Life is so much more important than art, but then art’s importance comes when it’s a tool for life—when it makes life more available for us.” Richard Tuttle for Art21, Richard Tuttle: Staying Contemporary, episode #237, July 22, 2016

Richard Tuttle, often identified as a critical figure in the evolution of Conceptual and Minimalist art, has throughout his long and industrious career created a particularly varied body of work that actually eludes historical or stylistic categorization. Tuttle’s conviction to the contemporary, rather than the past or future, makes his every move unpredictable and as such, rejuvenating. It is understandable that his influence, while allusive, has been sought by every generation since his pioneering 1975 solo exhibition at the Whitney Museum of American Art curated by Marcia Tucker, who later founded the New Museum.

For this Tuesday Evenings presentation, Richard Tuttle discusses new work as seen in a few recent exhibitions, including Richard Tuttle: The Critical Edge at The Met Fifth Avenue; Richard Tuttle: 26 at Pace Gallery; Richard Tuttle at de Hallen Haarlem in the Netherlands; and Richard Tuttle: to The Night Sky of Lima at Museo de Arte de Lima. This new work, like that of the past, reflects the artist’s commitment to materials, his poetic approach to making art, and ultimately his faith in the fragility and beauty of the world.

Richard Tuttle, living and working in Mount Desert, Maine; Abiquiu, New Mexico; and New York, has been the subject of numerous major solo exhibitions, including a major traveling retrospective organized by the San Francisco Museum of Modern Art in 2005. In 2014, he exhibited in the Tate Modern’s Turbine Hall and, simultaneously, London’s Whitechapel Gallery presented Richard Tuttle: I Don’t Know. The Weave of Textile Language. Tuttle’s work has been featured in renowned international group exhibitions, including several Venice Biennales and Documenta exhibitions. He was the Artist in Residence at the Getty Research Institute in 2012/2013. In 2016 to 2017 he has had the above mentioned solo exhibitions in addition to several group exhibitions from New York to Edinburgh.

 

Places of a Present Past is filled with an archaeological ethic, metaphorically digging down, both spatially and psychologically in the depths of transnational grief. Noah Simblist, Places of a Present Past

Noah Simblist, a curator, writer, and artist, presents “Places of a Present Past: The Historiographical Impulse in Art Practice.” In this context, the artists that Simblist discusses act as historians. However, these artist-as-historians are “less interested in the truth than the way we feel through the legacies of past traumas. They reveal the oblique ways that we repress historical trauma, burying it in the very sites of their origin,” says Simblist. His talk focuses on a publication that he edited, Places of a Present Past, which brings together three exhibitions showcasing the work of video and new media artists working internationally that were presented at SMU’s Pollock Gallery in 2014, curated by Simblist and the Pollock Gallery’s 2014 curatorial fellow, Sally Frater. These exhibitions shared a common theme: addressing the traces of trauma on particular sites and paying close attention to the lasting impacts of war. The exhibitions explored in the publication include Jin-me Yoon’s Extended Temporalities; the group show Where Are You From?, which included artworks by Aissa Deebi, Kamal Aljafari, and Dor Guez recounting the story of the Israeli occupation of Palestine; and the Sarah Morris film 1972.

Noah Simblist is Chair and Associate Professor of Art at SMU’s Meadows School of the Arts. His artwork has been shown internationally; he has curated, co-curated, and co-produced exhibitions and events, including, most recently, New Cities Future Ruins in Dallas in 2016; and he has contributed to Art Journal, Modern Painters, Art Papers, Terremoto, Art Lies, Art Pulse, Art21, and other publications. He has contributed to and edited publications, including Beyond the Aesthetic and the Anti-Aesthetic and Public Servants: Art and the Crisis of the Common Good, and is in the process of editing a volume about Tania Bruguera’s The Francis Effect, a project co-produced by the Guggenheim Museum, the Santa Monica Museum of Art, and SMU.

A video recording of this lectures will be available on the Modern's Youtube.

