Posts Tagged ‘SFMOMA’

Jay DeFeo: Spatial Relations

Jay DeFeo, Room with a View, 1989; oil on linen; 20 x 16 in.; Private collection; © 2012 The Jay DeFeo Trust / Artists Rights Society, New York; photo: Ben Blackwell; Right: Jay DeFeo, Last Valentine, 1989; oil on linen; 20 x16 in.; Private collection; © 2012 The Jay DeFeo Trust / Artists Rights Society, New York, photo: Ben Blackwell

If you back your way into the Jay DeFeo exhibition at San Francisco Museum of Modern Art, you’ll discover, as I did, a group of five oil paintings in the final gallery. The works are small by today’s standards of monumentality and smaller still by the standards of DeFeo’s most famous work, The Rose. The Rose, occupying its own alcove earlier in the show, is[…..]

#museumpractices: The Museum on My Mind, Part III

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Wall labels. Curatorial text. Provenance. Titles (or un-titles, as the case may be). At what point do the words surrounding an artwork serve the work, and at what point do they disrupt it? In terms of the museum, specifically, when do explanatory labels benefit museum-goers, and when do they detract from an individual’s experience? This week, #Hashtags features Part III of The Museum On My[…..]

#museumpractices: The Museum On My Mind, Part II

Wall labels. Curatorial text. Provenance. Titles (or un-titles, as the case may be). At what point do the words surrounding an artwork serve the work, and at what point do they disrupt it? In terms of the museum, specifically, when do explanatory labels benefit museum-goers, and when do they detract from an individual’s experience? This week, #Hashtags features Part II of The Museum On My[…..]

Stage Presence: Theatricality in Art and Media

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As part of our ongoing partnership with Art Practical, Daily Serving is sharing an article on SFMOMA‘s Stage Presence exhibition by Patricia Maloney. The exhibition Stage Presence, curated by Rudolf Frielingfor the San Francisco Museum of Modern Art (SFMOMA), provides an outstanding exploration of theatrical modes of representation in contemporary visual art. The exhibition posits that visual art possesses the same aim of self-reflective awareness on the part of its[…..]

#Hashtags: Going Up at SFMOMA

Cindy Sherman, Untitled #92, 1981; chromogenic color print; 24 x 47 15/16" (61 x 121.9 cm); The Museum of Modern Art, New York, The Fellows of Photography Fund; ©2012 Cindy Sherman.

#Hashtags provides a platform for longer reconsiderations of artworks and art practices outside of the review format and in new contexts. Please send queries and/or ideas for future columns to hashtags@dailyserving.com. It was miraculous to me, only because I had never seen the space behind the doors. Yet, it was shameful, as if I had seen something I ought not to have seen and, worse, had[…..]

Weaving, Not Cloth: Mark Bradford

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The difficulty in viewing photographs of artwork is that the camera flattens the object in its focus, relinquishing subtleties in order to capture a whole. Because his oeuvre is very subtle indeed, Mark Bradford’s work requires a viewer’s presence to be fully appreciated. Very little of the slender lines of collage, delicate papers built up in thin layers or washes of paint almost completely sanded[…..]

Act. Repeat. Suspend. Sharon Lockhart’s Lunch Break at SFMOMA.

Sharon Lockhart, “Dirty Don’s Delicious Dogs,” 2008; chromogenic print; 41 1/16 x 51 1/16 in. (left), and “Gary Gilpatrick, Insulator,” 2008; chromogenic print; 24 3/4 x 30 3/4 in. (right), both courtesy the artist and Blum & Poe, Los Angeles, Gladstone Gallery, New York, and neugerriemschneider, Berlin; © Sharon Lockhart

The stairway to the fourth floor of the San Francisco Museum of Modern Art leads me directly toward a long, narrow, darkened space, at the end of which is the image of another, much longer, passageway. In that image, a concrete floor below and light fixtures above trace a trajectory toward infinity punctuated by pipes, wires, hoses, storage boxes, tools, and lockers. The scene is[…..]