Posts Tagged “One on One”

Diane Ward on a Stereo Daguerreotype of Artist’s Paraphernalia, by an Unknown Photographer

12.02.2013  |  By
Filed under: One on One

Diane Ward

Approximate 1850 artifice. The uses of the stereoscopic trick: you are enlisted in displacing the site of depth perception’s processing from the brain to the outside, to the modern double image. By its doubling, you are enlisted in its presence as the left image that is not-complete, the right image that is not-complete. You are also e... More

Andrew Berardini on Henry P. Bosse

07.29.2013  |  By
Filed under: One on One

Andrew Berardini

Just mix cyan with suicide and you’ll get the picture.

I once read about a Bible used by a student in the Sorbonne in the 12th century, each page a skinned cat. Are the words of writers and the pictures of artists ever more beautiful than the life sacrificed to print them?

I keep returning to the cyanotype. Thirteen of them in th... More

Corset Salesmen: Corina Copp on Tom Howard’s The Electrocution of Ruth Snyder

10.03.2012  |  By
Filed under: One on One

 

 Corina Copp

There’s something inside a human being that no one has thought of putting into a machine.

— Lee Miller, 1945

Thought to mark the occasion of her marriage to Roland Penrose in 1925, the title of a Valentine Penrose mixed-media piece, “À mon Époux, Reconnaissance (Dit-on),” translates as “To my husband, with gratitude (as they say).” Eventually, V. Penrose left R. Penrose (they remained lifelong friends), and R. Penrose fell for and married Surrealist photographer-turned-docujournalist Lee Miller, who had redisc... More

Chris Vitiello on Adrien Majewski

12.05.2011  |  By

Images have always had as much to do with the hand as with the eye. This photograph is elegant proof of image-making as an inherently physical, haptic act.

Although, is this what we call an image? It’s not the result of someone holding her hand in front of a camera for an exposure. “Digital effluvia” comes from pressing — the hand of the attributed photographer’s relative, in this case — into the toxic gelatin silver of the wet negative paper or plate. “Effluvia” meaning an invisible emanation, a lightless image made rather than... More

Thom Donovan on Matt Mullican

11.28.2011  |  By

Click image for larger view and better detail of the individual photographs.

Faced with the totally administered, a sort of mysticism becomes a last resort, a line of flight from countless mundane tyrannies of the contemporary soul. In Matt Mullican’s Bulletin Boards series, the existence of everyday objects — a lamp, a sewer grate, a telephone, the banister of a staircase — is rendered both generic and numinous. Photographs of interior spaces (windows, doorframes, hallways) redouble the mental experience of looking. There is no whole, ju... More

Abigail Child on Loretta Lux

11.14.2011  |  By

Our One on One series features artists, writers, poets, curators, and others, from around the country, responding to works in SFMOMA’s collection. You can follow the series here. Today, please welcome media artist and writer Abigail Child.

Postscript:

I write the piece below and am reminded by a friend that Lux’s photographs verge on kitsch... More

Alli Warren on Ann Hamilton

10.17.2011  |  By

On a visit to SFMOMA back in 2007, I turned a corner on the second floor and found myself sharing the gallery space with a heaping blue mountain. I walked the perimeter slowly, curious, tentative, dwarfed. As I came to the front of the blue mass, I saw a wooden table, and seated at this table, a live human figure hunched over a book, hard at work.

... More

Anne Boyer on Julia Margaret Cameron’s Photograph of Her Grandchild, Archie Cameron, Aged Two Years, Three Months

09.12.2011  |  By

I think Julia Margaret Cameron understood that a photograph cannot present a clear distinction between a sleeping child and a dead one. In a photograph there is no motion to indicate breath: no warm arm to touch, no murmur or cry. The connection of an infant to its own life is barely established, and for most of human history, tenuous.

A sleeping i... More

One on One: Arnold J. Kemp on Sargent Johnson’s Forever Free

01.31.2011  |  By

Our “One on One” series features artists, writers, poets, curators, and others, from around the country, responding to works in SFMOMA’s collection. You can follow the series here. Today I’m so pleased to welcome artist, educator, and writer Arnold J. Kemp.

Untitled, 1933

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Here is the statue of queen whats-her-name
she feel fever roof
a real black mother of black equestrian vivacity.

