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[SARAH SZE ] This is a project I'm working on
for the High Line.

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It was scheduled to be demolitioned.

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People in the neighborhood ended up suing
the city to keep it and make it a park.

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I really like this idea that natural wildlife

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survives in this intense metropolis.

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They didn't change the space that much.

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They really just framed the wildlife

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that grew there naturally over the years.

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The piece that I conceived was a kind of habitat.

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You have all of these birds, butterflies,
insects there,

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and I wanted to make a location

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where you would observe them on the High Line.

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I did tons of research.

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The place that I really liked working with

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is the Cornell Ornithology Lab.

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They do these incredible urban wildlife projects,

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and they were really helpful

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to talk about how this would work

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and what would come to it, what might not
come to it.

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They're really trying to figure out

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how to get someone to look and observe for
ten minutes,

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and they had said, you know, "Ten minutes
of observation

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is an incredibly long time for a person,"

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and this idea of slowing down and really observing,

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I think it's a really interesting idea
also for visual art.

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We're dealing with nature.

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We don't know what's gonna happen.

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Will the birds nest there, or will they not?

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Let's say nothing happens.

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It needed to be interesting as a sculpture.

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The thing that made me interested in the piece
as a sculpture was this idea

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that I'm gonna put the sculpture in a location
where you have to walk through it.

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The walk itself becomes like a negative space
in the sculpture and that you have this

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this very dynamic experience of it,

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and that you see it from far away,

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and then in perspective, it grows,

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and then you actually are in the interior
of it,

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and then you exit.

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I think the high line is very beautifully
designed.

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There are all these different areas
where you can stop and look, and it frames the city.

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- And I was thinking it should be metal
like it's like a little it's almost like a petri dish.

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This is a one-to-one scale model
of what I'll have fabricated.

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I'd like to have the pieces feel
as if they're put together

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Intuitively by hand in the moment,

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So it was important to build something in
the studio

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where I could start feeling, "This needs to
be more dense,

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the size need to grow," and play around,

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have the idea of play and flexibility in the
making.

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One thing that was interesting about this
project for me

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was that it was very hard to draw.

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I did all of these different versions of this
idea

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of being split down the center,

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to figure out in space how this would work

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because the promenade cuts the piece in half,

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and this is the one that I chose,

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partially because it has

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this spiraling up that's surprising.

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There's a ball that actually fits.

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You can use this.

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The negative space is actually round,

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and you don't really realize it until you
get into it,

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so it was built around a ball.

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This is a really simple jig to actually figure
out

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a very complex equation,
which is how does how does this neg--

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If we want to carve out a ball, how do you
do it?

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So this is just this is just the radius,

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but it's the radius at any angle.

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There is a center of the piece, kind of a Palladian
idea.

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Even if you don't consciously realize you're
in

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you're in a negative space of a ball,

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and it has this kind of sense of being surrounded.

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Portable planetarium was a piece I did

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that actually was the orb,

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and it was scaled very much to this idea

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that you saw it as an orb,

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and as you got closer and closer,

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you moved in, and you were surrounded,

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so you went from seeing it as an exterior

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to being in its interior.

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I'll photograph this piece over and over.

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One of the ideas I had about photography

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in relationship to the sculpture

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was that the photographs really
become the memory of the piece.

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I'm trying not to just document them

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but to see what I can do in a photograph

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that tells us something different

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or emphasizes what's sort of essential about
the piece.

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This piece is playing with one-point perspective

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to represent, to trick our eyes into seeing
deep space,

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so it's kind of absurd

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to actually use that trick in real space,

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but then it's interesting to photograph,

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then flatten it out again.

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For me, it becomes more like a Russian Constructivist
drawing

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or a Futurist painting

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In that, it's describing speed and movement

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but entirely on a flat, still plane.

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It's also funny because these almost become

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computer images when they're flattened out.

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They're so crisp, right?

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Because they're so exactly in perspective,
actually.

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[ grinder buzzes ]

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[ welding torch crackling ]

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There's this kind of scaffolding

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that's gonna be the base of the piece.

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Then there are these elements

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that each have a different function,

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there's water, housing, and food,

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and there are these different locations,

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and they're based partially aesthetically

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and partially on research and practical need

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for how this might work.

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Originally, I built these strings

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as a jig to measure.

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Right now, all of these boxes aligned

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should be parallel on the sides to these strings.

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All of the fronts and the backs

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should be parallel to the blue tape.

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After I built it, I thought, "I like this
language."

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You feel the actual thinking process

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of trying to solve a problem.

