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

Arne Svenson is a New York-based artist whose work has led him down numerous and varied paths of visual exploration, from landscape photographs of Las Vegas to portraits of sock monkeys, forensic facial reconstructions, and medical museum specimens. The Modern recently acquired three works from Svenson’s significant Neighbors series: Neighbors #38, Neighbors #44, and Neighbors #52. First and foremost in Svenson's practice is to seek out the inner life, the essence, of his subjects, whether they be human, inanimate, or something in between. He uses his camera as a reporter uses text, to create a narrative that facilitates the understanding of that which may lie hidden or obscured. This narrative, at times only a whisper or suggestion, weaves throughout his diverse body of work. He is currently working on a series shot in Sweden, The Forest, which explores the dichotomous relationship between photography and painting, the "sweet-spot" where perceived reality and fiction meet.

For Tuesday Evenings, Arne Svenson shares work and ideas from throughout his career, including his most recent endeavors.

Arne Svenson was born in 1952 in Santa Monica, California. His photographs have been shown extensively in the United States and Europe and are included in numerous public and private collections, including the Modern Art Museum of Fort Worth, San Francisco Museum of Modern Art, and the Carnegie Museum of Art. Self-taught, with an educational and vocational background in special education, Svenson is the author/photographer of many books, including Prisoners, Sock Monkeys (200 out of 1,863) with Ron Warren, The Neighbors, and the upcoming Unspeaking Likeness. His most recent exhibitions are The Workers at the Julie Saul Gallery in New York, 2015, and The Neighbors at the Museum of Contemporary Art, Denver, 2016.

A video recording of this lectures will be available on the Modern's Youtube

Curator of Education, Terri Thornton's blog post following this lecture.

Pensato’s stark colors, economy of form, and distortion still leave her prototypes recognizable, though their features are often hollow and masklike. Her versions of these characters are pushed to the point of being tragicomic clowns, analyzing American notions of physical beauty and the dark underbelly of American culture.                                                                                            
Alison Hearst, Assistant Curator, Modern Art Museum of Fort Worth, FOCUS: Joyce Pensato

Joyce Pensato is a Brooklyn-based artist whose paintings are readily recognized for their iconic subjects and bold presentation. Since the mid-1970s she has referenced and critiqued American popular culture, suggesting the influence of Pop Art while pointing to Abstract Expressionism through large, physical, drippy paintings of cartoon and comic characters such as Felix the Cat, Mickey Mouse, and Homer Simpson. Attending the New York Studio School in the 1970s, Pensato found her signature style and subject matter early in her career, merging a drawing-heavy, expressive markmaking-focused education with the pop culture figures that fascinated her in their form and content - such as the powerful image of Batman, with his ominous and formally striking mask. 

For Tuesday Evenings at the Modern, Joyce Pensato presents a personal look at her career, sharing important influences from the art world and pop culture.

Joyce Pensato was born in 1941 in Brooklyn, New York, and attended the New York Studio School. She continues to live and work in Brooklyn. Pensato has exhibited widely, both nationally and internationally, including her 2013 solo exhibition at the Santa Monica Museum of Art, California, which traveled to the Contemporary Art Museum St. Louis, Missouri. Her work has been featured in many group exhibitions at such venues as the High Museum of Art, Atlanta; Centre Pompidou, Paris; Speed Art Museum, Louisville, Kentucky; Uferhallen, Berlin; Galeries Nationales du Grand Palais, Paris; and the San Francisco Museum of Modern Art. Pensato’s work is in the collections of many institutions, including The Museum of Modern Art, New York; Whitney Museum of American Art, New York; Hammer Museum, Los Angeles; Centre Pompidou, Paris; and the San Francisco Museum of Modern Art.

A video recording of this lectures will be available on the Modern's Youtube

Curator of Education, Terri Thornton's blog post following this lecture.

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).

