R. H. Quaytman and Rhea Anastas

New York-based artist R. H. Quaytman and art historian Rhea Anastas recount the three-year run of Orchard, a Lower East Side gallery operated by a collective of artists, writers, and film and video makers in their presentation titled, May I Help You? A Short History of Orchard, 2005–2008 and a Spreadsheet. Quaytman and Anastas offer two perspectives on what happened when a strategic alliance of 12 artists was attempted, and when this diversity of artistic intentions, models, and values was made the basis of an exhibition, panel, and screening program. The project is discussed as one response to a complex period in art and culture in post-9/11 New York. In one of a series of articles on Orchard for the journal Grey Room, Branden W. Joseph wrote, “During that three-year period, the exhibitions, events, openings, screenings, discussions, and performances staged at the venue gradually became the locus and embodiment of a certain strain of critical artistic discourse. ...” While Quaytman and Anastas have successful, individual careers within their respective fields, this evenings presentation focuses on that “strain of critical artistic discourse” and the shared experience of Orchard.

Noah Simblist

Each Sunday throughout the run of Andy Warhol: The Last Decade, accomplished artist living and working in the Dallas/Fort Worth metroplex offer unique thoughts on the artist, his work, and his contributions as they put this special exhibition into context based on their own particular perspectives as artists.

Matthew Bourbon

Each Sunday throughout the run of Andy Warhol: The Last Decade, accomplished artist living and working in the Dallas/Fort Worth metroplex offer unique thoughts on the artist, his work, and his contributions as they put this special exhibition into context based on their own particular perspectives as artists.

Amy Blakemore

Amy Blakemore has been described as an artist who “takes photographs in order to explore the ways in which memory both records and transforms visual information.” (Amy Blakemore: Photographs 1988–2008, Museum of Fine Arts, Houston) Blakemore, trained in the documentary tradition, is known for her small-scale photographs that suggest random snapshots while evoking something personal and poetic, something that puzzles and lingers. For Tuesday Evenings, she presents the unassuming and unforgettable photographs for which she has received much deserved recognition and critical acclaim.

Linda Blackburn

Each Sunday throughout the run of Andy Warhol: The Last Decade, accomplished artist living and working in the Dallas/Fort Worth metroplex offer unique thoughts on the artist, his work, and his contributions as they put this special exhibition into context based on their own particular perspectives as artists.
Liam Gillick

Liam Gillick is an artist living and working in London and New York, and a lecturer at Columbia University, New York, as well as a writer and theorist. Gillick’s sculptures, installations, public projects, film scores, theoretical writing, design objects, and videos often center on social, economic, and political systems, and society's relationships and reactions to such structures. He has exhibited extensively worldwide, is closely associated with the relational aesthetics models of community, and was the artist presented at the German Pavilion during the 2009 Venice Biennale curated by Nicolaus Schafhausen. The selection of Gillick for the German Pavillion was carefully considered. Of his choice, Schafhausen wrote, “For me, as the curator it is important that Gillick understand art as a medium through which to observe contemporary life in its transformations and aporiae...” Gillick’s Tuesday Evenings presentation offers insight into his ideas and his diverse body of work that has contributed greatly to the discourse of the larger art world while encouraging intimate conversation and application among individual viewers, readers, and participants.

Dr. Michael Corris

Each Sunday throughout the run of Andy Warhol: The Last Decade, accomplished artist living and working in the Dallas/Fort Worth metroplex offer unique thoughts on the artist, his work, and his contributions as they put this special exhibition into context based on their own particular perspectives as artists.

John Smith

John Smith is a British filmmaker living and working in London, where he also teaches part-time as Professor of Fine Art at the University of London. Smith has received notoriety and praise for films that are strongly influenced by the Structural Materialist ideas that dominated British filmmaking during his formative years. Also fascinated by the immersive power of narrative and the spoken word, Smith has developed a body of work that deftly subverts the boundaries between documentary and fiction, representation and abstraction. Drawing on the raw material of everyday life, these meticulously crafted films rework and transform reality, playfully exploring and exposing the language of cinema. Described by Mark O’Pray of Art Monthly as, “One of the most talented filmmakers of the postwar generation,” Smith presents Real Fiction, a selection of his short films and presentation on the ideas that have shaped his art over the past four decades.

James Gilbert

Each Sunday throughout the run of Andy Warhol: The Last Decade, accomplished artist living and working in the Dallas/Fort Worth metroplex offer unique thoughts on the artist, his work, and his contributions as they put this special exhibition into context based on their own particular perspectives as artists.

Gabriel Acevedo Velarde

Peruvian-born artist Gabriel Acevedo Velarde recently embarked on a gradual move from Lima, Peru, to Mexico City to São Paolo, Brazil, and then to New York and Berlin. He uses experiences from his travels to inform his multimedia installations as featured in the Modern’s second FOCUS exhibition of 2010. Acevedo Velarde organizes his diverse artistic practice into projects that differ dramatically in terms of materials, technique, and presentation, but share an astute portrayal of the human condition, looking at the psychology of self-preservation within the precarious fragility of community and civilization. The artist touches on the driving force in his work with a description of one particular project, “The subject is a system that tries to keep standing despite its inner chaos, decadence, and most of all, its wild will for change.” For Tuesday Evenings, Acevedo Velarde discusses his methodology and the resulting performances, installations, films, and drawings that have been acknowledged for their elaborate preparation of seemingly simple forms that offer both humor and horror.

Pages