Art materials are always personal. We make them personal. But they are often also connected to something else. In my case, it’s community. Mark Bradford, in Michael Auping, “Working Papers,” Mark Bradford: End Papers

Artist Mark Bradford is in conversation with Michael Auping, curator of the major exhibition Mark Bradford: End Papers, which opens on March 8. For his early End Paper works, Bradford used the small, delicate curling papers he had encountered as a hairdresser in his mother's beauty salon; these breakthrough paintings launched his career. Expanding on their interview for the exhibition catalogue, Auping and Bradford will discuss Bradford's attraction to this material and the importance the End Paper paintings played in the development of his art. Joining us for this special Tuesday Evenings conversation are two of Bradford's longtime friends, Tina Knowles-Lawson, founder and artistic director of Tina's Angels, a mentorship program for young women, and Cleo Hill-Jackson, founder of the African American Cosmetologist Hall of Fame (AACHOF). Both women are former hairdressers who will share experiences from their decades in the hair salon and beyond. 

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

If I look to these specific works and see what’s happening, I think it relates easily to the United States because there is contentious politics, war, different kinds of public executions, and tragedies caused by natural disasters. We share history, and we share problems as well. And we are all human in the end. Hrair Sarkissian, “Making History: Hrair Sarkissian and Omar Kholeif in Conversation,” for FOCUS: Hrair Sarkissian

Hrair Sarkissian: Syria, Belonging Not Longing

Syrian artist Hrair Sarkissian discusses his art in conjunction with his first major solo exhibition in the United States, FOCUS: Hrair Sarkissian. His work explores the hidden tensions that engulf humanity in an era of global crisis, addressing memory, trauma, and landscape and the complexities of capturing these through photography, especially analog photography in a digital age. The artist is joined by exhibition curator Dr. Omar Kholeif for a Q&A following the presentation. 

Hrair Sarkissian, born in Damascus and currently living in London and The Hague, earned a BFA in photography at the Gerrit Rietveld Academie, Amsterdam, in 2010. His work has been featured in solo exhibitions around the world, including at the Davis Museum, Wellesley College, Massachusetts; Sursock Museum, Beirut; KADIST, San Francisco; Fondazione Carispezia, La Spezia, Italy; SALT Beyoğlu, Istanbul; and the Museum of Photography Thessaloniki, Greece. He has been in group shows at Tate Modern, London; New Museum, New York; Darat Al Funun, Amman; Mori Art Museum, Tokyo; Sharjah Biennial; Istanbul Biennial; and Asia Pacific Triennial, Brisbane; among others. Sarkissian won the Abraaj Group Art Prize in 2013.

Dr. Omar Kholeif, FRSA, is a writer and curator who has organized more than 100 exhibitions, special projects, and commissions globally. He is currently Director of Collections and Senior Curator at the Sharjah Art Foundation.

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

The history of art has collapsed under the weight of the contemporary world. Artists and writers now must ask fundamental questions anew: “What defines art? What is the purpose of writing about it? And, facing our current tumultuous reality, why bother with art at all?” Jarrett Earnest

Jarrett Earnest is a New York-based artist and writer who has built a practice of engaging other artists and writers – important thinkers of our time – in compelling conversations on the discourse and status of art. For this Tuesday Evenings presentation, “Uninhabitable Art World: The Future’s Art and Criticism,” Earnest frames some problems facing the 21st century through short case studies on contemporary artists, setting the stage for an in-depth conversation with the audience about the meaning of art

Jarrett Earnest is the author of What it Means to Write About Art: Interviews with Art Critics (2018), editor of Hot, Cold, Heavy, Light: 100 Art Writings, 1988–2018 by Peter Schjeldahl (2019), and curator of The Young and Evil at David Zwirner, NY (2019). He was faculty liaison at the free experimental art school BHQFU (2014–17). His criticism and longform interviews have appeared in many books and exhibition catalogues, most recently Le Pelle: Luc Tuymans (Palazzo Grassi, Venice, 2019) and Willi Smith: Street Couture (Cooper Hewitt, New York, 2020). 

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

Although over the years the studio has developed a highly diverse portfolio of work, my personal interests have shifted strongly towards work in the public realm and cultural projects focused on opportunities for underserved communities. Wendy Evans Joseph, FAIA

Wendy Evans Joseph, the founder of Studio Joseph, presents “No Borders, No Boundaries” for this special Tuesday Evenings presentation in conjunction with the annual Fort Worth AIA Design Awards.