Being the Opposite

We can discuss Orchard as a possible answer to the question about collective and critical art practice today. Establishing a space for different relations between art and the social is political in my understanding. I am not saying that this is the only way in which the political needs to be enacted, but it is one possibility, and Orchard was a concrete and functioning example. Ulrike Müller, in “An Idea-Driven Social Space,” by Andrea Geyer and Ulrike Müller, Grey Room 35, Spring 2009

Rhea Anastas, an art historian, critic, and curator, is a cofounder of Orchard, a twelve-person artist-run gallery on New York’s Lower East Side. For this Tuesday Evenings presentation, “Being the Opposite,” Anastas introduces the projects of this co-operative gallery, which had a predetermined lifespan (2005–08) and became the embodiment of a certain strain of critical artistic discourse, and she discusses relationships between Orchard’s work and her newest writing.

Rhea Anastas is based in Los Angeles, where she is Associate Professor in the Art Department at the University of California, Irvine. Anastas’s books include Dan Graham: Works 1965–2000, coedited with Marianne Brouwer and published by Richter Verlag, and Witness to Her Art: Art and Writings by Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Walker, Daniela Rossell and Eau de Cologne, coedited with Michael Brenson and published by Bard College. Her most recent publication, Double Bind, is a book-length dialogue co-written with artist Leigh Ledare. She is editor of a forthcoming book of writings that captures the artist’s voice in dialogues, essays, scripts, statements, and letters by Orchard’s cofounders and the wider community who co-created the exhibitions and public discourse of the gallery.

A video recording of this lectures will be available on the Modern's Youtube.

The most conceptually compelling work of art in the Guggenheim’s But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa is also its least visible. Debriefing Session II by Public Movement, a research-driven Israeli collaborative, takes the form of a secret, one-on-one meeting between a Public Movement agent and a participating audience member. Risa Puleo, “A Pair of Performances Exposes the Politics of How Museums Operate,” Hyperallergic, September 28, 2016

Alhena Katsof, Director of Strategy and Protocol for the Israeli performance research group Public Movement, focuses on recent projects with Public Movement, including Debriefing Session II, 2015, and the durational exhibition National Collection, 2015, while touching on other aspects of her work as an independent curator and writer. Reflecting on her collaboration with Dana Yahalomi, Director of Public Movement, Katsof presents a selection of projects that address art and politics in public space. By discussing the ways in which exhibition histories are part of civic choreography, she investigates the relationship between cultural institutions, social ritual, and the nation-state. Drawing on her background within the field of curatorial studies, Katsof examines the participatory nature of politics and, in particular, Public Movement’s recent body of research about Modern art made in Palestine before 1948.

With diverse interests and profound passion as an independent curator, Alhena Katsof has organized exhibitions and performances at White Columns, Andrew Kreps Gallery, Regina Rex, and with Lucie Fontaine. In 2017, she is co-curating the first US-based film commission by the artist duo Pauline Boudry / Renate Lorenz, which will premiere during a solo exhibition at Participant Inc. and travel to the Contemporary Arts Museum Houston. She co-authored the book Solution 263: Double Agent, as part of the Solution Series edited by Ingo Neirmann and published by Sternberg Press (2015), and her writing has appeared in a variety of notable magazines and books, including the upcoming anthology The Artist As Curator, edited by Elena Filipovic and published by Mousse Publishing. In addition to curating and writing, Katsof is a faculty member at the Center for Curatorial Studies, Bard College.
Photo credit: Public Movement, National Collection, Tel Aviv Museum of Art. Photo by Oz Moalem

A video recording of this lectures will be available on the Modern's Youtube.

Why Does Fred Sandback’s Work Make Me Want to Be Ridiculous?

Sandback was willing to risk his sculptures being nothing at all, and so he was able to create works of art that feel relevant to everything. Adam Lerner on Fred Sandback

Adam Lerner, Director and Chief Animator of the Museum of Contemporary Art Denver, opens this Tuesday Evenings season with “Why Does Fred Sandback’s Work Make Me Want to Be Ridiculous?” Believing that institutions can easily lose their connection to the soul of art, Lerner discusses his unconventional approach to keeping the sacred impulse alive. His talk addresses why he brings magicians, go-go dancers, assorted livestock, and other unexpected elements into the walls of the museum alongside serious exhibitions of contemporary art.

Throughout his career, Lerner has curated numerous exhibitions and projects with contemporary artists, such as Barnaby Furnas, Liam Gillick, and Christian Marclay, as well as showcasing the nontraditional talents of astrobiologists, shamans, and pigeoneers, among others. In her 2012 New York Times article “Puppies, Paintings and Philosophers,” Carol Kino states that Lerner’s work to engage audiences is “reshaping what has become a stale model for a contemporary art museum.” Included in Lerner’s many projects is the exhibition Fred Sandback, co-curated with Nora Burnett Abrams at the MCA Denver, which becomes a point of reference for this Tuesday Evenings presentation.

