019), and the two-person show Mural: Jackson Pollock I Katharina Grosse at Museum of Fine Arts, Boston (2019/2020). Currently on view are her solo exhibitions It Wasn’t Us at Hamburger Bahnhof – Museum für Gegenwart – Berlin and Is It You at Baltimore Museum of Art.

Grosse lives and works in Berlin and New Zealand.

This week features Elizabeth Peyton from her makeshift home studio on the East Coast. This talk was pre-recorded on May 30, 2020 and is now available on MOCA’s YouTube channel.

About the artist:
Elizabeth Peyton, b. 1965, lives and works in New York. Peyton's work first attracted public attention in 1993 when an exhibition of her historical portraits was shown in Room 828 at the Chelsea Hotel. Subsequently, Peyton’s work was notably featured in 'Projects 60: John Currin, Elizabeth Peyton, Luc Tuymans' at MoMA in 1997, and in 2004, a number of portraits were selected for the Whitney Biennial. In 2008, A mid-career retrospective, 'Live Forever', was organized by the New Museum of Contemporary Art, New York and traveled to the Walker Art Center, Minneapolis; Whitechapel Gallery, London; and Bonnefantenmuseum, Maastricht. In 2017, Hara Museum of Contemporary Art presented 'Elizabeth Peyton: Still Life', the first major survey of Peyton’s art in Japan. The same year, the Villa Medici in Rome exhibited 'Elizabeth Peyton & Camille Claudel: Eternal Idol' in which works by the artists, born a century apart, are shown alongside each other, creating a dialogue between their distinct approaches to portraiture. Other solo exhibitions include: Staatliche Kunsthalle Baden-Baden (2013); Gallery Met, New York (2011, 2014, 2016); and the Irish Museum of Modern Art, Dublin (2009). Most recently, Peyton had a major retrospective at London’s National Portrait Gallery in London until January 2020. This exhibition entitled 'Aire and Angels' will travel to UCCA, Beijing, 'Elizabeth Peyton: Practice' in the summer of 2020.

This week features Camille Henrot from her mom’s house, located within a forest outside of Paris, France. This talk was pre-recorded on May 20th, 2020 and is now available on MOCA’s YouTube channel.

About the artist:
The practice of French artist Camille Henrot (b. 1978, Paris, France) moves seamlessly between film, painting, drawing, sculpture, and installation. The artist references self-help, online second-hand marketplaces, cultural anthropology, literature, psychoanalysis, and social media to question what it means to be at once a private individual and a global subject. Henrot is interested in confronting emotional and political issues, and looking at how ideology, globalization, belief, and new media are interacting to create an environment of structural anxiety. The changing modes of information distribution and interpersonal connections, the relationships between individual experiences and macroscopic dynamics, as well as between images and language, are at the center of her works.

A 2013 fellowship at the Smithsonian Institute resulted in her film Grosse Fatigue, for which she was awarded the Silver Lion at the 55th Venice Biennale. She is the recipient of the 2014 Nam June Paik Award and the 2015 Edvard Munch Award. A corresponding exhibition will open at Oslo’s newly opened Munch Museum in fall 2021. She elaborated ideas from Grosse Fatigue to conceive her acclaimed 2014 installation The Pale Fox at Chisenhale Gallery in London. The exhibit, which displayed the breadth of her diverse output, went on to travel to institutions including Kunsthal Charlotenburg, Copenhagen; Bétonsalon – Centre for art and research, Paris; and Westfälischer Kunstverein, Münster, Germany. In 2017, Henrot was given carte blanche at Palais de Tokyo in Paris, where she presented the major exhibition Days Are Dogs.

Henrot has had additional solo exhibitions at the New Museum, New York; Schinkel Pavillon, Berlin; New Orleans Museum of Art; Fondazione Memmo, Rome; and Tokyo Opera City Art Gallery, Japan. Upcoming solo exhibitions include the National Gallery of Victoria, Melbourne, Australia (2021), Art Sonje, Seoul, South Korea (2020), and Middelheim Museum in Antwerp, Belgium (2022). She has also participated in the Lyon, Berlin and Sydney Biennials.

