In conjunction with Glenn Ligon: America, a distinguished panel of scholars from various fields and art disciplines will discuss ideas presented in José Esteban Muñoz's 1996 book Disidentifications: Queers of Color and the Performance of Politics, described by the University of Minnesota Press as "an important perspective on the ways outsiders negotiate mainstream culture." As a member of the panel, Mr. Muñoz will share his personal insights and ideas along with fellow panelists: moderator, Noah Simblist, an artist, Southern Methodist University professor of Art who recently co-curated Queer States at the Visual Arts Center at the University of Texas, Austin; Annette Lawrence, an internationally recognized artist based in North Texas and assistant professor of painting and drawing at University of North Texas; Roberto Tejada, a poet, critic, curator, editor, and Southern Methodist University's Distinguished Endowed Chair of Art History; and Rose Pulliam of Allgo, a Texas support organization for queer people of color based in Austin. Join us for this unique opportunity on May 1, 2012, 7 to 8:30 pm in the Modern's auditorium. This program is free and open to the public, but tickets should be picked up at the information desk to assure seating.

 

Lucy Lippard is a distinguished writer, curator, editor, lecturer, and activist who has long been appreciated for her expansive scholarship and insight, having been one of the first to recognize the dematerialization of the work in art’s movement toward conceptualism as well as an early champion of feminist art. The author of 21 books, curator of 50 exhibitions, cofounder of Printed Matter Inc., the Heresies Collective, Political Art Documentation/Distribution, Artists Call Against U.S. Intervention in Central America, and other artists’ organizations, Lippard has received eight honorary doctorates in fine arts as well as numerous awards, including a Guggenheim Fellowship, the Frank Jewett Mather Award for Criticism, two National Endowment for the Arts grants in criticism, the Women’s  Caucus for Art (WCA) Lifetime Achievement Award, and the Bard College Award for Curatorial Excellence. Of Lippard’s book, The Lure of the Local: Senses of Place in a Multicentered Society, Thomas Hine wrote for the New York Times Book Review, “Lippard overwhelms us with the breadth of her reading and the comprehensiveness with which she considers the things that define place. . . . In its final section, The Lure of the Local is revealed as a sort of art book after all. Its intent is to explore the many things that those who make art or who make judgments about art should think about when they consider art that seeks to be ‘contextual,’ ‘site-specific,’ or ‘place making’.” Lippard’s most recent book is Down Country: The Tano of the Galisteo Basin 1250–1782, for which she received the Caroline Bancroft History Prize from the Denver Public Library.

For Tuesday Evenings, Lippard presents Undermining, touching on photography, the new West, development, water, and land art, as she discusses pits and erections (gravel pits and skyscrapers), and more.

Gary Rough is a Scottish conceptual artist based in New York who represented his homeland in the 2003 Venice Biennale. As described in the press release for a recent solo show at numberthirtyfive gallery, New York, Rough “has cast himself as the antihero in his own dystopian novel.” Rough scrupulously labors to report upon the fragility, pathos, and beauty of the human condition, evoking the romantic, mundane, bleak, and intimate in paintings, sculpture, text, T-shirts, site-specific installations, and more with work that appears to be cobbled together in a deceptively hurried and craftless manner. It is no surprise that Rough was attracted to Kurt Vonnegut’s character Rabo Karabekian, the fictional and failed Abstract Expressionist painter whose paintings faded and disappeared from their canvases in Bluebeard due to a combination of stupidity and bad luck. After working with the author, in 2007, the year of Vonnegut’s death, Rough recreated and showed Karabekian’s “Sateen-Dura Luxe” paintings, at Fergus McCaffrey Fine Art, New York, based on Vonnegut’s descriptions of them in the book. This exercise, and the remarkable resulting paintings, brought Rough critical acclaim and an intriguing relationship with Vonnegut and his widow. Rough continues to explore the ordinary and often pathetic experiences and conditions of life on earth with tenderness and extraordinary astuteness. For Tuesday Evenings, he shares the insights and revelations of his career thus far.

