A Tribute to Anne Windfohr Marion at The Modern

A Tribute to Anne Windfohr Marion at The Modern

The Modern Art Museum of Fort Worth Announces
Modern Masters: A Tribute to Anne Windfohr Marion
On View October 23, 2022-January 9, 2023

Director Marla Price announces Modern Masters: A Tribute to Anne W. Marion, an exhibition of contributions of one of the Modern Art Museum of Fort Worth’s greatest patrons, tracing her support over nearly a half century. Marion’s generosity to many institutions is legendary, but no organization stood above her love for the Modern. With 80 works by 47 artists, this tribute exhibition is on view October 23, 2022, through January 22, 2023.

Marion began collecting modern and contemporary art in the 1980s. At that time, her passion, and strategy, was to focus on American art at the highest level. She began by forming a small but stellar private collection of Abstract Expressionism, one of the most significant art movements since World War II. The exhibition begins with three renowned works from her collection, given to the Modern on her passing in 2021: Arshile Gorky’s The Plow and the Song, 1947, Willem de Kooning’s Two Women, 1954–55, and Mark Rothko’s majestic White Band No. 27, 1954.

The Museum’s former chief curator, and the curator of this exhibition, Michael Auping, has described the gift of these paintings as “a monumental addition to the Museum’s collection, each work a classic example of the artist’s signature style.” A scholar of Abstract Expressionism, Auping elaborates: “The Plow and the Song is an homage to the central theme of Gorky’s imagery, memories of the farms and landscape of his homeland of Armenia, and de Kooning’s Two Women stands perfectly in the center of the development of the artist’s famous group of Women paintings. White Band is nothing less than a masterpiece within Rothko’s oeuvre. A diaphanous blue atmosphere holds a mysterious white band in its field, creating an immersive experience that you can only find in his greatest paintings.”

The exhibition will combine these stellar paintings, seen together here for the first time, with a major group of works by Jackson Pollock, purchased by the Modern in the mid-1980s. At that time, Abstract Expressionism was generally out of the financial range of most museums. However, with Marion’s help, and that of her Burnett Foundation, the Museum was able to purchase an important group of works by Pollock, arguably the most famous and radical member of the Abstract Expressionists. The twelve drawings, paintings, and prints acquired by the Modern in 1985 poignantly trace Pollock’s expressive journey between psychological figuration and abstraction.

Marion’s support of the Modern’s acquisition program stretched far beyond Abstract Expressionism. Her recent gifts also include David Smith’s Dida Becca Merry X, 1964, and Ellsworth Kelly’s Spectrum III, 1967, major works by two artists who were critical to the transition from expressive abstraction to Minimalism. Marion was also instrumental in the acquisition of iconic minimalist works by Carl Andre, Agnes Martin, and Richard Serra.

Marion championed many new initiatives that would bring the Modern recognition nationally and internationally. In 1995, she provided a one-million-dollar grant for the acquisition of photography after 1970, when the medium took a leap beyond traditional forms of documentation into conceptual and performance art, allowing the Museum to acquire major works by an international field of artists including Bernd and Hilla Becher, Sally Mann, Yasumasa Morimura, Richard Prince, Cindy Sherman, Thomas Ruff, Thomas Struth, Hiroshi Sugimoto, and Carrie Mae Weems, among many others also in this exhibition.

In 2001, Marion donated more than twelve million dollars to the Museum to purchase major works by key artists, resulting in the acquisition of art by Francis Bacon, Howard Hodgkin, Anselm Kiefer, Gerhard Richter, Sean Scully, and Richard Serra.

Many will argue that her greatest legacy will be her leadership in the effort for a new building for the Museum, designed by the world-renowned Japanese architect Tadao Ando. The building has been acclaimed by critics, artists, architects, and curators as one of the finest museums for the presentation of contemporary art in the world and is celebrating its twenty-year anniversary in December 2022.

Director Marla Price said, “Every great museum has its primary patrons who step up in ways that change their museums forever. Anne Marion’s generosity to the Modern was deep and broad and moved the Museum to a new level of importance and recognition. It is a joy to bring these works together in the building she loved.”