Fergus Feehily is a Berlin- and Helsinki-based artist known for works that present as unassuming in scale, content, and fabrication, but with time and close examination reveal a quiet yet enormous power. While clearly aware of his Post-Minimalist heritage, Feehily is too in touch with the moment of making to be consciously beholden to his predecessors. Feehily’s own push and pull between permanence and impermanence, the deliberate and the accidental, finished and unfinished creates an unidentifiable but exhilarating anxiety that the artist uses to engage the viewer. As described by Martin Herbert in a review for Frieze magazine, “There’s an appealing sense of these works as waiting, each inlaid with their handful of concealed quirks. . . . What strikes you is the operation of a consistent if slightly unpredictable sensibility: these are paintings that feel to have been rigorously tuned, arrested when they’re no longer austere and not yet busy.”

For Tuesday Evenings at the Modern, Fergus Feehily shares the ideas that have determined his career as an intriguing and significant contemporary artist.

Fergus Feehily was born in 1968 in Dublin and lives and works in Berlin and Helsinki. Solo exhibitions include presentations at Capital, San Fransisco, 2015; The Suburban, Milwaukee, 2015; Misako & Rosen, Tokyo, 2013 and 2010; Douglas Hyde Gallery, Dublin, 2012 and 2009; Stuart Shave/Modern Art, London, 2011; Dallas Museum of Art, 2011; Galerie Christian Lethert, Cologne, 2010; and Neuer Aachener Kunstverein, Aachen, 2008. His work has also been shown in numerous group exhibitions, including Why not live for Art? II - 9 collectors reveal their treasures, Tokyo Opera City Art Gallery, 2013; Painter Painter, Walker Art Center, Minneapolis, 2013; Changing States: Contemporary Irish Art & Francis Bacon’s Studio, BOZAR, Center for Fine Arts, Brussels, 2013; Painting Expanded, Tanya Bonakdar Gallery, New York, 2011; and Twenty, Irish Museum of Modern Art, Dublin, 2011. Feehily’s work is included in the collections of the Dallas Museum of Art and the Irish Museum of Modern Art, Dublin. He is currently Professor in Painting at the Academy of Fine Arts, Helsinki.

Curator of Education, Terri Thornton's blog post following this lecture.
A video recording of this lectures will be available on the Modern's Youtube

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.

I find cigarette packets folded up under table legs more monumental than a Henry Moore. Five reasons. Firstly the scale. Secondly, the fingertip manipulation. Thirdly, modesty of both gesture and material. Fourth, its absurdity and fifth, the fact that it works. Richard Wentworth, “Losing Battles: A Conversation between Richard Wentworth and Stuart Morgan, May 1984,” in Richard Wentworth (Lisson Gallery: London, 1984)

Wentworth’s Making Do and Getting By celebrates his photographic series of the same name. Published by Koenig Books, in association with Peter Freeman, Inc. and Lisson Gallery, the book investigates processes of perception and communication. Beyond this, it documents an excess - a creativity beyond necessary functionality, something transformative that lurks below the surface intention in acts of ordering and repair. In this ongoing series of photographs taken on his daily trajectories, Wentworth frames the art of the human hand with a light and witty touch.

For Tuesday Evenings at the Modern, friends Morrison and Wentworth take this special opportunity to consider the practice of making images and making books.

Richard Wentworth lives and works in London. Major solo presentations include Bold Tendencies, London, 2015; Black Maria, with Gruppe, London, 2013; Whitechapel Gallery, London, 2010; 52nd Venice Biennale, 2009; Tate Liverpool, 2005; Artangel, London, 2002; Bonner Kunstverein, Bonn, 1998; Stedelijk Museum, Amsterdam, 1994; and Serpentine Gallery, London, 1993.

Gavin Morrison is a curator and writer based in Marseille, France, and Scotland. He is currently the Artistic Director of Skaftfell, Center of Visual Art in East Iceland, as well a director of the curatorial and publishing initiative Atopia Projects. From 2007 to 2009, Morrison was the inaugural curator of Fort Worth Contemporary Arts.

