“As ephemeral as our footprints were in the sand along the river, so also were those moments of childhood caught in the photographs. And so will be our family itself, our marriage, the children who enriched it, and the love that has carried us through so much. All this will be gone. What we hope will remain are these pictures telling our brief story, but what will last, beyond all of it, is the place.” — Sally Mann, Hold Still: A Memoir with Photographs

A Special Lecture by Sally Mann

Sally Mann, one of America’s most renowned photographers, recently released her much-anticipated memoir Hold Still (Little, Brown and Company) to high acclaim. Patricia Wall of the New York Times compares Mann with none other than Walker Evans, stating, “I held Evans’s writing in mind while reading Hold Still, the photographer Sally Mann’s weird, intense and uncommonly beautiful new memoir. Ms. Mann has got Evans’s gift for fine and offbeat declaration.” Wall closes her review with, “The best quality of Hold Still — a book that strikes me as an instant classic among Southern memoirs of the last 50 years — is its ambient sense of an original, come-as-you-are life that has been well lived and well observed. It’s a book that dials open the aperture on your own senses. Like the photographs she most admires, it is rooted in particulars yet has ‘some rudiment of the eternal in it.’”

For this special presentation, artist Sally Mann reads from Hold Still: A Memoir with Photographs.

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

 lauren woods is a Dallas-based conceptual artist whose hybrid media projects — film, video and sound installations, public interventions, and site-specific work — engage history as a lens through which to view the sociopolitical nature of the present. Challenging the tradition of documentary/ethnography as objective, woods creates ethno-fictive documents that investigate invisible dynamics in society, remixing memory and imagining other possibilities. She also explores how traditional monument-making can be translated into new contemporary models of commemoration, substituting the traditional marble and granite for new media. In 2013, woods unveiled Drinking Fountain #1, a new media monument to the American Civil Rights Movement, past and present activists/organizers, and the spirit of resistance, installed underneath the remnants of a recently rediscovered Jim Crow “White only” sign in the Dallas County Records Building. Part sculpture, part intervention, the piece is part of the larger public artwork A Dallas Drinking Fountain Project. Having shown internationally throughout her career, woods’s most recent solo exhibition at Zhulong Gallery in Dallas continued her exploration of subject and object through the lens of color with multichannel video and sound interventions that envelope the viewer.

For this Tuesday Evenings presentation, lauren woods shares the work and ideas that have formed her practice.

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

Valerie Hegarty is a Brooklyn-based artist who creates paintings, sculptures, and installations that often address themes of memory, place, and history. Her site-specific 2012 exhibition Alternative Histories, in which Hegarty “activated” the period rooms at the Brooklyn Museum, exemplifies her work. In an article on the show by Benjamin Sutton for Blouin Artinfo, the artist explained, “This is really setting a movie scene, the way you have to think about the framing in here, like framing a painting. I wanted it to be really painterly against all this formal stuff.” The exhibition’s curator, Eugenie Tsai, elaborated: “One of our great concerns is manifest destiny, so she’s referring to colonization, and the way that nature was destroyed through the building of towns, the settling of the land, and the displacement of indigenous people. And so in some ways she is showing revenge. I think it’s more a reference to nature displaced, and natural forces displaced.”

For Tuesday Evenings at the Modern, Valerie Hegarty shares her work and experiences in “Valerie Hegarty: Reverse Archeology, the Creation of Decay and Other Uncanny Transformations.”

Curator of Education, Terri Thornton's blog post following this lecture.
A video recording of this lectures will be available on the Modern's Youtube

Charles Gaines, a pioneer of conceptualism and a highly influential educator, is an established Los Angeles-based artist and longstanding professor at California Institute of the Arts. Celebrated for his photographs, drawings, and works on paper, Gaines investigates how rule-based procedures produce order and meaning. As described by the Hammer Museum in conjunction with the recent exhibition Charles Gaines: Gridwork 1974–1989, the artist’s early groundbreaking work “serves as a critical bridge between the first generation conceptualists of the 1960s and 1970s and those artists of later generations exploring the limits of subjectivity and language.” Currently represented in the 56th International Art Exhibition of this year’s Venice Biennale by Librettos, a new series that brings together the score of the opera La Vida Breve by Spanish composer Manuel de Falla and a speech from 1964 by Black Panther Party member Stokely Carmichael, and Sound Text, a multipart series incorporating drawings on paper that lead to a performance by a seven-piece ensemble, Gaines continually produces ambitious and compelling work that is as challenging as it is inviting.