Each of the works presented in this exhibition was made possible by Anne Marion, Anne and John Marion, or The Burnett Foundation, in addition to gifts donated anonymously or in partnership with the Sid W. Richardson Foundation.

Featured Artists:

Carl Andre

Francis Bacon

Bernd and Hilla Becher

Sophie Calle

Willem de Kooning

Richard Diebenkorn

Gilbert & George

Arshile Gorky

Ellsworth Kelly

Anselm Kiefer

Sylvia Plimack Mangold

Sally Mann

Agnes Martin

Yasumasa Morimura

Jackson Pollock

Gerhard Richter

Linda Ridgway

Mark Rothko

Thomas Ruff

Sean Scully

Cindy Sherman

David Smith

Ann Stautberg

Hiroshi Sugimoto

Carrie Mae Weems

For high-resolution images, please email kendal@themodern.org.

LOCATION

Modern Art Museum of Fort Worth

3200 Darnell Street

Fort Worth, Texas 76107

Telephone 817.738.9215

Toll-Free 1.866.824.5566

 

Museum Gallery Hours

Tue-Sun 10 am-5 pm

Fri 10 am-8 pm

 

General Admission Prices (includes special exhibition)

$16: General (age 18 and above)

$12: Seniors (age 60+), Active/Retired Military Personnel and First Responders with ID

$10: Students with ID

Free: Under 18 years old

The Museum offers half-price tickets on Sundays and free admission on Fridays.

The Museum is closed Mondays and holidays, including New Year’s Day, Independence Day, Thanksgiving, Christmas Eve, and Christmas. 

ABOUT THE MODERN

The Modern Art Museum of Fort Worth is a leader in collecting, showing, and interpreting art from the 1940s to the present. Situated in the heart of the Cultural District, the creative center of the city, the Modern has been housed since 2002 in an elegant concrete, glass, and steel building designed by the renowned Japanese architect Tadao Ando. In addition to 53,000 square feet of soaring, light-filled gallery space and landscaped grounds with outdoor sculptures, the museum features a reflecting pond, theater, education center, gift shop, and café, creating a thriving hub for our community and beyond.

Founded in 1892, the Modern is the oldest museum in Texas; however, our mission has changed over the years. Today, we strive to connect audiences of all ages and backgrounds with the most compelling art and ideas of our time. Showcasing the work of historically significant, mid-career, and emerging artists, the Modern is known for its evolving collection, which is international in scope. The Museum’s holdings include influential artists from Pablo Picasso, Philip Guston, Anselm Kiefer, Martin Puryear, and Agnes Martin to Mark Bradford, Teresita Fernández, Njideka Akunyili Crosby, and Kehinde Wiley. We have a long history of close relationships with the living artists we show and collect, many of whom visit the museum regularly to give talks and lead workshops.

The Modern is a center of lifelong learning and exchange. Our programs include tours, lectures by leading figures in the art world, youth and adult classes, art camps, workshops, and a range of small-group studio and gallery programs led by the Museum’s educators, docents, and community artists. We also present critically acclaimed first-run films and partner with other local arts organizations to offer music, dance, and theater.

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Outdoor Sculptures from The Modern Now in Downtown Fort Worth

Outdoor Sculptures from The Modern Now in Downtown Fort Worth

Outdoor Sculptures from the Modern’s Permanent Collection On View in Downtown Fort Worth

WHO:

The Modern Art Museum of Fort Worth and First on 7th LP are partnering to present three outdoor sculptures from the Modern’s permanent collection for public viewing downtown beginning the week of August 8 and remaining indefinitely. These works were chosen for their unique fit in the walkable, park-like setting situated at a crossroads in urban downtown.

The Modern’s Director Marla Price comments, “We were delighted when the First on 7th team suggested installing sculpture from our collection on this site. Our sculptures joining the artwork currently on view create a wonderful entrance to Fort Worth’s downtown area.”

 

WHERE:          

First on 7th Plaza, 500 West 7th Street, Fort Worth at the entrance to downtown. The sculptures are sited on the tree-lined triangle adjacent to the 20-story First on 7th building and the Cantey Hanger Plaza.

 

First on 7th

Designed by world-renowned architects Skidmore, Owings and Merrill in 1961, the building was originally the headquarters of the First National Bank of Fort Worth. The architecture exemplifies mid-century office design and modernist style. The Isamu Noguchi sculpture on the plaza was commissioned in 1960 to help shape an environment that connected the art to the architecture.

