[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:20.96,0:00:24.48,Default,,0000,0000,0000,,[JULIE MEHRETU] My earlier drawings\NAnd paintings had this maplike,
Dialogue: 0,0:00:24.48,0:00:27.04,Default,,0000,0000,0000,,diagrammatic element to them.
Dialogue: 0,0:00:30.52,0:00:32.44,Default,,0000,0000,0000,,As the work has shifted to being
Dialogue: 0,0:00:32.44,0:00:35.46,Default,,0000,0000,0000,,more atmospheric or painterly,
Dialogue: 0,0:00:35.79,0:00:41.08,Default,,0000,0000,0000,,I refrained from trying to explain what's going on in\Nthe paintings as much because
Dialogue: 0,0:00:41.08,0:00:45.88,Default,,0000,0000,0000,,they're not these kind of\Nrational descriptions or–
Dialogue: 0,0:00:45.88,0:00:50.37,Default,,0000,0000,0000,,or efforts to articulate something\Nin that way.
Dialogue: 0,0:00:51.40,0:00:53.74,Default,,0000,0000,0000,,I'm not trying to spell out\Na story.
Dialogue: 0,0:00:54.50,0:00:57.32,Default,,0000,0000,0000,,I still think you feel the\Npainting, and the reason you
Dialogue: 0,0:00:57.32,0:00:59.92,Default,,0000,0000,0000,,read the mark is also because\Nyou also feel the mark.
Dialogue: 0,0:01:04.33,0:01:16.20,Default,,0000,0000,0000,,[soft whirring]
Dialogue: 0,0:01:16.20,0:01:20.16,Default,,0000,0000,0000,,- So the two projects that\Nwe're doing in Berlin: one is
Dialogue: 0,0:01:20.16,0:01:27.91,Default,,0000,0000,0000,,a work that's about 21 feet by\N85 feet long, and--one painting.
Dialogue: 0,0:01:31.44,0:01:34.00,Default,,0000,0000,0000,,And the other is another project\Nwhere we're doing seven
Dialogue: 0,0:01:34.00,0:01:38.44,Default,,0000,0000,0000,,paintings that are small\Nin comparison, 10x14 each.
Dialogue: 0,0:01:40.01,0:01:44.04,Default,,0000,0000,0000,,[airbrush hissing]
Dialogue: 0,0:01:44.04,0:01:47.87,Default,,0000,0000,0000,,The 21x85-foot painting will\Ntake about a year and a half.
Dialogue: 0,0:01:50.24,0:01:53.32,Default,,0000,0000,0000,,It's really one painting even\Nthough there will be either five
Dialogue: 0,0:01:53.32,0:01:55.67,Default,,0000,0000,0000,,sections or ten sections;
Dialogue: 0,0:01:55.67,0:01:57.21,Default,,0000,0000,0000,,it functions as one painting.
Dialogue: 0,0:01:58.72,0:02:00.20,Default,,0000,0000,0000,,The stretchers that we're using
Dialogue: 0,0:02:00.20,0:02:02.84,Default,,0000,0000,0000,,are not gonna be the stretchers\Nthat we're using on-site.
Dialogue: 0,0:02:02.84,0:02:05.96,Default,,0000,0000,0000,,So these paintings will be taken\Noff of these stretchers, rolled up,
Dialogue: 0,0:02:05.96,0:02:09.52,Default,,0000,0000,0000,,shipped back, and then\Nrestretched at the site.
Dialogue: 0,0:02:15.16,0:02:16.82,Default,,0000,0000,0000,,- Just watch out for the\Ncolumn, though.
Dialogue: 0,0:02:18.48,0:02:19.90,Default,,0000,0000,0000,,- The reason that we're in Berlin
Dialogue: 0,0:02:19.90,0:02:23.36,Default,,0000,0000,0000,,is because Julie's studio\Nin New York can't accommodate
Dialogue: 0,0:02:23.36,0:02:25.04,Default,,0000,0000,0000,,something of this scale.