This week features Olafur Eliasson from his Copenhagen studio in Denmark. This talk was pre-recorded on May 23, 2020 and is now available on MOCA’s YouTube channel.

About the artist:
The works of artist Olafur Eliasson (b. 1967, Copenhagen, Denmark), explores the relevance of art in the world at large. Since 1997, his wide-ranging solo shows–featuring installations, paintings, sculptures, photography, and film–have appeared in major museums around the globe. He represented Denmark at the 50th Venice Biennale in 2003 and later that year installed the hugely popular The Weather Project in the Turbine Hall of Tate Modern, London, which was seen by more than two million people. In 2014, Contact was the opening exhibition of Fondation Louis Vuitton, Paris. Green Light, an artistic workshop, created in 2016 in collaboration with TBA21 (Thyssen-Bornemisza Art Contemporary), offered a response to the challenges of mass displacement and migration. In 2019, In real life, a wide-ranging survey exhibition of Eliasson’s artistic practice over the past twenty-five years, opened at Tate Modern, in London.

Eliasson’s projects in public space include The New York City Waterfalls in 2008; Ice Watch, in Copenhagen in 2014, Paris in 2015, and London in 2018; and a series of interventions for the palace and gardens of Versailles in 2016. Notable architectural works are the facades for Harpa Reykjavik Concert Hall and Conference Centre (2011), created in collaboration with Henning Larsen Architects; Cirkelbroen (The circle bridge, 2015), in Copenhagen; and Fjordenhus, the headquarters of Kirk Kapital in Vejle, Denmark (completed 2018).

Since 2012, Little Sun, the social business founded by Eliasson and engineer Frederik Ottesen, has produced and distributed solar lamps and chargers for use in off-grid communities, and has worked to spread awareness about the need to expand access to clean, sustainable energy to all. In 2019 Eliasson was appointed Goodwill Ambassador for renewable energy and climate action by the United Nations Development Program.

This week features Hank Willis Thomas from his remote location in Connecticut. This talk was pre-recorded on Saturday, June 6, 2020 and is now available on MOCA’s YouTube channel.

About the artist:
Hank Willis Thomas (b.1976, Plainfield, NJ) is a conceptual artist working primarily with themes related to perspective, identity, commodity, media, and popular culture. His work is included in numerous public collections including the Museum of Modern Art in New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Brooklyn Museum, New York; High Museum of Art, Atlanta, and National Gallery of Art, Washington D.C. His collaborative projects include Question Bridge: Black Males, In Search Of The Truth (The Truth Booth), Writing on the Wall, and the artist-run initiative for art and civic engagement For Freedoms, which was awarded the 2017 ICP Infinity Award for New Media and Online Platform. Thomas is also a recipient of the Gordon Parks Foundation Fellowship (2019), Guggenheim Foundation Fellowship (2018), Art For Justice Grant (2018), AIMIA | AGO Photography Prize (2017), Soros Equality Fellowship (2017), and is a former member of the New York City Public Design Commission.

This video features artist Arthur Jafa from his studio in West Adams, Los Angeles. This talk was pre-recorded on Saturday, May 16, 2020 and is now available on MOCA’s YouTube channel.

About the artist:
Arthur Jafa (b. 1960, Tupelo, Mississippi) is an artist, filmmaker and cinematographer. Across three decades, Jafa has developed a dynamic practice comprising films, artefacts and happenings that reference and question the universal and specific articulations of Black being. Underscoring the many facets of Jafa’s practice is a recurring question: how can visual media, such as objects, static and moving images, transmit the equivalent "power, beauty and alienation" embedded within forms of Black music in US culture?

Jafa’s films have garnered acclaim at the Los Angeles, New York and Black Star Film Festivals and his artwork is represented in celebrated collections worldwide including The Metropolitan Museum of Art, The Museum of Modern Art, Tate, The San Francisco Museum of Modern Art, The Studio Museum in Harlem, The High Museum Atlanta, The Dallas Museum of Art, The Museum of Contemporary Art in Chicago, The Stedelijk, LUMA Foundation, The Perez Art Museum Miami, Los Angeles Museum of Contemporary Art, The Hirshhorn Museum and Sculpture Garden and the Smithsonian American Art Museum, among many others.