 

The addition of the Modern Art Museum of Fort Worth outdoor sculptures helps form an art corridor into downtown, joining the Noguchi work and Jonathan Borofsky’s iconic Man with Briefcase, 2002, across 7th Street in Burnett Park.

 

Parking is available on adjacent streets and in the building’s parking garage with entrance on 6th Street. The plaza is convenient to Trinity Metro’s Route 2 and The DASH Route. A Fort Worth Bike Share station is located just across Burnett Street to the west.

 

WHAT:

 

Alex Katz
Park Avenue Departure, 2019

• Porcelain enamel on shaped steel with steel core


• 96 × 31 × 1 1/2 inches


• Collection of the Modern Art Museum of Fort Worth, Gift of the Artist


• Acquired in 2021


The work of Alex Katz (American, born 1927) is known for simplified line, shape, and color, with recognizable and personally meaningful content. Park Avenue Departure, 2019, was first exhibited in Midtown Manhattan along the median strip of Park Avenue. The eight-foot cutout depicts the artist’s wife Ada – whose image has regularly appeared in his work throughout his career – from behind as she is walking. While distinctly flat, smooth, and reminiscent of an advertisement, the sculpture evokes the tenderness and intimacy between the artist and his muse. 

 

Jesús Bautista Moroles
Texas Shield, 1986

• Granite


• 97 3/4 x 45 x 44 1/2 inches


• Collection of the Modern Art Museum of Fort Worth, Gift of Dr. and Mrs. Marvin C. Overton III


• Acquired in 1991


Jesús Bautista Moroles (American, 1950-2015), a native Texan, harnessed the power of granite in sculptures such as Texas Shield, 1986. The work’s two vertical slabs are woven together at a 90-degree angle down a central spine, part of the artist’s “granite weaving” series. Interested in the variety of texture, color, and forms within Texas pink granite, Moroles juxtaposed alternating smooth, polished stripes against raw-edged, undulating ones to reveal the beauty of the material in both its manipulated and natural states. 

 

George Segal
Chance Meeting, 1989

• Bronze, aluminum post, and metal sign

• 125 x 74 x 58 inches


• Collection of the Modern Art Museum of Fort Worth, Museum purchase, Sid W. Richardson Foundation Endowment Fund


• Acquired in 1989


George Segal (American, 1924-2000) created works that focus on contemporary daily life. Chance Meeting, 1989, depicts a street corner with three life-size figures with a dark green patina, each dressed in modern clothes. Apparently having unexpectedly run into each other at the intersection of two city streets, the figures’ postures and attentive expressions indicate that they are engaged in a serious conversation.

 

 

WHEN:               

The sculptures, installed the week of August 8, are on view for an indefinite period.

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Family Festivals are Back at the Kimbell

Family Festivals are Back at the Kimbell

FAMILY FESTIVALS ARE BACK, MARKING THE FIRST MAJOR FAMILY EVENT AT THE KIMBELL IN OVER TWO YEARS

Free exhibition admission, local performances and studio activities offered at the Kimbell April 24 and July 17

The Kimbell Art Museum announces the return of one of its most beloved programs, Family Festivals / Fiestas de las Familias. During festival days, families and art lovers of all ages may enjoy free programming, including performances, art-making activities and gallery explorations that celebrate art and community.

“We are thrilled to resume Family Festivals, which are always a major highlight on our programming calendar. As the Kimbell approaches its 50th anniversary this October, we look forward to showcasing the many different ways that families may explore, create and connect with art in the museum,” says Connie Hatchette Barganier, head of education at the Kimbell.

Two Family Festivals are slated for the coming months—Amazing Art from Across Africa / Arte increíble alrededor de Africa on Sunday, April 24, from noon to 5 p.m., and Summer Art Party with Ice Cream Sunday / Fiesta de verano de arte con helado el domingo on Sunday, July 17, from noon to 5 p.m. Offered in conjunction with the special exhibition The Language of Beauty in African Art, the first Family Festival of 2022 will immerse visitors in vibrant cultural traditions and diverse forms of expression from across Africa with featured performances by Bandan Koro African Drum and Dance and Houston-based storyteller Toni Simmons, art-making activities, gallery explorations and more! Admission to The Language of Beauty in African Art is free for festival participants on April 24.