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This string system was, in and of itself,

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aesthetically very interesting,

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So then this is gonna become part of the piece.

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I was thinking it should be metal.

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- Swivel down

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- These clamps may be completely decorative.

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They may not be doing anything,

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but they signify a kind of flexibility.

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- To make the right angle.

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I mean, the only problem is, this is gonna-

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[ grinder buzzes ]

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[ drill whirring ]

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Scale is crucial when you're working outdoors,

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especially when you're in Manhattan.

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The spectacle of space, of scale, of information

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is so high that the size is crucial.

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I'm interested to take a public piece

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and have it feel intimate,

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and then when you get there,

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you feel slightly embraced by the piece itself,

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slightly nested, which plays on the idea of
the habitat.

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I'm always thinking about how the frame can
bleed out

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into the location.

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One of the ideas in this piece that even though
it's outdoors,

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it still has this quality that it's mutable,

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changeable, that you could come back in a
week,

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and it would be configured differently.

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- This is correct, and that's correct,

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and that's correct for what I have.

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[ power tools whirring ]

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I studied architecture and painting,

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so I came to sculpture from those disciplines.

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I'm always thinking,

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"What can you do in a sculpture that you can't
do in a drawing?

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What can you do in a building that you can't
do in a print?"

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My father is an architect, so I grew up around

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models, plans, looking at construction sites,

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and also with his eye of just always talking

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about buildings and cities.

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- That looks good.

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Yeah, that looks good.
That one looks right.

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This one looks wrong, but, I mean,
That's the one that I made up, so...

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[ drill whirring ]

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Yeah, 'cause it that creates, like, a...
[ imitates ticking ]

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A rhythm from there to there to there. It's good.

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[ power tools whirring ]

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My whole body of work

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has this kind of flexible, mutable quality.

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It has the rawness of a studio or the rawness
of a laboratory

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where things could happen or things could
fall apart.

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I think about the first view of a piece

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being like the first line in a novel.

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When you leave, what's the last part of the novel?

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Where do you maintain your viewer's interest?

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Where do you challenge them?

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Where's the catharsis?

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So that it is really a kind of narrative story

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of movement through space.

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I talk about the idea of choreographed experience

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of the viewer through the space.

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You become aware of your body in relation
to the work.

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One of the ideas from the very beginning

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in terms of the materials I use was accessibility.

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A lot of the materials

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were things that you could get at a dollar
store.

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They're very generic.

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The cultural value, the monetary value

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would be very low,

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and then put them in a location

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where that became very high.

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So the shifts in scale were really interesting
to me,

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literally, in terms of space,

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but also in terms of the profound and the
mundane,

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the fleeting and the permanent,

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a piece that's always teetering.

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Tokyo was a very hard piece to photograph, film.

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It's--you have to see it in person, really.

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Some of my work is really about

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using spaces that go unnoticed or unoccupied.

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In a museum that's designed to see work,

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to then put it in a place

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like the ventilation by the window

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is kind of a nice opportunity.

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I'd very much like the experience of viewing to be one of discovery,

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that you don't walk in, something is presented,
and it's framed, and it says,

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"This is important; I'm art."

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Often, with my work, it'll be in a corner,

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or it'll be behind a stair.

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It'll be near the freight elevator

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so that your experience of first is, 
"Whatis this?"

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For me, most interesting art always has that
question in it.

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It always questions what art is.

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[ crowd chattering ]

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- Are we trying to get the birds to come?

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- I don't know. Let's ask.

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- What are what are we doing here?

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- Well, it's an artwork, but it's also a bird
feeder and a bird habitat.

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- And birds eat oranges?

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- Yes, orioles eat oranges.
Yep.

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- Very interesting.

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- Yep. And butterflies and bees too.

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- It's a beautiful piece,

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but I couldn't understand the fruit on it.

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- Well, it's a sculpture work, but it's a bird
habitat.

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- That's what I told you.
It's for the birds.

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- For the birds.

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[ both laugh ]

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- Somebody's put their own seeds in,

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'cause we don't use these seeds.

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One of the things that happens

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in my pieces that aren't--

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have nothing to do with leaving things or
for birds,

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but is that people, actually, in museums will
leave

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objects from their pockets in the piece.

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- And put more water.
- Yeah.

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- And who's the artist?
Who did that?

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- I'm the artist.

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- Oh, you're the artist. Congratulations.

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That's really beautiful.

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C'est la dame actuelle qui tu fait.

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- For this particular project,

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I did a lot of research on birds and what
birds like

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and what could different kind of things

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could attract different kind of birds.