For this Tuesday Evenings lecture, artist Charles Gaines shares ideas that have informed his long and influential career.

Curator of Education, Terri Thornton's blog post following this lecture.
A video recording of this lectures will be available on the Modern's Youtube

Randy Brown, FAIA, is a recognized architect whose expertise falls into three types of projects: cultural, dwelling, and identity. Awarded sixteen AIA National Awards and regularly featured in major architecture journals and publications, the guiding principles and character of Randy Brown Architects are reflected in the firm’s inclusion in the 2012 publication by Damir Sinovcic, 50 US Architects: Residential + Planning, a curated collection of award-winning residential and master planning work from leading American designers whose meticulously detailed and site-specific projects focus on sustainability, technology, and the human spirit.

In conjunction with the 2015 Fort Worth AIA Design Awards, Brown presents the ideas and work of Randy Brown Architects, based in Omaha, Nebraska, and known for an approach to architecture that meshes modern design with an appreciation for the land and lifestyle of its region.

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

“The Public Object: On Sculpture and Thingness in Public Space”
What makes an object a sculpture? What makes a thing recognizable as art? How does the public realm shape these questions differently than the white cube?

Andria Hickey is Curator at the Public Art Fund, where she has curated exhibitions throughout New York City with artists such as Danh Vō, Katharina Grosse, and Oscar Tuazon, as well as the group exhibitions Lightness of Being (2013), Configurations (2012–13), and A Promise Is a Cloud (2011–12). Her current group exhibition, Image Objects, explores the nature of public art in the digital age and is on view at City Hall Park until November 20. Prior to working for the Public Art Fund, Hickey was curator at Art in General, a nonprofit gallery in Lower Manhattan, and from 2007 to 2010 she was curatorial fellow in the department of visual arts at the Walker Art Center. In addition to operating through institutions and organizations, Hickey established herself early on as an independent curator and writer in Montreal and Newfoundland. She continues to pursue her personal interests through various independent endeavors, such as her recent group exhibition Objects Food Rooms at Tanya Bonakdar Gallery in New York.

For Tuesday Evenings at the Modern, Andria Hickey expands upon her recent curatorial work to explore the shifting nature of the art object from the sanctioned art spaces of galleries and museums to the unyielding context of the public realm.

Curator of Education, Terri Thornton's blog post following this lecture.
A video recording of this lectures will be available on the Modern's Youtube

LaTasha N. Nevada Diggs is a poet, sound artist, and author of TwERK (Belladonna, 2013). Her writing has appeared in acclaimed publications including LA Review, Black Renaissance NoireNocturnesThe Spoken Word Revolution ReduxJournal of Pan African Studies, and Fence, and her interdisciplinary work has been featured at art institutions such as the Walker Art Center, The Kitchen, Yale University, CalArts, the Whitney Museum of American Art, The Museum of Modern Art, Reverse: Copenhagen International Poetry Festival, and the 2015 Venice Biennale.

Writer and activist Shannon Gibney has written, “LaTasha N. Nevada Diggs’ work is polyphonic, cackling with energy, and impossible to categorize. She calls herself a writer, vocalist, and sound artist, but what she really is is an intercultural mestiza — at once an interloper and a translator, an authentic and an inauthentic voice of ‘the Other,’ occupying a space that most would recognize as peripheral, but is actually movement itself. Her work, spanning a range of histories and social locations, embodies multiple languages in an effort to communicate that what is known is always contested, and what is unknown may be of equal or even more importance.”

Having contributed her poem Son of a Negro Explorer (Not) at the North Pole (Colonel Platoff) to the catalogue accompanying Kehinde Wiley: A New Republic, LaTasha N. Nevada Diggs expands on her presentation delivered this June for the 16th Poesiefestival in Berlin.