Dialogue: 0,0:02:25.04,0:02:28.92,Default,,0000,0000,0000,,This project just kind of had\Nto dictate where it was gonna be
Dialogue: 0,0:02:28.92,0:02:31.33,Default,,0000,0000,0000,,more than we were gonna dictate\Nwhere it was gonna be.
Dialogue: 0,0:02:32.70,0:02:33.92,Default,,0000,0000,0000,,It's epic.
Dialogue: 0,0:02:33.92,0:02:38.70,Default,,0000,0000,0000,,This place was three times\Nbigger than what we envisioned.
Dialogue: 0,0:02:40.00,0:02:42.68,Default,,0000,0000,0000,,So we were able to design all\Nthe walls, do whatever we want
Dialogue: 0,0:02:42.68,0:02:47.00,Default,,0000,0000,0000,,to the spaces, and just have\Neverything that we needed and wanted.
Dialogue: 0,0:02:47.00,0:02:50.37,Default,,0000,0000,0000,,This is just something that you can't,\Nunfortunately, get in New York.
Dialogue: 0,0:02:51.56,0:02:54.33,Default,,0000,0000,0000,,So we just took it and\Nran with it.
Dialogue: 0,0:02:56.11,0:02:57.64,Default,,0000,0000,0000,,- This project is crazy.
Dialogue: 0,0:02:57.64,0:02:58.64,Default,,0000,0000,0000,,[chuckles]
Dialogue: 0,0:02:58.64,0:03:03.84,Default,,0000,0000,0000,,Everything is new: the size,\Nthe space, just working in
Dialogue: 0,0:03:03.84,0:03:06.32,Default,,0000,0000,0000,,a different country, trying to\Nget materials.
Dialogue: 0,0:03:06.32,0:03:08.61,Default,,0000,0000,0000,,It's just– it's crazy.
Dialogue: 0,0:03:09.40,0:03:11.60,Default,,0000,0000,0000,,[sprayer hissing]
Dialogue: 0,0:03:11.60,0:03:15.36,Default,,0000,0000,0000,,We all kind of have our own different jobs that we've kind\Nof developed.
Dialogue: 0,0:03:16.36,0:03:17.60,Default,,0000,0000,0000,,Mostly I do the surfaces.
Dialogue: 0,0:03:19.56,0:03:22.62,Default,,0000,0000,0000,,Julie is all for\Nexperimentations.
Dialogue: 0,0:03:25.32,0:03:28.12,Default,,0000,0000,0000,,I started developing this new\Nsurface: kind of this, like,
Dialogue: 0,0:03:28.12,0:03:31.88,Default,,0000,0000,0000,,acrylic-based, almost like\Nabsorbent paper surface.
Dialogue: 0,0:03:31.88,0:03:35.56,Default,,0000,0000,0000,,So she can actually paint on\Nthese surfaces almost like
Dialogue: 0,0:03:35.56,0:03:37.68,Default,,0000,0000,0000,,paper, but they can be\Nany scale.
Dialogue: 0,0:03:47.52,0:03:50.44,Default,,0000,0000,0000,,[MEHRETU] January of 2007, I was\Nworking on some new paintings,
Dialogue: 0,0:03:50.44,0:03:54.72,Default,,0000,0000,0000,,and in that process, I had been\Ndoing a bunch of watercolors.
Dialogue: 0,0:03:54.72,0:03:56.09,Default,,0000,0000,0000,,When I was working on the watercolors,
Dialogue: 0,0:03:56.09,0:03:57.48,Default,,0000,0000,0000,,there was this\Nphenomenon that was happening
Dialogue: 0,0:03:57.48,0:04:00.00,Default,,0000,0000,0000,,in those that I wanted to try\Nand bring into the painting.
Dialogue: 0,0:04:00.00,0:04:02.36,Default,,0000,0000,0000,,In one painting, it was just not\Nworking.
