Mary Ellen Carroll is a conceptual artist living and working in New York City and Houston, Texas, whose career, spanning more than 20 years, has focused on a single, fundamental question: What do we consider a work of art? The results are multifarious, provocative, and often wry outpourings in architecture, writing, performance, photography, filmmaking, printmaking, sculpture, and painting that interrogate the relationship between subjectivity, language, and power. Carroll teaches architecture at Rice University in Houston, where she has manifested what she terms her opus, prototype 180, a 10-year project that involves the revolution of a single-family home on its foundation, conceived as a way of making architecture perform. Carroll has received much recognition for her daring and compelling work, including a Guggenheim Fellowship, a Rockefeller Fellowship, a Pollack/Krasner Award, and most recently, the Artistic Honor Award from the American Institute of Architects in Houston. For Tuesday Evenings, Mary Ellen Carroll presents Architecture is Not Art.
Kristen Morgin is an artist based in Los Angeles who is known for her incredible feats with fired and unfired clay in creating sculptures that conjure the past as they seemingly mimic a variety of enchanting, though a little worse-for-wear, memorabilia. L. A. Times art critic Christopher Knight comments, “Melancholy does not merely waft into the atmosphere from Kristen Morgin's elaborately crafted clay, wire, and wood sculptures. It pours forth in torrents, filling the gallery with sadness that it is palpable and almost unbearable.” Such responses have won Morgin inclusion in exhibitions such as the New Museum’s inaugural Unmonumental and Thing, an exhibition of the most innovative contemporary sculpture by 20 of Los Angeles’s up and coming young artists. For Tuesday Evenings, Morgin shares the thoughts and processes that guide her work.
Sterling Allen is an artist and cofounder of Okay Mountain gallery in Austin, Texas, whose own work is known for its humor and profundity. Allen has been recognized for his consumer conscious, found object-based drawings, sculptures, and installations. Awarded national and international residencies, Allen has been featured in numerous exhibitions, including the 2010 International Artists in Residence in Argentina, Buenos Aires; the 2009 Artpace International Artist- In-Residence Program; and Nexus Texas, a 2007 group exhibition of 16 artists working in Texas at the Contemporary Arts Museum in Houston. This Tuesday Evenings presentation offers insight into Allen’s practice as an artist while serving as a preview to the reinstallation of the Artpace exhibition Housing Edition, which opens March 5 and runs through April 24, 2011 at the Fort Worth Contemporary Art Gallery at Texas Christian University.
Dallas-based architect Brent Brown, AIA, has focused his efforts on bringing “design thinking” to all communities. The founding director of the building community WORKSHOP (bcWORKSHOP), Brown has received a great deal of recognition for his socially conscious design concepts, including the 2007, 2008, and 2010 Awards for Excellence in Community Design and Sustainable Design by AIA/Dallas and most recently, the 2010 National AIA/HUD Secretary Award for Community-Informed Design by the U.S. Department of Housing and Urban Development in conjunction with the American Institute for Architects for his Congo Street Green Initiative. In addition, Brown was named the Founding Director of Dallas City Design Studio and represented the Southwest region as part of the President's forum on Clean Energy and Public Health at the White House. For Tuesday Evenings, Brown presents Design Justice, discussing the responsibilities and opportunities for socially conscious architecture as illustrated in his own practice.
Artist John Beech, born in England and living in Brooklyn, is recognized for his wry Duchampian twist on the everyday, producing minimalist sculptures and images that combine humor and beauty in perfect union. Beech’s superbly crafted and appointed paintings, drawings, and sculptures have been described by Edward Albee, the Pulitzer Prize-winning playwright and Beech’s collaborator for the 2007 book Obscure/Reveal, as “pure beauty.” Ken Johnson of the New York Times states that, “the absurdist conjunction of idealist abstraction and real-world function in Mr. Beech’s work is amusing; it also affords the deeper satisfaction of seeing Minimalism’s mandarin purity brought down to earth.”
