In 1971, Chris Burden disappeared for three days without a trace. That work, entitled Disappearing, gives its name to this exhibition, which examines the theme of disappearance in the works of Burden and his contemporaries in 1970s Southern California, Bas Jan Ader and Jack Goldstein. Philipp Kaiser, Disappearing—California, c. 1970: Bas Jan Ader, Chris Burden, Jack Goldstein

For this very special presentation, Philipp Kaiser, curator of Disappearing—California, c. 1970: Bas Jan Ader, Chris Burden, Jack Goldstein is in conversation with Mary Sue Andersen Ader, the widow of Bas Jan Ader and owner of the Bas Jan Ader Estate, who as an artist herself, filmed many of her husband’s pieces; and Helene Winer, co-founder and curator of Metro Pictures Gallery in New York, who in the context of this exhibition, worked with all three artists and was crucial for conceptualism in Southern California as the director of the Pomona Art Gallery in the early 1970s.

Disappearing—California, c. 1970 is an intriguing look at three of the most enigmatic and probing artists of the 1970s, bound by a special time and place that was primed for their radical and poetic explorations. Offering personal insight and investment in the premise of this exhibition, Kaiser, Andersen Ader, and Winer recount the early issues and occurrences of California conceptualism, offering a wonderful preview to a compelling exhibition.

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

In this first book to be published on criticism and theory regarding queer culture, Phaidon has certainly set the bar high. Richard Meyer states in the preface: “We have chosen the term ‘queer’ in the knowledge that no single word can accommodate the sheer expanse of cultural practices that oppose normative heterosexuality.” The stage has been set for this text, so the next question is, where to begin? Shirley Stevenson, review of Art and Queer CultureAesthetica Magazine

Richard Meyer, the Robert and Ruth Halperin Professor in Art History at Stanford University, where he teaches courses on 20-century American art, photography, and gender and sexuality studies, presents “Queer and Now” for this final spring 2019 Tuesday Evenings lectureMeyer has authored and co-authored a number of noteworthy books, including What Was Contemporary Art? (MIT Press, 2013) and Art and Queer Culture (Phaidon, 2013), which he co-authored with artist and University of California Irvine studio professor Catherine Lord.

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

My work is about a lot of things . . . aging, sexuality, mortality, parenting, environmental collapse, mass murder and guns, macrocosms and microcosms, the domestic, feminism, motherhood and mother artists, making do, confinement, misogyny, available means, lifestyles, access, the internet as the source of all things (appropriation) and how that ties to limits on time and access, art historical allusions, advertising . . . touch, tactility and ghosts, analog and digital, authenticity, screens and distraction (an opiate of the masses), destruction via war and through consumption/pollution, violent attacks on film and IRL, the sysphian/entropic, making unseen forces visible, the privileging of sight.  Eileen Quinlan, press release for Too Much, Miguel Abreu Gallery, New York, 2018

Eileen Quinlan is an internationally renowned artist whose work is often described as abstract photography, a label the artist resists, identifying instead as a “still-life photographer.” Art historian Thomas McDonough expands on the conceptual strands present throughout Quinlan’s practice in his essay for the recently published Eileen Quinlan: Good Enough, writing that her photographs “necessarily hover in the space between ‘sublimate’ – alienated, ideological, phantomlike – and ‘substrate’ . . . or, to put it more bluntly, they are as much about materialism as materiality.” The press release for Quinlan’s recent solo exhibition, Too Much, counters, “In her more recent work, however, Quinlan turns toward more directly existential concerns.”

In this Tuesday Evenings presentation, we hear directly from the artist on where she’s been and where she’s headed. Quinlan’s work is powerful in its questions and its form. She has been duly recognized with exhibitions across the globe, including the selection of her work for the 57th Venice Biennale exhibition VIVA ARTE VIVA, curated by Christine Macel in 2017.

