Gary Rough is a Scottish conceptual artist based in New York who represented his homeland in the 2003 Venice Biennale. As described in the press release for a recent solo show at numberthirtyfive gallery, New York, Rough “has cast himself as the antihero in his own dystopian novel.” Rough scrupulously labors to report upon the fragility, pathos, and beauty of the human condition, evoking the romantic, mundane, bleak, and intimate in paintings, sculpture, text, T-shirts, site-specific installations, and more with work that appears to be cobbled together in a deceptively hurried and craftless manner. It is no surprise that Rough was attracted to Kurt Vonnegut’s character Rabo Karabekian, the fictional and failed Abstract Expressionist painter whose paintings faded and disappeared from their canvases in Bluebeard due to a combination of stupidity and bad luck. After working with the author, in 2007, the year of Vonnegut’s death, Rough recreated and showed Karabekian’s “Sateen-Dura Luxe” paintings, at Fergus McCaffrey Fine Art, New York, based on Vonnegut’s descriptions of them in the book. This exercise, and the remarkable resulting paintings, brought Rough critical acclaim and an intriguing relationship with Vonnegut and his widow. Rough continues to explore the ordinary and often pathetic experiences and conditions of life on earth with tenderness and extraordinary astuteness. For Tuesday Evenings, he shares the insights and revelations of his career thus far.

Andrea Fraser is an artist currently based in Los Angeles, California, where she is a professor at UCLA in the department of art. She also serves as visiting faculty for the Whitney Independent Study Program in New York. Fraser has used performance, video, and a range of other media to explore the motivations that drive artists, collectors, art dealers, corporate sponsors, museum trustees, and museum visitors from the pursuit of prestige to that of financial investment, to sexual fantasy and self-realization. Working since the mid-1980s, Fraser has built on the site-specific and research-based approaches that emerged with conceptualism, combining them with feminist investigations of subjectivity and desire. Her methods are rooted in the psychoanalytic principle that one can only engage structures and relationships through the immediacy of performance. In addition, Fraser also writes about her observations and experiences in art and life. Moved by a personal and immediate engagement with Fred Sandback’s work at Dia: Beacon in 2004, she wrote the essay, “Why does Fred Sandback’s Work Make Me Cry.” For Tuesday Evenings, Fraser presents and discusses this moving essay that explores the psychological and emotional aspects of our relationship with art and museums.

Brooklyn-based artist Byron Kim is known for his monochrome paintings, born out of representation, that seemingly challenge their relationship to abstraction. Faye Hirsch describes his work in an interview with the artist for Art in America, “You see subtle variations of color within the fields. Recalling paintings by midcentury modernists like Rothko and Reinhardt, they feel like pure abstraction, but as always with Kim, have profound ties to the world.” Recognized in the early 1990s for Synecdoche, a grouping of hundreds of small monochrome paintings based on skin tones that was included in the 1993 Whitney Biennial, Kim collaborated that same year with friend and fellow artist Glenn Ligon on the painting Black and White, which exploits the notion of “flesh tone” as a color. Kim has since moved to meditations on the sky with his ongoing Sunday Paintings (a series begun in 2001). These small and stunning presentations of the daytime sky are immediately personal, with notations from mundane to profound, that mark the moment they represent written across their surfaces while at the same time thoughtfully reference the historical Today Series by On Kawara. Kim’s devotion to his paintings and their subjects has brought him critical acclaim; he has received numerous awards, including the Alpert Award in the Arts, UCROSS, and the Joan Mitchell Foundation Grant. His work has been the subject of numerous solo and group exhibitions throughout the United States and abroad, including Korea, Poland, Spain, the United Kingdom, Germany, and Canada.

For Tuesday Evenings, Kim presents the ideas and experiences that have formed his work.

