SFMOMA Member Magazine - Summer 2014

San Francisco Museum of Modern Art

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A Magazine for Members Summer 2014

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DIRECTOR’S LETTER

San Francisco Bound This summer marks one year since we held the groundbreaking ceremonies for our building expansion and set out with our On the Go exhibitions and programs. In that time, we’ve been thrilled to share our collection with audiences as far afield as Santa Rosa and Stanford, and as near as the Contemporary Jewish Museum, just around the corner. Installations in Los Altos and Oakland have taken us down the peninsula and across the bay.

This season, though, we’ll be summering in San Francisco, and we couldn’t be happier to have the chance to enjoy our hometown and our neighbors. Public Intimacy continues at Yerba Buena Center for the Arts for a few more weeks, and Matisse from SFMOMA will be at the Legion of Honor until early September—if you haven’t seen these exhibitions, I urge you to go. And in June, the stunning new exhibition Gorgeous opens at the Asian Art Museum. I hope we’ll see you at the opening events.

Also that month, please join us as we celebrate San Francisco by taking part in the city’s great Pride Parade (details on page 4).

Neal Benezra touring the expansion construction site; photo: Winni Wintermeyer.

On our construction site, steelworkers have taken the place of the demolition crew that was at work 12 months ago, and the outline of our expanded building is rapidly taking shape. In this issue we have terrific news about what awaits on the photography front when we reopen, with an inside peek at our new Pritzker Center for Photography. It’s getting closer with every beam and girder.

Thank you, as always, for your support.

Neal Benezra Director

ONLINE highlights

BEARING WITNESS Photographers, scholars, and commentators gathered with our curators and a packed-to-the-rafters audience in March to delve into the critical new role of photography in contemporary society.

If you missed the symposium, hear what Kathy Ryan, director of photography at the New York Times Magazine; Mike Krieger, cofounder of Instagram; and others had to say by dipping into the full event video.

#PlayArtfully SFMOMA’s On the Go program gets interactive this month. Discover art in the everyday world around you by playing our tiny games. Look for them online, during your morning commute, and in the pages of this issue. Share them with friends, and post your experiences online using #playartfully. Your post might be featured on our website! sfmoma.org/playartfully

sfmoma.org/bearingwitness

Experience art every day, wherever you are, by connecting with us on social media. sfmoma.org/connect

Cover: Dan Flavin, untitled (in honor of Leo at the 30th anniversary of his gallery), 1987; Collection SFMOMA, Phyllis C. Wattis Fund for Major Accessions; © Stephen Flavin/Artists Rights Society (ARS), New York; photo: Ian Reeves. This page: Protesters gather for Tahrir Square rally, Cairo, November 23, 2011; photo: Peter Macdiarmid/Getty Images. Facing page: Public Intimacy opening party; photo: Katherine Du Tiel. Andy Warhol, Two Jackies, 1964; Collection SFMOMA, gift of Vicki and Kent

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Logan; © The Andy Warhol Foundation for the Visual Arts, Inc./ Artists Rights Society (ARS), New York; photo: Ian Reeves. Dan Flavin, “monument” for V. Tatlin, 1969; The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art; © Stephen Flavin/Artists Rights Society (ARS), New York; photo: Katherine Du Tiel/Don Ross. Handspring Puppet Company, puppets from the production Or You Could Kiss Me, 2010; see page 10. SFMOMA Families at Sunday Streets; photo: Winni

Wintermeyer. Teacher Institute; photo: Andria Lo. Back cover: Anthony Hernandez, Santa Monica California #4, 1970; Black Dog Collection, promised gift to SFMOMA; © Anthony Hernandez.

SFMOMA Families; photo: Winni Wintermeyer. Beatriz Milhazes, Phebo, 2004; Private collection, fractional purchase through gift and promised gift to SFMOMA; © Beatriz Milhazes; photo: Ben Blackwell. Spherovelo; photo: Gregory Cowley.

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Summer 4

FOR MEMBERS ONLy

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UP NEXT: GORGEOUS

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New events and exclusives just for you

From the sumptuous to the awe-inspiring at the Asian Art Museum

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LOOK AGAIN We shine a light on Dan Flavin’s fluorescent sculptures

This publication is produced quarterly for members of the San Francisco Museum of Modern Art. With each issue, a different artist is asked to create an original work for the mail panel using the museum’s name as a starting point.

Summer 2014 mail panel design: © 2014 Alexis Anne Mackenzie

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LOOK, THINK, CREATE Fun family activities to explore together

ON VIEW Contemporary art from South Africa at YBCA; Matisse highlights at the Legion of Honor

CALENdAR

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NOW dEVELOPING

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PERSPECTIVES

A sneak peek at the expansive new photo center that will greet visitors in 2016

Longtime member Wes Mitchell on photography, philanthropy, and 2016

Jennifer Knox White Editor Jessica Bullock Editorial associate Jennifer Sonderby Design direction MacFadden & Thorpe Design and production

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EdUCATION ON THE GO Fostering creativity and critical thinking in youth around the Bay Area

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NEWS + UPdATES Thanks for being there—winter and spring events; expansion dispatch; SFMOMA media arts on tour

On the cover

dan Flavin’s untitled (in honor of Leo at the 30th anniversary of his gallery) (1987) will be on view in the exhibition Gorgeous, opening on June 20. Turn to page 4 for special member events.

© 2014 San Francisco Museum of Modern Art. All rights reserved.

Printed on New Leaf Reincarnation: 60 percent postconsumer waste, manufactured with Green-e®–certified wind power, acid-free.

General information 415.357.4000 sfmoma.org

Membership 415.357.4135 membership@sfmoma.org sfmoma.org/membership

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events + exclusives

For Members Only On the docket this summer: Preview a compelling new exhibition, come to the party, zip over to movie night, and more.

Experience the Pride of San Francisco JOIN THE PARADE Sunday, June 29 Show your colors and “walk the walk” with us at the 2014 San Francisco Pride Parade! Join SFMOMA as we “Color Our World with Pride” (we love this year’s theme) during the nation’s largest gathering of LGBT people and supporters. RSVP at sfmoma.org/memberevents.

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It’s Gorgeous

CHARTER MEMBER EVENING AT CROWN POINT PRESS Wednesday, August 27, 6–9 p.m.

Charter members are invited to enjoy a studio tour, gallery viewing, light bites, and a printmaking demonstration by master printers at San Francisco’s renowned Crown Point Press. See where Ed Ruscha, Kiki Smith, and Wayne Thiebaud, among many other artists in SFMOMA’s collection, have come to create etchings. Established in 1962, Crown Point Press is located steps away from the museum on Hawthorne Street. Space is limited. RSVP at sfmoma.org/memberevents.

