Spencer Finch has received critical acclaim for his work, which has been included in exhibitions spanning the globe, including an ongoing solo exhibition at the Corcoran Gallery of Art in Washington DC; a 2007 solo exhibition, What Time Is It on the Sun at Mass MoCA in Massachusetts; As if the Sea Should Part and Show Another Sea, a 2009 solo exhibition at the Queensland Art Gallery in Brisbane, Australia; and was included in Daniel Birnbaum’s Making Worlds exhibition for the 2009 Venice Biennale. For the biennale catalogue, Birnbaum explained, “Finch’s artworks attempt to re-create his subjective impressions and scientific observations of light and color. His works take many forms, but what unites them is an attempt to transpose culturally significant or privately important moments or sites to a gallery setting.” For Tuesday Evenings, Finch addresses color and his experience with it in Remarks on Color.
Coinciding with the exhibition Vernon Fisher: K-Mart Conceptualism, Vernon Fisher discusses the issues at stake in his work of the last 30 years with Dr. Frances Colpitt, an art historian, critic, author, and the Deedie Potter Rose Chair of Art History at Texas Christian University. This Tuesday Evenings presentation is a continuation of the dialogue Fisher and Colpitt have pursued since 2008, in conjunction with Colpitt’s analysis of Fisher’s work in the context of postmodernism. Colpitt’s essay appears in the new monograph Vernon Fisher, recently published by the University of Texas Press. With 256 pages and 144 color plates, the book also includes an interview with the artist by the Modern’s chief curator, Michael Auping.
Gene and Jerry Jones, owners of the Dallas Cowboys, are in conversation with the Modern’s chief curator, Michael Auping. When conceiving the new Cowboys Stadium, the Jones family sought to create more than a football stadium. The idea was to build a twenty-first-century coliseum that would engage not only sports, but architecture, design, technology, and art. One of the most exciting aspects of the building is its inclusion of a world-class collection of contemporary art, many of the works created specifically for the new building. For this Tuesday Evenings presentation, Stadium Art, Auping, who was part of the advisory committee for the project, talks with the Joneses about their vision and how it came to fruition.
Lawrence Weiner is one of the foremost figures in Conceptual art, as made clear with the Whitney Museum of American Art’s 2007 retrospective of his work, AS FAR AS THE EYE CAN SEE. For Tuesday Evenings, Weiner presents the work and ideas that have inspired and informed generations of artists and viewers since his 1968 Declaration of Intent: “(1) The artist may construct the piece. (2) The piece may be fabricated. (3) The piece may not be built. [Each being equal and consistent with the intent of the artist, the decision as to condition rests with the receiver upon the occasion of receivership.]” Weiner’s Tuesday Evenings presentation, ONE LUMP TWO LUMPS THREE LUMPS FOUR . . . (after the popular piece in the Museum’s collection) is a tremendous opportunity to learn more about the work of the artist, described in his biography as one who PARTICIPATES IN PUBLIC AND PRIVATE PROJECTS AND EXHIBITIONS IN BOTH THE NEW AND OLD WORLD MAINTAINING THAT: ART IS THE EMPIRICAL FACT OF THE RELATIONSHIPS OF OBJECTS TO OBJECTS IN RELATION TO HUMAN BEINGS AND NOT DEPENDENT UPON HISTORICAL PRECEDENT FOR EITHER USE OR LEGITIMACY.
William Bruder, AIA, is an award winning artist/architect whose 40-year-old Phoenix, Arizona-based studio, Will Bruder + Partners, has created a distinctive portfolio of residential, multifamily, and cultural buildings. Bruder’s approach to design has been recognized for its poetic pragmatism and its sculptural use of materials and light in creating original forms and spaces. For this Tuesday Evenings presentation, Making Architecture in Celebration of People and Place, Bruder focuses on the opportunities and challenges in making architecture that is appropriate for both people and place, architecture that grows from and celebrates in a sustainable way the natural and urban environments that we all inhabit in this ever-changing world.