A video recording of this lectures will be available on the Modern's Youtube.

Since the beginning of her career in the mid-1980s, Lorna Simpson has been well known for her conceptual photographs and videos that challenge historical and preconceived views of racial and sexual identity. The artist will speak on the occasion of FOCUS: Lorna Simpson, the first museum exhibition to feature the artist’s large-scale acrylic, ink, and silkscreened paintings.

A video recording of this lectures will be available on the Modern's Youtube.

Unlike most famous artists, KAWS has something few in visual art actually enjoy: rabid fans who wait on line for days just to see what his latest project will be. What makes this even more noteworthy is that he himself is a fan, subject to the same process of collecting stuff as a way of constructing one's identity as the kids around the globe who fetishize his work.

Carlo McCormick, Paper Magazine, November 4, 2013

Carlo McCormick, a critic and curator living in New York City, uses his unique insights and longterm friendship with the artist KAWS to set up the Modern's exhibition KAWS: Where the End Starts. With the perspective of a friend and the concerns of a cultural critic, McCormick wrote in Paper Magazine, for which he is senior editor, “Years ago John Waters told Paper that one of the things he loved best about art was that it was a hermetic little world that totally intimidated most people, and while we must agree with that, there are occasionally those exceptional figures like KAWS, who are able to reach a vast audience in utterly direct ways, that are ultimately transformative.”

Having written extensively on KAWS since early in the artist’s career, McCormick provides an art historical and cultural context for the work seen in this exhibition. His Tuesday Evenings lecture, titled “KAWS and Effect,” offers insight into figurative, narrative, and comic tangents in art that have influenced the work of KAWS. Featuring art from the KAWS’s personal collection, McCormick’s presentation looks at how outré historical figures such as Peter Saul, H. C. Westermann, Martin Wong, Keith Haring, and movements like the Hairy Who in Chicago and postwar Japanese pop have inspired and informed KAWS's own personal iconography and style.

A video recording of this lectures will be available on the Modern's Youtube.

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, Jr. / FAIA, LEED AP, a partner and co-founder of De Leon & Primmer Architecture Workshop (DPAW), presents the ideas behind his environmentally and regionally sensitive practice for Tuesday Evenings at the Modern in conjunction with Fort Worth AIA’s 2016 Design Awards.

DPAW is a collaborative design studio focusing on public projects with a cultural, civic, or not-for-profit basis with a working methodology that draws inspiration from regional traditions of craft and fabrication, placing an emphasis on the potential of conventional materials and construction methods. Through an immersive process of research and investigation, the studio cultivates an understanding of contextual specificity as a nuanced relationship between place, time, and local culture. The strength of DPAW’s work has been recognized through numerous honors and awards and has been exhibited at many venues, including, most recently, the 2014 Istanbul Design Biennial and the 2015 Chicago Architecture Biennial.

De Leon & Primmer Architecture Workshop purposefully embraces a design rigor aimed at simplicity and precision, with the underlying premise that innovation necessarily equals economy.

A video recording of this lectures will be available on the Modern's Youtube.

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 Virginia Beach, long and far away from his current space on the top floor of a six-story former factory in New York's Chinatown. Beckett Mufson, “Ryan McGinness Thinks You’re Looking at Art Wrong,” The Creators Project, April 22, 2016

Ryan McGinness, a New York–based artist who grew up in the surf and skate culture of Virginia Beach, Virginia, is now known for his extensive vocabulary of original graphic drawings that use the visual language of public signage, corporate logos, and contemporary symbology. For Tuesday Evenings at the Modern, he presents “The Logic of this Work Is Stronger than the Logic of the World in Which it Exists.”

McGinness is credited with elevating the status of the icon to fine art through his paintings, sculptures, installations, and books. Concerned with the perceived value of forms, he assumes the power of this visual language in order to share personal expressions. The New York Times noted, “In the past decade, McGinness has become an art star, thanks to his Warholian mix of pop iconography and silk-screening.” Vogue declared, “Ryan McGinness is a leading pioneer of the new semiotics.”

A video recording of this lectures will be available on the Modern's Youtube.

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