This page: SFMOMA at the San Francisco Pride Parade 2013; photo: Willa Koerner. A worktable at Crown Point Press during a project with Laura Owens, 2004. Yasumasa Morimura, Portrait (Futago), 1988; Collection SFMOMA, gift of Vicki and Kent Logan; © Yasumasa Morimura; photo: Ben Blackwell. Facing page: CUESA Summer Celebration; photo: Drew Altizer. Cheyenne Jackson; photo: courtesy San Francisco Symphony. ODC Dance; photo: Margo Moritz. Member: Katherine Du Tiel/Don Ross.

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MEMBER PREVIEW DAY Thursday, June 19, 10 a.m.–5 p.m.

MEMBER PARTY Friday, July 25, 7–10 p.m.

Members get an early look at the sumptuous and awe-inspiring works of Gorgeous, our new On the Go exhibition presented in partnership with the Asian Art Museum. Spend a day immersed in this provocative exploration of the dynamic and evolving concept of gorgeousness. (Turn to page 6 to learn more.) RSVP at sfmoma.org/ memberevents. Present your membership card at the box office for free admission. Regular member guest privileges apply.

Come out and celebrate at our summer bash!

Experience the seductive works on view in Gorgeous, indulge in complimentary drinks and hors d’oeuvres, and party with live music and amusements. Open exclusively for SFMOMA members. RSVP at sfmoma.org/memberevents or call 415.357.4135 by July 18.

DIRECTOR’S CIRCLE AND ARTIST’S CIRCLE PREVIEW AND RECEPTION Thursday, June 19, 6:30–9 p.m.

CONTRIBUTING AND BENEFACTOR MEMBER PREVIEW AND RECEPTION Thursday, June 19, 7:30–9 p.m.

Director’s Circle, Artist’s Circle, Contributing, and Benefactor members are invited to join fellow supporters for drinks, hors d’oeuvres, and gallery viewing of Gorgeous. Regular guest privileges apply. Other levels may upgrade to attend.

RSVP to eventRSVP@sfmoma.org by June 13.

DIRECTOR’S CIRCLE AND ARTIST’S CIRCLE EVENING VIEWING Wednesday, August 20, 5:30–7 p.m.

CONTRIBUTING AND BENEFACTOR MEMBER EVENING VIEWING Wednesday, August 20, 7–8:30 p.m.

Director’s Circle, Artist’s Circle, Contributing, and Benefactor members are invited to enjoy an exclusive after-hours look at Gorgeous.

Regular guest privileges apply. Other levels may upgrade to attend. RSVP to 415.357.4135 or membership@sfmoma.org.

Stay up to date on the latest members-only offerings with SFMOMA e.news: sfmoma.org/enews

Summer 2014

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Movies, Music, and Summer Moves with Our Partners

Carry your membership card with you to receive your member benefits while we’re on the go!

Your Benefits at a Glance

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MUSIC AND MOVES FROM ODC July 31–August 24

CELEBRATE SUMMER WITH CUESA Sunday, June 22, 6–9 p.m.

Spend a delectable evening celebrating the summer season while supporting CUESA’s sustainable food education. Savor seasonal hors d’oeuvres from more than 40 of the city’s best chefs, regional wines, artisan cocktails, and craft beer in the dramatic setting of the Ferry Building Marketplace. General admission: $125; SFMOMA members: $110. Ticket info: sfmoma.org/promos.

Hello Gorgeous! CHEYENNE JACKSON at san francisco symphony Thursday, July 24, and Friday, July 25, 7:30 p.m.

Take a walk down cinematic memory lane as Cheyenne Jackson sings famous tunes from memorable moments in American film. Jackson starred as Tony in the San Francisco Symphony’s performances of West Side Story last summer, and has appeared on Broadway, in the Academy Award–nominated film United 93, and on 30 Rock, Glee, and Curb Your Enthusiasm. Edwin Outwater conducts. SFMOMA members receive 25% off tickets. Ticket info: sfmoma.org/promos.

Find details and more events from our partners at sfmoma.org/promos

Performances celebrating the relationship between music and dance take the stage at ODC Dance’s inaugural Music Moves Festival. How does music guide how we look at dance? And how does dance inform how we listen to music?

Ponder the connections at programs and performances all month long. SFMOMA members receive 20% off all Music Moves performances.

Ticket info: sfmoma.org/promos.

ZIPCAR MOVIE NIGHT Tuesday, August 18, 7:30 p.m.

Have you taken advantage of your special deep discount to join Zipcar yet? If so, meet us at the Roxie for movie night! Enjoy games, giveaways, and a screening of Bullitt while you nosh on snacks and drinks. Free for Zipcar members.

Space is limited; RSVP at sfmoma.org/promos.

Plus, receive a $20 driving credit from Zipcar with promo code MOMAOAK14—just in time to take you to the East Bay for our upcoming On the Go exhibition at the Oakland Museum of California this fall.

At the Member Appreciation Party in April, member Anis Kadri shared what SFMOMA means to him.

Free admission for you and a guest, plus other special offerings, at our partner museums this summer and fall: • Yerba Buena Center for the Arts (through June 29) • Asian Art Museum (June 20–September 14) • Oakland Museum of California (September 20, 2014–April 12, 2015)

2. Discounts at the MuseumStore • 10% every day • 20% during members-only sales

3. perks from partners

(through December 2015) • CUESA (Center for Urban Education about Sustainable Agriculture) • ODC Dance • San Francisco Bicycle Coalition • San Francisco Symphony • Zipcar San Francisco

4. Reciprocal benefits

• Dual ($115) members and above: Whitney Museum of American Art • Family ($150) members and above: More than 30 museums through the Museum Alliance Reciprocal Program • Supporting ($250) members and above: Pier 24 Photography and the Fisher Collection at Gap Headquarters

5. members-only previews and parties

Learn more at sfmoma.org/membership

Expand your experience by upgrading today.

To upgrade your membership to attend Supporting, Contributing, or Benefactor level events, contact the member services team at 415.357.4135 or membership@sfmoma.org.

To upgrade to Artist’s Circle or Director’s Circle, contact Jacqueline Rais at 415.357.4085 or jrais@sfmoma.org.

sfmoma.org/onthego

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MUseUM PArTner exhibiTion

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Summer 2014

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GORGEOUS

This provocative new exhibition spans centuries, cultures, and continents to explore the boundaries of beauty.

