What is a word for collaboration between material will and human intention that implies generation rather than decay?
Martha Tuttle, artist statement

Martha Tuttle is a New York-based artist whose solo debut, Martha Tuttle: Metaxu, at Tilton Gallery in New York, brought her most recent body of work critical attention, with David Ebony describing it as “understated and graceful” in his “Top 10 New York Gallery Shows This Winter.” Cait Munro reviewed the show for artnet news, writing, “While mass production and digitization continue to dominate the contemporary art conversation, 26-year old Martha Tuttle . . . is doing something refreshingly measured and tactile.” As the daughter of poet Mei-mei Berssenbrugge and artist Richard Tuttle, and having spent a great deal of her childhood in New Mexico, Martha Tuttle has an affinity for natural materials and meditative processes. She rigorously dyes, rubs, folds, weaves, and beats her materials, which include silk, wool, paper, hematite, woad, indigo, and logwood, into her luminous abstract wall reliefs that are clearly cared into being. Quoted in Munro’s review, Tuttle comments, “It’s important to me to be able to touch every part of something that I make. I find that if I spend a long time with something, it heightens that relationship that I have with it.”

For Tuesday Evenings, Martha Tuttle shares her thoughts and experiences in the making of her work. 

Martha Tuttle was born in Santa Fe, New Mexico, in 1989. She graduated from Bard College in 2011 and received her MFA in Painting and Printmaking from The Yale School of Art in 2015. She has held residencies at the New Mexico School of Poetics in Ojo Caliente in 2012, and in Grinnell, Iowa, in 2011. She received a Josef Albers Foundation Travelling Fellowship, as well as the Donald C. Gallup Research Fellowship from the Beinecke Rare Books and Manuscript Library, Yale University, in 2014. She has exhibited her work in group shows throughout the US and Europe, and recently had her first solo exhibition in New York. She currently lives and works in New York.

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

Frank Stella, artist featured in Frank Stella: A Retrospective, in conversation with Modern Chief Curator Michael Auping

Over a 40-year career as a curator, I’ve interviewed hundreds of artists, each of them different and challenging in their own ways. However, “different” and “challenging” don’t begin to describe Frank Stella. Words like obsessed, relentlessly deductive, argumentative, self-critical, and “Malden, Massachusetts tough” (his birth place) come to mind; as do well-mannered, and well-educated (Andover and Princeton). . . . At nearly 80 years of age, Stella still seems one step ahead of the game, remaining the hyper, complex personality and deconstructionist of abstraction that brought him to international attention in the late 1950s. Michael Auping, “The Un-secret World of Frank Stella,” Voices in Contemporary Art (November 2015). 

Frank Stella and the Modern’s chief curator, Michael Auping, are in conversation as we anticipate the opening of Frank Stella: A Retrospective on Sunday, April 17. Auping, the curator and co-organizer of the exhibition, and Stella have spent several years contemplating and discussing the work and ideas behind an exhibition that spans the artist’s entire career, which began strong in 1959 at the age of 23, straight out of Princeton, with the now-historic Black Paintings and has never rested or settled as Stella continues to address the issues of painting today.

As Deborah Solomon queried for the New York Times, as a preview to the exhibition’s opening at the Whitney Museum of American Art last fall, “What does it mean that Frank Stella, 79, the champion of abstract art, has been tapped for the inaugural retrospective at the new building?” After a few proposals, Solomon goes on to ultimately answer her own question with, “Mr. Stella has done more than any other living artist to carry abstract art, the house style of modernism, into the postmodern era.”

For Tuesday Evenings, Michael Auping and Frank Stella address the forthrightness, diligence, shifts, and allegiances of the artist’s impressive career as reflected in Frank Stella: A Retrospective.

Frank Stella (b. 1936) is one of the most important living American artists. Since his first solo gallery exhibition at Leo Castelli Gallery in 1960, Stella has exhibited widely throughout the US and abroad. Early in his career, his work was included in a number of significant exhibitions that defined the art of the postwar era, including Sixteen Americans, The Museum of Modern Art, New York, 1959; Geometric Abstraction, Whitney Museum of American Art, New York, 1962; The Shaped Canvas, Solomon R. Guggenheim Museum, New York, 1964–65; Systemic Painting, Solomon R. Guggenheim Museum, New York, 1966; Documenta 4, Kassel, 1968; and Structure of Color, Whitney Museum of American Art, New York, 1971. He has  received many awards and honors, including First Prize at the International Biennial Exhibition of Paintings in Tokyo (1967); Orde des Arts et des Lettres from the French Government (1989); Gold Medal for Graphic Art Award from the American Academy of Arts and Letters in New York (1998), and the National Medal of Arts (2010). Frank Stella: A Retrospective is organized by Michael Auping, Chief Curator, Modern Art Museum of Fort Worth, in association with Adam D. Weinberg, Alice Pratt Brown Director, Whitney Museum of American Art, New York.

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

Minus the gold leaf, they function like pictures with pronounced textual elements — in other words, illustrated manuscripts for the 21st century.
Christian Viveros-Fauné, “Fernando Bryce, One-of-a Kind Copyist, On View in Chelsea,” Village Voice, December 15, 2015.

Fernando Bryce is a New York- and Lima-based artist, renowned in his home country of Peru and recognized internationally for his “mimetic analysis,” in which he culls archives for print materials such as advertisements, newspaper articles, and propaganda pamphlets in order to faithfully reproduce a carefully chosen selection for his own ink-on-paper “reconstructions.”