Uta Barth is a photographer who lives and works in Los Angeles, California. Unlike traditional photography where the camera is used as a pointing device for selecting significant moments and places, Barth’s overriding interest is in perception—in vision itself. Her images share more with the work of Robert Irwin, John Cage, and Brian Eno than with the ideology of Walker Evans or Edward Weston. Barth’s is a serious and concentrated practice that has been rewarded with a great deal of critical acclaim and recognition, including a 2004 Guggenheim Fellowship; the comprehensive survey Uta Barth, published by Phaidon Press as one of the publisher’s prestigious Contemporary Art Series; and most recently, the 2010 monograph Uta Barth: The Long Now. For this Tuesday Evenings presentation, the artist shares her work as it has developed over the past 20 years.
Spencer Finch has received critical acclaim for his work, which has been included in exhibitions spanning the globe, including an ongoing solo exhibition at the Corcoran Gallery of Art in Washington DC; a 2007 solo exhibition, What Time Is It on the Sun at Mass MoCA in Massachusetts; As if the Sea Should Part and Show Another Sea, a 2009 solo exhibition at the Queensland Art Gallery in Brisbane, Australia; and was included in Daniel Birnbaum’s Making Worlds exhibition for the 2009 Venice Biennale. For the biennale catalogue, Birnbaum explained, “Finch’s artworks attempt to re-create his subjective impressions and scientific observations of light and color. His works take many forms, but what unites them is an attempt to transpose culturally significant or privately important moments or sites to a gallery setting.” For Tuesday Evenings, Finch addresses color and his experience with it in Remarks on Color.
Coinciding with the exhibition Vernon Fisher: K-Mart Conceptualism, Vernon Fisher discusses the issues at stake in his work of the last 30 years with Dr. Frances Colpitt, an art historian, critic, author, and the Deedie Potter Rose Chair of Art History at Texas Christian University. This Tuesday Evenings presentation is a continuation of the dialogue Fisher and Colpitt have pursued since 2008, in conjunction with Colpitt’s analysis of Fisher’s work in the context of postmodernism. Colpitt’s essay appears in the new monograph Vernon Fisher, recently published by the University of Texas Press. With 256 pages and 144 color plates, the book also includes an interview with the artist by the Modern’s chief curator, Michael Auping.
Gene and Jerry Jones, owners of the Dallas Cowboys, are in conversation with the Modern’s chief curator, Michael Auping. When conceiving the new Cowboys Stadium, the Jones family sought to create more than a football stadium. The idea was to build a twenty-first-century coliseum that would engage not only sports, but architecture, design, technology, and art. One of the most exciting aspects of the building is its inclusion of a world-class collection of contemporary art, many of the works created specifically for the new building. For this Tuesday Evenings presentation, Stadium Art, Auping, who was part of the advisory committee for the project, talks with the Joneses about their vision and how it came to fruition.
Lawrence Weiner is one of the foremost figures in Conceptual art, as made clear with the Whitney Museum of American Art’s 2007 retrospective of his work, AS FAR AS THE EYE CAN SEE. For Tuesday Evenings, Weiner presents the work and ideas that have inspired and informed generations of artists and viewers since his 1968 Declaration of Intent: “(1) The artist may construct the piece. (2) The piece may be fabricated. (3) The piece may not be built. [Each being equal and consistent with the intent of the artist, the decision as to condition rests with the receiver upon the occasion of receivership.]” Weiner’s Tuesday Evenings presentation, ONE LUMP TWO LUMPS THREE LUMPS FOUR . . . (after the popular piece in the Museum’s collection) is a tremendous opportunity to learn more about the work of the artist, described in his biography as one who PARTICIPATES IN PUBLIC AND PRIVATE PROJECTS AND EXHIBITIONS IN BOTH THE NEW AND OLD WORLD MAINTAINING THAT: ART IS THE EMPIRICAL FACT OF THE RELATIONSHIPS OF OBJECTS TO OBJECTS IN RELATION TO HUMAN BEINGS AND NOT DEPENDENT UPON HISTORICAL PRECEDENT FOR EITHER USE OR LEGITIMACY.