The April 24 Family Festival will also mark the official reopening of Studio A in the Renzo Piano Pavilion. Studio A, the Kimbell’s sensory-friendly drop-in play space for children (ages 5 and younger) and their adult companions, invites visitors to imagine their own adventure. This “please touch” room encourages families to experience art and community from an early age. Studio A is always free and open during regular museum hours (please note that the Piano Pavilion will be closed August 1–September 17, 2022).

Youth education programs and Studio A are supported by the Lowe Foundation Endowment for Kimbell Kids. Family Festivals / Fiestas de las Familias are supported in part by the Texas Commission for the Arts and by the Nuestro Kimbell committee.

FULL SCHEDULE

Free Admission
The Language of Beauty in African Art
Piano Pavilion
Noon–5 p.m.

Collections in Conversation: Selections from the Permanent Collection
Kahn Building
Noon–5 p.m.
Admission to the permanent collection is always free.

Performances
Storyteller Toni Simmons
Pavilion Auditorium
1:30 and 3:30 p.m.

Bandan Koro African Drum and Dance
Pavilion Auditorium
2:30 and 4:15 p.m.

Art Making
Shapes in Sculpture: Clay Activity
Piano Pavilion, Education Studios
Ongoing

Weaving Demonstration with guest artist Christine K. Miller
Pavilion Lobby
Ongoing

Mixed-Media Weaving: Collaborative Project
Pavilion Lobby
Ongoing

Wearable Art: Beadwork
Pavilion Lobby
Ongoing

Introduction to Printmaking: Faces
Kahn Building, West Lobby
Ongoing

“My Day at the Museum” Postcards
Yaupon Holly Courtyard
Ongoing
Draw a picture of your favorite museum moment to hang in our outdoor courtyard. Presented with Blue Zones Project-Texas Health Resources.

Gallery Explorations
Bilingual Story Times
Kahn Building, West Lobby
12:30, 1:30 and 3:30 p.m.
Join us for readings of some of our favorite books, group discussions and a little silliness.

Eye Spy Gallery Exploration
Kahn Building, North and South Galleries Ongoing
How many different eye shapes can you find? Sketch your favorites!

Sketching Expeditions
Kahn Building, South Gallery
1, 2 and 3 p.m.
Look, sketch and learn with 30-minute drawing exercises led by guest artists.

Book Baskets
Kahn Building, South Gallery
Ongoing
Enjoy selected children’s books by African authors—wherever you are comfortable!

Visit Studio A
Piano Pavilion, Education Studios Space is limited. Drop in anytime during regular museum hours to enjoy this colorful learning environment. Designed for ages 5 and younger.

ABOUT THE KIMBELL ART MUSEUM
The Kimbell Art Museum, owned and operated by the Kimbell Art Foundation, is internationally renowned for both its collections and its architecture. The Kimbell’s collections range in period from antiquity to the 20th century and include European masterpieces by artists such as Fra Angelico, Michelangelo, Caravaggio, Bernini, Velázquez, Vigée Le Brun, Monet, Cézanne, Picasso and Matisse; important collections of Egyptian and classical antiquities; and the art of Asia, Africa and the Ancient Americas. The museum’s 1972 building, designed by the American architect Louis I. Kahn, is widely regarded as one of the outstanding architectural achievements of the modern era. A second building, designed by Italian architect Renzo Piano, opened in 2013 and now provides space for special exhibitions, dedicated classrooms and a 289-seat auditorium with excellent acoustics for music. For more information, visit kimbellart.org.

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The Language of Beauty in African Art

The Language of Beauty in African Art

Kimbell Art Museum presents The Language of Beauty in African Art,

April 3–July 31, 2022

Exhibition explores art spanning the African continent through the perspectives and languages of the local communities.

The Kimbell Art Museum presents the world premiere of The Language of Beauty in African Art. This remarkable exhibition of African masterpieces challenges traditional concepts of aesthetics by presenting the works of art through the perspectives and languages of the people in West, Central and Southern Africa who made and used them. With more than 200 objects from public and private collections around the world — including captivating masks, powerful figures, impressive sculptures and exquisitely crafted prestige objects — the exhibition will be on view from April 3 through July 31, 2022.  