Bryce’s most recent exhibition, at Alexander and Bonin in New York this past fall, addressed the discourse of universal values during the 1940s and 1950s with three major works: The Book of Needs, Arte Nuevo, and ARTnews 1944–1947. He chronicled the changing international climate at the end of World War II and the beginning of the Cold War and surveyed media representation of the subsequent cultural shifts. Art historian Andrea Giunta writes for the exhibition, “Through his method of mimetic analysis, [Bryce] reproduces and renews the archive he has compiled around this system of representations that drew a triangle between Paris, New York and Buenos Aires. The meticulous copying of the original gives new life to the written word and to everything these texts and images condensed. . . . By bringing this archive into the present he clearly goes beyond a simple archeology of the past.”

For Tuesday Evenings, Fernando Bryce shares his scrupulous and deliberated approach to artmaking that produces such ambitious works. 

Fernando Bryce (b. 1965 Lima) currently lives and works in Lima and New York. In 2011, a major survey of his work, Drawing Modern History, was organized by the Museo de Arte de Lima (MALI) and traveled to Museo Universitario de Arte Contemporáneo (MUAC), Mexico City, and Museo de Arte Latinoamericano de Buenos Aires (MALBA). His work has been exhibited internationally, including at Manifesta 4, Frankfurt am Main, 2002; 8th International Istanbul Biennial, 2003; 26th Biennial of São Paulo, 2004; 54th Carnegie International, Pittsburgh, 2005; T1: The Pantagruel Syndrome, Castello di Rivoli, Turin, 2006; and the 11th Biennale de Lyon, 2011.

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

What persists is an understated elegance and a sensitivity to gesture, color, and composition in fragmentary pictures: a silhouetted figure, a masked face, a veined arm. Presented in an oval format . . . the images might have been spied through a keyhole, and their Old Master allusiveness isn’t contradicted by the suggestion of dust and sweat.
New Yorker
, review of Arne Svenson: The Workers at Julie Saul Gallery, 2015

Arne Svenson is a New York-based artist whose work has led him down numerous and varied paths of visual exploration, from landscape photographs of Las Vegas to portraits of sock monkeys, forensic facial reconstructions, and medical museum specimens. The Modern recently acquired three works from Svenson’s significant Neighbors series: Neighbors #38, Neighbors #44, and Neighbors #52. First and foremost in Svenson's practice is to seek out the inner life, the essence, of his subjects, whether they be human, inanimate, or something in between. He uses his camera as a reporter uses text, to create a narrative that facilitates the understanding of that which may lie hidden or obscured. This narrative, at times only a whisper or suggestion, weaves throughout his diverse body of work. He is currently working on a series shot in Sweden, The Forest, which explores the dichotomous relationship between photography and painting, the "sweet-spot" where perceived reality and fiction meet.

For Tuesday Evenings, Arne Svenson shares work and ideas from throughout his career, including his most recent endeavors.

Arne Svenson was born in 1952 in Santa Monica, California. His photographs have been shown extensively in the United States and Europe and are included in numerous public and private collections, including the Modern Art Museum of Fort Worth, San Francisco Museum of Modern Art, and the Carnegie Museum of Art. Self-taught, with an educational and vocational background in special education, Svenson is the author/photographer of many books, including Prisoners, Sock Monkeys (200 out of 1,863) with Ron Warren, The Neighbors, and the upcoming Unspeaking Likeness. His most recent exhibitions are The Workers at the Julie Saul Gallery in New York, 2015, and The Neighbors at the Museum of Contemporary Art, Denver, 2016.

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

Pensato’s stark colors, economy of form, and distortion still leave her prototypes recognizable, though their features are often hollow and masklike. Her versions of these characters are pushed to the point of being tragicomic clowns, analyzing American notions of physical beauty and the dark underbelly of American culture.                                                                                            
Alison Hearst, Assistant Curator, Modern Art Museum of Fort Worth, FOCUS: Joyce Pensato

Joyce Pensato is a Brooklyn-based artist whose paintings are readily recognized for their iconic subjects and bold presentation. Since the mid-1970s she has referenced and critiqued American popular culture, suggesting the influence of Pop Art while pointing to Abstract Expressionism through large, physical, drippy paintings of cartoon and comic characters such as Felix the Cat, Mickey Mouse, and Homer Simpson. Attending the New York Studio School in the 1970s, Pensato found her signature style and subject matter early in her career, merging a drawing-heavy, expressive markmaking-focused education with the pop culture figures that fascinated her in their form and content - such as the powerful image of Batman, with his ominous and formally striking mask. 

For Tuesday Evenings at the Modern, Joyce Pensato presents a personal look at her career, sharing important influences from the art world and pop culture.

Joyce Pensato was born in 1941 in Brooklyn, New York, and attended the New York Studio School. She continues to live and work in Brooklyn. Pensato has exhibited widely, both nationally and internationally, including her 2013 solo exhibition at the Santa Monica Museum of Art, California, which traveled to the Contemporary Art Museum St. Louis, Missouri. Her work has been featured in many group exhibitions at such venues as the High Museum of Art, Atlanta; Centre Pompidou, Paris; Speed Art Museum, Louisville, Kentucky; Uferhallen, Berlin; Galeries Nationales du Grand Palais, Paris; and the San Francisco Museum of Modern Art. Pensato’s work is in the collections of many institutions, including The Museum of Modern Art, New York; Whitney Museum of American Art, New York; Hammer Museum, Los Angeles; Centre Pompidou, Paris; and the San Francisco Museum of Modern Art.

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

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

 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

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

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