Tom Sachs, Cinderblock, 2009
Misty Keasler, Igloo Waiting Area, Hotel Gang Snowman, Osaka, 2004, GicléeAllison V. Smith, Parked, May 2011. Marfa, Texas, 2012, Chromogenic color photograph
Jonathan Schipper, The Inherent Beauty In A Failure to Reconstruct (detail), 2007. Mixed media. Approx. 9 x 5 x 2.5 feet
Tuesday Evenings began in the fall of 1991 and grew out of an effort to make the Modern more available to its public and to include that public in a conversation about current art-related ideas and events within the Metroplex and beyond. I attended the lectures before working at the Modern, but developed a keen relationship with the program when I became Curator of Education in November 1994.
The new school year has begun and the busy days of Art Camp are over. Here are some highlights from the Modern’s summer programs:
Art Camp: Almost 5
"I'll take you there."
—The Staples Singers
This week focuses on the artists Teresa Margolles and Artemio, included in the upcoming exhibition México Inside Out: Themes in Art Since 1990.
This week focuses on the artists known as Tercerunquinto and their upcoming piece in the exhibition México Inside Out: Themes in Art Since 1990 opening September 15.
MALA MEMORIA, 2013
Beginning September 15, the Modern will present México Inside Out: Themes in Art Since 1990. To prepare for the show’s opening, we’ll be posting weekly about the artists featured in the exhibition and the overarching themes that connect different works.
This week features Melanie Smith and her video piece Aztec Stadium. Malleable Deed, 2010.
“When an artist uses a conceptual form of art, it means that all the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes the machine that makes the art.”
Sol LeWitt, “Paragraphs on Conceptual Art,” 1967
The Modern is currently celebrating 10 years in our Tadao Ando building. In conjunction with this celebration, the Anniversary Class has been taking a closer look at the Modern’s collection, focusing on 10 works in 10 days. On the third day of class, artist Kris Pierce guided an in-depth examination of the newly aquired Jenny Holzer piece, Kind of Blue, 2012. Participants researched and selected their own “truisms” and experimented with compostions made only from text.