Teresa Hubbard / Alexander Birchler: Flora features the Swiss American duo’s multimedia project based on their discoveries about the previously unknown American artist Flora Mayo. Flora and the accompanying work Bust (both 2017) spotlight the life of Flora Mayo, who in the 1920s studied alongside Swiss sculptor Alberto Giacometti at the Académie de la Grande Chaumière in Paris, and with whom she had a romantic relationship. While Giacometti is one of the most revered artists of the 20th century, Mayo’s practice had been relegated to a footnote in Giacometti scholarship. Hubbard / Birchler reframe this story from a feminist perspective, and bring Mayo’s compelling biography to life through a hybrid form of storytelling that deftly interweaves narration, reenactment, and documentary. Flora is conceived as a conversation between Flora Mayo and her son, David Mayo. Comprising a double-sided film with a shared soundtrack, the work presents a multifaceted dialogue across place and time: between a mother and son, Mayo and Giacometti, Europe and the United States, art history and contemporary life, and between evidence and imagination. Teresa Hubbard / Alexander Birchler: Flora is organized by the Modern Art Museum of Fort Worth and supported locally, in part, by the Infusion Fund and its generous donors. Additional support provided by the Swiss Arts Council Pro Helvetia.
supported locally, in part, by the Infusion Fund and its generous donors.
Additional support provided by the Swiss Arts Council Pro Helvetia.
Giacometti and the
Artists of the Grande Chaumière
September 23, 2023 – January 21, 2024
Assembled from the Bechtler Museum’s permanent collection, this installation is conceived as a pendant to the exhibition Teresa Hubbard / Alexander Birchler: Flora, and features work by an international array of artists who studied or taught at the Académie de la Grande Chaumière in Paris during the early 20th century. The famed art school was a gathering place for many avant-garde artists—including Alberto Giacometti and Flora Mayo—who sought to break away from academic conventions and experiment with new forms of expression. This focused exhibition invites viewers to explore a diverse range of work by artists associated with the Grande Chaumière, conveying the influences, dialogues, and creative exchange that took place between them. Artworks on display include paintings, sculptures, and works on paper by celebrated artists such as Giacometti, Alexander Calder, Joan Miró, Meret Oppenheim, Alicia Penalba, Germaine Richier, Kumi Sugaï, Maria Helena Vieira da Silva, and Zao Wou-Ki, among others.
Eduardo Chillida: 100 Years
December 9, 2023 – April 14, 2024
Eduardo Chillida: 100 Years commemorates the centenary of the influential Spanish sculptor Eduardo Chillida (1924–2002). Presenting a selection of sculptures and works on paper from the Bechtler Museum’s permanent collection, this intimate exhibition offers a focused look at the artist’s pioneering and varied practice. Renowned for his monumental sculptures, Chillida also created domestically-scaled sculptures, drawings, collages, and prints, examples of which will be on view. Together these works illustrate the great influence that Chillida’s upbringing in the Basque region of Spain and his early training in architecture had on his unique artistic vision, and demonstrate his enduring exploration of space, light, form, and material.
Alyson Shotz: Coalescence
December 9, 2023 – August 4, 2024
Blurring the boundaries between art and science, American artist Alyson Shotz (born 1964) is widely acclaimed for her sculptures and installations that use synthetic materials such as glass, mirrors, plastic, and stainless steel to harness intangible forces of the natural world like gravity, space, and light. On loan from the Bank of America Collection, this single-work installation is a dazzling sculpture made of glass beads and wire that hangs from the ceiling, Coalescence (2006) resembles a hovering cloud, a massive spider web glistening with morning dew, or a cluster of atoms magnified to monumental scale. Its open form challenges traditional notions of sculpture as grounded, solid, or weighty, and reveals Shotz’s abiding interest in perception: calling attention to the relationship between an artwork, the viewer, and the space they share.