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Lecture
Apr 10, 2018

Bradford’s figures are all generically human yet singular in their execution, as if they tripped out of the brush and landed in unpredictable ways. As a fulcrum to build and drive her storylines, she uses the goofy little things that paint and accidental shapes can do. And hidden in her cavalier brushwork are wise and focused decisions.

Michael Frank Blair, “Katherine Bradford at the Modern Art Museum of Fort Worth,” Glasstire, December 9, 2017

Lecture
Apr 03, 2018

“The work’s a combination of radicalism and humanism,” she says. “When I stand in front of these paintings, it forces me to be there in a way I recognize as essential to my well-being.” Artist Roni Horn quoted in Howie Kahn, “Home Is Where the Art Is: The Ryman Family,” Wall Street Journal, November 17, 2015

Lecture
Mar 27, 2018

Over the last few years, Kamrooz Aram’s paintings have sought to rehabilitate the status of ornament and pattern within modernist aesthetics. Challenging the epithet ‘decorative’, Aram uses ornament conceptually.
Murtaza Vali, “Kamrooz Aram: Recollections for a Room,” ArtReview Asia

Lecture
Mar 20, 2018

Soon after Roy Lichtenstein’s Pop paintings exploded on the art scene in the 1960s, observers grew curious about the popular roots of his work. Critics, curators, and scholars began to trace his borrowed imagery back to the comic books, newspapers, and other commercial printed media from which it came. Michael Lobel

Lecture
Mar 06, 2018

Having lived and worked fluidly between three different cities (New York, Miami, and his hometown of Lima, Peru), William Cordova creates artwork that deals with his real-life issues of transition and displacement. . . . Often site-specific, Cordova’s installations challenge preexisting histories of the places they occupy and present new perspectives on the fleeting significance of his subjects. Artsy, “William Cordova: Biography”

Lecture
Feb 27, 2018

I think you and I both fell hard for Jeff Shore and Jon Fisher’s room, which is motion-activated, and the sound aspect of it is crucial. Though they’re also the ones who completely obliterated their cylinder by building a square video projection room inside it. Those guys are so, so good. Christina Rees in “A Conversation About Art and the Silos on Sawyer,” Rainey Knudson and Christina Rees, Glasstire, October 30, 2017

Lecture
Feb 20, 2018

Awareness can feel like a bright island in an ocean of namelessness. The unthought and the unseen wash the shores, leaching into the ground of the mind under sagging frames of reference. There is endless erosion of the coastline, a subversive give-and-take. Objects are soaked with feelings and their identities compromised. Abstractions are contaminated. “Land” in Land, ed. Carroll Dunham (New York: Nolan/Eckman Gallery, 1989). Reprinted in Into Words: The Selected Writings of Carroll Dunham

Lecture
Feb 13, 2018

Ron Mueck’s hyper-real sculptures of the human figure are tender portrayals of people in their most intimate, isolated and vulnerable moments. Manchester Art Gallery on the 2008 ARTIST ROOMS exhibition featuring the work of Ron Mueck

Lecture
Feb 06, 2018

 

Michael Auping is one of the most significant curators of our generation. Through his exhibitions and writings, he has chronicled many of the leading artists of the last decades—often producing definitive treatments on artists from Lucian Freud, Georg Baselitz, and Anselm Kiefer to Frank Stella, Susan Rothenberg, and Bruce Nauman. Auping’s “secret sauce” is his ability to enter the minds and lives of artists, thus grasping not only the artwork itself but its conception, process, and facture. Adam Weinberg, Alice Pratt Brown Director, Whitney Museum of American Art

Lecture
Nov 14, 2017

This captivating installation by Hubbard & Birchler, which supports an impossible dialogue between an elderly son and his young mother, is an impressive example of how “rephrasing” and “rewriting” histories can carry an emotional impact. Claire Walsh, “Notes from Venice,” MAP, August 4, 2017

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