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- Which birds are you attracting in here?

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- Well, these ones are this is sort of the-

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It's a very good basic bird seed just to use.

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- Use for any bird?
- Yeah.

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- And is it going to stay for a long time?
- One year. Yeah.

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- One year. Wow.

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- So that is doing an experiment at the same
time?

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- Exactly.
- That's beautiful.

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- That's exactly right.

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It's an experiment.

256
00:17:57,772 --> 00:17:59,004
- Thank you.
- Sure.

257
00:17:59,004 --> 00:18:00,004
- Au revoir.

258
00:18:00,463 --> 00:18:01,463
- Au revoir.

259
00:18:01,900 --> 00:18:02,643
- Say tres bon.

260
00:18:02,643 --> 00:18:03,283
- Tres bon.

261
00:18:03,283 --> 00:18:04,283
- Merci.

262
00:18:04,463 --> 00:18:05,577
- It looks like a birdhouse.

263
00:18:05,603 --> 00:18:06,103
- Cute.

264
00:18:10,570 --> 00:18:12,816
- Discovered a new use for oranges:

265
00:18:12,816 --> 00:18:15,460
Wiping away bird poop.
[ laughs ]

266
00:18:16,592 --> 00:18:17,530
Thank you.

267
00:18:18,218 --> 00:18:19,067
Thank you.

268
00:18:19,067 --> 00:18:21,049
How did I make it?
That's a good question.

269
00:18:21,049 --> 00:18:24,449
So what I did was, I made the entire thing

270
00:18:24,449 --> 00:18:27,500
in a model, so all of this I made in wood,

271
00:18:27,500 --> 00:18:29,392
and these were all made in cardboard,

272
00:18:29,392 --> 00:18:32,299
and we used we put we put all of these strings
here

273
00:18:32,299 --> 00:18:36,120
as a guide so we could figure out
one-point perspective.

274
00:18:36,120 --> 00:18:37,455
See all these?

275
00:18:37,455 --> 00:18:39,470
They've been eating like crazy, and we've
been refilling them,

276
00:18:39,470 --> 00:18:41,610
and they also come for the water too.

277
00:18:42,000 --> 00:18:43,239
It'll be different every season.
- Cool.

278
00:18:43,239 --> 00:18:43,907
- Thank you.

279
00:18:44,907 --> 00:18:48,277
- You put oranges there, you'll get 
Baltimore Orioles.

280
00:18:48,277 --> 00:18:49,960
- Yeah, that's what we're that's what we're hoping.

281
00:18:49,960 --> 00:18:51,921
I heard there's a whole bunch in Brooklyn,
but not--

282
00:18:51,921 --> 00:18:54,000
They don't usually have them on the High Line,

283
00:18:54,443 --> 00:18:56,667
But there's oranges, and there's apples.

284
00:18:56,667 --> 00:18:58,387
- Oh.
- Also, it's just nice for color.

285
00:18:58,765 --> 00:18:59,531
- Thanks.

286
00:19:01,828 --> 00:19:04,154
- Oh, there's another one flying in.
There you go.

287
00:19:11,163 --> 00:19:13,114
They're interested.
They ask questions.

288
00:19:13,114 --> 00:19:14,713
It just blends in with the environment,

289
00:19:14,713 --> 00:19:16,382
blends in with the pathway.

290
00:19:16,382 --> 00:19:18,211
They're not questioning why it's there

291
00:19:18,211 --> 00:19:20,491
in the same way that you often have with public art.

292
00:19:20,491 --> 00:19:23,034
You know? That's good. 
[ laughs ]

293
00:19:24,000 --> 00:19:25,818
- I love bumblebees!

294
00:19:25,818 --> 00:19:27,043
'Cause I saw them!

295
00:19:27,590 --> 00:19:29,501
I love bumblebees!

296
00:19:49,746 --> 00:19:55,746
♪ ♪

297
00:20:08,177 --> 00:20:11,451
[ ANNOUNCER ] To learn more about 
"Art in the Twenty-First Century"

298
00:20:11,451 --> 00:20:13,534
and its educational resources,

299
00:20:13,534 --> 00:20:18,441
please visit us online at: 
PBS.org/Art21

300
00:20:21,588 --> 00:20:25,360
“Art in the Twenty-First Century” is available on DVD.

301
00:20:25,554 --> 00:20:28,259
The companion book is also available.

302
00:20:28,259 --> 00:20:32,079
To order, visit us online at: shopPBS.org

303
00:20:32,079 --> 00:20:37,179
or call PBS Home Video at: 
1-800-PLAY-PBS