Dialogue: 0,0:04:03.64,0:04:05.56,Default,,0000,0000,0000,,I kept pushing the color into
Dialogue: 0,0:04:05.56,0:04:09.16,Default,,0000,0000,0000,,this painting where there'd been\Nthis intense amount of drawing
Dialogue: 0,0:04:09.16,0:04:12.80,Default,,0000,0000,0000,,and this intense action between\Nall these different marks.
Dialogue: 0,0:04:13.57,0:04:17.60,Default,,0000,0000,0000,,And so at one point, I just\Nstarted to sand away all the–
Dialogue: 0,0:04:17.60,0:04:19.08,Default,,0000,0000,0000,,all the color that came\Ninto the work.
Dialogue: 0,0:04:19.08,0:04:21.96,Default,,0000,0000,0000,,And at one point when I had\Nfinished sanding it, I turned
Dialogue: 0,0:04:21.96,0:04:24.20,Default,,0000,0000,0000,,around and looked at it,\Nand it was a finished painting.
Dialogue: 0,0:04:24.20,0:04:26.36,Default,,0000,0000,0000,,That– it was almost–
Dialogue: 0,0:04:26.36,0:04:29.24,Default,,0000,0000,0000,,That's when I called it this\Npoltergeist in the work.
Dialogue: 0,0:04:29.24,0:04:32.44,Default,,0000,0000,0000,,And it became this absence,
Dialogue: 0,0:04:32.44,0:04:36.13,Default,,0000,0000,0000,,this– the– the erasure itself\Nbecame the action.
Dialogue: 0,0:04:37.46,0:04:39.04,Default,,0000,0000,0000,,And it reminded me the caves of
Dialogue: 0,0:04:39.04,0:04:42.44,Default,,0000,0000,0000,,the Buddhas in Afghanistan once\Nthe Taliban removed those
Dialogue: 0,0:04:42.44,0:04:44.80,Default,,0000,0000,0000,,Buddhas: that image of their absence.
Dialogue: 0,0:04:44.80,0:04:48.67,Default,,0000,0000,0000,,It was almost that type of\Nfeeling to this area in this painting.
Dialogue: 0,0:04:49.88,0:04:56.25,Default,,0000,0000,0000,,It felt to me to kind of suggest\Na moment in terms of how
Dialogue: 0,0:04:59.19,0:05:04.68,Default,,0000,0000,0000,,sad or pessimistic you can feel\Nin a political environment and–
Dialogue: 0,0:05:04.68,0:05:07.72,Default,,0000,0000,0000,,or kind of historical situation\Nthat we're in globally.
Dialogue: 0,0:05:07.72,0:05:12.28,Default,,0000,0000,0000,,So it felt like this really,\Nyou know, kind of hopeful
Dialogue: 0,0:05:12.28,0:05:14.05,Default,,0000,0000,0000,,gesture in the painting, for me.
Dialogue: 0,0:05:19.08,0:05:20.16,Default,,0000,0000,0000,,I'm an Ethiopian-American.
Dialogue: 0,0:05:20.16,0:05:23.16,Default,,0000,0000,0000,,My– you know, a big part of my\Nfamily is Ethiopian, but I've
Dialogue: 0,0:05:23.16,0:05:25.04,Default,,0000,0000,0000,,been in the states since I was six.
Dialogue: 0,0:05:25.04,0:05:26.08,Default,,0000,0000,0000,,I was raised in Michigan.
Dialogue: 0,0:05:26.08,0:05:28.88,Default,,0000,0000,0000,,I live in New York City,\Nfor the most part.
Dialogue: 0,0:05:28.88,0:05:30.12,Default,,0000,0000,0000,,I'm in Berlin now.
Dialogue: 0,0:05:30.12,0:05:31.64,Default,,0000,0000,0000,,But, I mean, when I move around
Dialogue: 0,0:05:31.64,0:05:34.60,Default,,0000,0000,0000,,the world, I move around the\Nworld as an American.
Dialogue: 0,0:05:38.20,0:05:41.40,Default,,0000,0000,0000,,Being a citizen of the United\NStates or of any one in the
Dialogue: 0,0:05:41.40,0:05:46.00,Default,,0000,0000,0000,,European Union, you are\Na citizen of incredible privilege.
