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Nasher Sculpture Center Announces Fall / Winter Speaker Lineup for 360: Artists, Critics, Curators

The Nasher Sculpture Center is pleased to announce the fall and winter speaker line-up for the 2012 Nasher lecture series, 360: Artists, Critics, Curators, which brings art world speakers to the Nasher for conversations about the ever-expanding definition of sculpture and the thought-processes behind innovative contemporary artwork, architecture and design.

“Through regular lectures and conversations with distinguished artists, critics, and curators, 360 has become Dallas’ leading forum for the presentation of new ideas in the visual arts,” said Jeremy Strick, Director, Nasher Sculpture Center.

Lectures are free with museum admission: $10 for adults, $7 for seniors, $5 for students, and free for Members. Seating is limited, so reservations are requested. Immediately following the presentation, guests will enjoy a wine reception with RSVP. For information and reservations, email 360rsvp@nashersculpturecenter.org or call 214.242.5159. Updates and information are available at www.NasherSculptureCenter.org/360.

Monthly Lectures

Lawrence Weiner, Artist
September 29, 2012, 1 p.m.

Lawrence Weiner is one of the most significant and iconic artists of our generation. Throughout his practice, he has pursued inquiries into language and a radical redefinition of the artist/viewer relationship. Translating his investigations into linguistic structures and visual systems across varied formats and manifestations, he has produced books, films, videos, performances and audio works.

The belief at the core of Lawrence Weiner’s work is that art is a material reality between human beings and objects and between sets of objects in relation to human beings. Weiner considers language to be a sculptural material and believes that a construction in language can function as sculpture as adequately as a fabricated object. His statement of intent published in 1969 states:

THE ARTIST MAY CONSTRUCT THE WORK
THE WORK MAY BE FABRICATED
THE WORK NEED 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

Catherine Craft, Curator and Author
October 13, 2012, 1 p.m.

In celebration of the release of the new book by Catherine Craft, An Audience of Artists: Dada, Neo-Dada and the Emergence of Abstract Expressionism, the Nasher Sculpture Center invites you to a 360 lecture led by the Adjunct Assistant Curator for Research and Exhibitions.

Toward the end of the 1950s in New York, the term Neo-Dada surfaced to label Jasper Johns, Robert Rauschenberg and a number of other young artists whose work seemed sharply at odds with Abstract Expressionism.  It was a true return to Dada, the radical avant-garde, anti-art movement that emerged after World War I. Soon the Neo-Dada style came to encompass a variety of experimental art, including assemblage, performance, Pop art and nascent forms of minimal and conceptual art.

Drawing on an array of previously unpublished material, Craft reveals Neo-Dada to be a complex phenomenon arising from concerns about viewers, originality and artists’ debts to the past and one another. Tracing the activities of artists such as Robert Motherwell, Barnett Newman and Jackson Pollock alongside Marcel Duchamp’s renewed embrace of Dada in the late 1940s, Craft explores the challenges facing artists trying to work in the wake of a destructive world war and the paintings, objects, writings and installations that resulted from their efforts.

Eva Rothschild, Artist
October 20, 2012, 1 p.m.

Born in Dublin in 1971, Eva Rothschild gained prominence by producing works that reshape the legacy of minimalist and post-minimalist sculpture to offer evocative, open-ended experiences to the viewer. In 2011, she worked with the Public Art Fund in New York to create Empire, a striped, multidirectional archway at one of the entries to Central Park. For the Nasher’s Sightings series, Rothschild will design an intricate network of painted piping that similarly addresses the transitional space of the Nasher’s entrance bay.

Rothschild has exhibited widely at museums, including Hepworth Wakefield, Tate Britain and Kunsthalle Zurich. Her work is included in the collections of the Tate Gallery, London; the Carnegie Museum, Pittsburgh; and the Irish Museum of Modern Art, Dublin.

Richard Wentworth, Artist
November 17, 2012, 1 p.m.

