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).
México Inside Out: Themes in Art Since 1990 is one of the largest and most ambitious exhibitions in over a decade to examine contemporary art of central Mexico and Mexico City from the 1990s to the present day. Organized by curator Andrea Karnes, the exhibition is the first of its kind to be presented in North Texas.
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.
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.
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.”
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.
Lucian Freud is widely considered the greatest portrait painter of the twentieth century. His visceral renderings of people from all walks of life have a painterly and psychological drama that is unparalleled in contemporary art. For much of a century—from the late 1940s until his recent death in July 2011—Freud made the living human presence his subject.
The Modern maintains one of the foremost collections of modern and contemporary international art in the central United States. Various movements, themes, and styles are represented, including Abstract Expressionism, Color Field painting, Pop art, and Minimalism, as well as aspects of New Image Painting from the 1970s and beyond, recent developments in abstraction and figurative sculpture, and contemporary movements in photography, video, and digital imagery.
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.