Posted by Terri Thornton on October 21, 2016 - 12:40pm

Benjamin Merris, Maximalism: Phase ll, Being There, performance

Merris’ sensibility is as organic and fluid as it is rigorous, as filled with wonder as it is informed by a sense of scientific reason, and it consistently navigates between such positions, seeing them not as oppositional, but naturally and intimately connected. Dean Daderko, 2014

Posted by Terri Thornton on October 12, 2016 - 11:11am

Dr. Eric Kandel, MD, visits the Modern Art Museum of Fort Worth

Posted by Terri Thornton on September 28, 2016 - 11:13am

Tom Sachs at the Modern Art Museum of Fort Worth


Though we experiment, explore and attempt to make a profit, our most valuable gain is knowledge.                                      A Space Program, created by Tom Sachs, directed by Van Neistat, Zeitgeist Films

Posted by Terri Thornton on September 28, 2016 - 11:05am


I have given no small attention to that not unvexed subject, the skin of the whale. I have had controversies about it with experienced whalemen afloat, and learned naturalists ashore. My original opinion remains unchanged; but it is only an opinion. Chapter 68, “The Blanket,” Moby-Dick by Herman Melville

Posted by Terri Thornton on May 5, 2016 - 2:33pm

Martha Tuttle, photograph of Chaco Canyon, New Mexico


Perhaps what I have to offer is a language of care and attention. Martha Tuttle, Tuesday Evenings at the Modern, April 19, 2016

Posted by Terri Thornton on May 5, 2016 - 2:28pm

Frank Stella’s studios, early and late


MA: How did it start from a small studio on East Broadway to this? This studio is literally approximately one square acre enclosed. FS: . . .It’s a fairly natural evolution if you keep on working.

Michael Auping and Frank Stella in conversation, Tuesday Evenings at the Modern, April 12, 2016


Posted by Terri Thornton on April 21, 2016 - 12:02pm


Fernando Bryce, El Mundo en Llamas, 2010–11, installation details: Alexander and Bonin. Photo: Joerg Lohse


I’m interested in understanding images as political fact. . . . These media images are both product and construct. When I see a picture that fascinates me, I’m always interested in its function. Fernando Bryce, in “The Artist and the Propaganda Machine,” ArtMag, by Oliver Koerner von Gustorf

Posted by Terri Thornton on April 14, 2016 - 2:49pm

Arne Svenson, Faggots series, 1994

Arne SvensonA talk that hit all the right notes. Love his work and how he thinks about it. Facebook comment by Carol Ivey

Posted by Terri Thornton on April 6, 2016 - 4:43pm

I was always drawn to the head. Why not just do that fucking head, you know? . . . It shows in the work if you’re not into it. So you have to really embrace it, love it, and own it. That’s how I feel.”  Joyce Pensato, Tuesday Evenings at the Modern, March 22, 2016

Animal Instincts

Posted by Terri Thornton on March 23, 2016 - 9:27am

Fergus Feehily

Sometimes, at home, when the bath is filled and the light is just right, there is a reflection on the water from the small square window in the bathroom that looks out onto an enclosed courtyard. The large tree filling the external space ripples on the bath water and seems to me to be more interesting than the 'real' view. It is intriguing that this image I find so fascinating is barely there or anything at all; it is almost nothing. Fergus Feehily, Nothing & Everything.

It’s Almost Nothing

Posted by Terri Thornton on March 15, 2016 - 9:42am

Glenn Kaino

The possible ranks higher than the actual. Martin Heidegger

MAGIC: a belief system

Posted by Terri Thornton on February 29, 2016 - 2:19pm


Richard Wentworth and Gavin Morrison opened the spring 2016 Tuesday Evenings at the Modern season with a conversation on Wentworth’s career and his recently released book Richard Wentworth: Making Do and Getting By.

Posted by Terri Thornton on November 5, 2015 - 4:20pm

Tuesday Evenings with Valerie Hegarty was a valuable look at a career that seems to have developed out of a very ambitious MFA exhibition at the School of the Art Institute of Chicago in 2002, which resulted in opportunities such as a commission for New York’s High Line in 2009 and a “takeover” of the period rooms at the Brooklyn Museum for Valerie Hegarty: Alternative Histories in 2013.

Posted by Terri Thornton on November 4, 2015 - 1:50pm

My position is that images are not produced by an ego, but employed by one. It already exists in culture and has been produced by culture. . . . Words are produced by culture, but we use them in the act of expression and communication. But we don’t think that as we employ a word, we invent it. —Charles Gaines in an interview with A. Will Brown for Studio International, 9.8.2015

Posted by Terri Thornton on October 20, 2015 - 2:49pm

“In the structure of seeing and not seeing lies the kernel of the idea of memory, of what we remember and what we forget, demonstrating how remembering and forgetting are not oppositional act but two sides of the same coin.” Janet Harbord, Chris Marker: La Jetée

“I will have spent my life trying to understand the function of remembering, which is not the opposite of forgetting, but rather its lining. We do not remember, we rewrite memory much as history is rewritten. How can one remember thirst?”  Chris Marker, Sans Soleil