Among the highlights of Gorgeous are paintings, sculptures, and photographs by Marcel Duchamp, Dan Flavin, Jeff Koons, Marilyn Minter, Meret Oppenheim, Trevor Paglen, Pablo Picasso, and Tobias Wong from SFMOMA’s collection, as well as works from the Asian Art Museum’s collection ranging from a 1,000-year-old Indian sculpture to a 16thcentury Persian Qur’an to silk scrolls by Japanese artist Chobunsai Eishi. The exhibition curators— the Asian Art Museum’s Allison Harding, assistant curator of contemporary art, and Forrest McGill, Wattis Senior Curator of South and Southeast Asian Art, along with SFMOMA’s Janet Bishop, curator of painting and sculpture, and Caitlin Haskell, assistant curator of painting and sculpture—have created an exhibition organized into fluid groupings that suggest different dimensions of the gorgeous, including “Seduction,” “Fantasy,” “Danger,” and “Beyond Imperfection.”

on view at the Asian Art Museum, 200 Larkin street, san francisco, June 20 through september 14 What are you describing when you call something “gorgeous”? What shapes your experience of beauty, and what are its limits? From luxurious ornamentation to austere simplicity, from kitsch to camp, gorgeousness is a dynamic concept that takes a variety of visual forms.

Above: Philip-Lorca diCorcia, Marilyn, 28 years old, Las Vegas, Nev., $30, 1990; Collection SFMOMA, gift of the artist; © Philip-Lorca diCorcia.

Above right: The Buddhist deity Simhavaktra Dakini, 1736–96, China (Beijing or vicinity, Hebei province); Collection Asian Art Museum, The Avery Brundage Collection; photo: Kaz Tsuruta.

Gorgeous extends an invitation to explore the extremes and ambiguities of beauty, bringing together some of the most sumptuous and aweinspiring works from the collections of SFMOMA and the Asian Art Museum in new contexts designed to spark debate, discovery, and delight.

The exhibition collapses categories of geography, chronology, medium, and genre, gathering objects from around the world, dating from the second century BCE to the present. Visitors will encounter sacred objects alongside luxury consumer goods, objects that look candidly at the body and images of poetic restraint. Many of the works balance on the tipping point between seduction and repulsion, intimacy and irony, serenity and obsession.

By asking what a Mark Rothko painting has in common with a Buddhist mandala, or how a 2,000-year-old Chinese tomb figure speaks to Janine Antoni’s self-portraits sculpted in soap and chocolate, Gorgeous prompts visitors to view and understand these works in unfamiliar ways. The exhibition encourages you to look without relying on traditional art-historical assumptions, to examine why certain works elicit particular reactions, and to reconsider your own preferences and expectations. This is a chance not just to think about art and what makes it gorgeous, but to see and experience it more fully—to come to your senses.

Admission is free for SFMOMA members with your membership card. Regular guest privileges apply.

Gorgeous is organized by the Asian Art Museum in partnership with the San Francisco Museum of Modern Art. Presentation at the Asian Art Museum is made possible with the generous support of Prospect Creek Foundation, Fred Eychaner, Helen and Charles R. Schwab, Doris Fisher, The Bernard Osher Foundation, The Akiko Yamazaki and Jerry Yang Fund for Excellence in Exhibitions and Presentations, Jim Breyer, Eliza and Dean Cash, Sakurako and William Fisher, Fred M. Levin and Nancy Livingston, The Shenson Foundation, Hiro and Betty Jean Ogawa, Pacific Gas & Electric Company, Lucy Sun and Warren Felson, Jean and James E. Douglas, Jr., Carol and Dixon Doll, Linda and Jon Gruber, and Roselyne Chroman Swig.

sfmoma.org/onthego

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FROM OUR COLLECTION

Look Again: Dan Flavin While preparing for Gorgeous, curators and conservators immersed themselves in a study of the artist’s fluorescent light sculptures.

Caitlin Haskell, assistant curator of painting and sculpture, and Michelle Barger, deputy head of conservation, tell us more.

Let’s start with the sculpture that will be shown at the Asian Art Museum. Can you give us a quick sketch?

Caitlin Haskell: The sculpture is called untitled (in honor of Leo at the 30th anniversary of his gallery), and as with a lot of Flavin’s works, the title is a dedication. “Leo” refers to the great art dealer Leo Castelli, who represented Flavin for many years and had a larger-than-life personality, similar to the work itself. It’s a late corner piece that is made up of a grid of ten 8-foot fluorescent lights, which is a format Flavin first used in the mid-1970s. The five vertical lamps facing into the corner are red, and the five horizontal lamps facing the viewer show the full spectrum of colored light in Flavin’s palette—red, pink, yellow, blue, and green. It’s about as lush as Flavin gets. The two-directional design means that colored light is simultaneously sent into and out of the corner, and it just pours out from the work, dissolving everything around it.

When was this piece last shown?

CH: It’s a relatively recent acquisition, and Gorgeous will be the first time we’ve had it on view.

It entered the collection in 2012 along with another terrific work by Flavin, a beautifully spare, cerebral corner piece dedicated to Sol LeWitt, untitled (to dear, durable Sol from Stephen, Sonja, and Dan) one, of 1969. That work uses two of the four kinds of white light Flavin employed— cool white and daylight—and its four 8-foot fixtures join at their ends to form an elegant square. Together, the two works are something like bookends to Flavin’s corner pieces.

You had a chance to take a closer look at both of these works earlier this year?

Michelle Barger: In February we had the opportunity to invite a fellow conservator, Francesca Esmay, to come and share some of her extensive knowledge of Flavin’s work with us, and we focused our study on these works and four others.

Francesca happened to be a guest scholar at the Getty Conservation Institute this winter, so she was just a short flight away, and we were able to spend two days with her altogether. On the first 8

day we looked at the hardware used to create his works—the fixtures, the sockets, the ballasts, the different styles of pans and pan covers, the lamps, and so on. On the second day we installed five of the works in the new mock-up gallery at our Collections Center [see p. 22] and presented them as we would in an exhibition.

What was it like when you turned them on?

CH: It was fantastic to see the works together.

But there was something a little paradoxical about studying the hardware so closely one week, and then seeing them turned on the next.

When the lamps are on, the hardware essentially

Registrar Olga Charyshyn views Flavin’s untitled (in honor of Leo at the 30th anniversary of his gallery) (1987) at the Collections Center.

