"The Music of Regret" Act I (03:42)
Laurie Simmons began using photography to capture stillness in New York in the '70s. She discusses bringing her characters to life in a movie featuring puppets.
"The Music of Regret" Act II (02:50)
Simmons kept her theatrical work secret during the conceptual art era. She used dummies in a film and decided to cast a human actor as the music and emotions became more complex.
Romantic Element (03:40)
Simmons discusses casting Meryl Streep, and being inspired by the American Songbook to create a love story. Streep reflects on Simmons' songwriting talent.
"The Music of Regret" Act III (03:30)
Simmons discusses filming objects on legs in an audition setting. A pocket watch steals the show, reflecting her interest in starting and stopping time.
Transporting Viewers (02:36)
Lari Pittman thrives on the chaos of American culture and enjoys artistic freedom in Los Angeles. He discusses how his paintings are visually available to everyone.
Gay Artistic Identity (03:30)
Pittman describes his childhood in Colombia; his family supported his decorative creativity. Despite a comfortable life, his work is radicalized by homophobia in American culture.
Retablo Inspiration (02:18)
Pittman describes an urge to "fix up" paintings. He collects Mexican religious art and borrows from its decorative technique.
Life Cycle Metaphor (03:27)
Pittman interprets an abstract painting containing a cactus. He uses landscaping to push back against chaos in nature, and discusses how gardening highlights plant mortality.
From Painting to Sculpture (02:27)
Judy Pfaff describes her love affair with welding and uproots a tree stump for a galley piece.
Light and Dark (03:54)
Pfaff hated school; her Yale art teacher turned her on to sculpture. She is basing a new show on recent personal losses. She discusses using tools to interact with material.
Assembling an Exhibit (02:47)
Pfaff explains a plaster form technique. Witness her assistants put together sculptures in a New York gallery.
Romanticism in Sculpture (01:59)
Pfaff walks through her exhibit. Viewers perceive a sense of sadness and loss; she discusses trying to balance emotion with aesthetics in her work.
"Celebration Park" (02:09)
Pierre Huyghe's work involves creating worlds. His Tate Museum exhibition circulates stories and explores boundaries.
Antarctica in Central Park (04:21)
Huyghe recreated his journey in search of an albino penguin in a conceptual piece in New York. He wants viewers to experience emotion, rather than narration.
"This is Not a Time for Dreaming" (03:56)
Huyghe explains a piece on Le Corbusier's Carpenter Center at Harvard. Using puppets, he created a film echoing Le Corbusier's difficulties with the commission. He talks about using humor as a buffer against criticism.
"Streamside Day" (04:08)
Rather than filming reality or building fiction, Huyghe sets up and documents "realities." In one film, he organized a town celebration and encouraged residents to start an annual tradition. He sees the exhibition as a starting point for his work.
Credits: Romance (02:32)
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