Under Joseph’s leadership, Studio Joseph has completed a diverse array of commercial, institutional, residential, educational, and cultural projects, including museum exhibition design and social space installations, with a strong emphasis in public and community involvement. With an interest in community gathering and equitable design that transcends different realms of the design process, the studio sees no boundaries between all the elements defining human spatial experience, working fluidly between architecture, industrial design, and virtual interfaces. Operating in the civic arena with universities, museums, and community institutions to create more meaningful places of engagement, Studio Joseph listens to large and small voices, maintaining that the creation of architecture is not a vocation, it is a passion.

Wendy Evans Joseph received the Rome Prize in Architecture from the American Academy in Rome and is an Academician of the National Academy of Design. She is a LEED Accredited Professional as part of an ongoing focus on environmentally responsible work. As an active participant in professional leadership, she was the president of the New York Chapter of the American Institute of Architects, chairman of the AIA National Committee of Design, president of the Architectural League of New York, and is currently the president of the National Academy of Design. In the academic realm, Wendy has been the chairman of the Harvard Graduate School of Design Alumni Council and a member of the Harvard University Visiting Committee. She was chairman of the University of Pennsylvania Board of Overseers and a member of the Board of Trustees. A former theatrical set designer, she also gives to her local community by working as a board member of American Ballet Theatre and Second Stage Theatre. 

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

Frida Kahlo once said, “I am my own muse. I am the subject I know best.” It’s a sentiment that also eloquently describes Martine Gutierrez, a transgender Latinx artist who routinely performs the triple roles of subject, maker, and muse in her own eclectic body of work. Miss Rosen, VICE, September 21, 2018

Martine Gutierrez offers insight into her practice, including Indigenous Woman, her project represented in the Modern’s FOCUS: Martine Gutierrez.

Indigenous Woman is a 146-page glossy publication fashioned after Andy Warhol’s Interview magazine, and it has been received with much acclaim. For this undertaking, Gutierrez served as photographer, model, writer, and ad executive. In a story on Gutierrez, Art 21 writes, “A passive observer may mistake [Indigenous Woman] as another glossy monthly, but under its glamorous surface and high production quality lurks a humorous critique about the exotification of identity.” It goes on to note, “At its core, Indigenous Woman is an editorial look book of dramatized personal identity in conversation with stereotypes the artist has experienced.” In the letter from the editor for Indigenous Woman, the artist writes, “This is not a magazine about fashion, lifestyle, or celebrity. Fashion is a good veneer for making people look at what otherwise might make them feel uncomfortable.” 

Martine Gutierrez lives and works in Brooklyn, New York. Her work is represented in significant public collections including The Museum of Modern Art, New York, and the Museum of Contemporary Art San Diego. Her work has been shown in solo and group exhibitions across the globe. Most recently, Gutierrez’s work was included in the 58th Venice Biennale, May You Live in Interesting Times, curated by Ralph Ruggoff; and Kiss My Genders at the Hayward Gallery in London.

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

We practice on the fringes where it’s DIY or die. Lindsay Starr and Daedelus Hoffman

Lindsay Starr and Daedelus Hoffman are creatives collaborating from their home base of San Antonio on an ever-growing and ambitious array of projects that seem to all function within the realm of art. For this Tuesday Evenings presentation, “Dispatches from the Fringe of Experience,” Starr and Hoffman present three dispatches from each of their interrelated practices: Last Words (Cattywampus Press), Backdoor Biennial (Dirty Dark Place), and Bush League (BUXTOOF). Each of these projects highlights the expanse of their artistic activities and practice. As the two explain, “We find a way to experience, research and make, sending back dispatches in the form of publications, art, film and experiences. Cattywampus Press is a publisher of books, goods, and other types of publications and sharable media. Dirty Dark Place programs experiences for all to enjoy at no cost, usually in unexpected places. BUXTOOF is a collaborative, ever-changing arts collective that investigates and critiques contemporary American populism and culture.”

Lindsay Starr and Daedelus Hoffman cofounded Cattywampus Press and Dirty Dark Place. For Cattywampus Press, Starr is Creative Director and Hoffman is Editorial Director; for Dirty Dark Place, Starr is Creative Director and Hoffman is Curatorial Director. Cattywampus Press is a project-based independent publisher concerned with the development, production, and dissemination of short-run books and goods by and about artists who live and/or work in the American South. Dirty Dark Place is a nomadic curatorial endeavor, producing public-facing events and exhibitions that challenge the structures and strictures of contemporary art patronage. BUXTOOF is a project-based artist collective dedicated to disrupting the traditional structures and strictures of exhibiting contemporary art and challenging the capitalist impulses embedded in the so-called art market. Hoffman explains that it is “an experiment in community as we use place and context as a means to expand and provoke audiences as well as incite and enrich artist and their practices.”