Perhaps you are too.

yes yonder
you you you

But nothing
Blond Negress
but no

other bodies are coming to take her c... More

One on One: Jill Dawsey on Vik Muniz’s “Spiral Jetty after Robert Smithson”

01.24.2011  |  By

Our “One on One” series features artists, writers, poets, curators, and others from around the country, responding to works in SFMOMA’s collection. You can follow the series here. Today our guest is Jill Dawsey, acting chief curator and curator of modern and contemporary art at the Utah Museum of Fine Arts, and former SFMOMA assis... More

John Davis on Unknown, Untitled [Six California mug shots]

12.06.2010  |  By

Our “One on One” series features artists, writers, poets, curators, and others, from around the country, responding to works in SFMOMA’s collection. You can follow the series here. Today, please welcome artist John Davis, who also works for the museum part-time as a film projectionist.

MYTHOLOGY IN FACT

I was initially drawn to t... More

Juliana Spahr and Stephanie Young on Nicholas Nixon’s The Brown Sisters

11.29.2010  |  By

Our “One on One” series features artists, writers, poets, curators, and others, from around the country, responding to works in SFMOMA’s collection. You can follow the series here. Today’s post is more “Two on Several” than “One on One”: Every year since 1974 the photographer Nicholas Nixon has made ... More

Dana Ward on Cory Arcangel

11.08.2010  |  By

[Our "One on One" series features artists, writers, poets, curators, and others, from around the country, responding  to a collection work of their choosing. You can follow the series here. Today, please welcome Cincinnati poet, the marvelous Mr. Dana Ward ... And a happy belated to Art Garfunkel, 69 last Friday.]

When I set out to write about Cory ... More

Darrin Alfred on Fernando and Humberto Campana’s Favela Chair

10.25.2010  |  By

[Our "One on One" series features artists, writers, poets, curators, and others from around the country, responding however they wish to a collection work of their choosing. You can follow the series here. Today, very pleased to welcome Darrin Alfred, associate curator of architecture, design, and graphics at the Denver Art Museum. ]

Not long after S... More

Lindsey Westbrook on, well, Foster City

10.04.2010  |  By

[For the last couple of years we've been posting “One on One” pieces from SFMOMA curators or staff. Now the column will feature artists, writers, poets, curators, and others, from around the country, responding however they wish to a collection work of their choosing. You can follow the series here. Today, we are very pleased to welcome Lindsey ... More

Patricia Maloney on Nicola Tyson’s Red Self-Portrait

09.27.2010  |  By

[For almost two years we’ve been running a regular “One on One” series of posts, featuring curators or SFMOMA staff on a single work of art from our collection. Beginning today, the column will feature artists, writers, poets, curators, and others, from around the country, responding in any manner they like on a work of their choosing. It’s a distinct pleasure to begin this new iteration of the series with a post from Patricia Maloney, editor in chief of Art Practical.]

On September 11, 2001, I was walking down 6th Avenue and had reache... More

One on One: Frank Smigiel on David Hockney

07.20.2010  |  By

To Shirley Goldfarb, thanks for everything, David Hockney: On David Hockney’s Shirley Goldfarb & Gregory Masurovsky

Earlier this month, I had the pleasure of giving a gallery talk on David Hockney’s double portrait, Shirley Goldfarb & Gregory Masurovsky, currently on view in From Warhol to Calder: Introducing the Fisher Collection. I ap... More

One on One: Apsara DiQuinzio on Bruce Conner’s LOOKING GLASS

04.21.2010  |  By
Filed under: One on One

[Alongside our weekly in-gallery curator "One on One" talks, we post regular ‘one on one' bits here on the blog. Follow the series here. Today's post is from assistant curator of painting and sculpture, Apsara DiQuinzio. I'm tipping you off now to the 'big reveal' in this piece: never-before-seen pictures of the back of Bruce Conner's LOOKING GLASS, bel... More

One on One: Lisa Sutcliffe on Jim Goldberg

02.08.2010  |  By
Filed under: One on One

[Alongside our weekly in-gallery curator "One on One" talks, we post regular ‘one on one' bits from curators & staff. Follow the series here. Today's post is from assistant curator of photography,  Lisa Sutcliffe, who will be talking about Jim Goldberg's  The Orchard this Thursday at 6:30pm. And look for a conversation between Lisa and Jim, upc... More

One on One: Tanya Zimbardo on Howard Fried

02.01.2010  |  By
Filed under: One on One

[Alongside our weekly in-gallery curator "One on One" talks, we post regular ‘one on one' bits from curators & staff. Follow the series here. Today's post is from assistant curator of media arts, Tanya Zimbardo, who will be talking about Fried's Inside the Harlequin: Approach Avoidance III and II, this Thursday at 6:30pm.]