Dialogue: 0,0:05:46.14,0:05:50.22,Default,,0000,0000,0000,,I think anyone who is aware of\Nthat, you have to have some responsibility.
Dialogue: 0,0:06:09.08,0:06:11.32,Default,,0000,0000,0000,,- We basically have a plan\Nfrom Julie that has these
Dialogue: 0,0:06:11.32,0:06:15.48,Default,,0000,0000,0000,,multi-layers of shapes and\Nline work and these forms that
Dialogue: 0,0:06:15.48,0:06:17.88,Default,,0000,0000,0000,,she's gotten from different\Nareas, and for us to be able
Dialogue: 0,0:06:17.88,0:06:20.68,Default,,0000,0000,0000,,to actually replicate that\Nsuccessfully, we then have to
Dialogue: 0,0:06:20.68,0:06:22.20,Default,,0000,0000,0000,,take it and just say,\N"All right, well, this shape,
Dialogue: 0,0:06:22.20,0:06:24.80,Default,,0000,0000,0000,,this shape, this shape is under\Nthese ten shapes, which are
Dialogue: 0,0:06:24.80,0:06:28.12,Default,,0000,0000,0000,,under these five shapes but are\Nabove these six shapes."
Dialogue: 0,0:06:28.12,0:06:29.52,Default,,0000,0000,0000,,And then layer by layer, we'll
Dialogue: 0,0:06:29.52,0:06:34.64,Default,,0000,0000,0000,,project and, you know, mask and\Npaint or airbrush or draw,
Dialogue: 0,0:06:34.64,0:06:38.28,Default,,0000,0000,0000,,however we can, get her original\Nsource up onto the surface.
Dialogue: 0,0:06:38.28,0:06:40.12,Default,,0000,0000,0000,,So sometimes it can be a simple
Dialogue: 0,0:06:40.12,0:06:42.92,Default,,0000,0000,0000,,composition that we only have\Nto break apart into three or
Dialogue: 0,0:06:42.92,0:06:46.12,Default,,0000,0000,0000,,four layers, or sometimes it'll\Nbe a detailed composition
Dialogue: 0,0:06:46.12,0:06:49.12,Default,,0000,0000,0000,,that we have break into\N15, 20 sublayers.
Dialogue: 0,0:06:50.72,0:06:54.05,Default,,0000,0000,0000,,[indistinct conversation]
Dialogue: 0,0:06:54.64,0:06:57.12,Default,,0000,0000,0000,,[MEHRETU] For this next show, which is\Nfor the Guggenheim, I'm making
Dialogue: 0,0:06:57.48,0:07:00.35,Default,,0000,0000,0000,,seven paintings that are 10 feet\Nby 14 feet.
Dialogue: 0,0:07:02.24,0:07:04.04,Default,,0000,0000,0000,,Many parts of the drawing\Nwill also be erased.
Dialogue: 0,0:07:04.04,0:07:07.48,Default,,0000,0000,0000,,So the paintings will build up,\Nand then a big portion of them
Dialogue: 0,0:07:07.48,0:07:09.72,Default,,0000,0000,0000,,somehow or another will disappear.
Dialogue: 0,0:07:09.72,0:07:11.24,Default,,0000,0000,0000,,So then hopefully, the paintings
Dialogue: 0,0:07:11.24,0:07:15.24,Default,,0000,0000,0000,,will also just interact to talk\Nabout disintegration.
Dialogue: 0,0:07:15.64,0:07:18.56,Default,,0000,0000,0000,,I try to start the group of\Npaintings with each having their
Dialogue: 0,0:07:18.56,0:07:21.24,Default,,0000,0000,0000,,own kind of architectural\Ninformation.
Dialogue: 0,0:07:24.48,0:07:27.70,Default,,0000,0000,0000,,This piece right now, it's just\Ndifferent views from Google Earth,
Dialogue: 0,0:07:27.70,0:07:29.84,Default,,0000,0000,0000,,you know, of New York City\Nand Tokyo.