Jafa has recent and forthcoming exhibitions of his work at the Berkeley Art Museum and Pacific Film Archives; Moderna Museet, Stockholm; Fundação de Serralves, Porto; the 22nd Biennale of Sydney and the Louisiana Museum of Art, Denmark. In 2019, he received the Golden Lion for the Best Participant of the 58th Venice Biennale “May You Live in Interesting Times.”

This week features Marilyn Minter from her current studio in Cold Spring, New York. This talk was pre-recorded on Saturday, May 2, 2020 and is now available on MOCA’s YouTube channel.

About the artist:
Marilyn Minter (b. 1948, USA) lives and works in New York. She has been the subject of numerous solo exhibitions including the San Francisco Museum of Modern Art in 2005, the Center for Contemporary Art, Cincinnati, OH in 2009, La Conservera, Centro de Arte Contemporáneo, Ceutí/Murcia, Spain in 2009, the Museum of Contemporary Art, Cleveland, OH in 2010, and the Deichtorhallen in Hamburg, Germany in 2011. Her video Green Pink Caviar was exhibited in the lobby of the MoMA in 2010 for over a year, and was also shown on digital billboards on Sunset Boulevard in L.A. and the Creative Time MTV billboard in Times Square, New York. Minter’s work has been included in numerous group exhibitions in museums all over the world. In 2006, Marilyn Minter was included in the Whitney Biennial, and in collaboration with Creative Time she installed billboards all over Chelsea in New York City. In 2013, Minter was featured in “Riotous Baroque,” an exhibition that originated at the Kunsthaus Zürich and traveled to the Guggenheim Bilbao. In 2015, Minter’s retrospective Pretty/Dirty opened at the Contemporary Arts Museum, Houston, TX. Pretty/Dirty then traveled to Museum of Contemporary Art, Denver, and on to the Orange Country Museum of Art. Pretty/Dirty opened at the Brooklyn Museum in November, 2016. Minter is represented by Salon 94, New York, Regen Projects, Los Angeles and Baldwin Gallery in Aspen.

This week features Mark Grotjahn from his home studio in Los Angeles. This talk was pre-recorded on Saturday, April 25, 2020 and is now available on MOCA’s YouTube channel.

This week features Catherine Opie from a glass house called the "IT House" designed by Linda Talman in Three Rivers, California at the foot of the Sequoia National Forest. This talk was pre-recorded on Wednesday, April 22, 2020 and is now available on MOCA’s YouTube channel.

About the artist:
Catherine Opie (b. 1961, Sandusky, OH; lives and works in Los Angeles, CA) is an artist working with photography, film, collage, and ceramics. She received her BFA from the San Francisco Art Institute in 1985, and an MFA from CalArts in 1988. Opie’s work has been exhibited extensively throughout the United States, Europe, and Japan. In 2008, a mid-career survey of her work was presented at the Solomon R. Guggenheim Museum in New York. Solo exhibitions of Opie’s work have been organized by the Henie Onstad Art Centre in Oslo; Wexner Center for the Arts in Ohio; the Los Angeles County Museum of Art, the Aldrich Museum in Connecticut; the Museum of Contemporary Art in Chicago; the Walker Art Center in Minneapolis; The Saint Louis Art Museum; the Photographers’ Gallery in London; The Museum of Contemporary Art in Los Angeles; The Institute of Contemporary Art, Boston; and the Long Beach Museum of Art in California. Her work is held in over 50 major collections throughout the world. She is the recipient of numerous awards, including The Guggenheim Fellowship in 2019, The Smithsonian’s Archives of American Art Medal in 2016 and a United States Artists Fellowship in 2006. Opie is the Lynda and Stewart Resnick endowed Chair in Art and Professor of Photography at UCLA.

This week features Anicka Yi from her home in Long Island City in Queens, New York. This talk was pre-recorded on Sunday, April 26, 2020 and is now available on MOCA’s YouTube channel.

