Rainer Werner Fassbinder finished Querelle this year, and started work on another film, this next one called Rosa L. On June 10 the script for this project, based on the life of Rosa Luxemburg, is beside him when he’s found at 3:30 a.m. by his editor and companion, Juliane Lorenz, quite dead, a cigarette still between his lips.
These are the years: 1964, 1972, 1977, 1981, 1989, and 1993, 1999, and 2003, and also the future years which do not have numbers yet, nor names, but are given all numbers and names. These are the ages of man: first cry... More
Overheard at the San Francisco Museum of Modern Art
An underground chamber,
where artwork is stored in times of emergency or disrepair
Two shoes, in front of an exhibit
LEFT: Where is she?
RIGHT: Getting her priorities mixed up as usual.
LEFT: I doubt it’s as bad as all that. What’ve we got here?
RIGHT: A series of postcards, fifty-on... More
This fall, Open Space has featured a series of reflections by artists, writers, and curators on “the contemporary.” Today’s piece, “What Time Is it?” is a concluding note.
In 2011′s My Common Heart, Kansas City poet Anne Boyer writes a poem titled “Questions for Poets.” The text opens, What time is it in Sydney? What t... More
In spring 2011, Open Space hosted a series of “Shop Talk” conversations prompted by artist Stephanie Syjuco’s complex — and somewhat controversial — Shadowshop project, which included more than 200 Bay Area artists showcasing “wares” in a gift shop-style installation on SFMOMA’s fifth floor. In this essay, published earlier this y... More
Mónica de la Torre: To and No Fro is based on Luis Buñuel’s melodrama A Woman Without Love (1952), which is deemed his worst film, but is a wonderfully highbrow telenovela of sorts based on Guy de Maupassant’s novella Pierre et Jean. Its claustrophobic set designs are by the Mexican-Hungarian painter Gunther Gerzso, and the film’s c... More
Our regular feature Collection Rotation, in which a guest organizes a mini “exhibition” from SFMOMA’s collection works online. This fall artists with Bay Area ties take over the series. In addition to their rotations, we asked each artist to answer poet Robert Duncan’s request to students in his 1958 Workshop in Basic Techniques and provide us with a set of influences for their work — a “constellation of their genius.” Today, please welcome Amanda Kirkhuff.
I was recently invited by Open Space to ponder “the constellation of my ... More
We’re taking our Five Questions series around the office and finding out more about SFMOMA staff members and what’s changed for them now that we’re under construction. Today we’re talking to Marina Eybelman, Technical Coordinator, in our Minna Street offices, where many of us have been located for several years and will be until 2016, when our new building opens.
Please describe your job in three sentences or less:
I provide administrative and financial support to the IT department and I am the key contact for staff wh... More
A form amassing. A signal sent and received. An object for use. Form is force. Form behind. Form in a world of radical positivity. Form is leaking. Form learned from limits. Force is form. In this way, form is passive. Form is seen. Light reflects from the surface of form. Form which reforms then dissipates. Form which strikes then flees. Form whi... More
This fall, Open Space has featured a series of reflections by artists, writers, and curators on “the contemporary.” Today’s piece is by British poet Francesca Lisette, who currently lives in London.
A couple of months ago I was in California with a friend. As we took pictures of each other in the park, he joked about the fac... More