Dialogue: 0,0:07:31.56,0:07:33.60,Default,,0000,0000,0000,,Basically, it's tracing, because
Dialogue: 0,0:07:33.60,0:07:38.36,Default,,0000,0000,0000,,that takes so long, and a lot of\Nthe stuff that the assistants do,
Dialogue: 0,0:07:38.36,0:07:40.30,Default,,0000,0000,0000,,it becomes a ground for my work.
Dialogue: 0,0:07:41.60,0:07:43.92,Default,,0000,0000,0000,,I'm so blessed to have such\Na great team.
Dialogue: 0,0:07:43.92,0:07:47.24,Default,,0000,0000,0000,,This would be a nightmare if it\Nwasn't such a great group of people.
Dialogue: 0,0:07:48.92,0:07:51.32,Default,,0000,0000,0000,,The difficult part is, we have\Nnot that much time.
Dialogue: 0,0:07:51.32,0:07:53.60,Default,,0000,0000,0000,,we have a year from now.
Dialogue: 0,0:07:53.60,0:07:55.68,Default,,0000,0000,0000,,And we have to trust the process
Dialogue: 0,0:07:55.68,0:07:59.32,Default,,0000,0000,0000,,and trust the intuition and\Ntrust– and trust that hopefully
Dialogue: 0,0:07:59.32,0:08:02.84,Default,,0000,0000,0000,,it manifests itself, and we'll–\Nand that I'll be able to make
Dialogue: 0,0:08:02.84,0:08:06.96,Default,,0000,0000,0000,,these pictures work, I mean,\Nbecause after the initial work
Dialogue: 0,0:08:06.96,0:08:10.72,Default,,0000,0000,0000,,is done by everyone else,\Nit’s up to me to really go in
Dialogue: 0,0:08:10.72,0:08:14.63,Default,,0000,0000,0000,,and draw on all of them\Nand complete them.
Dialogue: 0,0:08:27.17,0:08:30.50,Default,,0000,0000,0000,,[indistinct conversations]
Dialogue: 0,0:08:31.20,0:08:36.08,Default,,0000,0000,0000,,The large commission has\Na really specific point of
Dialogue: 0,0:08:36.08,0:08:40.12,Default,,0000,0000,0000,,departure in terms of what it's\Nconceptually trying to deal with
Dialogue: 0,0:08:43.20,0:08:48.56,Default,,0000,0000,0000,,if you're gonna make a picture\Nof that scale and embed that and
Dialogue: 0,0:08:48.56,0:08:53.28,Default,,0000,0000,0000,,locate that in Lower Manhattan,\Nwhich is where it's commissioned for,
Dialogue: 0,0:08:53.28,0:08:56.78,Default,,0000,0000,0000,,can you deal, then, with\Nwhat Lower Manhattan symbolizes?
Dialogue: 0,0:08:58.13,0:09:00.16,Default,,0000,0000,0000,,It's something that's been\Na big part of trying to figure out
Dialogue: 0,0:09:00.16,0:09:03.82,Default,,0000,0000,0000,,who I am and my work,\Nis trying understand systems.
Dialogue: 0,0:09:05.96,0:09:09.80,Default,,0000,0000,0000,,What you've seen here is only\Nthe first layer of information,
Dialogue: 0,0:09:09.80,0:09:12.20,Default,,0000,0000,0000,,and that first layer of\Ninformation is hopefully
Dialogue: 0,0:09:12.20,0:09:15.68,Default,,0000,0000,0000,,something that mimics early maps\Nfrom the early silk road
Dialogue: 0,0:09:15.68,0:09:19.09,Default,,0000,0000,0000,,through the evolution of the\Nmarketplace.
Dialogue: 0,0:09:22.28,0:09:28.32,Default,,0000,0000,0000,,Can you actually make a picture\Nthat in some way maps and gives
Dialogue: 0,0:09:28.32,0:09:32.16,Default,,0000,0000,0000,,a picture of this history of the\Ndevelopment of– you know,
Dialogue: 0,0:09:32.16,0:09:34.35,Default,,0000,0000,0000,,capitalist development,\Neconomic system?
