It is clear to me now that seeing Jess’s art was the beginning of my awareness that there was a multitude of what John Ashbery called “other traditions.”
What struck me most in moving through the arc of Lacy’s career is what varied and thoughtful work she’s produced decade after decade, no doubt the result of her preference for collaboration.
The artist says he wants the 107-feet-long mural at SFMOMA to get people to interact with one another.
Although social media has amped up the sharing of photos, the urge behind it is nothing new.
Celmins’s images of oceans and galaxies are powerfully personal and intimate, even if they are mysteriously deserted and distant.
Designers wanted to create a community that was equitable, affordable, and open-minded. But over the years developers began courting wealthy weekenders, and today units sell at stratospheric prices.
In Art and China after 1989, now at SFMOMA, China’s emergence onto the world stage is eclipsed by persisting Orientalist ideas and Western modes of curation.
When Belgium was occupied by Germany during World War II, René Magritte adopted the style of Pierre-Auguste Renoir and painted images based on popular cartoons.
Meiselas, whose documentary photography is wide ranging, says the one thing that ties her work together is her “relationships with subjects over time.”
“The Deluge,” a monumental Turner painting showing a Biblical flood, is currently paired with Akomfrah’s “Vertigo Sea” at the San Francisco Museum of Modern Art.
While Walker Evans may be best known for his photographs from small towns across the US during the Great Depression, an exhibition at SFMOMA shows him also as a longtime New Yorker fascinated with the particulars of urban life.
Lindsey White, a recipient of SFMOMA’s 2017 SECA Art Award, challenges assumptions and orthodoxies in irreverent photographs, sculptures, and installations.