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

Integrating conceptual depth with a poetic formal sensibility, innovative technical processes and wry wit, Saban’s latest body of work examines the transition and contrasts between analog and digital worlds. Tanya Bonakdar Gallery, Analia Saban: Punched Card, September 6–October 18, 2018

Analia Saban, born in Buenos Aires and based in Los Angeles, is the Modern’s third FOCUS artist for the 2018–2019 season. With her work represented in such significant collections as UCLA’s Hammer Museum, Museum of Contemporary Art, and Los Angeles County Museum of Art in Los Angeles; Centre Pompidou in Paris; and Fundación Proa in Buenos Aires, Saban is recognized for her attention to issues of fragility, balance, technique, and experimentation. Her connection with mundane objects is at the forefront of her investigation of tangible materials and the metaphysical properties of artworks. Throughout the past decade, Saban has developed a dynamic practice that at once explores and subverts the fundamental elements of artmaking, blurring the lines between what constitutes painting, sculpture, and everyday object.

For this Tuesday Evenings presentation, Saban shares the development of her practice with particular consideration of her most recent work, shown last fall in the solo exhibition Punched Card at Tanya Bonakdar Gallery in New York, which sets up the works featured in FOCUS: Analia Saban, open to the public beginning March 30.

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

Language has unmistakably made plain that memory is not an instrument for exploring the past, but rather a medium. It is the medium of that which is experienced, just as the earth is the medium in which ancient cities lie buried. He who seeks to approach his own buried past must conduct himself like a man digging. Walter Benjamin, “Excavation and Memory,” in Walter Benjamin: Selected Writings Volume 2, 1927–1934 (Cambridge, MA: Harvard University Press, 1999)

Curator, writer, and artist Dr. Noah Simblist is joined by artist lauren woods as he leads a panel discussion titled “Reading Monuments: An Introduction” in conjunction with the national project Reading Monuments. Reading Monuments is a coalition of reading groups that explores the legacy and future of Confederate monuments in four significant southern US cities: Dallas/Fort Worth; Richmond, Virginia; Atlanta, Georgia; and New Orleans, Louisiana. Simblist serves as artistic director for this national initiative and woods is discussion leader for the program locally.

As an institutional site for Reading Monuments, the Modern is proud to collaborate with Simblist and woods in launching the 2019–2020 program with this special Tuesday Evenings presentation, in which Simblist and woods introduce the program and the DFW discussion group members while leading an engaging conversation about Confederate monuments between participants and the Tuesday Evenings audience.

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

Standing at the water’s edge, I wonder if I might drown myself in my hypocrisy or whether the metaphorical kingdom of light has a place for even me. Have I placed my hat on so firmly that I do not realize it’s on backwards? I hesitate at the figurative border of nations and ideologies. To cross or not to cross? You cross and you’ve committed a crime. You don’t cross and you strengthen the system. And there lies the precipice. K. Yoland, excerpt from “Operation Tumbleweed,” Nasher Sculpture Center’s The Nasher, Fall 2018

K. Yoland, an artist currently living between the US and London, has come to be known for field-based, site-specific work that operates at the intersection of hybrid disciplines, incorporating the methodology and vocabulary of a documentary practice, fictional narratives, and political science. Embracing the absurd, the work often involves a variety of players enlisted in improvisation as well as choreography. Previous projects have included choreographing Danish dancers in a “war installation,” Olympic fencers on scaffolding, and working in 21 different day jobs in Paris in a durational look at community identity and alienation.

For this Tuesday Evenings presentation, Yoland is in conversation with Modern Curator of Education Terri Thornton as they consider the logistics, philosophical premise and form of such an ambitious and complex practice through two current projects: US/Mexico Border Project: Operation Tumbleweed, a multichannel video installation that chronicles the migration and movement of a kidnapped tumbleweed along the Mexican-American border; and Coastal Territory, for which Yoland works with the Department of Political Science and Department of Environmental Science at the University of West Florida.