Organized by the Art Institute of Chicago, The Language of Beauty in African Art is the Kimbell’s first major exhibition in 25 years to focus solely on works from Africa and includes three objects from the museum’s permanent collection: the Chokwe Chibinda Ilunga, the Hemba Warrior Ancestor Figure and the Ife Head, possibly a King.  

“At the Kimbell Art Museum, we are committed to showcasing great works of art from around the globe, so we are pleased to work with the Art Institute and curator Constantine Petridis to present this magnificent exhibition of African art,” said Eric M. Lee, director of the Kimbell Art Museum. “What sets this exhibition apart — and why we felt it was vital to bring it to Kimbell audiences — is its focus on the ideas of the artists and communities that created the objects rather than on outside perspectives.” 

The Kimbell is the only venue apart from the Art Institute of Chicago where visitors can experience this diverse grouping of objects, many of which have never been on view to the public. Following its presentation at the Kimbell, the exhibition will travel to the Art Institute of Chicago in fall 2022.

The Language of Beauty in African Art underscores how the makers’ ideas about beauty and ugliness typically extend beyond the physical appearance of objects to reveal both the meanings and the functions of these works. By learning the words that artists themselves used to describe and praise their creations — their language of beauty — visitors to the exhibition can understand these works in a new way.

“By shedding light on the highly sophisticated — yet still often overlooked — aesthetic vocabularies from different cultures across sub-Saharan Africa, we look forward to reflecting the preferences of the makers and of the cultures where the works were created,” said Constantine Petridis, Ph.D., chair and curator of the arts of Africa at the Art Institute of Chicago. “The Language of Beauty in African Art will also explore how the appearance of a work of art is an integrated combination of appearance and being, of form and meaning.” 

Organized in eight sections, the exhibition focuses on masks, figures and sculptures created by cultures located primarily in West, Central and Southern Africa, most dating to the late 19th and early 20th centuries. In this vast area south of the Sahara Desert, there seem to be shared conventions that transcend the particularities of a given culture or period.

The exhibition begins with an examination of the interaction between art and language, featuring several examples of the widely admired art of the Chokwe people. A male figure of the culture hero Chibinda Ilunga, long lauded for its refinement and relative naturalism, perfectly embodies the Chokwe term utotombo, which describes a sculpture executed with skill and care. This idealized rendering of male power also expresses the concept of cibema, the Chokwe word for an object that combines formal beauty with moral integrity. 

The next section of the exhibition looks at how, beginning in the early 1900s, Western appreciations of African art focused on the visual appearance of objects divorced from their original contexts instead of seeking and sharing knowledge about how originating cultures understood, viewed and experienced them.

In fact, understanding this original linguistic context can shift our estimations of objects. In many African cultures, the connection between beauty and morality is expressed by a single term that combines “beautiful” with “good.” For instance, the Lega term busoga applies to what is visually pleasing as well as to praiseworthy character and virtuous behavior. Across sub-Saharan Africa, beauty and morality are linked in many ways: jewelry and other accessories are worn by men and women not only to enhance their visual beauty, but to highlight the wearer’s exceptional personality and deeds. Notions of moral and formal beauty can be embodied in venerated images of powerful men — like the Kimbell’s sculpture of a dignified male representing a Hemba warrior ancestor — or in representations of caring women, typically shown as mother-and-child figures.

A main section of the exhibition highlights the meanings and functions of the beauty of African art. African artists, patrons and critics conceive and appraise their local arts according to their own communities’ collective standards of excellence. Assessing their artist’s achievements, cultures across the sub-Saharan region apply aesthetic criteria regarding clarity or visibility achieved through stylization, abstraction and reduction; youthfulness or the representation of the body in the prime of life; moderation (or the avoidance of exaggeration); and balance and symmetry. 

The Language of Beauty in African Art also examines how an outsider might infer local taste based on an object’s physical appearance and cultural context. For example, unusual size, complex formal features, expensive materials and complicated techniques typically point to qualities prized by makers and patrons alike. The fact that some personal objects, such as fancy stools and headrests or figurative axes and adzes, were never actually used confirms that they primarily served aesthetic functions.