In the foreground is the diagonal of May 25, 1963 (1963). Photo: Allison Spangler.

falls from view. Of course, you see it as a structure, but the experience of the work is so much about the light and the architecture, and the way those components affect each other. And when you have a number of pieces installed together, as we did, the light can be almost overwhelming—you’re not likely to pay close attention to the physical components of the work.

Summer 2014

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PhotogRaPhing light

Photographer Don Ross checks the exposure and color fidelity of a digital capture of Flavin’s untitled (to Barnett Newman) (1971), from the Fisher collection. Photo: Katherine

Installing Flavin’s sculptures at the museum’s Collections Center in February provided the perfect opportunity for our photographers to capture new high-resolution images of these works.

Senior Photographer Katherine Du Tiel notes, “The challenge in photographing Flavins is to get the right balance between presenting what you see physically with the work and fulfilling the artist’s intention of what he described as a ‘gaseous’ effect.” Using a BetterLight large-format digital-scanning view camera and available light, they exposed each component of the work separately—“including the wall and separately its glow, because they differed in exposure and color”—and then stitched them together seamlessly in Photoshop. Further complicating the process: perception of the light shifts over extended viewing, but frequent breaks between exposures and during color evaluations allowed the team to come to the work with fresh eyes.

Du Tiel.

is the hardware considered part of the work?

MB: That’s an interesting question. If you look at our wall labels, or our captions for Flavin’s works, you’ll see that the medium is always listed as a certain color of light—“blue fluorescent light” or “daylight and cool white fluorescent light.” Flavin didn’t call out the hardware, and we take our lead from him. But there are drawings and diagrams that show us the correct placement of the hardware and the proper lamps to use. And when you examine the hardware, as we did in our first day with Francesca, it’s hard not to appreciate the sculptural qualities of the fixtures. lighting standards have changed considerably since 1987, with a move away from the type of fluorescents Flavin was using. What effect does that have on the work?

MB: Bulbs are being made smaller, and eventually you won’t be able to get the 1½-inch lamps used in most of his sculptures. Some of the colored bulbs Flavin used are no longer available commercially, either. But, to an extent, that’s something Flavin and his studio assistants dealt with during the artist’s lifetime because they were installing works internationally, and colors weren’t standardized.

CH: We had a chance to examine some of the colored bulbs we have in stock and compare them. If you have five red bulbs, for example, they can range from cherry red to tomato red.

And over the course of a bulb’s lifetime, its intensity will change. The earliest Flavin in our collection—the diagonal of May 25, 1963 (1963)—uses blue fluorescent light, and I’ve been told that when the vintage lamp burned out, the replace-

ment was dramatically more intense.

MB: That’s right. In fact, we had to deinstall a Robert Rauschenberg White Painting from the gallery because it took on a blue cast from the new bulb.

What struck you the most over the two days you spent with his work?

MB: Knowing that during Flavin’s lifetime his editioned work was not preassembled and ready to go. When he installed or sold an artwork, he pulled parts from his stockpile or bought them off the shelf and assembled them together in order to realize the work.

Sometimes we assign a certain level of preciousness to original materials, and learning about Flavin’s practice will help to inform the decisions that we make as an institution for the life of his work in our collection.

CH: For one, I really gained a new appreciation of Flavin as a colorist. But I think what I ultimately took away was a new respect for the complexity of his work—an understanding of all the different variables and decisions that come into play to affect how the works are experienced. I had a list of questions I hoped to answer going into the study days—questions about dating certain pieces, and about why some fixtures look different from others. Those were answered. But I left with so many more questions, richer questions, that are much more interesting to pursue.

heaR moRe Our May episode of SFMOMA Artcasts, the museum’s podcast series, focuses on artists who deal with light and perception. Hear from James Turrell, Olafur Eliasson, and Robert Irwin, along with a guest take from local performance collective The Something with an experimental sound piece inspired by Flavin’s work in Marfa, Texas.

Check out sfmoma.org/podcasts for all of our episodes or subscribe to the stream via iTunes.

Flavin Fast Facts • Born 1933 New York City; died 1996 Riverhead, New York • Pioneer of Minimalism along with Carl Andre and Donald Judd, among others • Fluorescent works in SFMOMA’s collection: 4 • Fluorescent works in the Doris and Donald Fisher Collection: 2 • Earliest collection work: the diagonal of May 25, 1963 (1963), a breakthrough sculpture consisting of a single 8-foot fluorescent light • Most recent collection work: untitled (in honor of Leo at the 30th anniversary of his gallery) (1987), on view at the Asian Art Museum as part of Gorgeous

sfmoma.org/onthego

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EXHIBITIONS

Handspring Puppet Company, puppets from the production Or You Could Kiss Me, 2010; Courtesy Handspring Puppet Company; installation view, Public Intimacy; photo: Katherine Du Tiel.

Public intimacy: art and Other Ordinary acts in South africa

On view at Yerba Buena Center for the Arts, 701 Mission Street, San Francisco, through June 29 Final weeks!

Disrupting expected images of South Africa, the 25 contemporary artists and collectives featured in Public Intimacy eloquently explore the poetics and politics of the everyday. This collaboration with Yerba Buena Center for the Arts presents pictures from SFMOMA’s collection of South African photography alongside works in a broad range of media, including video, painting, sculpture, performance, and publications—most made in the last five years, and many on view for the first time on the West Coast. Coinciding with the 20th anniversary of democracy in South Africa, Public Intimacy reveals the nuances of human interaction in a country still undergoing significant change, vividly showing public life there in a more complex light. Admission is free for SFMOMA members with your membership card.

Regular guest privileges apply.

Also on view as part of Public Intimacy: Cape Town collective Chimurenga presents a collaborative intervention at the San Francisco Public Library’s Main Library at 100 Larkin Street, through June 29. Discover new stories in the stacks in this installation inspired by the participation of African American artists, writers, and performers in Pan-African festivals of the 1960s and 1970s.

Public Intimacy: Art and Other Ordinary Acts in South Africa is jointly organized by Yerba Buena Center for the Arts and the San Francisco Museum of Modern Art. Presenting support is generously provided by the Evelyn D. Haas Exhibition Fund at SFMOMA. Major support is provided by the James C. Hormel and Michael P. Nguyen Endowment Fund at SFMOMA. Generous support is provided by Meridee Moore and Kevin King, Mike Wilkins and Sheila Duignan, the Betlach Family Foundation, the YBCA Creative Ventures Council, Concepción and Irwin Federman, the National Endowment for the Arts, the George Frederick Jewett Foundation, Ronald W. Garrity, Kate and Wes Mitchell, and the Yerba Buena Community Benefit District.

