Then as now, I refuse to let go of the idea that to embark on even the most common encounter with art . . . is to think freely about social life, ideally to talk freely, and to summon a human disposition for speech, for disagreement and otherness that is part of aesthetic experience. Rhea Anastas, “Being Opposite,” Tuesday Evenings at the Modern, March 21, 2017
The key Public Movement strategy has to do with the concept that politics exist inside of our bodies as an often dormant knowledge.” Alhena Katsof
The more important issue is, how do we create in our culture forms of chaos that are actually productive? - Adam Lerner
Roberto de Leon and Ross Primmer take a native approach with their practice—no matter the location. David Sokol, “Locally Sourced,” Cultured Magazine, June/July 2015
Roberto de Leon, FAIA, LEED AP, is partner and co-founder of de Leon & Primmer Architecture Workshop (DPAW), based in Louisville, Kentucky. De Leon was at the Modern for Tuesday Evenings in conjunction with the Fort Worth AIA 2016 Design Awards, for which he was the lead juror.
Ryan McGinness' approach to art and the art world is sardonic yet earnest, a mature version of the rebellious ethos that defined his youth in 90s skate culture. He’s soft-spoken and very tall, a gentle giant from Virgina Beach, long and far away from his current space on the top floor of a six-story former factory in New York's Chinatown.
Benjamin Merris, Maximalism: Phase ll, Being There, performance
Merris’ sensibility is as organic and fluid as it is rigorous, as filled with wonder as it is informed by a sense of scientific reason, and it consistently navigates between such positions, seeing them not as oppositional, but naturally and intimately connected. Dean Daderko, 2014
Dr. Eric Kandel, MD, visits the Modern Art Museum of Fort Worth
Tom Sachs at the Modern Art Museum of Fort Worth
Though we experiment, explore and attempt to make a profit, our most valuable gain is knowledge. A Space Program, created by Tom Sachs, directed by Van Neistat, Zeitgeist Films
I have given no small attention to that not unvexed subject, the skin of the whale. I have had controversies about it with experienced whalemen afloat, and learned naturalists ashore. My original opinion remains unchanged; but it is only an opinion. Chapter 68, “The Blanket,” Moby-Dick by Herman Melville
Martha Tuttle, photograph of Chaco Canyon, New Mexico
Perhaps what I have to offer is a language of care and attention. Martha Tuttle, Tuesday Evenings at the Modern, April 19, 2016
Martha Tuttle closed the spring 2016 Tuesday Evenings season in a transcendental manner as she discussed questions, influences, and her connection to the world. She humbly opened her presentation by speculating about what she might have to offer in the context of Tuesday Evenings:
Frank Stella’s studios, early and late
MA: How did it start from a small studio on East Broadway to this? This studio is literally approximately one square acre enclosed. FS: . . .It’s a fairly natural evolution if you keep on working.
Michael Auping and Frank Stella in conversation, Tuesday Evenings at the Modern, April 12, 2016
Fernando Bryce, El Mundo en Llamas, 2010–11, installation details: Alexander and Bonin. Photo: Joerg Lohse
I’m interested in understanding images as political fact. . . . These media images are both product and construct. When I see a picture that fascinates me, I’m always interested in its function. Fernando Bryce, in “The Artist and the Propaganda Machine,” ArtMag, by Oliver Koerner von Gustorf