Additional themes addressed in The Language of Beauty include the religious functions of beauty demonstrated through sculptural representations of the human form meant to entice the spirits, which contrast with instances of intentional ugliness, often created to trigger reactions ranging from terror to humor. The final section of the exhibition features objects that convey ideas and feelings of force, vigor, fascination and terror by combining beauty and ugliness in a way that makes them at once irresistibly compelling and profoundly repelling. This aesthetic inspires what the Kongo people refer to as ngitukulu, an experience of astonishment or awe.

“I am thrilled to have the opportunity to present this extraordinary exhibition at the Kimbell,” said Jennifer Casler Price, curator of Asian, African and Ancient American art. “It not only recognizes the richness and variety of African art, it demonstrates that despite the wide cultural diversity of a vast continent, there is also unity that speaks to a shared humanity and explains why art matters. That beauty has meaning and is related to the purpose and function of the art. This is art for life’s sake.”

DATES

April 3–July 31, 2022
Subject to change

 

EXHIBITION CREDITS

This exhibition is organized by the Art Institute of Chicago.

 

SUPPORT

The Kimbell is supported in part by Arts Fort Worth, the Texas Commission on the Arts and the National Endowment for the Arts. Promotional support is provided by American Airlines, NBC5 and PaperCity.

 

VISITOR INFORMATION

Admission to The Language of Beauty in African Art is $18 for adults, $16 for seniors, K–12 educators, students and military personnel, $14 for ages 6–11, free for children under 6 and $3 for Supplemental Nutrition Assistance Program (SNAP) recipients. Admission is half-price all day on Tuesdays and after 5 p.m. on Fridays. Admission to the museum’s permanent collection is always free. 

The Kimbell Art Museum is open Tuesdays through Thursdays and Saturdays, 10 a.m.–5 p.m.; Fridays, noon–8 p.m.; Sundays, noon–5 p.m.; closed Mondays, New Year’s Day, July 4, Thanksgiving and Christmas. For general information, call 817-332-8451.

 

ABOUT THE KIMBELL ART MUSEUM

The Kimbell Art Museum, owned and operated by the Kimbell Art Foundation, is internationally renowned for both its collections and its architecture. The Kimbell’s collections range in period from antiquity to the 20th century and include European masterpieces by artists such as Fra Angelico, Michelangelo, Caravaggio, Bernini, Velázquez, Vigée Le Brun, Monet, Cézanne, Picasso and Matisse;  important collections of Egyptian and classical antiquities; and the art of Asia, Africa and the Ancient Americas. The museum’s 1972 building, designed by the American architect Louis I. Kahn, is widely regarded as one of the outstanding architectural achievements of the modern era. A second building, designed by Italian architect Renzo Piano, opened in 2013 and now provides space for special  exhibitions, dedicated classrooms and a 289-seat auditorium with excellent acoustics for music. For more information, visit kimbellart.org.

 

IMAGES

Female Face Mask (detail), Chokwe, Angola, 19th–early 20th century, wood, pigment, metal, and fiber. Private collection. Courtesy of Schweizer Premodern, New York; Female Face Mask (Kambanda) (detail), Eastern Pende, Democratic Republic of the Congo, 20th century, wood, pigment, fiber, and metal. Museum Rietberg, Zurich, gift of Barbara and Eberhard Fischer, HH 21a; Face Mask (Agbogho Mmuo) (detail), Igbo, Nigeria, 20th century, wood and pigment. Detroit Institute of Arts, Bequest of Robert H. Tannahill, 70.99

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The Modern Lights at The Modern Art Museum

The Modern Lights at The Modern Art Museum

THE MODERN LIGHTS

November 1-February 6

The Modern trees are illuminated with an array of festive lights in celebration of the holiday season. Passersby experience a stunning display, and visitors are invited to enjoy evening viewing opportunities. The museum galleries are open with free admission until 8 pm on Fridays.