Sundays with the Modern offers unique perspectives on the Museum’s architecture, permanent collection, and special exhibitions. Artists, art historians, critics, writers, and architects hold conversations and lead tours in the galleries.

Andrea Fraser is an artist currently based in Los Angeles, California, where she is a professor at UCLA in the department of art. She also serves as visiting faculty for the Whitney Independent Study Program in New York. Fraser has used performance, video, and a range of other media to explore the motivations that drive artists, collectors, art dealers, corporate sponsors, museum trustees, and museum visitors from the pursuit of prestige to that of financial investment, to sexual fantasy and self-realization. Working since the mid-1980s, Fraser has built on the site-specific and research-based approaches that emerged with conceptualism, combining them with feminist investigations of subjectivity and desire. Her methods are rooted in the psychoanalytic principle that one can only engage structures and relationships through the immediacy of performance. In addition, Fraser also writes about her observations and experiences in art and life. Moved by a personal and immediate engagement with Fred Sandback’s work at Dia: Beacon in 2004, she wrote the essay, “Why does Fred Sandback’s Work Make Me Cry.” For Tuesday Evenings, Fraser presents and discusses this moving essay that explores the psychological and emotional aspects of our relationship with art and museums.

Brooklyn-based artist Byron Kim is known for his monochrome paintings, born out of representation, that seemingly challenge their relationship to abstraction. Faye Hirsch describes his work in an interview with the artist for Art in America, “You see subtle variations of color within the fields. Recalling paintings by midcentury modernists like Rothko and Reinhardt, they feel like pure abstraction, but as always with Kim, have profound ties to the world.” Recognized in the early 1990s for Synecdoche, a grouping of hundreds of small monochrome paintings based on skin tones that was included in the 1993 Whitney Biennial, Kim collaborated that same year with friend and fellow artist Glenn Ligon on the painting Black and White, which exploits the notion of “flesh tone” as a color. Kim has since moved to meditations on the sky with his ongoing Sunday Paintings (a series begun in 2001). These small and stunning presentations of the daytime sky are immediately personal, with notations from mundane to profound, that mark the moment they represent written across their surfaces while at the same time thoughtfully reference the historical Today Series by On Kawara. Kim’s devotion to his paintings and their subjects has brought him critical acclaim; he has received numerous awards, including the Alpert Award in the Arts, UCROSS, and the Joan Mitchell Foundation Grant. His work has been the subject of numerous solo and group exhibitions throughout the United States and abroad, including Korea, Poland, Spain, the United Kingdom, Germany, and Canada.

For Tuesday Evenings, Kim presents the ideas and experiences that have formed his work.

Jill Magid, a New York-based artist and writer, seeks platforms for working inside and outside of institutions, responding to their imposition, negotiation, and at times, capitulation of power. For Magid, this power is not a remote condition to contest, but rather something to manipulate by drawing it closer, exploiting its loopholes, engaging it in dialogue, seducing its agents, revealing its sources, infiltrating its structure, and repeating its logic. As an artist and writer, Magid is fascinated by the topics of hidden information; being public as a condition for existence; and intimacy in relation to power. With solo exhibitions at institutions around the world, including Tate Modern, London; Whitney Museum of American Art, New York; Berkeley Museum of Art, California; Tate Liverpool; the Stedelijk Museum Bureau Amsterdam; Yvon Lambert, Paris and New York; Gagosian Gallery, New York; the Centre d’Art Santa Mònica, Barcelona; and at the Security and Intelligence Agency of the Netherlands, Magid has been recognized with awards such as the Basis Stipendium from Fonds Voor Beeldende Kunsten in the Netherlands and the Netherland-America Foundation Fulbright Fellowship. She is also the author of four books, including Becoming Tarden, which opens with, “The secret itself is much more beautiful than its revelation.” In accordance with Magid’s proclivity for intrigue, this book is as mysterious as the project it is associated with, which included the book being edited, censored, and its contents confiscated by the Dutch Secret Service, and a one-time-only exhibition of the novel at Tate Modern last fall.

