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.
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
“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
Andria Hickey, curator at Public Art Fund in New York, opened her lecture by giving a little history of the organization, such as Public Art Fund’s early contribution of the historically profound “Messages to the Public” light board in Times Square, and explaining a bit about how the privately supported nonprofit develops and presents temporary exhibitions in specific locations.
This Tuesday Evenings presentation bypassed the usual lecture format with poet, sound artist, and author LaTasha N. Nevada Diggs jumping right into a reading/performance of her work. Complete with a simple, compact, and thrilling setup of electronic devices and wires perched and hanging in front of her as she moved between the premeditated and improvisational, this hour was clearly not meant to be a passive exercise for an audience who all seemed a little thrown but delighted with their circumstance.
Laurie Simmons, The Love Doll / Day 11 (Yellow), 2010. Fuji Matte print, 70 x 47 inches, edition of 5
The Modern Contemporaries enjoyed the rare opportunity of working with an artist from the current exhibition, Framing Desire. A selection of Allison V Smith’s photographs from her Marfa Series are on view at the Modern through August 23, 2015. Participants in Smith’s workshop enjoyed pizza, drinks and Allison’s illuminating talk on quick and dirty photography tricks. Smith discussed how everyone is a photographer in our fast paced digital age filled with smart phones, photo apps, filters and other mobile gadgets.
Mario García Torres, The Schlieren Plot, n.d. HD video and sound, 29 minutes. Courtesy of the Artist and Proyectos Monclova, Mexico
“It’s a long story . . .” —Mario García Torres
Tom Sachs, Cinderblock, 2009
Misty Keasler, Igloo Waiting Area, Hotel Gang Snowman, Osaka, 2004, Giclée Allison 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
Janet Zweig, 7:11AM 11.20.1979 79°55'W 40°27'N, 2009 Photograph by Joe Seamans
“Somewhere between Mr. Roger’s Neighborhood and Lord of the Flies is the sweet spot.” Dan Maginn, FAIA, Principal at Draw Architecture & Urban Design