Media Sponsor

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Summer 2014

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Matisse from SFMOMA

On view at the Legion of Honor, Lincoln Park, San Francisco, through September 7 Now in its final months, this jewel-sized exhibition showcases 23 paintings, drawings, and bronzes from SFMOMA’s internationally acclaimed collection of the work of Henri Matisse, joined by four important paintings and drawings from the collection of the Fine Arts Museums of San Francisco. Celebrating the Bay Area’s early and long-standing enthusiasm for the French artist, the exhibition traces Matisse’s career from the turn of the last century to the 1930s, including several vibrant pictures from the artist’s Fauve period. Admission fees apply.

Matisse from SFMOMA is jointly organized by the Fine Arts Museums of San Francisco and the San Francisco Museum of Modern Art. Major support is generously provided by the Walter and Elise Haas Fund.

Henri Matisse, Sarah Stein, 1916; Collection SFMOMA, Sarah and Michael Stein Memorial Collection, gift of Elise S. Haas; © Succession H. Matisse/Artists Rights Society (ARS), New York; photo: Ben Blackwell.

Learn more and find visit information at sfmoma.org/onthego

sfmoma.org/onthego

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CALENDAR

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Jul

08 SUNDAY

FAMILY EVENT SFMOMA Families at Sunday Streets 11 a.m.–4 p.m. | The Great Highway [p. 17]

MEMBER DISCOUNT Chamber Music with Members of the San Francisco Symphony 2 p.m. | San Francisco Symphony*

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THURSDAY MEMBER DISCOUNT Britten: The Prince of the Pagodas 2 p.m. | San Francisco Symphony* FRIDAY MEMBER DISCOUNT Britten: The Prince of the Pagodas 8 p.m. | San Francisco Symphony* SUNDAY MEMBER DISCOUNT Britten: The Prince of the Pagodas 2 p.m. | San Francisco Symphony* THURSDAY MEMBER EVENT Member Preview Day: Gorgeous 10 a.m.–5 p.m. | Asian Art Museum [p. 4]

ExHIBITIONS + EVENTS ON THE GO Museum Partner Exhibitions: Free admission plus discounts for SFMOMA members; regular guest privileges apply Exhibitions: Admission fees apply; visit sfmoma.org/onthego for details

DIRECTOR’S CIRCLE AND ARTIST’S CIRCLE EVENT Preview and Reception: Gorgeous 6:30–9 p.m. | Asian Art Museum [p. 4]

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CONTRIBUTING AND BENEFACTOR MEMBER EVENT Preview and Reception: Gorgeous 7:30–9 p.m. | Asian Art Museum [p. 4]

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20 FRIDAY

MEMBER DISCOUNT Britten: Copland, Shostakovich, and the Serenade 8 p.m. | San Francisco Symphony*

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SATURDAY MEMBER DISCOUNT Britten: Copland, Shostakovich, and the Serenade 8 p.m. | San Francisco Symphony*

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SUNDAY MEMBER DISCOUNT CUESA Summer Celebration 6–9 p.m. | Ferry Building [p. 5] SUNDAY MEMBER EVENT San Francisco Pride Parade Meeting point and time to be announced [p. 4]

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SUNDAY FAMILY EVENT SFMOMA Families at Sunday Streets 11 a.m.–4 p.m. | Richmond District [p. 17] TUESDAY TEACHER EVENT Discovering Connections 2014 (Day 1) 9 a.m.–4 p.m. | Asian Art Museum and Fine Arts Museums of San Francisco [p. 19] WEDNESDAY TEACHER EVENT Discovering Connections 2014 (Day 2) 9 a.m.–4 p.m. | Asian Art Museum and Fine Arts Museums of San Francisco [p. 19] THURSDAY TEACHER EVENT Discovering Connections 2014 (Day 3) 9 a.m.–4 p.m. | Asian Art Museum and Fine Arts Museums of San Francisco [p. 19] MEMBER DISCOUNT Hello Gorgeous! Cheyenne Jackson Goes to the Movies 7:30 p.m. | San Francisco Symphony [p. 5]

Jun

Jul

Public Intimacy Yerba Buena Center for the Arts and SFPL Main Library, San Francisco (Through June 29, 2014) Matisse from SFMOMA Legion of Honor, San Francisco (Through September 7, 2014) Gorgeous Asian Art Museum, San Francisco (June 20–September 14, 2014)

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FRIDAY TEACHER EVENT Discovering Connections 2014 (Day 4) 9 a.m.–4 p.m. | Asian Art Museum and Fine Arts Museums of San Francisco [p. 19] MEMBER DISCOUNT Hello Gorgeous! Cheyenne Jackson Goes to the Movies 7:30 p.m. | San Francisco Symphony [p. 5]

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DIRECTOR’S CIRCLE AND ARTIST’S CIRCLE EVENT Evening Viewing: Gorgeous 5:30–7 p.m. | Asian Art Museum [p. 4]

MEMBER EVENT Member Party: Gorgeous 7–10 p.m. | Asian Art Museum [p. 4]

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THURSDAY MEMBER DISCOUNT ODC Dance: Music Moves Festival Opens ODC Theater [p. 5]

CONTRIBUTING AND BENEFACTOR MEMBER EVENT Evening Viewing: Gorgeous 7–8:30 p.m. | Asian Art Museum [p. 4]

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*Details and ticket info: sfmoma.org/promos

TUESDAY MEMBER EVENT Zipcar Movie Night 7:30 p.m. | Roxie Theater [p. 5]

SUNDAY FAMILY EVENT SFMOMA Families at Sunday Streets 11 a.m.–4 p.m. | Mission District [p. 19]

GAME 4

You Call That Art? Choose an everyday object and write a museum object label for it.

Include the title, materials, how it was made, and the artist’s inspiration. Now post a photo of the object and the label online.

#PlayArtfully

WEDNESDAY CHARTER MEMBER EVENT An Evening at Crown Point Press 6–9 p.m. | Crown Point Press [p. 4]

For calendar updates, event details, and ticket information, visit sfmoma.org/calendar

Facing page, left and center: Public Intimacy installation views.

Penny Siopis, 90 works from the Shame Series, 2002–5; Courtesy the artist and Stevenson, Cape Town and Johannesburg.

Kemang Wa Lehulere, The Grass Is Always Greener on the Other Side, 2014 (detail); Courtesy the artist. Photos: Katherine Du Tiel.

This page: On view in Gorgeous, opening June 20. Janine Antoni, Lick

and Lather, 1993–94; Collection of Carla Emil and Rich Silverstein and the San Francisco Museum of Modern Art (John Caldwell, Curator of Painting and Sculpture, 1989–93, Fund for Contemporary Art purchase); © Janine Antoni; photo: Ben Blackwell.