 

CAFÉ  MODERN

Dinner with the Modern Lights

Fridays, seating from 5 to 8:30 pm

Executive Chef Jett Mora welcomes you with warm hospitality, creative cuisine, and a seasonal menu rooted in Texas ingredients. Create your own holiday memories on Friday nights at Café Modern. Seating is available from 5 to 8:30 pm. For reservations, call 817.840.2157 or online here.

 

FIRST FRIDAY AT THE MODERN

November 5, December 3, and January 7

The first Friday of each month, the Modern and Café Modern team up to bring you live music from the First Friday House Band, and drink specials and tasty light bites in the museum’s Grand Lobby from 5 to 8 pm. Invite friends to enjoy a unique opportunity to experience the Modern in the evening. A complimentary docent-led, 20-minute tour is available at 6:30 pm. Café Modern and Executive Chef Jett Mora serve a light dining menu in the lobby ($9-$15). Specialty drinks along with beer and wine are available at the cash bar, with happy hour selections.

 

IN THE GALLERIES

Teresa Hubbard / Alexander Birchler: Flora

Through January 16

 

Milton Avery

November 7-January 30

 

FOCUS: Frances Stark

November 14-January 16

 

FOCUS: Jill Magid

January 21-March 20

 

 

LOCATION

Modern Art Museum of Fort Worth

3200 Darnell Street

Fort Worth, Texas 76107

Telephone 817.738.9215

Toll-Free 1.866.824.5566

www.themodern.org

 

MUSEUM GALLERY HOURS

Tue-Sun 10 am-5 pm

Tue 10 am-7 pm (Sep-Nov, Feb-Apr)

Fri 10 am-8 pm

 

GENERAL ADMISSION PRICES (includes special exhibition)

$16: General (age 18 and above)

$12: Seniors (age 60+), Active/Retired Military Personnel and First Responders with ID

$10: Students with ID

Free: Under 18 years old

The Museum offers half-price tickets on Sundays and free admission on Fridays.

 

The Museum is closed Mondays and holidays, including New Year’s Day, Independence Day, Thanksgiving, Christmas Eve, and Christmas.

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FOCUS: Frances Stark  at The Modern

FOCUS: Frances Stark
at The Modern

November 19, 2021 – January 9, 2022

The FOCUS series is presented by the Modern Art Museum of Fort Worth and features three solo exhibitions each year. Started in 2005, this series is committed to introducing visitors to emerging artists gaining worldwide acclaim and showing the work of esteemed mid-career artists previously under-recognized in the region. The FOCUS series is organized by Associate Curator Alison Hearst. FOCUS exhibitions are open to the public and are included in general Museum admission.

The Modern Art Museum of Fort Worth is pleased to present the exhibition FOCUS: Frances Stark, on view November 19, 2021–January 9, 2022. Stark is an interdisciplinary artist and writer whose work comes in many forms, including painting, video, collage, performance, and drawing. Works often reflect a particular subject she is engaged with, such as pedagogy, literature, relationships, art, music, sex, procrastination, and motherhood. While these themes are of personal interest to her, the subjects are relatable and rendered accessible through Stark’s sincere and witty combinations of image and language. Her ability to find humor and poetry in even the most mundane aspects of daily life and society led the Los Angeles Times to declare her “the visual poet laureate of the internet age.”

 

Reading and book pages have had an evolving role in Stark’s approach to artmaking for some time. In recent paintings, such as Reading Henry Miller’s Air-Conditioned Nightmare from the mid-1940’s, 2019, and Ian F. Svenonius’s “Censorship Now” for the 2017 Whitney Biennial, 2017, the artist captures different books she is reading. As she has stated, “I’m not making a syllabus but rather capturing these haptic engagements with (mostly) American voices critical of empire.” For the Censorship Now series, Stark made enlarged double-page spreads from the iconic punk musician Ian Svenonius’s 2015 manifesto—a book containing serious reflections on and critiques of American culture, particularly pop culture and mass media. Veiled in playful satire, ultimately it calls for the censorship of the state in order to free humankind. Though tongue-in-cheek, Svenonius’s text aims to dislodge our prescribed ways of thinking. For the paintings, Stark painstakingly reproduced her copy of Censorship Now!!, with her handwritten annotations, adding the layer of her as a reader and editor into the work, while also sharing her platform—the Whitney Biennial—amplifying Svenonius’s underground voice. The artist has said this series is “clearly a provocation painted in exaggeratedly broad strokes—an angry, exasperated, and only half tongue-in-cheek amplification of the anger and frustration of the culturally disenfranchised.” Both the text and the paintings are provocative and show Stark’s continued interest in language and the potential for art to catalyze.

