Philip-Lorca diCorcia, known for creating images poised between documentary and theatrically staged photography, has had a dynamic career with acclaimed international exhibitions, including a major survey of ’his work organized by the Schirn Kunsthalle Frankfurt in 2013 that traveled to the De Pont Museum in Tilburg, Netherlands, and The Hepworth Wakefield in England. DiCorcia employs photography as a fictive medium capable of creating uncanny, complex realities out of seemingly straightforward compositions. As such, his work is based on the dichotomy between fact and fiction and asks the viewer to question the assumed truths that the photographic image offers. Such is certainly the case in the artist’s Hustlers series, 1990–92, of which the Modern has acquired Tim Morgan Jr., 21 years old, Los Angeles, California, $25 / Joe Egure, 18 years old, Los Angeles, California, $25, 1990–92, featured in the museum’s current exhibition Framing Desire: Photography and Video.
Tom Sachs, described by Emma Allen for the New Yorkeras a “mix of mad scientist, obsessive tinkerer, cult guru, taskmaster general, starry-eyed theoretician, and workout champion,” is an original advocate of bricolage, or DIY, and one of today’s most inspiring and influential sculptors. Best known for elaborate and innovative re-creations of various Modern icons, re-creations that are masterpieces of engineering and design of one kind or another, Sachs explains, “I’m obsessed with innovation. It’s like that David Foster Wallace thing: If you worship money, you’ll always feel poor. If you worship beauty, you’ll always feel ugly. If you worship power, you always feel powerless. I worship innovation and I always feel like I’m not doing enough new stuff. That’s my impulsiveness.”
With his current exhibition Tom Sachs: Boombox Retrospective 1999–2015 on view at The Contemporary Austin, Sachs joins us for this Tuesday Evenings presentation, sharing the work and ideas that have garnered him a devoted and noted following.
Modern curator Andrea Karnes is in conversation with Misty Keasler and Allison V. Smith, two artists featured in Framing Desire: Photography and Video. This Tuesday Evenings presentation introduces the exhibition and its premise of photography and video conjuring desire as seen specifically within the work of Keasler and Smith, two artists from within our community. Karnes, curator of Framing Desire, has structured the exhibition under three themes: Ages, Rooms, and Scapes – an updated take on the more traditional subjects of portraiture, architecture, and landscape. Works by Keasler and Smith are being considered under the theme of Rooms, which is described by Karnes as, among other things, artists scrutinizing “how such structures function in our lives and how they can spark voyeurism, recall a time and place, or fulfill the desire to see a space we have not experienced firsthand.”
Misty Keasler focuses on intimate portraits of people or the spaces they occupy, most notably the love hotels of Japan, while Allison V. Smith, a freelance editorial and fine art photographer, is recognized for iconic images from her travels, including photographs in and around Marfa, a different kind of intimate presentation of place. For Tuesday Evenings, each artist offers insight into their individual work as they also discuss the exhibition as a whole and their place within it.
Curator of Education, Terri Thornton's blog post following this lecture.
A video recording of this lectures is available on the Modern's Youtube channel.
Jonathan Schipper is a New York–based artist known for large-scale, self-destructing works. Perhaps best known for Slow Inevitable Death of American Muscle,the imperceptibly slow crashing together of two full-sized automobiles over a period of six days that simulates a head-on collision, Schipper is a keen critic of our fast-paced, heedless existence. His methodical deconstruction, and sometimes reconstruction, of daily experience brings our otherwise oblivious existence into sharp focus. This time-based work elongates and amplifies the split second that we continuously overlook, reminding us of a physical engagement that requires our presence, our awareness.
For this Tuesday Evenings presentation, Schipper shares his ideas and methods for producing what he has noted as “objects that wrap themselves around your gut, take hold of your imagination and move you towards new locations and thoughts,” anticipating his solo exhibition that opens March 28 at Fort Worth Contemporary Art of TCU Art Galleries.
Janet Zweig, a New York–based artist working primarily in the public realm, and Dan Maginn, FAIA, a Principal with el dorado inc in Kansas City, have occasionally collaborated with each other on public art projects. “Public art” has the challenging call to thoughtfully engage while broadly appealing to a varied audience. Zweig and Maginn recognize and embrace this challenge. Zweig’s participatory, audience-activated work has been recognized with awards including the Rome Prize, NEA fellowships, and residencies at PS1 Museum. Maginn’s innovative architecture firm, recognized for its building designs and socially minded architecture projects, extends its practice to include collaborating with artists in the public realm. “el dorado’s public art experience is truly unique. . . . We understand the spiritual and emotional potential of public art in addition to all of its requirements regarding constructability, safety and maintenance.”