Jill Magid, a New York-based artist and writer, seeks platforms for working inside and outside of institutions, responding to their imposition, negotiation, and at times, capitulation of power. For Magid, this power is not a remote condition to contest, but rather something to manipulate by drawing it closer, exploiting its loopholes, engaging it in dialogue, seducing its agents, revealing its sources, infiltrating its structure, and repeating its logic. As an artist and writer, Magid is fascinated by the topics of hidden information; being public as a condition for existence; and intimacy in relation to power. With solo exhibitions at institutions around the world, including Tate Modern, London; Whitney Museum of American Art, New York; Berkeley Museum of Art, California; Tate Liverpool; the Stedelijk Museum Bureau Amsterdam; Yvon Lambert, Paris and New York; Gagosian Gallery, New York; the Centre d’Art Santa Mònica, Barcelona; and at the Security and Intelligence Agency of the Netherlands, Magid has been recognized with awards such as the Basis Stipendium from Fonds Voor Beeldende Kunsten in the Netherlands and the Netherland-America Foundation Fulbright Fellowship. She is also the author of four books, including Becoming Tarden, which opens with, “The secret itself is much more beautiful than its revelation.” In accordance with Magid’s proclivity for intrigue, this book is as mysterious as the project it is associated with, which included the book being edited, censored, and its contents confiscated by the Dutch Secret Service, and a one-time-only exhibition of the novel at Tate Modern last fall.

For Tuesday Evenings, Magid presents Jill Magid: Embedded, a survey of the artist’s career with insights into her strange and thrilling experiences and endeavors as an artist, including her next project, Failed States, at Arthouse and AMOA in Austin, which is also the subject of Magid’s fourth and upcoming book by the same title.

For more information about Jill Magid, visit www.jillmagid.net.

Katie Paterson is a young British artist receiving a great deal of attention as a cross-medium, multidisciplinary, and conceptually driven artist who focuses on nature, ecology, geology, and cosmology in her work, using her skill and knowledge as an artist together with her limitless curiosity and tireless research to probe matters often left to science. Her devotion and hard work have been rewarded. Paterson recently held the 2010–2011 John Florent Stone Fellowship at Edinburgh College of Art and the 2010–2011 Leverhulme Artist in Residence in the Astrophysics Group at the University College London, as well as recently being named one of four “Best New Artists in Britain” by The Observer of London. In addition, in 2008 she was the recipient of the first annual Creative 30 Award. With work that literally explores the universe and presents its various phenomena, Paterson has been acknowledged and championed by fellow British artist Cornelia Parker in a 2010 article for The Guardian as, “original, engaging, and expansive. She makes us realize how inconsequential we are in relation to the universe.” Described in the same article as, “a romantic . . . with the patience, curiosity, and technical persistence of a scientist,” Paterson first came to public attention with a solo show at Modern Art Oxford in 2008, a year after graduating from the Slade School of Fine Art in London. She has since shown in group and solo exhibitions from London to Seoul, Korea to Venice, where in 2011 she presented the unique and fascinating project 100 Billion Suns during the Venice Biennale.

For Tuesday Evenings, Paterson shares her experiences and ideas as an artist, offering special insight into her work featured in the Modern’s FOCUS: Katie Paterson, as well as what to look forward to from her growing career. 

Tim Rollins is an artist, activist, and teacher based in South Bronx, New York, who is known for what might be understood as “art activism,” and specifically his collaborative work with a group of at-risk students who call themselves Kids of Survival (K.O.S.). Beginning his career in 1980 as cofounder of Group Material—a collective of young New York artists pooling resources to launch exhibitions that address social themes—Rollins laid the ground work for what has become an art-world phenomenon known as Tim Rollins and K.O.S. Moving from traditional student/teacher interactions to a respected fine art collaborative practice, Tim Rollins and K.O.S. is represented by Lehman Maupin gallery in New York and shows internationally, with an exhibition history that includes two Whitney Biennials, the 1988 Venice Biennale, Carnegie International, as well as Documenta 8.  After showing at the Museum für Gegenwartskunst in Basel, Switzerland, more than 20 years ago, Tim Rollins and K.O.S. present new works in a major survey exhibition in Basel entitled On Transfiguration, on view January 21 through April 15, 2012. “With Rollins’s guidance, these students are producing artwork of a remarkable sophistication, which refuses to conform to known categories but alternates between the literary and the visual, the modern and the naïve. Rollins’s teaching approach is at once classic and iconoclastic, for he uses significant works of literature as the basis for a visual statement. The result is a multilevel collaboration: among the students, between teacher and student, between the group and the authors whose books they choose.” Roberta Smith, New York Times. This Tuesday Evenings presentation, Art and the Beloved Community, offers a special opportunity to hear from Rollins on the history, experiences, and initiatives of this extraordinary group.

