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

Randy Brown, FAIA, is a recognized architect whose expertise falls into three types of projects: cultural, dwelling, and identity. Awarded sixteen AIA National Awards and regularly featured in major architecture journals and publications, the guiding principles and character of Randy Brown Architects are reflected in the firm’s inclusion in the 2012 publication by Damir Sinovcic, 50 US Architects: Residential + Planning, a curated collection of award-winning residential and master planning work from leading American designers whose meticulously detailed and site-specific projects focus on sustainability, technology, and the human spirit.

In conjunction with the 2015 Fort Worth AIA Design Awards, Brown presents the ideas and work of Randy Brown Architects, based in Omaha, Nebraska, and known for an approach to architecture that meshes modern design with an appreciation for the land and lifestyle of its region.

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

Nicolas Bourriaud (b. 1965) is a French curator, writer, art critic, and author of theoretical essays on contemporary art.  Bourriaud was the Gulbenkian curator of contemporary art at Tate Britain, London, where he curated The Tate Triennial: Altermodern (2009). He co-founded and was co-director of the Palais de Tokyo, Paris, from 1999 to 2006. He founded the contemporary art magazine Documents sur l'art, of which he was director from 1992 to 2000, and worked as a Parisian correspondent for Flash Art from 1987 to 1995. His writings have been translated into over 15 languages, and his publications include Radicant (Sternberg Press/Merve Verlag, New York/Berlin, 2009), Postproduction (Lukas & Sternberg, New York, 2002, English edition, Les presses du reel, Dijon, 2004, French edition), Formes de vie. L’art moderne et l’invention de soi (Editions Denoël, Paris, 1999), and Relational Aesthetics(Les presses du réel, 1998, French edition, English edition, 2002).

Bourriaud will be giving a lecture at the Modern on his recent work, Politics of the Anthropocene. Humans, Things and Reification in Contemporary Art.

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