For Tuesday Evenings, Zweig and Maginn present individual endeavors and recent collaborations, discussing how architects and artists approach problems differently, how successful collaboration between them can unfold, and how collaborating results in surprising and engaging public art.
RongRong&inri, the Chinese/Japanese artist team recognized for romantic photographic series that chronicle their lives together, use this special occasion to offer insight into their unique collaborative practice and their work as featured in FOCUS: RongRong&inri.
A video recording of this lectures is available on the Modern's Youtube channel.
Jules de Balincourt, the artist featured in the Modern’s exhibition FOCUS: Jules de Balincourt, works from the position of an outsider on paintings of American politics and marginalized communities, both utopian and dystopian, in compositions that explore the shifting relationship between representation and abstraction. Paris-born and now Brooklyn-based, de Balincourt has been the subject of a number of international solo exhibitions, most recently his current exhibition Blue Hours at Galerie Thaddaeus Ropac in Paris, last year’s L’Ange de l’Histoire curated by Nicholas Bourriaud at Palais des Beaux-Arts in Paris, and Jules de Balincourt Paintings 2004–2013 at the Montreal Museum of Fine Arts. De Balincourt’s work was included in Greater New York at PS1/MoMA in 2005 and USA Today at the Royal Academy in London in 2007, launching a career as dynamic as his paintings. Such success is explained by the intelligence, passion, and confidence de Balincourt brings to painting and his life as an artist. Alison Hearst, curator of FOCUS: Jules de Balincourt, writes, “Countering the conceptual and theory-driven movements in contemporary art, de Balincourt’s works are immediate, intuitive, and open-ended as they explore the perimeters of the conscious and unconscious mind.”
For Tuesday Evenings, Jules de Balincourt shares his work and experiences over the past decade.
Eric Fischl, a painter, sculptor, and printmaker featured in Urban Theater: New York Art in the 1980s, gained acclaim in the 1980s with large-scale paintings depicting middle-class American life with themes of adolescent sexuality and voyeurism. Considered one of the most important figurative artists of the late 20th and early 21st centuries, Fischl’s work has been the subject of numerous solo and major group exhibitions and is represented in many museums, as well as prestigious private and corporate collections. As one of the principal artists of a multifarious decade that continues to inform attitudes of art and is in many ways evident in our current cultural moment, Eric Fischl shares his thoughts in his Tuesday Evenings presentation, “The 80's Seems So Long Ago. Where Was I Then?”
Kenny Scharf, an artist featured in Urban Theater: New York Art in the 1980s, rose to prominence in the 1980s East Village art scene and was one of the first artists to inject elements of street culture into the mainstream of contemporary art. For his 2012 solo exhibition Hodgepodge at Honor Fraser Gallery in Los Angeles, the gallery explained, “Like Warhol before him, Scharf became interested in merging the highbrow with the lowbrow, and began working towards ways of incorporating pop-culture into his paintings. As a way to rebel against the highly academic work that was being shown at the time, Scharf’s work reflected an Eden filled with animated colors and fantastical subjects ranging from the Flintstones and the Jetsons, to imaginary characters that could cast either gloom or euphoria.” Scharf himself has stated, “My ambition as a professional artist is to maintain the course that I set nearly 30 years ago by establishing my work in the fields of painting, sculpture, and performance. Every project I undertake is building on my past experiences. My original approach is unchanged; it is a personal challenge to produce the best work possible every time. One very important and guiding principle to my work is to reach out beyond the elitist boundaries of fine art and connect to popular culture through my art.” For Tuesday Evenings, Kenny Scharf shares his work and experiences over a long and flourishing career
James Cutler, FAIA, founding partner of Cutler Anderson Architects, is known for his environmental and emotional sensitivity to place, institution, program, climate, and cultural circumstance. For this Tuesday Evenings at the Modern, Cutler presents “Searching For True," stating, “We [Cutler Anderson Architects] have chosen, as best we can, to respect and reveal the nature of all of the elements that influence, or are employed, in the making of architecture. The institutions need to be clothed, the land must be respected, the structure asks to display its strength and order, and the materials want their nature revealed and respected. Each of these primary circumstances has multiple subsets that challenge us to learn more at every turn. We find ourselves constantly searching -- sometimes discovering, sometimes missing -- but always challenged.”