Posts Tagged “Felix Gonzalez-Torres”

Nothing That Meets the Eye: Double Trouble

06.23.2015  |  By
Filed under: Essay, Projects/Series

“Nothing That Meets the Eye” is a series of essays in which I think through the aesthetic and affective fallout of some of the odder, ubiquitous, and more stubborn byproducts of our culture of copies, reproductions, and fakes.

It is only fitting that I end this series back where it began, in the presence of Elaine Sturtevant’s work. This time I’m in Los Angeles, at LACMA’s installation of Double Trouble, the MOMA retrospective I first caught back in December of last year.

Five on Transition

Jarrett Earnest: Three Waves

04.15.2014  |  By
Filed under: Projects/Series

Ocean waves are animated by celestial forces: pull of the moon, wind churned by the sun. Vija Celmins’s Untitled (Ocean) (1977) is a drawing not only of water, but of breeze and sunlight, too — a vignette of our planetary arrangement.


5 Questions: Jared Ledesma

09.20.2013  |  By
Filed under: 151 3rd, Projects/Series

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 Jared Ledesma, curatorial assistant, Painting and Sculpture, in our new Kearny Street offices, where a lot of our staff have temporarily relocated until our building reopens.

Please describe your job in three sentences or less:

As a curatorial assistant in the Department of Painting and Sculpture, I assist in the research and develo... More

SLOW ART REDUX: Emily Jain Wilson

05.24.2013  |  By
Filed under: 151 3rd

“We’ll look at five works for ten minutes each,” I said after my group assembled in the Koret Visitor Education Center for SFMOMA’s version of Slow Art Day. “Please don’t read the placards. I prefer you not take notes. The works’ identity won’t be revealed until the follow-up discussion here in the ce... More

Positive Signs #56, 57, 58, 59, & 60

09.25.2012  |  By
Filed under: Projects/Series

Positive Signs is a series of interpretive diagrams, quotes, and speculations on creativity and optimism.


See all Positive Signs.



Collection Rotation: Anne Ray

01.17.2012  |  By
Filed under: Projects/Series

Our regular feature, Collection Rotation. Each month someone special organizes a mini “exhibition” from our collection works online. Today, please welcome writer and editor Anne Ray.

For a variety of reasons — the holiday season, the state of the world, the recent arrival of my third child — I currently find myself drawn to works th... More

‘Tis The Season

12.29.2011  |  By
Filed under: Back Page

Visitor Flickr Photo of the Week

08.27.2010  |  By
Filed under: Back Page

Chris Gruhl aka Shadowgolem says about the mono-colored painting, “A big solid gray canvas? Really?…Art needs to have more than just intention, it needs execution” and instead of just thinking it, he created his own work of art using Felix Gonzalez-Torres’s poster available in the 2nd floor galleries. He says, “this composition was our attempt to add a bit to it. Still very abstract but not quite so, well, boring.”

Thanks Chris!

We choose the Flickr pictures of the week from anything tagged “SFMOMA̶... More

75 Reasons to Live: Stephen Hartman on Felix Gonzalez-Torres

07.19.2010  |  By
Filed under: One on One

Stephen Hartman is a psychoanalyst. He’s also written for us here at Open Space, during our summer of Berlin Alexanderplatz. He’s talking here about Felix Gonzalez-Torres’s Untitled (Golden) (1996); contradiction; shame and ecstasy; and neutrality and disclosure in psychoanalysis. Yes, that is a wetsuit our friend is wearing. Step... More

75 Reasons to Live: Rudolf Frieling on Felix Gonzalez-Torres

07.19.2010  |  By
Filed under: One on One

Rudolf Frieling is curator of media arts here at SFMOMA. He’s talking about Felix Gonzalez-Torres‘s Untitled (Golden) (1995). The gold curtain just begs for a dramatic entrance and exit: compare Stephen Hartman’s—very different—talk on the same piece, coming up later today. Thanks Rudolf!

Remember the end of Manhattan, when Wo... More

Unpredictable Glamour

06.30.2010  |  By
Filed under: 151 3rd

On  June 17th I attended the Now Playing event at the museum, a night which promised an experience of the museum “animated by artists and creative luminaries.” That luminescence appeared in many forms: floral synasthesia, well drinks, a really strong showing by local sartorialists, and of course the programming itself. The show included a “screening of Bay Area art documentaries, from the 1990s and early 2000s” and a musical performance by the conceptual band presented by Chris Johanson, The 17th& Capps.

The performance in the atri... More

75 Reasons to Live: Jennifer A. González on Félix González-Torres

06.21.2010  |  By
Filed under: Projects/Series

Jennifer A. González is professor of Art and Visual Culture, Contemporary Art, Race and Representation at the University of California, Santa Cruz. More on Félix González-Torres, here.


Remember the end of Manhattan, when Woody Allen asks himself what makes life worth living? Last January, during SFMOMA’s three day 75th anniversary ... More

UnSEEing the Museum

06.17.2010  |  By
Filed under: Field Notes

Blindfolded Docent Tour

BLINKS, 1969

On November 23rd, 1969 Vito Acconci walked down Greenwich Street in New York City holding a camera. He attempted not to blink; when he did blink he took a photograph.

On Tuesday June 8th, 2010 at 4pm, I arrived at SFMOMA. I blindfolded myself and was led through the museum by docent Dennis Treanor. Removing my e... More

One Final Long Tracking Shot

06.08.2010  |  By
Filed under: Field Notes

I head over to SFMOMA for one last visit before I write this, my final post in my 8-part memoir based on items in the museum’s permanent collection. In the park at Yerba Buena Center, two young women with German-ish accents stop me and ask if they might take their photo with me. It’s for a school project; they’re to have their photo taken with a variety of people they meet on the street. I agree, and they ask a guy who’s sitting on a nearby bench to snap the picture. The women stand on either side of me and we smile. Click. They s... More


02.11.2010  |  By
Filed under: 151 3rd

When I visit SFMOMA I am both an outsider without status and an artist in my own right, with a peculiar variety of privilege. Being a writer, I’m not central to the Bay Area art scene, but I bisect with it in overlapping circles. If you know any curators, the first thing that you’ll realize is that in private they love to act out, to throw off the formal constraints of writing copy for catalogues and signage, or whatever they call those informative blocks of text that hang on the gallery walls, from which the first person in forbidden. In private they take enormous pleasure in disclosing, in writing the forbidden, getting all personal and critical and gossipy, throwing around the first person with abandon. Get them alone and they’re eager to extricate themselves from the official discourse of the museum, to show the human side of the process, all the insecurities and resentments and near catastrophes. They expose their feelings about their jobs, and how at times when rushing... More

“Without the public these works are nothing,” participating with Felix Gonzalez-Torres

08.22.2009  |  By
Filed under: 151 3rd, Field Notes

For the past seven months, a copy of Felix Gonzalez-Torres’s black and white print of a bird soaring through a cloud streaked sky has hung on the wall above my desk. This wall is opposite my bed which means that the print is usually one of the first things I see when I wake up in the morning. I took two copies of Gonzalez-Torres’s print from SFMOMA’s The Art of Participation exhibition last January, carefully rolling them and tucking them in my bag as I biked home. I tacked one above the various photographs, postcards, and notes that have gathered on the wall above my desk and the other I gave to a friend who had just moved into a new house.

During The Art of Participation these prints, known as Untitled 1992/1993, were placed one ontop of another in a stack placed on the floor of one of the galleries. The description of the print lists the printing method, offset lithograph on paper, and then includes this important detail in paranthesis: (endless copies). Visitors w... More