Dialogue: 0,0:09:35.57,0:09:37.33,Default,,0000,0000,0000,,Which is absurd. It's–\N[chuckles]
Dialogue: 0,0:09:46.88,0:09:49.11,Default,,0000,0000,0000,,- Can you separate it out?\N- That I can.
Dialogue: 0,0:09:49.11,0:09:52.35,Default,,0000,0000,0000,,- No, but if they just draw–
Dialogue: 0,0:09:53.36,0:09:55.92,Default,,0000,0000,0000,,Like just draw these\Nlittle sections.
Dialogue: 0,0:09:55.92,0:09:57.68,Default,,0000,0000,0000,,-Right.\N-You know what I mean?
Dialogue: 0,0:09:57.68,0:09:59.07,Default,,0000,0000,0000,,You can't tell what's what, then.
Dialogue: 0,0:09:59.07,0:10:02.76,Default,,0000,0000,0000,,That whole–\Nwhat it does is, it just builds
Dialogue: 0,0:10:02.76,0:10:06.25,Default,,0000,0000,0000,,like these plateaus of space.\Nit creates a space.
Dialogue: 0,0:10:06.25,0:10:07.64,Default,,0000,0000,0000,,[machine rumbles]\N-[speaks indistinctly]
Dialogue: 0,0:10:07.64,0:10:09.96,Default,,0000,0000,0000,,- That kind of drawing,\Nbut I think that if you had it
Dialogue: 0,0:10:09.96,0:10:12.60,Default,,0000,0000,0000,,with no recognizable\Nbuildings whatsoever--\N- No.
Dialogue: 0,0:10:12.60,0:10:15.44,Default,,0000,0000,0000,,[JESSICA RANKIN] I think inevitably as an\Nartist couple, you're gonna
Dialogue: 0,0:10:15.44,0:10:18.12,Default,,0000,0000,0000,,impact each other and influence\Neach other and...
Dialogue: 0,0:10:18.12,0:10:20.08,Default,,0000,0000,0000,,- It's, like, about, like,\Nfragmented space,
Dialogue: 0,0:10:20.08,0:10:21.68,Default,,0000,0000,0000,,and then so much of\Nthat is like...
Dialogue: 0,0:10:21.68,0:10:22.88,Default,,0000,0000,0000,,[RANKIN] I mean, we've always worked
Dialogue: 0,0:10:22.88,0:10:25.96,Default,,0000,0000,0000,,that way, ever since we first\Nstarted living and working
Dialogue: 0,0:10:25.96,0:10:28.28,Default,,0000,0000,0000,,together, eight years ago now.
Dialogue: 0,0:10:28.84,0:10:32.08,Default,,0000,0000,0000,,We've- -it's just a very organic process,
Dialogue: 0,0:10:32.08,0:10:34.24,Default,,0000,0000,0000,,and that's sort of the\Nway we lead our lives.
Dialogue: 0,0:10:34.24,0:10:38.52,Default,,0000,0000,0000,,And in New York, our studios\Nare in our house, so until,
Dialogue: 0,0:10:38.52,0:10:40.52,Default,,0000,0000,0000,,you know, recently– our son\Nstarted going to school
Dialogue: 0,0:10:40.52,0:10:43.72,Default,,0000,0000,0000,,recently, but he was in and out\Nof our studio all day too.
Dialogue: 0,0:10:44.96,0:10:50.36,Default,,0000,0000,0000,,And it's– you know, we look at\Neach other's work all day.
Dialogue: 0,0:10:50.36,0:10:52.16,Default,,0000,0000,0000,,We sort of give each other\Nfeedback.
Dialogue: 0,0:10:53.73,0:10:55.80,Default,,0000,0000,0000,,We notice something in the\Nnewspaper and mention it.