Richard Wentworth is a chronicler of daily life. Since the 1970s he has played a leading role in British sculpture, isolating both the formal and sculptural qualities of everyday objects. His extensive archive of photographs, ‘Making Do and Getting By’ (1974 onwards), captures the provisional ways in which people modify the world they inhabit. It suggests an infinite syntax of adjustment, modification and appropriation. The neuroscientist Mark Lythgoe has suggested that the private smile spectators experience when looking at Wentworth’s work is associated with a deeply human capacity to associate the inventive and creative with an internalized highway code for survival. Richard Wentworth is Professor of Sculpture at the Royal College of Art.

Sally Pemberton, Author,
and Richard Brettell, Ph.D.
Margaret M. McDermott Distinguished Chair of Art and Aesthetic Studies,
University of Texas at Dallas
December 8, 2012, 1 p.m.

In 1925, no one in New York City was more surprised than Murdock Pemberton – a newspaper reporter, Broadway publicist, playwright and poet with no formal training in art or connoisseurship – when an upstart magazine, The New Yorker, named him its first art critic. But the keen eye, adventurous taste, crusading spirit and irreverent wit memorialized in his columns soon made him a hero of the avant-garde.

In 2009, while cleaning out her mother’s attic, Murdock’s granddaughter Sally Pemberton stumbled across old suitcases in which he had methodically stashed 94 years’ worth of exhibition catalogs, clippings, playbills and letters. Soon after, Sally began the extensive detective work and research to reconstruct the art critic’s career. A sample of her findings includes an interview with Henri Matisse from 1930 and historical records confirming that a major French gallery gave her grandfather a Degas drawing in appreciation for his crusade, as well as Isamu Noguchi’s comments about an ill-fated meeting with Robert Moses arranged by Murdock.

With Richard Brettell, Sally will recount her adventure and discuss Murdock Pemberton’s unique perspective on modernism’s formative years.

Mark Dion, Artist
January 26, 2013, 1 p.m.

Mark Dion’s work examines the ways in which dominant ideologies and public institutions shape our understanding of history, knowledge and the natural world. The job of the artist, he says, is to go against the grain of dominant culture, to challenge perception and convention. Appropriating archaeological and other scientific methods of collecting, ordering and exhibiting objects, Dion creates works that question the distinctions between objective (rational) scientific methods and subjective (irrational) influences. The artist’s spectacular and often fantastical curiosity cabinets, modeled on Wunderkabinetts of the 16th century, exalt atypical orderings of objects and specimens. By locating the roots of environmental politics and public policy in the construction of knowledge about nature, Mark Dion questions the authoritative role of the scientific voice in contemporary society.

360: Artists, Critics, Curators Speaker Series is supported in part by the City of Dallas Office of Cultural Affairs. Media sponsor is Glasstire.

About the Nasher Sculpture Center

Open since 2003, and located in the heart of the Dallas Arts District, the Nasher Sculpture Center is home to one of the finest collections of modern and contemporary sculptures in the world, the Raymond and Patsy Nasher Collection, featuring more than 300 masterpieces by Calder, Giacometti, Matisse, Picasso, Rodin, and more. The longtime dream of the late Raymond and Patsy Nasher, the museum was designed by world-renowned architect Renzo Piano in collaboration with landscape architect Peter Walker.

Hailed by the “USA Today” as one of the great sculpture gardens where art enhances nature, the roofless museum seamlessly integrates the indoor galleries with the outdoor spaces creating a museum experience unlike any other in the world. On view in the light-filled galleries and amid the landscaped grounds are rotating works from the Collection, as well as blockbuster exhibitions and one-of-a-kind installations by the most celebrated artists of our times. In addition to the indoor and outdoor gallery spaces, the Center contains an auditorium, education and research facilities, a cafe, and a store.

The Nasher brings the best of contemporary culture to Dallas through special programs designed to engage visitors, including artist talks, lecture programs, contemporary music concerts, educational classes and exclusive member events.

The Nasher Sculpture Center is open Tuesday through Sunday from 11 am to 5 pm and until 11 pm for special events, and from 10 am to 5 pm on the first Saturday of each month.  Admission is $10 for adults, $7 for seniors, $5 for students, and free for members and children 12 and under, and includes access to special exhibitions. For more information, visit www.NasherSculptureCenter.org.

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