Facing page, right: On view in Matisse from SFMOMA. Henri

Matisse, Nature morte à la cruche bleue (Still Life with Blue Jug), ca. 1900–3; Collection SFMOMA, bequest of Matilda B. Wilbur in honor of her daughter, Mary W. Thacher; © Succession H. Matisse/Artists Rights Society (ARS), New York; photo: Ben Blackwell.

Aug

sco

Aug sfmoma.org/onthego

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expansion

Now Developing A sneak peek at our new photography center According to Ansel Adams, “Not everybody trusts paintings, but people believe photographs.”

Perhaps that’s why photography has become such a pervasive aspect of everyday life. Whether hanging in a museum or posted on Instagram, photographs reflect and represent contemporary life. As one of the first museums in the United States to collect and recognize photography as an art form, SFMOMA will be leading the way once again with the forthcoming John and Lisa Pritzker Center for Photography.

When our building reopens, the more than 15,500-square-foot photography center will occupy the majority of the third floor. The gift from John and Lisa Pritzker in support of the center is joined by additional gifts from San Francisco–based philanthropists David Mahoney and Winn Ellis, Nion McEvoy, Kate and Wes Mitchell, and Mary and Andrew Pilara that will fund photography initiatives including conservation programs, increased education offerings, and expanded research opportunities for SFMOMA 14

curators. The center constitutes “a transformative development for our photography program and for the entire museum,” says SFMOMA Director Neal Benezra.

At the heart of this transformation are expansive new gallery spaces permanently dedicated to photography. Visitors will experience a wider array of special exhibitions featuring photographs from around the world, and far more works from our photography holdings—three times as many will be on display each year.

SFMOMA’s nearly 17,000 photographic objects tell the story of the medium from its invention in 1839 to present-day digital technology. Our photography curators have been strategically building this collection, both through an ongoing acquisitions program and through the Collections Campaign, initiated in 2009, which has spurred gifts, pledges, and purchases for the museum of some 700 photographs.

Recent additions include photographs from San Francisco–based collectors that reinforce existing holdings of pictures made in and about the American West. Among these are works by Carleton Watkins, Minor White, and Imogen Cunningham, as well as artists who worked in the 1960s and 1970s, such as Jay DeFeo, Robert Heinecken, and John Divola. Other additions include works by key artists in SFMOMA’s collection, such as Ansel Adams, Pirkle Jones, Dorothea Lange, Stephen Shore, and Larry Sultan; and portfolios of work by Andy Warhol and Robert Rauschenberg.

Visitors will be able to delve further into the photographic medium in a new interpretive space within the Pritzker Center, which will offer interactive, activity-based experiences that provide insight into the history of photography as well as multiple paths into the collection. For researchers, an onsite print study room will provide access to works from the collection for study purposes.

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as s,

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Close-up on the John and Lisa Pritzker Center for Photography • 15,500 square feet of space dedicated to photography • Nearly 11,000 square feet of gallery space permanently dedicated to exhibiting photography—the largest of any art museum in the nation • Will triple the number of collection photographs on display each year • A new print study room will facilitate research into collection works • An innovative interpretive space will invite visitors to explore the medium in depth

Floor Plan THIRD FLOOR

Photography Collection Galleries Photography Interpretive Center Photography Special Exhibition Galleries Print Study Center Third Street Entrance

Together, the growth of the collection and the spaces within the Pritzker Center open new opportunities for the study and presentation of photographic practices from the 19th century to the present, furthering the museum’s groundbreaking work in the field. As Senior Curator of Photography Sandra S. Phillips notes, “It is difficult to imagine a better and more fortunate set of circumstances than these incredible new spaces for photography and the addition of these significant new artworks to our collection as we deepen our commitment to exploring the medium’s evolving future.”

Facing page: Michael Jang, Aunts and Uncles from the series The Jangs, 1973, printed 2008; Black Dog Collection, promised gift to SFMOMA; © Michael Jang.

Top: John Harding, San Francisco, CA, Great Highway, Ocean Beach, from the portfolio Analog Days, 1984, printed 2013; Collection SFMOMA, gift of the artist; © John Harding.

Bottom: John Divola, Untitled, San Fernando Valley, 1972; Black Dog Collection, promised gift to SFMOMA; © John Divola.

Recent Collection Milestones The latest additions to the photography collection build on a rich legacy of gifts dating to 1935, when Ansel Adams presented five of his own photographs to the newly founded museum.

In the years since the move to our Third Street location, the collection has grown significantly in breadth and depth through generous gifts from dedicated donors. Highlights include the establishment of the Sack Photographic Trust in 1998, encompassing more than 1,000 pictures spanning the history of photography, from the collection of Prentice and Paul Sack. In 2003 the museum’s photography holdings were enriched

by a fractional and promised gift of 100 photographs by 45 artists including Diane Arbus, William Eggleston, Walker Evans, and Nan Goldin from collectors Carla Emil and Rich Silverstein.

The collection’s representation of Arbus’s work was significantly enhanced again in 2012 when gallerist Jeffrey Fraenkel pledged 26 pictures by the American photographer. That same year several hundred works by iconic and emerging photographers were contributed by the Kurenboh Collection and an anonymous donor, bolstering the museum’s distinctive concentration in photography from Japan. sfmoma.org/onthego

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PersPectives

PHilAntHrOPic leAder

A Conversation with Wes Mitchell A member of SFMOMA for almost 30 years, Wes Mitchell is a longtime advocate for photography and community engagement at the museum.

He joined Foto Forum in 2001, and served as its president from 2005 to 2008. Wes is also on the museum’s Photography Accessions Committee, and served as its chair from 2010 to 2013. He has helped to bring works by Francesca Woodman, Larry Sultan, and the 19th-century photographer Wilson Bentley, among others, into the collection. Deeply invested in making SFMOMA accessible to all audiences, Wes is now chair of the Membership Committee. We recently sat down with him to talk more about his early passion for photography, philanthropy, and excitement around our expansion.

How did you get involved at sFMOMA? I was an early member of the museum, joining in 1985, back when it was in the Van Ness building.

Later on, by chance, I happened to learn about the Foto Forum, a group for people passionate about photography. I thought joining would be a great way to go deeper into an area of art that I already had an interest in.

When did your interest in photography start?

