April 12 - Frank Stella, artist featured in Frank Stella: A Retrospective, in conversation with Modern Chief Curator Michael Auping
Minus the gold leaf, they function like pictures with pronounced textual elements — in other words, illustrated manuscripts for the 21st century.
Christian Viveros-Fauné, “Fernando Bryce, One-of-a Kind Copyist, On View in Chelsea,” Village Voice, December 15, 2015.
What persists is an understated elegance and a sensitivity to gesture, color, and composition in fragmentary pictures: a silhouetted figure, a masked face, a veined arm. Presented in an oval format . . . the images might have been spied through a keyhole, and their Old Master allusiveness isn’t contradicted by the suggestion of dust and sweat.
New Yorker, review of Arne Svenson: The Workers at Julie Saul Gallery, 2015
Feehily has a very good eye, and knows how to make modesty feel major. And that, evidently, is plenty.
Martin Herbert, review of Fergus Feehily at Stuart Shave/Modern Art, Frieze (October 2011).
It is about the poetics of not knowing—about both mining and understanding the membrane between the known and the unknown. Glenn Kaino, in “Building Bridges: Glenn Kaino,” by Seth Hawkins, Artillery (May 2015).
February 23 – Richard Wentworth, a leading figure in British art since the 1970s, is in dialogue with curator and writer Gavin Morrison to mark the recent publication of Making Do and Getting By.
“As ephemeral as our footprints were in the sand along the river, so also were those moments of childhood caught in the photographs. And so will be our family itself, our marriage, the children who enriched it, and the love that has carried us through so much. All this will be gone. What we hope will remain are these pictures telling our brief story, but what will last, beyond all of it, is the place.” — Sally Mann, Hold Still: A Memoir with Photographs
A Special Lecture by Sally Mann
November 10 — lauren woods is a Dallas-based conceptual artist whose hybrid media projects — film, video and sound installations, public interventions, and site-specific work — engage history as a lens through which to view the sociopolitical nature of the present. Challenging the tradition of documentary/ethnography as objective, woods creates ethno-fictive documents that investigate invisible dynamics in society, remixing memory and imagining other possibilities.
November 3 — Valerie Hegarty is a Brooklyn-based artist who creates paintings, sculptures, and installations that often address themes of memory, place, and history. Her site-specific 2012 exhibition Alternative Histories, in which Hegarty “activated” the period rooms at the Brooklyn Museum, exemplifies her work. In an article on the show by Benjamin Sutton for Blouin Artinfo, the artist explained, “This is really setting a movie scene, the way you have to think about the framing in here, like framing a painting.