"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.

The purpose for our architecture, as with the National Memorial, is always to offer a z-axis for one’s individual and social identity in time, and a sense of hope for our natural environment and community. BAU Butzer Architects and Urbanism

Architect and director of the University of Oklahoma College of Architecture Hans Butzer, AIA, in conjunction with Fort Worth AIA’s 2018 Design Awards, presents “Architecture Is a Social Act.”

Together with his wife and partner, Torrey, Hans Butzer is best known as the co-designer of the internationally acclaimed Oklahoma City National Memorial. The core intent of Butzer’s work is to foster community through architectural and urban space. The American Institute of Architects notes in their announcement of Butzer’s 2016 AIA Thomas Jefferson Award, “Butzer’s impact on Oklahoma City is profound, having designed the Oklahoma City National Memorial, and other landmark projects in his city like the Oklahoma City Skydance Bridge. Butzer is a gifted and accomplished architect who has built his career in Oklahoma City by dedicating himself to improving the built landscape and enriching the fundamental civic dignity of the city. He is a true citizen architect: a practitioner and educator that demonstrates throughout his work that architecture can enhance communities and cities.”  

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

In this panel discussion, What Remains: The Legacy and Future of Confederate Monuments, curator, writer, and artist Dr. Noah Simblist and artist lauren woods converse with American historian Dr. Max Krochmal concerning the ways that communities tell the stories of our shared histories through art, scholarship, archives, and the built environment. A crucial element of the discussion is the yet unresolved issue of how we reconcile competing perspectives on the same moment in time, whether it is the Civil War, Reconstruction, Jim Crow, the Civil Rights era, or Black Lives Matter activism.

Dr. Noah Simblist’s work focuses on art and politics. He has contributed to publications including Art in AmericaArt JournalModern Painters, and Terremoto, and he is editing a book, to be published by University of Chicago Press, about Tania Bruguera’s The Francis Effect. In 2016, he was the co-curator and co-producer for New Cities Future Ruins, a convening that invited artists, designers, and thinkers to re-imagine and engage the extreme urbanism of America’s Western Sun Belt. He is also Chair of Painting + Printmaking and Associate Professor of Art at Virginia Commonwealth University.

lauren woods’s hybrid media projects in film, video and sound installations, public interventions, and site-specific work engage history as a lens through which to view the sociopolitical landscape of the present. Her 2013 work Drinking Fountain #1, a new media monument to the American civil rights movement, past and present activists/organizers, and the spirit of resistance, is located underneath the remnants of a rediscovered Jim Crow “White Only” sign in the Dallas County Records Building in Dallas, Texas.

Dr. Max Krochmal is an American historian, associate professor of history, and chair of the Department of Comparative Race and Ethnic Studies at Texas Christian University. He won the Organization of American Historians’ Frederick Jackson Turner Award in 2017 and the Ramirez Family Award for Most Significant Scholarly Book from the Texas Institute of Letters for his book Blue Texas: The Making of a Multiracial Democratic Coalition in the Civil Rights Era. Krochmal is the founder and director of the Civil Rights in Black and Brown Oral History Project, a statewide collaborative research initiative and digital humanities website.

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

The strange emotional pull in each picture comes from the artist’s obsessive need to make it. Calvin Tomkins, “A Doll’s House: Laurie Simmons’s Sense of Scale,” New Yorker, December 10, 2012

Artist Laurie Simmons discusses the making of the Modern’s major survey Big Camera/Little Camera with the exhibition’s curator, Modern Senior Curator Andrea Karnes. Simmons is a hands-on artist who has participated wholly with Karnes in presenting the most honest and compelling survey of a career possible. Karnes’s abiding interest in Simmons’s work is evident in this inquisitive and insightful exhibition that probes themes of gender and cultural expectations that, as presented here, are consistently relevant across time. As noted by Karnes in her catalogue essay, “Finding Jane,” “Examining key works over the span of Simmons’s career elucidates how photography became the ideal framework for her observations of archetypal Western gender roles—a topic as potent today as it was when she first began making art.”

This special presentation offers insight into Simmons’s work featured in the exhibition, her career, and the processes and premise of Big Camera/Little Camera as a collaborative effort between artist and curator.

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

Both artists have what I call, at close range, “real artist” DNA. This means they make unexpected and very clever connections and juxtapositions—the kind the average human does not—that shows up in their work somewhere along a spectrum of abject and sublime. Christina Rees, review of Shelby David Meier & Iva Kinnaird: Make Time, Glasstire, October 9, 2016

Houston-based multimedia and performance artist Iva Kinnaird is in conversation with Dallas artist Shelby David Meier, whose multifarious work reflects an interest in the “mundane.” Meier and Kinnaird share a comedic intelligence. They collaborated on Shelby David Meier & Iva Kinnaird: Make Time at Texas Woman’s University in 2016, and both have the distinction, among others, of showing individually at Culture Hole in Dallas.