 

FOCUS: Frances Stark will be the artist’s first museum solo exhibition in Texas and features new and recent work from the past five years. Stark recently stated, “The overall work of the last five years addresses not only just the marking of books as a haptic experience and something that depicts the encountering of minds (reader and writer, artist and viewer), but also the culture of voyeurism that we have grown accustomed to as the media world has usurped so much of our cultural landscape.”

 

Stark was born in 1967 in Southern California and lives and works in Los Angeles. She received an MFA from Art Center College of Design, Pasadena, in 1993, and a BA from San Francisco State University in 1991. Stark has shown extensively both nationally and internationally at institutions including Tate Modern, London; The Museum of Modern Art, New York; Kunsthalle Zurich; Hirshhorn Museum and Sculpture Garden, Washington, DC; Museum of Contemporary Art, Los Angeles; Hammer Museum, Los Angeles; MIT List Visual Arts Center, Cambridge; Moscow Museum of Modern Art; and Museum of Fine Arts, Boston. She has participated in many important biennial exhibitions, such as the 2008 and 2017 Whitney Biennials; 54th and 57th International Venice Biennales, 2011 and 2017; 2013 Carnegie International, Pittsburgh; and “Le Grand Balcon,” La Biennale de Montreal, 2016. In 2015, Stark received the Absolut Art Award. Her work is in many public collections, including the Whitney Museum of American Art, New York; Tate, London; The Museum of Modern Art, New York; Carnegie Museum of Art, Pittsburgh; Metropolitan Museum of Art, New York; Art Gallery of Ontario, Toronto; Hirshhorn Museum and Sculpture Garden, Washington, DC; Museum of Contemporary Art, Los Angeles; and the San Francisco Museum of Modern Art.

Tuesday Evenings at the Modern Lecture

Frances Stark

November 16, 7 pm

Auditorium and Livestream

 

Acquisition

At the conclusion of the FOCUS season in the spring, one work or group of works from each exhibition is held for the annual Purchase Meeting. During this event, members of the Director’s Council vote to determine which work will be recommended for acquisition by the Modern, thus contributing to the Museum’s permanent collection and shaping its cultural footprint. To learn more about how to deepen your relationship with the Modern and the FOCUS program through membership and to be a part of the acquisition process, please contact the development department at development@themodern.org.

 

 

Image credit:

Frances Stark

Ian F. Svenonius’s “Censorship Now” for the 2017 Whitney Biennial, Spread 8 of 8 (pp. 26–27)

(the rocker is reduced to nothing), 2017

Acrylic on canvas

79 x 104 inches

© Frances Stark, Courtesy the Artist and Gladstone Gallery, New York and Brussels

 

 

LOCATION

Modern Art Museum of Fort Worth

3200 Darnell Street

Fort Worth, Texas 76107

Telephone 817.738.9215

Toll-Free 1.866.824.5566

www.themodern.org

 

Museum Gallery Hours

Tue-Sun 10 am-5 pm

Tue 10 am-7 pm (Sep-Nov, Feb-Apr)

Fri 10 am-8 pm

 

General Admission Prices (includes special exhibition)

$16: General (age 18 and above)

$12: Seniors (age 60+), Active/Retired Military Personnel and First Responders with ID

$10: Students with ID

Free: Under 18 years old

The Museum offers half-price tickets on Sundays and free admission on Fridays.

 

The Museum is closed Mondays and holidays, including New Year’s Day, Independence Day, Thanksgiving, Christmas Eve, and Christmas.

LIVE THEATER

  Museums  

  Galleries  

  Special Events 

2022 WTA Finals at Dickies Arena

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The Modern Art Museum of Fort Worth AnnouncesModern Masters: A Tribute to Anne Windfohr MarionOn View October 23, 2022-January 9, 2023 Director Marla Price announces Modern Masters: A Tribute to Anne W. Marion, an exhibition of contributions of one of the Modern Art...

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Cirque du Ballet

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