{"id":5250,"date":"2019-02-28T14:52:33","date_gmt":"2019-02-28T14:52:33","guid":{"rendered":"https:\/\/www.elizabethfram.com\/Blog\/?p=5250"},"modified":"2019-02-28T14:52:33","modified_gmt":"2019-02-28T14:52:33","slug":"sf-moma-part-2","status":"publish","type":"post","link":"https:\/\/www.elizabethfram.com\/Blog\/sf-moma-part-2\/","title":{"rendered":"SF MoMA, Part 2"},"content":{"rendered":"

There’s something to be said for visiting a museum with an agenda in mind, and yet wandering from gallery to gallery, exploring as the spirit moves, can be just as rewarding. A couple of weeks ago, with my pilgrimage to Wayne Thiebaud’s paintings and drawings securely under my belt, I had the remainder of the afternoon to roam freely throughout the rest of the museum.<\/p>\n

Looking back through the pictures I took, these are the pieces that stood out.<\/p>\n

\"Winsor\"

#1 Rope\u00a0 \u00a0 \u00a0<\/strong> \u00a9Jackie Winsor, 1976 , Wood and hemp<\/p><\/div>\n

Jackie Winsor, born in St. John’s, Newfoundland, is descended from a long line of Canadian ships’ captains and farmers. One might infer from her choice of materials (wood and hemp), that her family’s history has had a strong influence on her work.<\/p>\n

The repetition of spheres and verticals in this piece leave me feeling of grounded, its form projecting a sense of steadiness and reliability. Contrasted with its shadow which, to my eye, somehow reads as almost whimsical, I couldn’t help but think of cartoons where a figure’s shadow projects a different personality from the character itself.<\/p>\n

\"Neel

Geoffrey Hendricks and Brian<\/strong> \u00a0 \u00a0\u00a9Alice Neel, 1978 , Oil on canvas<\/p><\/div>\n

\"Neel

Alice Neel, detail<\/p><\/div>\n

Looking at portraits has become a more nuanced experience since I started regularly attending life drawing sessions, 14 months ago. This Alice Neel portrait of Geoffrey Hendricks and his partner Brian first grabbed me with the comfortable sense of familiarity it radiates. Looking more closely, it is the wonderful halo of green surrounding each man’s head and the general use of color overall that locks me in place.<\/p>\n

\"Weeks\"

Untitled<\/strong> \u00a0 \u00a0\u00a9James Weeks, 1953, Oil on canvas<\/p><\/div>\n

This piece by James Weeks, also a force of pure color, is such a beautiful and exuberant expression of abstraction via shape and composition. I love the way the colors around the edges are channeled into and through the figures, keeping your eyes swirling throughout the painting the way I imagine the music of these musicians is filling the room where they play. Still, the composition remains firmly balanced by the strong verticals and horizontals, an assertive structure that holds the piece together.<\/p>\n

\"Brown\"

Noel in the Kitchen<\/strong> \u00a0 \u00a9Joan Brown, ca. 1964 , Oil on canvas<\/p><\/div>\n

Joan Brown’s work is not delicate or subtle. The paint is built up so thickly and unevenly that this painting is as much a tactile experience as a visual one. What a perfect expression of the early years of motherhood: messy, loud, and unpredictable. Yet it also stirs a tenderness of memory for those of us who have seen this sight, or something quite similar, in our own kitchens.<\/p>\n

\"Bourgeois\"

Spider<\/strong> \u00a0 \u00a0\u00a9Louise Bourgeois, 2003 , Stainless steel and tapestry<\/p><\/div>\n

I was happy to get\u00a0 to the top floor to see the grouping of Louise Bourgeois’ spiders. This example that inserts an element of empathy by including a human form comprised of tapestry, was especially resonant. Enjoy what Bourgeois has to say about her work in this short video.<\/a><\/p>\n

I am quite taken with Cloth Lullaby<\/a>, an illustrated biography of Bourgeois, written for children. This year I would very much like to read an account of her life meant for adults. There are so many Bourgeois biographies available that it’s hard to choose. Can any of you recommend one that\u00a0 you thought was particularly good?<\/p>\n

\"Fern\u00e1ndez

Fire<\/strong> \u00a0 \u00a0\u00a9Teresita Fern\u00e1ndez, 2005, Silk, steel, and epoxy<\/p><\/div>\n

Of all the wonderful work I saw, there was one piece that stands out. Looking up from Thiebaud’s work to the next gallery, this view took my breath away. This piece has a presence that is absolutely spectacular. If you can spare three minutes, this wonderful museum video<\/a> provides insight into the work and its origin.<\/p>\n

\"Fern\u00e1ndez

Fire<\/strong> \u00a0 \u00a0 \u00a9Teresita Fern\u00e1ndez, 2005<\/p><\/div>\n

\u2756<\/span><\/h1>\n

Finally, seeking out bookstores is an important part of any trip, don’t you think? If you have time to spare while in the neighborhood, there are two that are well-worth a visit within a stone’s throw of the SF MoMA.<\/p>\n

I couldn’t resist this wonderful little book. As I suspect is also true of Alexander Book Company<\/a> where I found it, you can dip in and out of this book and still find something new each time you crack it open.<\/p>\n

\"\"<\/p>\n

And for contemporary art books, don’t miss 871 Fine Arts<\/a> on Hawthorne Street, an establishment that carries only<\/em> art books — thousands of them. It has an adjoining gallery as well. Complete the triangle with a visit to the MoMA’s bookstore, and I guarantee your inner bibliophile will end the day fully satisfied.<\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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