“We’ll look at five works for 10 minutes each,” I said after my group assembled in the Koret Visitor Education Center for SFMOMA’s version of Slow Art Day. “Please don’t read the placards. I prefer you not take notes. The works’ identity won’t be revealed until the follow-up discussion here in the cen... More
Posts Tagged “Felix Gonzalez-Torres”
Our regular feature, Collection Rotation. Each month someone special organizes a mini “exhibition” from our collection works online. Today, please welcome writer and editor Anne Ray.
For a variety of reasons — the holiday season, the state of the world, the recent arrival of my third child — I currently find myself drawn to works th... More
Chris Gruhl aka Shadowgolem says about the mono-colored painting, “A big solid gray canvas? Really?…Art needs to have more than just intention, it needs execution” and instead of just thinking it, he created his own work of art using Felix Gonzalez-Torres’s poster available in the 2nd floor galleries. He says, “this composition was our attempt to add a bit to it. Still very abstract but not quite so, well, boring.”
We choose the Flickr pictures of the week from anything tagged “SFMOMA̶... More
Stephen Hartman is a psychoanalyst. He’s also written for us here at Open Space, during our summer of Berlin Alexanderplatz. He’s talking here about Felix Gonzalez-Torres’s Untitled (Golden) (1996); contradiction; shame and ecstasy; and neutrality and disclosure in psychoanalysis. Yes, that is a wetsuit our friend is wearing. Step... More
Rudolf Frieling is curator of media arts here at SFMOMA. He’s talking about Felix Gonzalez-Torres‘s Untitled (Golden) (1995). The gold curtain just begs for a dramatic entrance and exit: compare Stephen Hartman’s—very different—talk on the same piece, coming up later today. Thanks Rudolf!
Remember the end of Manhattan, when Wo... More
On June 17th I attended the Now Playing event at the museum, a night which promised an experience of the museum “animated by artists and creative luminaries.” That luminescence appeared in many forms: floral synasthesia, well drinks, a really strong showing by local sartorialists, and of course the programming itself. The show included a “screening of Bay Area art documentaries, from the 1990s and early 2000s” and a musical performance by the conceptual band presented by Chris Johanson, The 17th& Capps.
The performance in the atri... More
Blindfolded Docent Tour
On November 23rd, 1969 Vito Acconci walked down Greenwich Street in New York City holding a camera. He attempted not to blink; when he did blink he took a photograph.
On Tuesday June 8th, 2010 at 4pm, I arrived at SFMOMA. I blindfolded myself and was led through the museum by docent Dennis Treanor. Removing my e... More
I head over to SFMOMA for one last visit before I write this, my final post in my 8-part memoir based on items in the museum’s permanent collection. In the park at Yerba Buena Center, two young women with German-ish accents stop me and ask if they might take their photo with me. It’s for a school project; they’re to have their photo taken with a variety of people they meet on the street. I agree, and they ask a guy who’s sitting on a nearby bench to snap the picture. The women stand on either side of me and we smile. Click. They s... More
When I visit SFMOMA I am both an outsider without status and an artist in my own right, with a peculiar variety of privilege. Being a writer, I’m not central to the Bay Area art scene, but I bisect with it in overlapping circles. If you know any curators, the first thing that you’ll realize is that in private they love to act out, to throw off the formal constraints of writing copy for catalogues and signage, or whatever they call those informative blocks of text that hang on the gallery walls, from which the first person in forbidden. In private they take enormous pleasure in disclosing, in writing the forbidden, getting all personal and critical and gossipy, throwing around the first person with abandon. Get them alone and they’re eager to extricate themselves from the official discourse of the museum, to show the human side of the process, all the insecurities and resentments and near catastrophes. They expose their feelings about their jobs, and how at times when rushing... More
For the past seven months, a copy of Felix Gonzalez-Torres’s black and white print of a bird soaring through a cloud streaked sky has hung on the wall above my desk. This wall is opposite my bed which means that the print is usually one of the first things I see when I wake up in the morning. I took two copies of Gonzalez-Torres’s print from SFMOMA’s The Art of Participation exhibition last January, carefully rolling them and tucking them in my bag as I biked home. I tacked one above the various photographs, postcards, and notes that have gathered on the wall above my desk and the other I gave to a friend who had just moved into a new house.
During The Art of Participation these prints, known as Untitled 1992/1993, were placed one ontop of another in a stack placed on the floor of one of the galleries. The description of the print lists the printing method, offset lithograph on paper, and then includes this important detail in paranthesis: (endless copies). Visitors w... More