I got a camera for my 13th birthday, and around that time I built my own darkroom. I took a lot of pictures, but after college I stopped. It was later, after seeing an exhibition in London, and then an exhibition of the Gilman Collection at the Metropolitan Museum of Art, mostly 19th-century 16

photography, that something sparked again. It made me say, “When I have time, I’ve got to find somewhere I can have a similar experience in the Bay Area”—and I realized that it could be found at SFMOMA. What about the medium do you find compelling?

Photography is famously multidimensional—the vocabulary, meaning, technique, and understanding what the photographer is trying to do. When you get interested in photography, you start to see things differently. I’m interested in attracting people to come see photography at SFMOMA for that reason—it’s a responsibility I think we have.

What’s your favorite photograph in sFMOMA’s collection?

Paul Graham’s Pittsburgh of 2004. It shows a man cutting grass in multiple images, and I think it’s a very successful representation of a simple moment. I mean, if you said, “Hey! Check out this guy cutting grass!” it wouldn’t sound that exciting, but you have to go see it to know how special that moment could be. I’m drawn to anything where you realize that how the artist chose to look at a scene is what makes the difference.

You made a very generous gift to support research and development opportunities within our new photo center—what about this gift opportunity attracted you over others?

The experience of standing in front of a photograph is very powerful. It’s more than just the

Wes Mitchell with larry sultan’s Isleton, from the series Homeland (2009). Photo: Winni Wintermeyer.

picture itself—it’s what it’s saying when placed together with other works. The curators have a special gift of bringing together works that together tell a powerful story, and that is only sustainable if an institution is able to invest in research and exhibitions. We wanted to give curators the time and access to dig into something that really excites them. The payoff from that is a gift to all museumgoers.

What excites you most about sFMOMA’s expansion?

The support that’s been given to the project in general, as well as the centrality of photography within the expansion. And with it, the opportunity to understand the collection more deeply. I’m also excited that we will be able to share more of the museum’s strength in California art alongside works by national and international artists.

SFMOMA will always be a place where you can learn something more about the Bay Area. The expansion will be good for artists, students, and anyone who may have been timid about coming to the museum. It will bring people in. As part of the Membership Committee, I’m involved in looking at ways to attract new audiences who don’t usually see this work. And I’m confident we’re going to figure out ways to make that happen.

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fAMiLies

families rolled and strolled up to the on the go tent on the embarcadero during sunday streets in March to create works inspired

by Joseph stella’s 1936 painting Bridge. Photos: Winni Wintermeyer.

Look, Think, Create Meet up with SFMOMA Families at our red On the Go tent for FREE art explorations and hands-on activities at Sunday Streets all summer long! sunday streets: The great highway Sunday, June 8 11 a.m.–4 p.m.

We’re gathering where the sky meets the water and getting inspired by Georgia O’Keeffe’s Lake George. sunday streets: richmond District Sunday, July 13 11 a.m –4 p.m Hats off to Henri Matisse! Make a colorful splash inspired by one of our favorite paintings, Femme au Chapeau, and walk off with your very own handcrafted hat.

sunday streets: The Mission Sunday, August 24 11 a.m.–4 p.m.

Get carried away with an art activity inspired by Diego Rivera’s Flower Carrier.

gAMe 5

The right Answer Think of an opinion question (for example, “Who is your favorite artist?”) and text it to two different friends. You win if they both write back with the same answer.

for maps and more information, visit sundaystreetssf.com.

#PlayArtfully

Keep up with all the latest sfMoMA families offerings!

• follow us on facebook • visit sfmoma.org/families

SFMOMA is supported by a broad array of contributors committed to helping advance its mission. Major annual support is provided by Grants for the Arts/San Francisco Hotel Tax Fund and The James Irvine Foundation.

Major support for school, youth, and family programs is provided by the Wells Fargo Foundation, JPMorgan Chase Foundation, Deborah and Kenneth Novack, and Target.

Generous support is provided by the Carlson Family Foundation, Dana and Bob Emery, and Gap Inc. Additional support is provided by Charles Schwab & Co., Inc.; The McGraw-Hill Companies; McKesson Foundation; The Morrison & Foerster Foundation; Pacific Gas and Electric Company; Susan Swig; Capital Group Companies; and Loomis, Sayles & Company, LP.

Education, conservation, and interpretive media programs are generously supported by The Andrew W. Mellon Foundation, the Leanne B. Roberts Fund for Education, The Getty Foundation, and the National Endowment for the Humanities. Additional support is provided by the Kadima Foundation.

sfmoma.org/onthego

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in the classroom

Education On the Go Students around the Bay Area are learning—and getting inspired—through modern and contemporary art.

At Foster City Elementary School, class members learned about warm and cool colors by taking a close look at Georgia O’Keeffe’s Lake George (1922) during an Art Express lesson led by SFMOMA curator Julie Charles this spring. Photo:

Winni Wintermeyer.

Art Express at a glance More than 4,000 students got creative with us during the 2013–14 school year Who? Kindergartners on up Where? Public and private schools from San Francisco to Hayward, Healdsburg, Los Altos and points in between 30 docents volunteer their time to lead lessons 45 minutes each classroom visit Cost to schools? FREE!

Art Express SFMOMA’s Art Express program hit the road long before our building closed its doors for construction last summer. For nearly 20 years, the program has been bringing art to schools throughout the Bay Area. SFMOMA docents travel to classrooms and invite students to think like artists through guided explorations into modern and contemporary art.

Using images of collection works, as well as videos from our website and animations from the museum’s interactive feature The Country Dog Gentlemen Travel to Extraordinary Worlds, docents help students explore themes that build

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upon classroom learning. The students then put key concepts of modern and contemporary art into action with a hands-on art activity. If the class is learning about color, students might spend their time observing and discussing the vivid colors in Henri Matisse’s Femme au Chapeau and then create a complementary-color hat inspired by the one Madame Matisse wears in the painting.

The best part? Each 45-minute classroom visit is entirely free. To schedule a classroom visit or to learn more, contact the Docent Scheduling Office at docentoffice@sfmoma.org or 415.357.4095.

Get involved!

As we look toward our reopening in 2016, SFMOMA will soon be recruiting docents to work with the museum’s public and school groups.

To reflect our diverse audiences and collection, we’re seeking diversity in many forms, including candidates who speak a second language— especially Spanish, Mandarin, or Cantonese.

If you love sharing your passion for contemporary and modern art and are interested in docent training, please email docenttraining@ sfmoma.org.

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A student creates an artwork during a recent Art Express classroom visit. Photo: Winni Wintermeyer.

