I had enough time on a layover to visit the SF MOMA (San Francisco Museum of Modern Art). It had been just over six years since my last visit. It was good...I wasn't rushed for time to see things and I was admitted for free! I couldn't believe it! Another nice surprise was I didn't see many (if any) repeats. They do a great job of rotating things through the museum.
(L) RICHARD SERRA, The US Courts Are Partial to Government, 1989, paint stick on paper
(C) GERHARD RICHTER, Seestück (Seascape), 1998, oil on linen
(R) GERHARD RICHTER, Portrait Müller, 1965, oil on linen
The simplicity of SERRA's work was classic - and in my opinion, one of his better works in the SFMOMA. I did see some RICHTER work on my last visit, but forgot how amazing his techniques are. Both the center and right pictures are paintings. How he could make them look like photos is quite remarkable. As of this post, he's still alive at 94.
(L) ROY LICHTENSTEIN, Tire, 1962, oil on canvas
(C) ANDY WARHOL, Telephone [1], 1961, crayon and synthetic polymer paint on canvas
(R) PHILIP GUSTON, still from video by his work
Lichtenstein has pieces much more famous than Tire, but I took it because it's less common and still great. But I took this picture for another reason. In this visit I learned that even though many of his pieces look like they're printed, he hand-painted everything. You'll see what I mean if you research his work. I took a picture of Warhol's Telephone [1] for the same reason - it being less-than-famous. I like this piece and would say I like it more than what he's known for. I waited for the video to repeat to catch this quote from Guston - he captures what I feel quite often. "The first thing always looks good, and then you start doubting it, you know?". That's why I work on not overpainting.
(L) ALEXANDER CALDER, Big Fat Banana, 1969, metal and paint
(C) ALEXANDER CALDER, Fishy, 1962, metal and paint
(L) ELLSWORTH KELLY, Red White, 1962, 1962, oil on canvas
It's impressive to be known for mobiles and I think it's fair to say Calder has that claim. It was good to see some of his brightly colored pieces. I gave Kelly a shout out as it's the struggle between work we love and/or work we're supposed to love. He has some impressive work and because of that the original Red White, 1962, would command millions. It's hard to know what will become something people to talk about for years or will never talk about. Van Gogh thought The Starry Night was a "failure" and a poor attempt at abstraction.
(L) ANSELM KIEFER, Melancholia, 1990-91, lead, glass, steel and ash
(R) WILLIAM KENTRIDGE, Drawing for II Sole 24 Ore (World Walking), 2007, charcoal, colored pencil, gouache and pastel on paper
The airplane was a must-take picture. The angular glass holds ashes. The sign near the work read, "...this lead airplane seems to carry the weight and sorrows of the world. The sculpture refers to Melencolia I, an engraving of the same title by ALBRECHT DÜRER (1471-1528)." I took a picture of II Sole 24 Ore simply because it's a cool drawing. There were some other great works in his section of the gallery. If you're in the neighborhood, I'd certainly recommend a visit.
The floorplan and the ticket.
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