The work of Brooklyn-based artist, Brian Donnelly, who makes his art under the moniker, "KAWS," is the subject of the first Focus exhibition for the coming 2011-2012 Season.
Ged Quinn’s paintings combine landscapes in the vein of Claude Lorrain with fragments of history, art history, and mythology. The works are awe-inspiring in their combination of painterly skills and provocative conceptual strains. In Quinn’s work, sublime backgrounds meet broken-down foregrounds, and at all turns utopian ideals are acknowledged and critiqued. Death, deceit, and decay are also dragged into the frame.
As an encore presentation to last winter’s exhibition, FOCUS: KAWS, which featured the work of Brooklyn-based artist KAWS (b. Brian Donnelly, 1974), the Modern is currently featuring the installation of the artist’s monumental sculpture, COMPANION (PASSING THROUGH), 2010. The work has been on view at the Modern’s entrance since September 9, 2012. Originally scheduled to leave on January 6, the installation at the Modern has been extended through March 31.
December 2012 is the 10th anniversary of the Modern Art Museum of Fort Worth’s building designed by Tadao Ando. The Modern will mark the anniversary with a series of new acquisitions on view this fall, culminating in a celebration gala and dinner on December 6, 2012.
Director Marla Price comments, “These are exciting additions to the Modern’s permanent collection. We are acquiring work by important new artists in several cases and increasing our holdings of works by Vernon Fisher, Dan Flavin, Howard Hodgkin, Sol LeWitt, Bruce Nauman, and Nicholas Nixon.”
New York-based artist Gary Simmons is known for his “erasure” technique, which he began using in the early 1990s. Initially creating semi-erased works with chalk on blackboards, the artist has evolved to works on paper, paint on canvas, and murals that mimic smudged chalk. The resulting blurred and ghostly images often refer to intersections of pop culture, race, and class.
British/Nigerian artist Yinka Shonibare MBE explores colonialism and the intricate ways in which it has shaped, and continues to shape, cultural identities. He is well known for his life-size sculptural tableaux featuring staged, headless mannequins dressed in elaborate period garments. In these works, the materials and designs of the original clothing are replaced with batik, a colorful and ornately patterned fabric.
The city provides the context for the visually packed work of San Francisco native Barry McGee. Since the mid-1980s, when McGee was a teenager, he has lived in the city’s oldest neighborhood, the Mission District. At that time, the Mission held a colorful, somewhat seedy, antiestablishment atmosphere with a thriving culture of youth, alternative musicians, artists, and thinkers. The vibe of the Mission influenced the artist early on, and he began to infiltrate the area’s flourishing graffiti boom with images that he created to reflect his surroundings.
Terry Haggerty draws on the vocabulary of abstract art to create his illusory paintings and large-scale wall works. The artist’s central motif is created by painting patterned lines that alternate a light and dark color, such as white and blue. When juxtaposed, these colors play off of each other, appearing to advance and recede (as seen in Kinetic Friction, 2009).
The exhibition presents a selection of works that span the past 10 years of the artist’s career, including his elaborately layered paintings and New York Times collages.
The Modern Art Museum of Fort Worth and the Nasher Sculpture Center, Dallas, present a joint exhibition of the work of artist David Bates on view February 9 through May 11, 2014. The exhibition is a retrospective of Bates’s work installed in both locations with an emphasis on painting in Fort Worth and sculpture and works on paper in Dallas. This is the first collaboration between the two museums. The exhibition is organized by Dr. Marla Price, director of the Modern, and Jeremy Strick, director of the Nasher.