This is the artist, Sergei Tcherepnin.
SERGEI TCHEREPNIN: You don’t necessarily look up all the time, but if you do, you might notice that they kind of look like UFOs. They’re interesting lights that were part of the original design of the Museum.
There are two other sculptures by this artist, Carol Jackson, on this floor. They hang up on the wall—see if you can find them. They also contain interesting materials, like a combination of papier-maché, wood, and photographs of nature that were taken from webcams of national parks. What do you think Jackson is saying with this unusual combination of materials?
Check out the pants on the mannequins. Auerbach says that they are kind of like a journal. The different stripes you see represent different episodes in her life. There’s an airplane that represents a flight she took. She spent some time in New Hampshire during the winter. Can you signs of cold weather? What else can you learn by looking at her pants?
NARRATOR: Kevin Beasley’s materials may be industrial, but sometimes he imagines that they’re organic—like plants or other living forms. At other times, he sees them as being geological, like rocks. He likes mixing raw materials like the foam with super-clean ones like the shoes, because he thinks their feelings might get mixed up in interesting ways. This is the first pair of Air Jordan sneakers that Beasley has ever bought. And they don’t even fit him! He ordered the biggest ones he could find.
SHEILA HICKS: I work with lines, and I draw in space. I walk around and pull the lines, and intersect the lines, sometimes attach the lines to each other, physically. It is amazing. It’s almost like the flight of a bee that flies around and gathers pollen. I move around and gather ideas, and then lock them together in a linear, moving, crisscrossing, weaving.
There are many colors, and as the colors swim in and out of each other, watch and see if you can find where they swim in and where they swim out.
JOSHUA MOSLEY: What I’ve made is an animation. . .that has two players. They’re playing a game called jeu de paume. One player serves it. It has to bounce off of the roof and along the roof, and then the other player receives it. They play out the points.
NARRATOR: To make this video, the artist first created a model of a tennis court. It was about 4 feet high, 5 feet wide, and 12 feet long. He crouched in this tiny room for four months, moving a puppet a tiny bit, taking a photograph and then moving it again and taking another photograph—a process called stop motion animation. He even has an invisible armature, which holds the puppets so that they can jump or turn in the air.
The artist talks about her process.
DONA NELSON: . . .I have an assistant that stands on the other side of the canvas. I have painted a lot of string, all different colors, then I take an ice pick, and I’ll just randomly punch a lot of holes through the canvas, which is very fun to do and scary, kind of.
Then my assistant. . .stood on the other side, and I would push the painted string―which is stiff―through the hole, then she takes it, and she pushes it through another hole.
NARRATOR: Compare the two sides of the painting. Which one looks more like the front to you?
Look at the unusual tent. How is this different from other tents you’ve seen? This one is made of lace and vintage silk from a friend’s house. Some of the lace was originally used as curtains. Otterson wanted to create a tent out of beautiful fabrics that would make you think of things other than camping. Peek inside it. Can you see the quilt? Can you imagine what you’d like to do in this tent?
Otterson also collects colorful beads and old-fashioned hand tools which he has strung together to make the colorful curtain on view nearby. Otterson talks about hand-crafting this work:
JOEL OTTERSON: I want control over all of it. What my ten fingers can do, no other ten fingers can do. My hands are amazing.