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.
David Bates is a Dallas-based artist known predominantly for his expressively rendered paintings and sculptures of landscapes, people, and objects derived from personal experience to portray universal and timeless themes, such as the compelling relationship between man and nature. Bates’ work has a broad and devoted following thanks to what Justin Spring describes as a “combination of sophistication, soulfulness, and accessibility,” in the newly released book David Bates, published by the Modern. The comprehensive and beautifully designed monograph is the basis of this Tuesday Evening lecture, as the artist shares the developments and discoveries of his notable career.
Callum Innes, an artist living and working in Edinburgh, Scotland, is known for his meditative process of applying and removing paint until he achieves the perfect balance of give-and-take in his monochrome works. Short-listed for the 1995 Turner Prize and similarly recognized throughout his career, Innes’s paintings are pure in their approach while complex in their effect. The Modern’s collection includes Exposed Painting: Mars Black, 2002, part of a series for which Innes has become known. For Tuesday Evenings Innes presents his entire body of serene and enigmatic paintings.