William Lamson is a Brooklyn-based artist recognized for an inventive body of work that, as described on National Public Radio, uses “inexpensive materials and simple structures” to create “visuals that are mesmerizing and, in a word, playful.” Addressing issues of masculinity, amateurism, science, play, and the quixotic quest for personal heroism, Lamson speaks to the spirit of ingenuity in sculptures, photographs, and performances that broaden horizons and entertain the imagination. For Tuesday Evenings, Lamson presents what he describes as his “arduous endeavors that offer the perpetual hope of transcendence, however flawed the undertaking may be.”
Susan Rothenberg is in conversation with Michael Auping. Prior to the opening of the exhibition Susan Rothenberg: Moving in Place, the artist and curator of the exhibition discuss the development of Rothenberg’s imagery, from the ground-breaking early horse paintings of the mid-1970s to her fragmented and spinning self-portraits. The artist will also discuss the influence of her move from New York to New Mexico in 1990 and the effect of that landscape/environment on her palette as well as the suggestion of narrative in her subsequent work.
Wellington Reiter, FAIA, is currently the President of the School of the Art Institute of Chicago. Reiter’s professional practice is Urban Instruments, Inc., and his work ranges from drawings to museum installations and built structures. His projects include the Wright Brothers monument in Raleigh-Durham, North Carolina, and the entry pavilion to the DeCordova Museum and Sculpture Park in Lincoln, Massachusetts. His drawings of speculative urban conditions were included in the 2008 Venice Biennale for Architecture. Here as a juror in conjunction with the Fort Worth’s AIA annual competition, for Tuesday Evenings Reiter presents his work and ideas on architecture.
Gardar Eide Einarsson is the artist featured in the Modern’s first FOCUS exhibition of the 2009–2010 season, which opens December 13. This Tuesday Evening presentation offers insight into work described in the 2008 Whitney Biennial exhibition catalogue as, “Investigations into various forms of social transgression and arguments for political subversion.” Einarsson’s text-based works, coupled with graphics from various subcultures and other installation elements, evoke cerebral and visceral readings based on complex associations and what the artist calls a “new take on Minimalism,” in which he investigates the viewer’s physical relationship with the art.
Stephen Lapthisophon is an artist and educator living and working in Dallas. A student of art history, comparative literature and theory, poetry, film and the sensory world, Lapthisophon’s work varies in form from found objects to images, installations, performances, and sound. His work has been described as “layers of meanings, allusions, and associations.” (Kathryn Hixson, Frieze) For Tuesday Evenings, Lapthisophon presents his work as it confronts and demonstrates means of communication through art.
Wayne White is a Los Angeles-based artist. Having begun his career as a production designer for Pee-Wee’s Playhouse, White is now recognized for his clever and beautifully rendered text paintings. As a wordsmith and draftsman extraordinaire, White juxtaposes irreverent and humorous phrases with the pastoral scenes of existing thrift-store paintings to create something all together new and always compelling. Tuesday Evenings focuses on the work featured in the recently published monograph, Maybe Now I’ll Get The Respect I So Richly Deserve, which is a comprehensive view of White’s 30-plus-year career.
Museum docents speak on the artwork of Donald Judd and Martin Puryear.
Museum docents speak about the influence of the West on certain works in the Permanent Collection.
Rosson Crow is an artist living and working in Los Angeles. Crow’s large-scale, raucous paintings have been described as “inspired by diverse references—Baroque and Rococo interior design, cowboy culture, Las Vegas architecture, theatre, and music—their dominant scale pulling the viewer into the psychological space of the spectacle. These paintings oscillate between celebration and desolation.” This Tuesday Evenings presentation serves to set up the Modern’s FOCUS: Rosson Crow, which opens the following weekend.
March 24, 2009
Donald Sultan is one of the leading American contemporary still life artists, known for his large–scale, “catastrophic-event” paintings that incorporate nontraditional materials such as Dead Plant, November 1, 1988, as well as his sensuous charcoal drawings of iconic presentations and abstract depictions of fruit such as Black Lemons, May 20, 1985, both in the Modern’s collection. For this Tuesday Evenings presentation, Sultan shares details of his 30-year career as found in the recently published monograph, Donald Sultan: The Theater of the Object.