Curator of Education, Terri Thornton's blog post following this lecture.
A video recording of this lectures will be available on the Modern's Youtube

“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

Sally Mann, one of America’s most renowned photographers, recently released her much-anticipated memoir Hold Still (Little, Brown and Company) to high acclaim. Patricia Wall of the New York Times compares Mann with none other than Walker Evans, stating, “I held Evans’s writing in mind while reading Hold Still, the photographer Sally Mann’s weird, intense and uncommonly beautiful new memoir. Ms. Mann has got Evans’s gift for fine and offbeat declaration.” Wall closes her review with, “The best quality of Hold Still — a book that strikes me as an instant classic among Southern memoirs of the last 50 years — is its ambient sense of an original, come-as-you-are life that has been well lived and well observed. It’s a book that dials open the aperture on your own senses. Like the photographs she most admires, it is rooted in particulars yet has ‘some rudiment of the eternal in it.’”

For this special presentation, artist Sally Mann reads from Hold Still: A Memoir with Photographs.

A video recording of this lectures will be available on the Modern's Youtube

Sundays with the Modern offers unique perspectives on special exhibitions, with artists, curators, art historians, and writers holding conversations in the galleries. This special program is free and begins at 1 pm on the first Sunday of selected months.

 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. She also explores how traditional monument-making can be translated into new contemporary models of commemoration, substituting the traditional marble and granite for new media. In 2013, woods unveiled Drinking Fountain #1, a new media monument to the American Civil Rights Movement, past and present activists/organizers, and the spirit of resistance, installed underneath the remnants of a recently rediscovered Jim Crow “White only” sign in the Dallas County Records Building. Part sculpture, part intervention, the piece is part of the larger public artwork A Dallas Drinking Fountain Project. Having shown internationally throughout her career, woods’s most recent solo exhibition at Zhulong Gallery in Dallas continued her exploration of subject and object through the lens of color with multichannel video and sound interventions that envelope the viewer.

For this Tuesday Evenings presentation, lauren woods shares the work and ideas that have formed her practice.

A video recording of this lectures will be available on the Modern's Youtube

Sundays with the Modern offers unique perspectives on special exhibitions, with artists, curators, art historians, and writers holding conversations in the galleries. This special program is free and begins at 1 pm on the first Sunday of selected months.

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. I wanted it to be really painterly against all this formal stuff.” The exhibition’s curator, Eugenie Tsai, elaborated: “One of our great concerns is manifest destiny, so she’s referring to colonization, and the way that nature was destroyed through the building of towns, the settling of the land, and the displacement of indigenous people. And so in some ways she is showing revenge. I think it’s more a reference to nature displaced, and natural forces displaced.”

For Tuesday Evenings at the Modern, Valerie Hegarty shares her work and experiences in “Valerie Hegarty: Reverse Archeology, the Creation of Decay and Other Uncanny Transformations.”

Curator of Education, Terri Thornton's blog post following this lecture.
A video recording of this lectures will be available on the Modern's Youtube

Charles Gaines, a pioneer of conceptualism and a highly influential educator, is an established Los Angeles-based artist and longstanding professor at California Institute of the Arts. Celebrated for his photographs, drawings, and works on paper, Gaines investigates how rule-based procedures produce order and meaning. As described by the Hammer Museum in conjunction with the recent exhibition Charles Gaines: Gridwork 1974–1989, the artist’s early groundbreaking work “serves as a critical bridge between the first generation conceptualists of the 1960s and 1970s and those artists of later generations exploring the limits of subjectivity and language.” Currently represented in the 56th International Art Exhibition of this year’s Venice Biennale by Librettos, a new series that brings together the score of the opera La Vida Breve by Spanish composer Manuel de Falla and a speech from 1964 by Black Panther Party member Stokely Carmichael, and Sound Text, a multipart series incorporating drawings on paper that lead to a performance by a seven-piece ensemble, Gaines continually produces ambitious and compelling work that is as challenging as it is inviting.

For this Tuesday Evenings lecture, artist Charles Gaines shares ideas that have informed his long and influential career.

Curator of Education, Terri Thornton's blog post following this lecture.
A video recording of this lectures will be available on the Modern's Youtube

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