Gary Simmons, a New York-based artist recognized for his forthright address of race and culture, is probably best known for his expansive erasure drawings, originally made in chalk on blackboards that he smeared and obscured by hand to create ghostly images. One such piece, Wall of Eyes, was commissioned for the 1993 Whitney Biennial, and, more recently, the artist received critical attention for his solo exhibition Black Marquee at Anthony Meier Fine Arts, San Francisco, that referenced "blaxploitation" films of the 1970s. With an impressive exhibition record and a full-scale monograph, Gary Simmons:Paradise, Simmons is one of the Modern's 2013 FOCUS show artists. FOCUS: Gary Simmons is on view through March 14, and for this Tuesday Evenings talk, the artist presents recurring ideas and new developments in his work.
Jenny Holzer is internationally recognized for her daring approach to Public Art and her dramatic site-specific installations in galleries and museums. Since the mid-1970s, Holzer has used language as her primary means of expression, delivering various statements and stories through a wide range of media. Beginning with inexpensively printed posters, Holzer's art has steadily evolved in sophistication, expanding into a lexicon that includes advertising billboards, radio, television, clothing, and the medium she is most associated with-the electronic sign. Many will be familiar with Holzer's well-known Truisms: PROTECT ME FROM WHAT I WANT, MONEY CREATES TASTE, YOUR OLDEST FEARS ARE YOUR WORST ONES, LACK OF CHARISMA CAN BE FATAL.
In December, the Museum will unveil a major new installation by Holzer that will include long channels of lighted text running through the central, clerestory gallery looking out onto the pond. The artist will talk about this new installation, as well as how her work has developed over her distinguished career.
Howard Rachofsky is an internationally renowned collector of contemporary art living in Dallas. He began collecting in the mid-1970s, and over the past three decades has amassed a world-class collection of paintings, sculpture, video, and installation art by many of the era's greatest artists, including Robert Irwin, Donald Judd, Anselm Kiefer, Jeff Koons, Bruce Nauman, Gerhard Richter, and Mark Rothko, among many others.
In 1996, Rachofsky opened a spacious, modernist house designed by renowned architect Richard Meier. This house, which the collector has opened to the public and for school tours, has been the focus for installing different aspects of the collection in unique ways. This fall, he will open another space (17,000 square feet) in Dallas for even larger and more ambitious installations. Rachofsky will talk about his collecting philosophy and his future plans for the collection.
Marlon Blackwell, FAIA, practices architecture in Fayetteville, Arkansas and serves as Distinguished Professor and Department Chair in the School of Architecture at the University of Arkansas. Recognized throughout his career with honors and awards, Blackwell received a 2012 AIA National Honor Award and the 2012 Architecture Prize from the American Academy of Arts and Letters for a unique use of design strategies that draw upon vernaculars and contradictions of place to transgress conventional boundaries for architecture. Blackwell is here as the lead juror for the Fort Worth AIA annual Design Awards and to present Figures and Types for this Tuesday Evenings lecture.
Martin Gayford, the British critic, writer, and curator, is "the man in a blue scarf." As a prominent sitter for Freud and the subject of the painting Man in a Blue Scarf, 2004, Gayford wrote of his experience in the 2010 book Man with a Blue Scarf: On Sitting for a Portrait by Lucian Freud. For Tuesday Evenings at the Modern, Gayford shares what he observed throughout his extended sittings and the relationship that he inevitably developed with the artist.
Rosson Crow lives and works in Los Angeles, California. She was raised in North Dallas, attended the School of Visual Arts in New York for her undergraduate degree, then Yale University for her master's degree before settling in L.A. In 2009, Crow had her first solo exhibition in the United States here at the Modern, titled Focus: Rosson Crow, from which the museum acquired Sharp's Rifle Shop, 2009. First attracting attention as a graduate student at Yale making large-scale, edgy, irreverent, and raucous paintings, Crow has built a substantial international exhibition record including her 2009 exhibition Texas Crude at White Cube in London and, most recently, Ballyhoo Hullabaloo-Haboob at Honor Fraser in Los Angeles. For Tuesday Evenings, Rosson Crow shares thoughts on her work and career.
An internationally recognized photographer, Nicholas Nixon has helped shape the dialogue of photographic discourse for over four decades. His work gained broad attention when it was included in one of the most influential exhibitions of the 1970s, New Topographics: Photographs of a Man-Altered Landscape at the George Eastman House in 1975. His first solo museum exhibition in 1976 was curated by John Szarkowski at the Museum of Modern Art, New York.
Nixon has explored a vast range of subject matter, including the changing urban landscape in and around Boston, as well as portraits of people who live there. His camera has captured intimate portraits of people in nursing homes, the blind, sick, and dying. He has also included his family in this revealing visual biography of people who have inspired him.
In 1975, Nixon began one of his most famous ongoing projects entitled The Brown Sisters, Truro, Massachusetts. The series consists of an annual portrait of his wife and her three sisters, consistently posed in the same left-to-right order. To date there are 38 portraits in all, tracking time through the faces of his family. The entire series of this critically acclaimed project is in the collection of the Modern Art Museum of Fort Worth. Nixon will discuss the development of this and other photographic projects with the Museum's Chief Curator, Michael Auping.
David Dawson, painter and longtime assistant and friend of Lucian Freud, shares personal insights and thoughts on his 20-year relationship with the brilliant and driven artist for this Tuesday Evenings at the Modern. Photographing Freud and his studio over the years, Dawson explained to the Guardian that his photographic documentation was an “honest record” of their relationship, commenting that working with Freud was “never a burden, but certainly a commitment.”
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.