Robert Wilhite is a California-based artist recognized for his innovative approach to sculpture for more than three decades. While Wilhite is a veteran of the West Coast art scene from the 1970s, he continues to challenge the boundaries of art with his formally beautiful and conceptually compelling performances, objects, installations, drawings, and paintings. For his recent exhibition The Bomb at the Barry Whistler Gallery in Dallas, Wilhite created a life-size, beautiful, and delicate but clearly ominous wooden replica of the atomic bomb known as “Fat Man.” He explained his approach to such content in an interview for the online publication The Daily Breeze: “I wanted it to look like it could blow away. Not heavy because the subject matter is so heavy.” Wilhite’s experiences, as well as the work he has produced through a patient and persistent practice, are the subjects of his Tuesday Evenings presentation, The art of the art.
Chief Curtor Michael Auping speaks on the work by Roxy Paine, for docent training.
Dean Byington, a San Francisco–based artist known for creating visually packed narrative landscape paintings with varied storylines rendered in the style of nineteenth-century illustrated books, presents the ideas and processes behind his mesmerizing work in a conversation with Curator of Education Terri Thornton. A self-described horror vacui enthusiast, Byington explains, “My intent is to insert as much information and as many layers into a painting as possible.” His intentions result in complex works, both large and small, that unfold as the viewer searches and studies the surfaces with great satisfaction if not absolute conclusions.
John Stoney, an artist splitting his time between Austin and New York, captures the enormity of the world we inhabit in his awe-inspiring sculptures and drawings that are obsessively conceived and meticulously made. Pervasive in Stoney’s work and concurrent with his level of craft is a subtle humor and irony that results from slight shifts of perspective through juxtaposition and scale in artworks that seduce the eye and incite the imagination. For Tuesday Evenings he shares such work and related ideas in his presentation Time and the Artist.
Amelia Jones, known for her scholarship in the areas of feminism and contemporary art, is Professor and Pilkington Chair in Art History and Visual Studies at the University of Manchester as well as an independent curator and writer. Most recently she published the 2006–07 book Self Image: Technology, Representation, and the Contemporary Subject and is co-author/co-editor of WomEnhouse, a Web project reexamining feminism and domesticity in contemporary culture. For Tuesday Evenings, Jones presents the provocative and pertinent Screen Eroticism 1967 vs. 1992: Exploration of Female Desire in the Work of Carolee Schneemann and Pipilotti Rist.
Joshua Mosley, who opens this year’s FOCUS exhibitions with his multimedia installation A Vue, 2004, has received much-deserved recognition with awards and exhibitions of note, such as the inclusion of his intriguing installation of film and sculpture titled Dread in the 52nd Venice Biennale. Joshua Mack, in his feature on the artist for Art Review, writes, “Joshua Mosley’s deceptively simple, visually stunning short animations are complex philosophical meditations on values and life in an incurious age.” This special Tuesday Evenings presentation provides insight into Mosley’s own work while setting the stage for the series of animated shorts he organized for the Modern, which begins March 12.
Katrina Moorhead is a Houston-based artist who was recently awarded the prestigious 2007 Arthouse Texas Prize and included in the group exhibition The Nature of Things, which represented Northern Ireland in the 2005 Venice Biennale. Moorhead is known for her obsessive artistic practice, in which humble materials are taken to poetic ends in spellbinding sculptures and installations, as seen in her 2007 solo exhibition, A Thing Called Early Blur at the Blaffer Gallery of the University of Houston. For Tuesday Evenings, Moorhead shares such works and the thoughts and experiences behind them.
Noah Simblist, a Dallas-based artist and writer, has made a significant mark on the Dallas–Fort Worth metroplex in the brief four years since he arrived from New York to teach painting at Southern Methodist University. Most recently he has organized a monumental undertaking, Collecting & Collectivity, which is a year-long program including a symposium, lectures, and an exhibition. Simblist’s art shows the same rigor as his scholarly and curatorial pursuits. Through methodically executed paintings, drawings, videos, text pieces, and sound installations, he surveys the politics of identity and the way it is manifested within formal investigation. Currently engaged with issues of the Israeli-Palestinian conflict, Simblist’s work questions “if there is any possibility left for political content in abstract form.”
Ingrid Calame, a Los Angeles–based artist, is known for her brightly colored, abstract paintings and drawings featuring complex configurations of traced stains and graffiti from the embankments of the Los Angeles River and the streets and sidewalks of New York, Las Vegas, and Seoul, Korea. Calame’s most recent body of work highlights the skid marks, Pit marks, and Victory Donuts she traced in 2006 at the Indianapolis Motor Speedway. In her Tuesday Evenings presentation Tracing up to the Indianapolis Motor Speedway, Calame discusses how her tracing projects—from the New York Stock Exchange, the Lowell Observatory in Flagstaff, Arizona, up to the Speedway—transform the ordinary into the extraordinary.