For Tuesday Evenings, Magid presents Jill Magid: Embedded, a survey of the artist’s career with insights into her strange and thrilling experiences and endeavors as an artist, including her next project, Failed States, at Arthouse and AMOA in Austin, which is also the subject of Magid’s fourth and upcoming book by the same title.

For more information about Jill Magid, visit www.jillmagid.net.

Sundays with the Modern offers unique perspectives on the Museum’s architecture, permanent collection, and special exhibitions. Artists, art historians, critics, writers, and architects hold conversations and lead tours in the galleries.

Katie Paterson is a young British artist receiving a great deal of attention as a cross-medium, multidisciplinary, and conceptually driven artist who focuses on nature, ecology, geology, and cosmology in her work, using her skill and knowledge as an artist together with her limitless curiosity and tireless research to probe matters often left to science. Her devotion and hard work have been rewarded. Paterson recently held the 2010–2011 John Florent Stone Fellowship at Edinburgh College of Art and the 2010–2011 Leverhulme Artist in Residence in the Astrophysics Group at the University College London, as well as recently being named one of four “Best New Artists in Britain” by The Observer of London. In addition, in 2008 she was the recipient of the first annual Creative 30 Award. With work that literally explores the universe and presents its various phenomena, Paterson has been acknowledged and championed by fellow British artist Cornelia Parker in a 2010 article for The Guardian as, “original, engaging, and expansive. She makes us realize how inconsequential we are in relation to the universe.” Described in the same article as, “a romantic . . . with the patience, curiosity, and technical persistence of a scientist,” Paterson first came to public attention with a solo show at Modern Art Oxford in 2008, a year after graduating from the Slade School of Fine Art in London. She has since shown in group and solo exhibitions from London to Seoul, Korea to Venice, where in 2011 she presented the unique and fascinating project 100 Billion Suns during the Venice Biennale.

For Tuesday Evenings, Paterson shares her experiences and ideas as an artist, offering special insight into her work featured in the Modern’s FOCUS: Katie Paterson, as well as what to look forward to from her growing career. 

Tim Rollins is an artist, activist, and teacher based in South Bronx, New York, who is known for what might be understood as “art activism,” and specifically his collaborative work with a group of at-risk students who call themselves Kids of Survival (K.O.S.). Beginning his career in 1980 as cofounder of Group Material—a collective of young New York artists pooling resources to launch exhibitions that address social themes—Rollins laid the ground work for what has become an art-world phenomenon known as Tim Rollins and K.O.S. Moving from traditional student/teacher interactions to a respected fine art collaborative practice, Tim Rollins and K.O.S. is represented by Lehman Maupin gallery in New York and shows internationally, with an exhibition history that includes two Whitney Biennials, the 1988 Venice Biennale, Carnegie International, as well as Documenta 8.  After showing at the Museum für Gegenwartskunst in Basel, Switzerland, more than 20 years ago, Tim Rollins and K.O.S. present new works in a major survey exhibition in Basel entitled On Transfiguration, on view January 21 through April 15, 2012. “With Rollins’s guidance, these students are producing artwork of a remarkable sophistication, which refuses to conform to known categories but alternates between the literary and the visual, the modern and the naïve. Rollins’s teaching approach is at once classic and iconoclastic, for he uses significant works of literature as the basis for a visual statement. The result is a multilevel collaboration: among the students, between teacher and student, between the group and the authors whose books they choose.” Roberta Smith, New York Times. This Tuesday Evenings presentation, Art and the Beloved Community, offers a special opportunity to hear from Rollins on the history, experiences, and initiatives of this extraordinary group.

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