About the artist: 
A symbiotic organism in its own right, Anicka Yi's work fuses multi-sensory experience with synthetic and evolutionary biology to form lush bio-fictional landscapes. Utilizing a “biopolitics of the senses,” Yi challenges traditional approaches to the human sensorium, emphasizing olfaction as well as microbial and embodied intelligence. Through her research and “techno-sensual” artistic exploration, Yi is opening new discourse in the realms of cognition, artificial intelligence and machine learning, introducing concepts of the sensory ecology of intelligence, the machine microbiome, machine ecosystems, and “biologized” machines. Maintaining a practice focused on co-subjectivity, Yi’s projects include collaborations with engineers, robots, synthetic and microbiologists, computer scientists, perfumers, ant and bacterial colonies, algae, tempura-fried flowers, and snails. Anicka Yi lives and works in New York City. Her recent solo exhibitions include Gladstone Gallery, Brussels; the Solomon R. Guggenheim Museum, New York; Fridericianum, Kassel; Kunsthalle Basel; List Visual Arts Center, Cambridge, Massachusetts; The Kitchen, New York; and The Cleveland Museum of Art. Yi’s work was also featured in this year’s 58th Venice Biennale. Yi has screened her film, The Flavor Genome, at the 2017 Whitney Biennial and the International Film Festival of Rotterdam, 2017. In 2016, she was awarded the Hugo Boss Prize for outstanding achievement in contemporary art.

This week features Mary Weatherford from her working space in Hemel & Aarde Valley, South Africa. This talk was pre-recorded on Sunday, April 19, 2020 and is now available on MOCA’s YouTube channel.

About the artist:
Mary Weatherford is noted for her masterful use of overlapping fields of color, and as her work has advanced the increasingly complex and luminous interactions between paint, lighting, and wiring have produced a hybrid form that collapses the distinction between painting and installation. Weatherford makes paintings that evoke a specific time, locale and temperature. Her recent works, in which the canvases are affixed and sometimes juxtaposed with working neon light, provide an elusive and sometimes radical comment on the legacy of gestural abstraction. Weatherford was born in Ojai, California. She earned a B.A. from Princeton University, her M.F.A. from the Milton Avery School of Fine Arts at Bard College in 2006, and was a Helena Rubinstein Fellow of the Whitney Independent Study Program in 1985. She lives and works in Los Angeles.

This week features Shirin Neshat from her working space in Upstate New York. This talk was pre-recorded on Saturday, April 18, 2020 and is now available on MOCA’s YouTube channel.

About the artist:
Shirin Neshat is an Iranian-born artist and filmmaker living in New York. Neshat works with the mediums of photography, video and film. Neshat has held numerous solo exhibitions at galleries and museums worldwide, including the Museo Correr in Venice, Italy; the Hirshhorn Museum and Sculpture Garden, Washington D.C.; Detroit Institute of the Arts; the Serpentine Gallery, London; and most recently a major retrospective of her work was held at The Broad museum, Los Angeles.

Neshat has been the recipient of the Golden Lion Award - the First International Prize at the 48th Venice Biennial (1999), The Davos World Economic Forum’s Crystal Award (2014), and the Praemium Imperiale (2017).

Neshat has directed two feature-length films, Women Without Men (2009), which received the Silver Lion Award for Best Director at the 66^th Venice International Film Festival, and Looking For Oum Kulthum (2017). In 2017, Neshat also directed her first opera, AIDA at the Salzburg Music Festival, in Austria.

This video features artist Korakrit Arunanondchai from his studio in Bangkok, Thailand. This talk was pre-recorded on Friday, April 10, 2020 and is now available on MOCA’s YouTube channel.

About the artist:
Korakrit Arunanondchai (b. 1986, Thailand) lives and works in New York and Bangkok. The artist’s multi-layered practice – which includes film-making, painting, installation and performance – reflects on technology and spirituality, the accumulation of data, the fragility of memory and the interfaces between world history and personal experience, and the Anthropocene. Paintings in Arunanondchai’s universe never go alone: they are autonomous objects, but they belong in relation–physical and spiritual–to everything else. Arunanondchai’s solo exhibitions include MoMA PS1, NY; Seccession, Vienna; Palais de Tokyo, Paris and UCCA, Beijing. His work has been included at Venice Biennale, Whitney Biennale and Dhaka Art Summit. Upcoming shows include Migros Museum, Zurich; Hamburger Banhof, Berlin and Gwangju Biennale.