Dialogue: 0,0:10:55.80,0:10:59.56,Default,,0000,0000,0000,,I mean, it just– it's sort of,\NI don't know– it's been–
Dialogue: 0,0:10:59.56,0:11:03.10,Default,,0000,0000,0000,,it's grown organically, and\Nthat's– it really works for us.
Dialogue: 0,0:11:10.08,0:11:13.18,Default,,0000,0000,0000,,[MEHRETU] There is a lot of fluidity\Nbetween us.
Dialogue: 0,0:11:15.04,0:11:16.68,Default,,0000,0000,0000,,There are moments where her work
Dialogue: 0,0:11:16.68,0:11:19.31,Default,,0000,0000,0000,,seeps through my work and\Nin and out of it.
Dialogue: 0,0:11:23.24,0:11:24.36,Default,,0000,0000,0000,,We look at each other's work
Dialogue: 0,0:11:24.36,0:11:27.41,Default,,0000,0000,0000,,more than anybody else's work,\Nand so that has to happen.
Dialogue: 0,0:11:28.81,0:11:31.80,Default,,0000,0000,0000,,Almost anything in the\Nenvironment tends to inform
Dialogue: 0,0:11:31.80,0:11:34.12,Default,,0000,0000,0000,,your work, for me, in one way\Nor another.
Dialogue: 0,0:11:34.12,0:11:36.40,Default,,0000,0000,0000,,Different studios have done that\Nfor my work as well.
Dialogue: 0,0:11:36.40,0:11:37.80,Default,,0000,0000,0000,,Different– different–
Dialogue: 0,0:11:37.80,0:11:39.96,Default,,0000,0000,0000,,living in different places,\Nwhether it's a place that has
Dialogue: 0,0:11:39.96,0:11:42.76,Default,,0000,0000,0000,,A view or no view, it all–\Nkind of that space and
Dialogue: 0,0:11:42.76,0:11:47.32,Default,,0000,0000,0000,,the light, all of those elements\Naffect, for me, a big part of
Dialogue: 0,0:11:47.32,0:11:51.83,Default,,0000,0000,0000,,the way that I end up evolving\Nwith the work.
Dialogue: 0,0:11:55.92,0:11:58.32,Default,,0000,0000,0000,,The thing that keeps me going is\Nthe painting,
Dialogue: 0,0:11:59.20,0:12:02.85,Default,,0000,0000,0000,,And in getting lost in doing\Nthat, language is invented.
Dialogue: 0,0:12:06.40,0:12:09.36,Default,,0000,0000,0000,,A way of working in the language\Nhas evolved for the last–
Dialogue: 0,0:12:09.36,0:12:12.00,Default,,0000,0000,0000,,through the last ten years,\Nbut the paintings have changed
Dialogue: 0,0:12:12.00,0:12:16.18,Default,,0000,0000,0000,,every year through that, slowly,\Nbecause painting is slow.
Dialogue: 0,0:12:19.71,0:12:22.88,Default,,0000,0000,0000,,In the end, it's about trying to\Nmake the painting.
Dialogue: 0,0:13:03.30,0:13:07.37,Default,,0000,0000,0000,,[ ANNOUNCER ] To learn more about Art21: "Art in the Twenty-First Century"
Dialogue: 0,0:13:07.37,0:13:09.62,Default,,0000,0000,0000,,and its educational resources,
Dialogue: 0,0:13:09.62,0:13:12.100,Default,,0000,0000,0000,,please visit us online at: \NPBS.org
Dialogue: 0,0:13:16.48,0:13:22.33,Default,,0000,0000,0000,,Art21: “Art in the Twenty-First Century” is available on Blu-Ray and DVD.
Dialogue: 0,0:13:22.33,0:13:24.44,Default,,0000,0000,0000,,The companion book is also available.
Dialogue: 0,0:13:24.44,0:13:27.76,Default,,0000,0000,0000,,To order, visit us online at: shopPBS.org
Dialogue: 0,0:13:27.76,0:13:31.83,Default,,0000,0000,0000,,or call PBS Home Video at: \N1-800-PLAY-PBS