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Representing movements ranging from Fauvism and Cubism to Pop art and Minimalism, SFMOMA's modern art holdings include paintings, sculptures, and works on paper by some of the 20th century's most celebrated artists.
The selection currently on view features works by Bruce Conner, Marcel Duchamp, Frida Kahlo, Yves Klein, Joan Mitchell, Piet Mondrian, Georgia O'Keeffe, Pablo Picasso, Jackson Pollock, Robert Rauschenberg, Diego Rivera, and a new selection of drawings spanning the last century.
A rotating selection of works by Paul Klee is featured in the Djerassi Gallery.
The exhibition is part of the permanent collection.
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Matisse and Beyond: The Painting and Sculpture Collection
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SFMOMA > Art Museums
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The Double Feature series juxtaposes two media works, revealing affinities and provoking unexpected associations between them while highlighting the individual perspective of each artist.
This exhibition pairs Steve McQueen's Drumroll and Peter Sarkisian's Dusted, both recently acquired by SFMOMA.
The artists share a fascination with the real and the mediated - specifically, the shift that occurs when video is used to record real actions.
Drumroll features a triptych of spinning New York City views that McQueen created by rolling an open-ended barrel fitted with three video cameras along the city's streets.
Dusted uses a five-channel video projection to animate a white cube so that it appears to be a glass container entrapping two naked figures.
The two works offer complementary inside-out and outside-in viewpoints, prompting us to ponder where to draw the line between reality and its mediated rendering.
The exhibition can be viewed until May 21, 2006.
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Double Feature: Steve McQueen and Peter Sarkisian
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SFMOMA > Art Museums
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Wangechi Mutu, a Kenyan-born artist based in New York, makes luscious yet unsettling pictures of female figures.
Her painted and collaged works on Mylar function as potent social critique while simultaneously exploring more poetic strains of mythology and allegory as well as the sensuousness of form, color, and pattern.
Particularly interested in myths about gender and ethnicity that have long circulated in Africa and the West, Mutu has adopted the medium of collage - which by its nature evokes rupture and collision - to depict the monstrous, the exotic, and the feminine.
Her exhibition at SFMOMA combines works on paper and a site-specific installation.
The exhibition will take place until Sunday, April 02, 2006.
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Wangechi Mutu
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SFMOMA > Art Museums
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Living and working in Paris in the 1920s and 1930s, Alexander Calder was naturally influenced by the burgeoning surrealist movement, and some of its most prominent voices - including Joan Miró, André Breton, and Jean Arp - became his close friends and associates.
In recent decades, however, Calder's relationship with Surrealism has been all but forgotten.
Presenting rarely seen pieces from the Calder Foundation as well as a sampling of works by Calder's surrealist peers, this exhibition recasts the artist and his work in their original context.
The resulting showcase highlights the wit, inventiveness, and improvisation at the heart of Calder's art and rooted in the legacy of Surrealism.
The exhibition will take place until May 21, 2006.
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www.sfm... (320)
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SFMOMA > Art Museums
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Sitings projects celebrate and exploit the architectural idiosyncracies of the Museum's four-building complex and often comment on the Museum itself.
A competition open to all RISD students, the program fosters and facilitates interchange among students, the public and the Museum.
Artists were given a menu of alternative (non-gallery) spaces to consider.
In this, the competition's eleventh year, 26 contestants submitted 29 written proposals in a blind jury process.
Artist Mark Lancaster juried the submissions and chose the winning entries.
He selected the proposals of Joseph Graham-Felsen [RISD '07, Film / Animation / Video ] and the team of Elizabeth Doering [RISD '06, Textiles] and Thomas Staton [RISD '07, Ceramics].
Each winning entry received a $300 prize.
Graham-Felsen's installation takes facets of the American aesthetic and turns them on their head to create a carnival-like interpretation of the country's foreign policy.
M.A.D. attempts to question the United States' role in the world while straddling the line between serious and playful.
The work is open-ended, leaving the viewer to fill it out in his or her own way.
For example, the signs 'We're at WAR' may be read as proud factual statements, but may also appear to be shocking reminders of a shameful misadventure.
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Sitings 2006
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