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

There is also something to be said for zooming out from the granular political immediacies and considering the bigger picture. . . . Liliana Porter’s El hombre con el hacha y otras situaciones breves, Venecia 2017 (Man with Ax and Other Brief Situations, Venice 2017), for example, installed near the end of Arsenale, offers a panorama of miniature tableaux in which human life and labor are laid out in scenes that are at once touching, trivial, and sublime: A man smashes junk into tiny smithereens; a woman rakes a vast sweep of red particles; another sits alone knitting an ocean. Claire Bishop, “The Long View,” Artforum, September 2017

Argentina-born and New York–based artist Liliana Porter is known for her use of objects as protagonists in seemingly charming but often subversive works, from large sculptural installations to films. Affiliated with the pioneering wave of Latinx artists, Porter’s work was represented in the Pavilion of Time and Infinity, part of curator Christine Macel’s Viva Arte Viva exhibition at the 2017 Venice Biennale, and is included in the 2018 exhibition Radical Women: Latin American Art, 1960–1985 at the Brooklyn Museum in New York and the Hammer in Los Angeles, California.

With a particular interest in the subject of representation, Porter works across media producing “theatrical vignettes” that, as she explains, are “constructed as visual comments that speak of the human condition.” For this Tuesday Evenings presentation, Liliana Porter presents work from across her industrious career and ideas such as her interest in “the simultaneity of humor and distress, banality and possibility of meaning.

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

Texts are a kind of abstraction. Brad Tucker as quoted in the press release for Temporary Relief at Inman Gallery, Houston, November 2, 2018-January 5, 2019

Brad Tucker is an Austin-based artist and musician known for his sly and unassuming sense of humor that results in playful and astute work that engages the viewer in what can seem to be an inside joke, to profound effect. The press release for his recent solo exhibition at Inman Gallery in Houston explains, “While this new body of work is infused with Tucker’s iconic humor, that humor is also weighted with a certain gravitas. . . . In many ways, the questions Tucker asks in Temporary Relief are about speed and how we make meaning from abstract things.”

For this Tuesday Evenings presentation, Tucker addresses the tentative association of his work to painting and sculpture and how the influence of musicmaking, and music performance, has permeated the objects he makes.

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

"I'm not a storyteller, I'm an imagemaker. The story is made in the mind of the viewer." Dirk Braeckman

For this special presentation, Ghent-based artist Dirk Braeckman is in conversation with the Modern's associate curator Alison Hearst to offer a glimpse into the museum's exhibition FOCUS: Dirk Braeckman, which opens to the public January 26. Braeckman, who represented Belgium at the 57th Venice Biennale, is known for the quietude and stillness of his gray and enticingly obscure photographs that test the limits of photography. Over his three-decade career, Braeckman has exhibited extensively, with works in significant private and public collections across the globe. FOCUS: Dirk Braeckman is the artist's first solo exhibition in the United States.  

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

Our so-called “pillow talk” is so much about what we do. Not the specifics of how we make our work or what happened in the studio today as much as what it’s like to move your work from your mind to the studio to the world and, like, what exactly are we doing being artists in the 21st century? Laurie Simmons, interview with Sheila Heti for Interview magazine, March 4, 2014

Artists Laurie Simmons and Carroll Dunham, both represented in the Modern’s collection, are in conversation for this extraordinary Tuesday Evenings presentation in conjunction with the museum’s survey Laurie Simmons: Big Camera Little Camera. Simmons and Dunham, two celebrated artists in today’s art world, discuss the role art plays in their life as wife and husband and how a life together informs their art. Having concurrent solo shows in New York last spring, Simmons at Salon 94 and Mary Boone Gallery and Dunham at Gladstone Gallery, the couple gave an extensive and enlightening interview for Artnet News in which Simmons recalls a lecture, similar to this one, eight years ago wherein the couple compared images from different stages of their work and, somewhat surprisingly, found just “how much of an unconscious dialogue there was…”

As Dunham lays out in his text for the Big Camera/Little Camera catalogue, “Laurie Simmons and I have been a couple for forty years, married for thirty-five. ‘Partners,’ the current term of art for such an arrangement, actually applies to us, as we have raised two children and conducted two separate but parallel art practices while both living and being together.” There is a lot of history and a lot to be learned from two artists who are gracious enough to share their work and experiences as independent artists who have made a special life together.

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

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