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

We may no longer be able to lay claim to a new avant-garde or to sweeping historic art movements in this pluralistic environment, but we can adapt and advance our understanding of what art is and how it functions in relation to how we perceive and experience it. Ian Pedigo, Modal Environs Manifesto, Modal Environs – Art as Expanding Microcosm

Ian Pedigo is a New York–based conceptual and sculptural installation artist. Pedigo grew up in Anchorage, Alaska, and his objects and spaces reflect upon a surreal existentialism discovered through time and space via the effects of nature. The work also exhibits influences of anthropology, architecture, and the esoteric. His consideration of the “artifact” spans a few decades, while his notion of the “Modal Environs” provides a fresh take on artmaking in the post-digital age, as he deals with an ecology of aesthetics brought forward through an ever-escalating medium of immaterial poetics. For this Tuesday Evenings presentation, Pedigo presents “The Future Artifact.

Ian Pedigo has shown internationally at galleries and venues in the UK, Belgium, Germany, Sweden, Italy, France, and Canada, as well as several cities across the United States. His work has been written about in multiple publications, including ArtforumArt in AmericaNew York TimesNew Yorker, and Art News. Pedigo’s work is included in the collection of the Whitney Museum of American Art, and he is a Pollock-Krasner award recipient. In 2011, his work was the subject of a monograph published by the Southern Alberta Art Gallery.

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

Artist Robyn O’Neil is in conversation with the producer and host of the Modern Art Notes podcast, Tyler Green, in conjunction with the Modern’s exhibition Robyn O’Neil: WE, THE MASSES, a survey that examines the artist’s formal and conceptual developments over the past two decades.

Following a shared interest, Green and O’Neil present “Skies in Art History” as they discuss the subject as found in O’Neil’s work as well as the influence and inspiration she finds in the skies of other artists throughout time. Looking at specific works of art featuring skies that excite both O’Neil and Green, the two share their considerations of why artists have always looked heavenward.

This conversation will also be available as an episode of the Modern Art Notes podcast the week following this Tuesday Evenings presentation.

Robyn O’Neil has endeared herself to viewers for more than two decades as her lush drawings exploring themes of evolution, natural catastrophe, the apocalypse, and the beauty of nature have shown widely in national and international exhibitions, including the 2004 Whitney Biennial.
Tyler Green is an award-winning historian and critic. He has hosted the popular MAN podcast since 2011, and his recent book, Carleton Watkins: Making the West American, won a California Book Awards gold medal.

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

Alejandro Cesarco’s work is influenced by literature and literary theory, and by the fragile relationships that exist between imagery, language, and meaning.  Solomon R. Guggenheim Museum’s Collection Online

Alejandro Cesarco presents "Some Notes on Regret," in which he focuses on his thinking around regret as an aesthetic mode and as a methodological tool, illustrated with some of his own current artistic works. Cesarco’s hypothesis considers regret as a generative force (one that seeds and propels forward), as a bittersweet drama of adjustments (between who we are and who we aspired to be, or between what we make and our shortcomings), and ultimately, as a way of questioning perspective itself (distance, visibility, point of view, and, most importantly, time).

Alejandro Cesarco was born in 1975 in Montevideo, Uruguay, and currently lives in New York. In 2011, Cesarco represented Uruguay in the 54th Venice Biennial. Addressing recurrent interests in repetition, narrative, and the practices of reading and translating through different formats and strategies, Cesarco’s most recent solo exhibitions include These Days, Tanya Leighton Gallery, Berlin, 2019, and Tactics & Techniques, CAC, Vilnius, 2019Selected group exhibitions include Question the Wall Itself, Walker Art Center, Minneapolis, 2016; Under the Same Sun, Solomon R. Guggenheim Museum, New York, 2014; Tell It to My Heart: Collected by Julie Ault, Museum für Gegenwartskunst, Basel, 2013; and The Imminence of Poetics, 30th Bienal de São Paulo, 2012. He has also curated exhibitions in the United States, Uruguay, and Argentina; most recently, he curated To Our Parents for the 33 Bienal de São Paulo, Brazil. In addition, Cesarco is director of the nonprofit arts organization Art Resources Transfer.

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

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.