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.
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 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.
Michelle White is a writer for Art Papers, a regional editor of Art Lies, and associate curator at the Menil Collection.
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.
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.
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.
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.
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.
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.
