A Piece of Work

The Writing on the Wall

There are new paintings and drawings by Sol LeWitt being made all the time -- even though the artist died in 2007. That’s possible because LeWitt’s wrote instructions for creating his works  art, for other people to make. Abbi and writer Samantha Irby consider a piece by Glenn Ligon that takes a line by Zora Neale Hurston and repeats it over and over -- transforming the text into something new. Plus, Martine Syms tells Abbi why she puts giant letters right on the gallery walls. Also featuring: Mark Joshua Epstein Special thanks to Tracie Hunte and Brianne Doak.   Sol LeWitt. Wall Drawing #1144, Broken Bands of Color in Four Directions. 2004. Synthetic polymer paint on wall, 8' x 37' (243.8 x 1127.8 cm) (The Museum of Modern Art, New York. Given anonymously. © 2017 Sol LeWitt/Artists Rights Society (ARS), New York)     Glenn Ligon. Untitled (How it feels to be colored me...Doubled). 1991. Oilstick on paper, 31 3/4 x 16" (80.6 x 41 cm). (The Museum of Modern Art, New York. Gift of The Bohen Foundation. © 2017 Glenn Ligon)    

Questlove Hearts Emojis

Emojis, video games, even the humble “@” symbol -- all these staples of digital life have been as carefully designed as the most sleek furniture or fancy architecture. But do they belong in a museum? Hell yes, says Abbi’s friend Ahmir Thompson (a.k.a. Questlove, and emoji obsessive). If you find yourself wondering if it’s allowed, “then it's pretty much high art,” he says. Also featuring: Paola Antonelli   Ray Tomlinson. @. 1971. The Museum of Modern Art, New York. David Theurer. Tempest. 1981. Publisher: Atari, Inc., USA. (The Museum of Modern Art, New York. Gift of Atari Interactive, Inc. © 2013 Atari, Inc.)  

Andy Warhol’s Art of Self-Promotion

Andy Warhol’s “Campbell’s Soup Cans” has got to be one of the most famous images of the 20th century. But at the time, Warhol’s use of advertising and imagery from consumer culture was super controversial. So was his unabashed desire to become famous. Abbi and Rookie editor Tavi Gevinson wonder what Warhol might do in an age of social media. Then, Abbi gets a behind-the-scenes look at the work of Beatriz González, whose posters covered the city of Bogatá in a brave gesture of political expression. Also featuring: Sarah Suzuki   Andy Warhol. Campbell's Soup Cans. 1962. Synthetic polymer paint on 32 canvases, each canvas 20 x 16" (50.8 x 40.6 cm). Overall installation with 3" between each panel is 97" high x 163" wide. (The Museum of Modern Art, New York. © 2017 Andy Warhol Foundation/ARS, NY/TM Licensed by Campbell's Soup Co. All rights reserved.)   Beatriz González. Zócalo de la comedia. 1983. One from a set of six linoleum cuts, each 27 9/16 x 39 3/8" (70 x 100 cm). (The Museum of Modern Art, New York. Publisher: the artist, Bogata. Edition: approx. 500. Latin American and Caribbean Fund. © 2017 Beatriz González)   Beatriz González. Zócalo de la tragedia. 1983. One from a set of six linoleum cuts, each 27 9/16 x 39 3/8" (70 x 100 cm). (The Museum of Modern Art, New York. Publisher: the artist, Bogata. Edition: approx. 500. Latin American and Caribbean Fund. © 2017 Beatriz González)    

You’ve Got to Watch This!

Way before viral videos, since the invention of the medium in the 1960s, artists have made video to critique the culture around them. Howardena Pindell delivers a direct-to-camera account of the racism she experienced coming of age as a black woman in America; Martine Syms tells her characters’ stories across several screens -- from flatscreens to smartphones. Abbi and the comedian Hannibal Buress ponder the sweeping shots in Steve McQueen’s video of the Statue of Liberty. Plus, hear one of Abbi’s own video experiments from her art school days! Also featuring: Thelma Golden and Thomas Lax Steve McQueen. Static. 2009. 35mm film transferred to video (color, sound), 7:03 min. Digital image © 2017 The Museum of Modern Art. Photo: John Wronn. (The Museum of Modern Art, New York. The Michael H. Dunn Memorial Fund. Installation view, Inbox: Steve McQueen, The Museum of Modern Art, New York, May 3–Summer 2017. © 2017 Steve McQueen.) Howardena Pindell. Free, White and 21. 1980. Video (color, sound), 12:15 min. The Museum of Modern Art, New York. (Gift of Jerry I. Speyer and Katherine G. Farley, Anna Marie and Robert F. Shapiro, and Marie-Josée and Henry R. Kravis. © 2017 Howardena Pindell. Courtesy of the artist and The Kitchen, New York) Installation view of Projects 106: Martine Syms. (The Museum of Modern Art, New York, May 27–July 16, 2017. © 2017 The Museum of Modern Art. Photo: John Wronn)   

If It’s Got Naked People, RuPaul Is In

A dozen dancers rolling around in their underwear, rubbing raw chickens and fish on each other. No, it’s not some weird ‘60s porn, it’s a performance -- Abbi talks with the feminist artist behind the piece, Carolee Schneemann. Performance art like this can be a bit funny, a bit confusing, and definitely weird. Who better to get to the bottom of it than RuPaul? He and Abbi also watch a performance by Yoko Ono, where she sat alone on stage and invited members of the audience to cut her clothes off... Also featuring: Thomas Lax Carolee Schneemann. Meat Joy. 1964–2010. 16mm film transferred to video (color, sound), 6 min. The Museum of Modern Art, New York. Gift of Jerry I. Speyer and Katherine G. Farley, Anna Marie and Robert F. Shapiro, and Marie-Josée and Henry R. Kravis. ©2017 Carolee Schneemann. Courtesy Electronic Arts Intermix (EAI), New York Watch Yoko Ono's Cut Piece (1964) Learn more about Cut Piece here