Curator of Education, Terri Thornton's blog post following this lecture.
A video recording of this lectures will be available on the Modern's Youtube

 

Kehinde Wiley, the artist featured in Kehinde Wiley: A New Republic, is in conversation with the exhibition curator, Eugenie Tsai of the Brooklyn Museum, to open the fall 2015 Tuesday Evenings at the Modern. The New York Times referred to Wiley as “one of the most celebrated painters of his generation.” His large-scale canvases reiterate historical portraits by Old Master painters, but with contemporary black youth in place of the original subjects. Wiley has explained, “The stuff I do is a type of long-form autobiography, but the starting place is not me.” In the exhibition catalogue, Tsai describes the artist’s program of righting the absence of nonwhite faces in art-historical masterpieces as “using the power of images to remedy the historical invisibility of black men and women.” As the John and Barbara Vogelstein Curator of Contemporary Art at the Brooklyn Museum since 2007, Tsai has organized numerous exhibitions, with Kehinde Wiley: A New Republic receiving a great deal of critical acclaim.

This conversation between the artist Kehinde Wiley and curator Eugenie Tsai promises to offer enormous insight into an intriguing exhibition.

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

Laurie Simmons is a New York–based artist and filmmaker renowned since the mid-1970s for her psychologically and formally profound work. Her iconic, large-scale, black-and-white photograph Walking House, 1989, was recently acquired by the Modern and is featured in the current exhibition Framing Desire: Photography and Video. Having garnered an international reputation as one of the leading artists to emerge from the New York Pictures Generation of the 1970s and 1980s, Simmons has thoughtfully and methodically moved through her various photographic series, such as Early Black and White Interiors, 1976–78, in which pseudo-realities are created by staging miniature spaces with dollhouse furniture and other banal props; and Walking & Lying Objects, 1987–91, a series of black-and-white photographs of inanimate objects animated with human legs. Her most recent bodies of work—Kigurumi, inspired by a sub-genre of Japanese “costume play,” and How We See—present a transformative social experience and relate it to our relationship with social media. She continuously updates and maximizes photography’s attributes, stating early on in the 1983 exhibition catalogue In and Around the House, “I love the photographic image, the way scale can become meaningless and everything is unified within the surface. I now see that that kind of ambiguity is what drew me to working with the camera in the first place.”

For this Tuesday Evenings presentation, Laurie Simmons talks about her most recent photographic series and her upcoming feature film.

Curator of Education, Terri Thornton's blog post following this lecture.
A video recording of this lectures will be available on the Modern's Youtube

Sina Najafi is editor-in-chief of Cabinet magazine, editorial director of Cabinet Books, and, together with Jeffrey Kastner, commissioning editor of the essays for the 2013 Venice Biennale catalogue. Najafi has curated or co-curated a number of exhibitions and projects, including “Odd Lots: Revisiting Gordon Matta-Clark’s Fake Estates” at White Columns and the Queens Museum of Art in New York in 2005, which is the subject of this Tuesday Evenings presentation. Najafi explains, “In the early 1970s, Gordon Matta-Clark discovered that the nearly bankrupt City of New York was auctioning off a large number of improbably tiny and frequently inaccessible parcels of land created by the exigencies of urban development. Fascinated by these eccentric spaces, he bought fifteen of them (fourteen in Queens, and one in Staten Island) for between $25 and $75 each, photographed them, and then collated the photographs with the associated deeds and maps. These collected materials are today known as Fake Estates. Over the next years, he considered using them as sites for his unique brand of ‘anarchitectural’ intervention into urban space but none of his plans were realized before he died in 1978. The materials that he had assembled went into storage and were not rediscovered until the early 1990s, when they were assembled into collages and exhibited as artworks by Matta-Clark, not without some controversy. Today, we can read Fake Estatesas oblique and poetic commentary on many of Matta-Clark’s signature themes, including property, materiality, and disappearance, but as posthumously produced artworks, they also raise many questions concerning the relationship between authorship, authority, work, documentation and, in the final instance, the writing of history.”

Sina Najafi’s Tuesday Evenings talk presents the intricacies of Matta-Clark’s original project alongside a critical examination of Cabinet magazine’s 2005 exhibition on Fake Estates.

Curator of Education, Terri Thornton's blog post following this lecture.
A video recording of this lectures will be available on the Modern's Youtube

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