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.
An exhibition at the San Francisco Museum of Modern Art illustrates how, over time, Munch moved away from observational painting toward something more symbolic and emotional.
You can explore SFMOMA’s collection now with the ease of a text, though you don’t always know what you’re going to get.
The exhibition diane arbus: in the beginning gathers images the photographer shot between 1956 and 1962, when she started using the distinctive Rolleiflex camera with which she captured her most famous photos.
Sohei Nishino’s maps are hellish auto-portraits, subjective representations built through fantastic repetition.
To say that Conner was an outsider who also wanted to belong is to barely scratch the surface of his paradoxical persona.
“I’ve always lived in the present tense, and I like my paintings to be in the present tense,” Ellsworth Kelly begins his interview with the San Francisco Museum of Modern Art (SFMOMA) in 2013.