Seminars with Artists
Gordon Matta-Clark, Hair, 1972. Photograph by Carol Goodden. Estate of Gordon Matta-Clark and David Zwirner, New York
The Whitney Museum
of American Art presents
Seminars with Artists
Since its inception in the late 1960s, Seminars with Artists has provided a forum for intimate engagements with the most notable American artists of the past forty years.
New York Corners
Taking its cue from the exhibition Gordon Matta-Clark: “You Are the Measure,” this season’s speakers explore art practices born from critical intersections with New York City.
Thursday, February 22 at 7 pm
Developing a type of Minimalism from found objects, Keith Sonniers sculptural work, no matter what its size, notes Richard Kalina, has the capacity to fill and activate a space. His most recent installation, Double Monopole (2006), makes use of sixty-foot steel frames, neon, and falling water. I think its my Bellagio, Sonnier has said. I finally got to build a big fancy waterfall. The work serves as a gateway to the Kansas City International Airport.
Wednesday, March 7 at 7 pm
Mary Heilmann moved to New York in 1968 and began exploring and experimenting with abstract painting’s history and materiality, and infusing her compositions with both pop and personal references. Her first retrospective, organized by the Orange County Museum of Art, opens in May 2007 and will also include her work in ceramics, decorative arts, film, and music.
Thursday, March 22 at 7 pm
For the last twenty years, Andrea Frasers work has investigated art as a culture and an economy, highlighting the way museums, collectors, and artists themselves invest art-making with meaning and value. Her 2005 book, Museum Highlights: The Writings of Andrea Fraser, collects essays, performance scripts, and texts that are key to her practice.
Thursday, April 12 at 7 pm
Acclaimed choreographer Trisha Brown first became known in the 1960s when she showed her work with the Judson Dance Theater. In 1970, she founded Trisha Brown Dance Company among SoHo’s burgeoning alternative-space scene, and began exploring site-specific choreography (like Walking on the Wall, performed in 1971 at the Whitney). From work based on everyday actions and repetitive gestures to dance cycles, choreography for opera, and, most recently, ballet, Brown continues to find new possibilities for movement, collaboration, and postmodern dance.
Lyle Ashton Harris
Thursday, April 26 at 7 pm
Lyle Ashton Harris has incorporated installation, video, and photography in his work, often with himself as the subject. His identity-based photographs of the 1990s explored race, gender, and sexuality through strategies like masquerade, camp humor, and the family snapshot. Of his recent work, Holland Cotter wrote: “Like most really stimulating art, Mr. Harriss eludes clean readings. It is self-portraiture that is not quite self-portraiture, based on fiction that is not quite fiction.” His work was included in the Whitneys Photography and the Self: The Legacy of F. Holland Day.
Advance ticket sales are strongly recommended, as seating is limited. Tickets may be purchased at the Museum Admissions Desk or by visiting www.whitney.org; inquiries at (212) 570-7715 or firstname.lastname@example.org.
The Whitney Museum of American Arts Seminars with Artists program is made possible by the support of The Estée Lauder Companies Inc.
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