From the start of the 1... More

One on One: Jennifer Fletcher on Robert Overby

11.03.2009  |  By

[Part two of a conversation, keyed to our One on One series, between Michelle Barger, deputy head of conservation, and Jennifer Dunlop Fletcher, assistant curator of architecture and design, on Robert Overby's Hall painting, first floor.]

Michelle Barger: How did you come to chose Hall painting, first floor for your One on One talk? Were you familiar with Overby’s work as a commercial designer prior to becoming an artist, and did this play into your decision?

Jennifer Dunlop Fletcher: In 2000, I was working at the UCLA Hammer Museum as the curatorial assistant when Robert Overby: Parallel, 1978-1969 was exhibited, so I have been familiar with all the various strains of his work since then, including the graphic design. However, this was before switching from a curatorial interest in contemporary art to architecture. When I was combing through the permanent collection database recently in search of works for an exhibition proposal, I was thrilled to discover that SFMOMA had one of ... More

One on One: Michelle Barger on Robert Overby

10.27.2009  |  By

[Alongside our weekly in-gallery curator "One on One" talks, we post regular ‘one on one' bits from curators & staff on a particular work or exhibition they're interested in. Follow the series here. This week and next, Michelle Barger, SFMOMA deputy head of conservation, & Jennifer Dunlop Fletcher, assistant curator of architecture and design, together take on Robert Overby's Hall painting, first floor.]

Jennifer Dunlop Fletcher: I was so excited to learn that Robert Overby’s large latex rubber cast of Hall painting, first floor from 19... More

One on One: Rudolf Frieling on Candice Breitz

10.21.2009  |  By
Filed under: One on One

[Alongside our weekly in-gallery curator "One on One" talks, we post regular ‘one on one' bits from curators & staff on a particular work or exhibition they're interested in. Follow the series here. Today's post is from curator of Media Arts, Rudolf Frieling.]

Do only fans truly understand pop culture? Anyone who has been a fan of one of our glob... More

One on One: Jill Sterrett on Robert Rauschenberg

08.19.2009  |  By
Filed under: One on One

[Alongside our weekly in-gallery curator "One on One" talks, we post regular ‘one on one' bits from curators & staff on a particular work or exhibition they're interested in. Follow the series here. Today's post is actually a little bit two-on-one: Jill Sterrett, SFMOMA director of conservation and collections, & Sarah Roberts, associate cura... More

One on One: Apsara DiQuinzio on Andrea Zittel

07.21.2009  |  By
Filed under: One on One

[Alongside our weekly in-gallery curator "One on One" talks, we post regular ‘one on one' bits from curators & staff on a particular work or exhibition they're interested in. Follow the series here. Today's post is from assistant curator of painting and sculpture Apsara DiQuinzio.]

I have a growing obsession for the desert; perhaps it is not even... More

One on One: Dominic Willsdon on Jasper Johns

06.29.2009  |  By
Filed under: One on One

My Aunt Gladys once, when she read a thing in a magazine, wrote me a letter, saying she was so proud of me, because she had worked so hard to instill some respect for the American flag in her students, and she was glad the mark had been left on me.

―Jasper Johns to Emile de Antonio.

I’m next up with one of our weekly One-on-One curator talks, ... More

One on One: Alison Gass on Kiki Smith

06.24.2009  |  By
Filed under: One on One

[Alongside our weekly in-gallery curator "One on One" talks, we post regular ‘one on one' bits from curators, staff, and public, on a particular work or exhibition they're interested in. Follow the series here. Today's post is from assistant curator of painting and sculpture Ali Gass. Thanks Ali!]

Kiki Smith’s Lilith crouches and hangs in a precarious position of emotional and physical tension. The sculpture is a life-like figure of a woman. (Indeed, Smith’s mode of making the work heightens this naturalism, as she cast an actual huma... More

One on One: Janet Bishop on Sherrie Levine

06.03.2009  |  By
Filed under: One on One

[Alongside our weekly in-gallery curator "One on One" talks, we post regular ‘one on one' bits from curators, staff, and public, on a particular work or exhibition they're interested in. Follow the series here. Today's post is from curator of painting and sculpture Janet Bishop.]

On the 2nd floor right now we have a gallery devoted to the work of She... More