Paul McCarthy: Season 5 Preview (October 2009)

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How can I catch up on past seasons of Art21?
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Past seasons of the Art:21—Art in the Twenty-First Century television series can be found on Hulu, on DVD from PBS and Amazon, through iTunes, and from Netflix
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What does McCarthy have to say about the idea of transformation?
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On the subject of transformation in art, McCarthy discusses the open-ended nature of process and time with his work (in the forthcoming Season 5 book):

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What happens in McCarthy's segment in Transformation?
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“My work seems to be about tearing down and opening up conventions,” says Paul McCarthy, who bristles when asked what his responsibility is to the audience for his work. “My responsibility is to the ideas,” he explains, “that’s the difference between making art and making entertainment.” The segment begins with a series of motorized architectural works—including Spinning Room (1970/2008), Bang Bang Room (1992) and Mad House (1999/2008)—installed at the Whitney Museum of American Art in New York.

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Where can I see more of his work before the October premiere?
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Paul McCarthy is represented by Hauser & Wirth in Zurich and London. His work can be seen in the exhibition The Puppet Show through September 13 at the Frye Museum of Art in Seattle (along with fellow Art21 artists Louise Bourgeois, Pierre Huyghe, Mike Kelley, William Kentridge, Bruce Nauman, Laurie Simmons, Kiki Smith, and Kara Walker).

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This video is excerpted from the Season 5 episode Transformation premiering on Wednesday, October 21, 2009 at 10pm (ET) on PBS (check local listings).

Whether satirizing society or reinventing icons of literature, art history, and popular culture, the artists in Transformation—Paul McCarthy, Cindy Sherman, and Yinka Shonibare MBE—inhabit the characters they create and capture the sensibilities of our age.

Paul McCarthy was born in 1945 in Salt Lake City. Paul McCarthy's video-taped performances and provocative multimedia installations lampoon polite society, ridicule authority, and bombard the viewer with a sensory overload of often sexually-tinged, violent imagery. With irreverent wit, McCarthy often takes aim at cherished American myths and icons—Walt Disney, the Western, and even the Modern Artist—adding a touch of malice to subjects that have been traditionally revered for their innocence or purity. Absent or present, the human figure is a constant element in his work, whether in the form of bodies in action, satirical caricatures, or animistic sculptures; as the residue of a private ritual; or as architectural space left uninhabited for the viewer to occupy. Whether conflating real-world political figures with fantastical characters such as Santa Claus, or treating erotic and abject content with frivolity and charm, McCarthy's work confuses codes, mixes high and low culture, and provokes an analysis of fundamental beliefs.

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