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.
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.
Michael Auping, the Modern’s Chief Curator, brings Declaring Space: Mark Rothko, Barnett Newman, Lucio Fontana, Yves Klein to Fort Worth. The works created by these artists had a dramatic effect on the complex development of space and color in abstract painting as it evolved in the years following World War II. For Tuesday Evenings Auping provides insight into these artists’ profound influence on a set of spatial themes evoked in abstract art in the latter half of the twentieth century, which led to the engagement of what Auping terms as “a new realm of abstract theater.”