Andrew Campbell is an art historian and senior lecturer at Texas State University, where he teaches courses on contemporary art, feminism and visual representation, bad taste, film, and graphic novels. For Tuesday Evenings, Campbell presents one facet of his current project, Bound Together, an academic study of gay and lesbian leather communities in the 1970s. In this Valentine’s Day presentation entitled The Practice of Sex, the Work of History/ the Work of Sex, the Practice of History, Campbell—in an effort to engage in the ongoing project of writing contemporary art histories by making sense of a multitude of artists and their practice(s) as well as the expansion of historical LGBTQ visual cultures and communities that might otherwise be deemed too esoteric or stigmatized for study—presents four contemporary artists/collectives (Christian Holstad, Monica Majoli, Dean Sameshima, and A. K. Burns/A. L. Steiner) who refashion source documents from 1970s leather communities in order to comment on the politicized practices of LGBTQ love and sex in the twenty-first century.

*Audience members should note that to fully explore and present his subject, Campbell’s presentation includes mature language, themes, and subject matter.

For this Tuesday Evenings presentation, artist Glenn Ligon is in conversation with curator Scott Rothkopf on the subject of Ligon’s midcareer retrospective Glenn Ligon: AMERICA. Ligon is one of the most important American artists working today, with work spanning painting, sculpture, photography, and film, and exhibitions throughout the United States and Europe, including the 1991 and 1993 Whitney Biennials; Black Male: Representations of Masculinity in Contemporary Art and The American Century: Art and Culture 1900–2000, both at the Whitney; solo exhibitions at the Studio Museum in Harlem; the Kunstverein München, Germany; the Walker Art Center, Minneapolis; St. Louis Art Museum, Missouri; ICA in Philadelphia; and SFMOMA; as well as the 1997 Venice Biennale and Documenta II. Rothkopf is curator at the Whitney Museum of American Art and curator of Glenn Ligon: AMERICA. Prior to his position at the Whitney, Rothkopf was senior editor at Artforum. Through both positions, Rothkopf has come to know Ligon and his art well, having worked closely with the artist on this retrospective and as editor of Ligon’s book Yourself in the World: Selected Writings and Interviews. Given Ligon and Rothkopf’s relationship, as well as their obvious insight into the exhibition, this is a very special presentation that also serves as a preview for Glenn Ligon: AMERICA, which opens to the public on Sunday, February 12.

Katy Siegel is a professor of art history at Hunter College in New York, editor in chief of Art Journal, and a contributing editor to Artforum. She has authored numerous essays on modern and contemporary artists, such as Paul Pfeiffer, Takashi Murakami, Lisa Yuskavage, Bernard Frize, and Mark Bradford. She was the curator of High Times, Hard Times: New York Painting, 1967–1975, and is currently at work on a large, historical painting exhibition for the Wexner Center in 2013. Her most recent books include Since ’45: America and the Making of Contemporary Art, published this spring; and Abstract Expressionism, due out this fall.

Michael Auping, chief curator at the Modern Art Museum of Fort Worth, presents Los Angeles:  Light and Space at Land’s Edge, focusing on the unique qualities of light in Southern California and how those qualities have inspired painters, sculptors, and installation artists for decades. What began as painterly replications of light—both abstract (Richard Diebenkorn, John McLaughlin) and representational (Ed Ruscha and Vija Celmins)—evolved into architectural investigations of the phenomenology of light (Robert Irwin, Maria Nordman, and Bruce Nauman). 

 

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