Michelle White is a writer for Art Papers, a regional editor of Art Lies, and associate curator at the Menil Collection. At the Menil, White has organized provocative exhibitions, including Lessons from Below: Otabenga Jones and Associates, Imaginary Spaces, and Leaps into the Void: Documents of Nouveau Realist Performance. She is currently organizing a retrospective of the drawings of Richard Serra, which opens at the Metropolitan Museum of Art in 2011, travels to the San Francisco Museum of Modern Art, and closes at the Menil Collection in Houston in 2012. White’s most recently completed project is an exhibition of the early work of Vija Celmins, co-organized with the Los Angeles County Museum of Art, and opens at the Menil on November 19, 2010. In conjunction with Vija Celmins: Television and Disaster, 1964–1968, White presents Vija Celmins in the 1960s for this Tuesday Evenings presentation, placing the artist’s early work, including pieces in the Modern’s collection, in the context of the mid-1960s and particularly in the “cool school” of California’s art scene.
The Bruce High Quality Foundation, the official arbiter of the estate of Bruce High Quality, is dedicated to the preservation of the legacy of the late social sculptor Bruce High Quality. In the spirit of the life and work of Bruce High Quality, it aspires to invest the experience of public space with wonder, to resurrect art history from the bowels of despair, and to impregnate the institutions of art with the joy of man’s desiring. Operating simultaneously as an artist and arts institution since its founding on September 11, 2001, the Bruce High Quality Foundation presents It’s About Time, a talk covering the paradoxes of working simultaneously as an artist and organization, issues of timelessness, the construction of history, the progress of garbage, the politics of specificity, how to run a free art school, how to get rich, branding, the internet, the auction market from 1973 to present, community spirit, drinking in public, and how to build a better tomorrow.
Eve Sussman is an artist living and working in Brooklyn, New York. Her film 89 Seconds at Alcázar stole the show in the 2004 Whitney Biennial; and Rape of the Sabine Women, another film, has been shown internationally with critical acclaim. For this Tuesday Evenings presentation, the Modern is proud to act as the black-box testing site for the “beta” version of whiteonwhite:algorithmicthriller, the latest work-in-progress by Eve Sussman|Rufus Corporation. The film’s continuously evolving narrative is guided by a custom-made algorithm that edits in real time from a server loaded with thousands of clips, creating a never-ending movie. A “New Wave-futurist-noir,” the story follows the observations and surveillance of a geophysicist code writer obliged to remain in City-A, a dystopian sci-fi metropolis where nouveau-riche capitalists preside over the dregs of communism. The film mixes chronology, never repeats the same way twice, and has no start or end time. The duration of the film is created by the viewer. Enter and exit as you wish. Feel free to read the code screen at the front of the theatre. This presentation will last approximately two hours including a Q&A with Sussman and editor Kevin Messman following the screening.
whiteonwhite is supported by Creative Capital, The Richard Massey Foundation, CEC Artslink, New York Foundation for the Arts (NYFA), The Trust for Mutual Understanding and Sisita Soldevila/Amister Collection–Barcelona
Dr. Michael Corris is an artist, art historian, and writer on art. He is a member of the Conceptual art group Art & Language, a founding editor of The Fox and Red-Herring, and an editor of Transmission Annual. Corris’s writings on contemporary art have been widely published in international journals and magazines, including Art Monthly, Artforum, Art History, and art+text. Also recognized for his thorough and thoughtful coverage of the artist Ad Reinhardt in the 2008 book by the same name, Corris’s most recent publication is a book he wrote with John Dixon Hunt and David Lomas on the use of language in art, Art, Word, and Image: 2000 Years of Visual/Textual Interaction, published in 2010. Each author contributed their take on the topic of art, word, and image in individual essays. Corris’s interpretation serves as the subject of this Tuesday Evenings presentation, NO FREE READING: Interpreting Contemporary Art, Word and Image, drawing examples from the past ten years with some detours to the 1960s.
Ben Jones is an interdisciplinary artist based in New York whose tantalizing work is featured in the Modern’s third FOCUS exhibition of the season. Jones, a member of the East Coast Art Collective, Paper Rad, has received recognition with an impressive exhibition, performance, and publication record for what is described in the press release for his solo exhibition The New Dark Age at Deitch Projects in New York as, “between-media video sculpture, light painting, and ‘drawing in the digital age’” that “explores new methods of pictorial storytelling...” As with the work in The New Dark Age, Jones tends to blow the viewer away with an onslaught of imagery, pattern, and color that replicate and play with the visual bombardment of the contemporary world. As the Deitch Projects press release aptly explains, “To the naked eye, The New Dark Age might be a blinding glimpse at the darkly comic heart of the ‘Internet generation gone wild.’” This Tuesday Evening presentation offers a special preview of what Jones has in-store for the Modern’s audience with the Museum’s final FOCUS exhibition which opens to the public Sunday, April 11, 2009.