Many Hats/One Head - The Accidental Curator
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The Meantime: Before Digital, After Analogue
No matter what its imagery has been about—autobiography, ancestry, race, all those things that comprise memory and its inexorable corollary, the passage of time—the art of Annette Lawrence has always been, in some respects, a practice, a concerted making of circles, squares, grids, and spirals. Joel Weinstein, “Mixed-media Artist Has a Line on the Ethereal,” Dallas Morning News, May 27, 2000
Places of a Present Past
Places of a Present Past is filled with an archaeological ethic, metaphorically digging down, both spatially and psychologically in the depths of transnational grief. Noah Simblist, Places of a Present Past
Why Does Fred Sandback’s Work Make Me Want to Be Ridiculous?
Sandback was willing to risk his sculptures being nothing at all, and so he was able to create works of art that feel relevant to everything. Adam Lerner on Fred Sandback
Wednesday, November 30; 7 pm
The lecture begins at 7 pm in the Museum's auditorium. Seating begins at 5:15 pm and is limited to 250; a live broadcast of the presentation will be shown in Café Modern for 100 additional guests.
This event is for ticketholders only. The Museum will not be open to the public.
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Since the beginning of her career in the mid-1980s, Lorna Simpson has been well known for her conceptual photographs and videos that challenge historical and preconceived views of racial and sexual identity. The artist will speak on the occasion of FOCUS: Lorna Simpson, the first museum exhibition to feature the artist’s large-scale acrylic, ink, and silkscreened paintings.
Modern Connections presents Stephen Lapthisophon
November 10, 7 pm
Unlike most famous artists, KAWS has something few in visual art actually enjoy: rabid fans who wait on line for days just to see what his latest project will be. What makes this even more noteworthy is that he himself is a fan, subject to the same process of collecting stuff as a way of constructing one's identity as the kids around the globe who fetishize his work.
Carlo McCormick, Paper Magazine, November 4, 2013
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