"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
Prepatory sketch for proposal
Courtesy of the artists and Proyectos Monclava
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.
Light is integral to every visitor’s experience at the Modern Art Museum of Fort Worth. The museum’s architect, Tadao Ando, essentially treats light as a material that is as necessary as the concrete of the walls, the steel supports, the granite floors, and the sheets of glass that connect the museum interior to the nature and city that surrounds it.
The role of the written word in/as art is of abiding interest to me. Whether it be language as artmaking material (as is the case with Lawrence Weiner’s work), the wall drawings of Sol LeWitt (where the instructions for carrying out a piece are as crucial as the drawing itself), or the often dense and always rich writings of the British group Art & Language (their essays being best understood as art), recent art history is brimming with artists engaging with language in order to better elucidate a specific conceptual and aesthetic sensibility.
In the wake of Hurricane Sandy, it is clear that the New York gallery world has suffered a colossal blow, with scores of galleries devastated, countless works of art destroyed, and heaps of historical material washed into the Hudson. It is impossible for these events not to prove the ultimately ethereal and fleeting nature of artworks. It is from this perspective that I started to rethink one of the Modern’s recent acquisitions that is currently on view, Sol LeWitt’s Wall Drawing #50 A, 1970.
Just as Lucian Freud: Portraits closed, the Modern’s Education Department wrapped up our final class for The Muse, a studio course where participants enjoyed a hands-on approach to studying the special exhibition. Led by renowned local artist Matthew Bourbon, the class spent time in the galleries discussing the muse and its function in Freud’s practice, as well as its historical role in painting. Matthew also introduced the work of some of Freud’s contemporaries, discussing alternative ways of dealing with the figure on the canvas.
While visiting the Solomon R. Guggenheim Museum on a recent trip to New York, I came across the Modern’s "Scull’s Angel"...