Betsy Huete wrote for Glasstire: “Kinnaird understands the importance of sincerity and has a unique ability to infuse that sincerity and genuine humor with the dismissive irony that drives the work.” Meier’s artist bio notes, “His array of work may or may not be a search for sincerity and authenticity within irony, manifested in physical procrastinations/objects.” For Tuesday Evenings, Shelby David Meier and Iva Kinnaird come together to share ideas such as these in a presentation of one sort or another.

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

Making things is a process by which to explore a universe out of reach, from within the limitations of our finite form. Jonathan Marshall

Austin-based artist Jonathan Marshall investigates historical perspectives and how they relate to a sense of place, conveying his commitment to making and sharing ideas as a means of declaring one’s presence on this planet at this time, what he sees as the thread that has connected the ancient language of art since its inception.

Marshall’s Tuesday Evenings presentation, titled “WAS HERE,” is framed by a few probing questions concerning the relationship of the individual to a larger whole, resilience and limitations, and the necessity of systems within the bigger scheme of things. The press release for his recent solo exhibition by the same title, at GRIMM gallery in New York, explains that “hand-making images that organize and convey information is the manner by which Jonathan Marshall reflects on this big picture.” As is crucial to his own practice, Marshall incorporates other artists, survivors, adventurers, and great craftspeople into his presentation while ruminating on making in relationship to broader concerns of the life and use of objects in the world.

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

[Art] is a free spot in society, where you can do anything. Chris Burden, as quoted in a press release for Robert Beck / Robert Buck: A two-part presentation, Part 1: Robert Beck: Vestige, Ulterior Gallery, New York, 2018

New York–based transdisciplinary artist Robert Buck, whose biography locates him in New York City and “far west Texas,” changed his last name from Beck to Buck through a commitment to identity and language in his artistic operation and for conceptual purposes. For this Tuesday Evenings presentation, sign language interpretation will be provided utilizing the services of a Certified Deaf Interpreter – another nod to notions of language and the "speaking body," as he shares his work and ideas in a special presentation titled "Beauty is the last defense..." All are welcome.

Having gone through the Whitney Museum of American Art Independent Study Program, Beck/Buck has exhibited his work nationally and internationally since the 1990s. His 2017 exhibition with artist Donald Moffett, Range: Experiments in New York, 1961–2007, at the Metropolitan Museum of Art, New York, exemplifies a creative and collaborative spirit as Moffett imaginatively responded to a single work by Beck/Buck, the pages of a sketch pad he shot with a .22-caliber rifle. While compelled by an ongoing investigation of subjectivity and interpretation, Beck/Buck’s artistic practice is varied, wherein materials inform meaning and an affinity for text and all that words imply is evident. Writing as well as making, he contributed a provocative essay to the recently released Artists on Andy Warhol, part of the Dia Art Foundation publication series Artists on Artists.

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

Olujimi’s work challenges established modes of thinking that commonly function as “inevitabilities.” Brainard Carey in an interview with Kambui Olujimi, Yale Radio, 2018

Artist Kambui Olujimi explores the political landscape in relationship to his art practice and presents his work in public spaces and his collaborations with For Freedoms, a platform for civic engagement, discourse, and direct action for artists in the United States. In particular, Olujimi shares his own contribution to For Freedoms’ Fifty State Billboard projects. He also discusses work in which he pursues a variety of interests, including Zulu Time, an exhibition traveling through 2019, Blood from Stone, and the film Where Does the Time Go..., which premiered at the Lincoln Center for the Performing Arts. Olujimi’s praxis is both broad and deep. He works within the realm of ideas rather than within an exclusive medium or discipline, as is evident through his output that includes writing, making, and directing. For example, a fascinating series of interviews with African American artists discussing the impact of continued affronts to the citizenship, personhood, and freedom of persons of color informed his novella and exhibition monograph Wayward North (published by Art in General) and are as much a part of his artistic oeuvre as the charged sculptures, drawings, films, and collages that have brought him recognition as an artist. 

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

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

Katherine Bradford, a Brooklyn-based artist recognized for her historically informed and intuitively painted canvases, was featured in the Modern’s FOCUS: Katherine Bradford, fall of 2017. As Modern curator Alison Hearst explains in the exhibition publication, “Katherine Bradford is known for her vibrant palette and eccentric compositions. Often built up over months and sometimes years, Bradford’s paintings are textured, semi-transparent coats of acrylic paint, with hints of pentimenti exposed in the finished surface. Her recent works revisit several of her favored motifs, such as ships and swimmers — traditional and enduring subjects seen throughout art history.”

In this Tuesday Evenings presentation, Bradford is back to share insights into the paintings featured in her FOCUS exhibition, as well as other works and the enduring path of her practice as a devoted painter and longtime member of the New York art community.

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

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