Wells Fargo has been a longtime supporter of SFMOMA’s education programs. Pictured here: Mario Diaz and

Mark Ng of Wells Fargo with (left to right) Susan Stauter, artistic director, Visual and Performing Arts Department, San Francisco Unified School District (SFUSD); Antigone Trimis de Cartagena, arts education master plan manager, Visual and Performing Arts Department, SFUSD; Julie Charles, Deborah and Kenneth Novack Associate Curator of Education, SFMOMA; and Calcagno Cullen, education associate, school and teacher programs, SFMOMA.

“Bringing art to life in the classroom fosters students’ creativity, while also building critical-thinking skills crucial to academic achievement and career readiness.”

—Julie Charles, Deborah and Kenneth Novack Associate Curator of Education

Teacher Institutes SFMOMA’s Education team loves working with dedicated teachers from all over the Bay Area to help integrate modern and contemporary art into classroom learning. Our Teacher Institute workshops do just that. Participants get access to SFMOMA’s collections and exhibitions, and come away with new techniques and methods for teaching with art objects. The workshops also offer an opportunity to meet practicing artists.

This year’s workshop participants dug into hands-on art activities with a little help from several very special guests. Teachers attended an ekphrastic poetry workshop at Crissy Field

alongside Mark di Suvero, trekked to the Neptune Society Columbarium with SECA Art Award winner Josh Faught, took part in an activity to uncover how being an artist leads to lifelong learning alongside Project Los Altos artist Chris Johanson, and explored Public Intimacy by using Visual Thinking Strategies with Dominic Willsdon, SFMOMA’s Leanne and George Roberts Curator of Education and Public Programs. Meeting and working with artists and curators provides teachers with invaluable insights into the creative process and the significance of art.

Calling educators Join us July 22–25 for Discovering Connections 2014. During this four-day professional development program, we’ll visit the collections of the Asian Art Museum, Fine Arts Museums of San Francisco, and SFMOMA (on view at the Asian) to explore artworks using observation, inquiry, analysis, and reflection.

Discovering Connections is designed for high school teachers and includes gallery experiences, discussions with museum staff, and an education packet.

Learn more at sfmoma.org/teachers

sfmoma.org/onthego

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NEWS + UPDATES

Thanks for Being There New fair, new friends, new On the Go event locations—2014 is off to a stellar start.

Director’s Circle Dinner Fog Design+Art

When: January 17–19 Where: Fort Mason Center, San Francisco Who: Devotees of modern and contemporary art and design For anyone interested in modern and contemporary art and design, Fort Mason’s Festival Pavilion was the place to be to shake off the winter blahs in January. Prominent dealers descended on San Francisco from across the country for the FOG Design+Art fair, bringing with them an exquisite selection of art and design objects for devotees to drool over and—if lucky—take home. For the gourmand, a special installation by Stanlee Gatti featured new handmade pasta creations

by Michael and Lindsay Tusk of Quince and Cotogna.

The event was dedicated to the memory of longtime SFMOMA board chair Elaine McKeon, and raised funds for the museum’s exhibitions and education programs. Special thanks go to honorary co-chairs Eileen and Peter Michael and Cathy and Ned Topham, along with the Steering Committee—Douglas Durkin, Stanlee Gatti, Katie Paige, and Allison Speer­—and sponsors Gap, Airbnb, Christie’s, Dwell, San Francisco magazine ABC7, Artsy, and Ketel One.

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FOG Design+Art, January 2014; photo: Drew Altizer.

Above, right: Artist Mark Bradford speaking to guests at the Director’s Circle Dinner. Photo: Drew Altizer.

When: March 20 Where: 888 Brannan, San Francisco Who: Artist Mark Bradford and members of SFMOMA’s Director’s Circle At this year’s dinner honoring our dedicated Director’s Circle donors, there was much to celebrate, with our building expansion now well under way and MacArthur award–winning artist Mark Bradford in attendance to speak with guests. The dinner, co-chaired by Annie Robinson Woods and Kevin King, was generously sponsored by J.P. Morgan Private Bank for the fifth consecutive year.

Left to right: Jim Tananbaum with Dennis Hearst, Jeremy Geller, and Robert Keller of J.P. Morgan Private Bank at the Director’s Circle Dinner. Photo: Drew Altizer.

Facing page: The Modern Ball 2014; photo: Drew Altizer.

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The Modern Ball

When: April 30 Where: Yerba Buena Gardens Who: Everyone who loves a good party The Modern Ball 2014 was a glamorous affair celebrating SFMOMA’s storied past and exciting future. Held for the first time outside the museum’s walls (but within view of the building’s rising steel), this year’s Modern Ball transformed Yerba Buena Gardens into an artfully grand party.

Gala Dinner guests enjoyed a thrilling live auction in a spectacular transparent tent atop the gardens’ waterfall. The Supper Club went down to the sounds of clinking glasses and genrespanning dancing music courtesy of DJ King Most. Up in City View at Metreon, Post-Modern Party guests moved to the electrifying sounds of a live performance by Holy Ghost! and a DJ set

by Passion Pit—or to the beat of their own headsets in the silent disco tent.

Thanks to everyone who raised a glass to our future, and a special thank you to event chair Christine Lamond and event designer Stanlee Gatti. All the fun and frivolity supported SFMOMA’s California-wide exhibitions and innovative education programs serving more than 60,000 students, teachers, and families each year.

Premier Sponsors

The Fisher Family Mimi and Peter Haas Fund Christine and Pierre Lamond Helen and Charles Schwab

Lead Sponsor

Supporting Sponsors

Media Sponsor

Special thanks to in-kind partners

B Restaurant & Bar Campari America City View at Metreon Classic Party Rentals Got Light Moët Hennessy USA Samovar Tea Lounge W San Francisco sfmoma.org/onthego

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NEWS + UPDATES

Dispatches from Third Street . . . and Beyond Our expansion site isn’t the only SFMOMA location that’s been bustling with activity in recent months. Right outside the city, we’ve been settling in to our new Collections Center, a 75,000-square-foot research and storage facility. Presently home to our collection during the expansion, the center is not just an interim solution: when we reopen in 2016, it will remain an essential off-site location for the care of and research related to our holdings.

In addition to housing a state-of-the-art photo studio, the Collections Center offers enhanced storage, bigger studios for larger-scale work, and a mock-up gallery, a 1,300-square-foot fluid and multipurpose space. A working model of the galleries on the fourth, fifth, and sixth floors in the expanded museum, the mock-up gallery is being used to test finishes and materials for those new spaces, including flooring options and lighting systems. It gives our curators a tangible feel for the expanded building as they develop the dynamic exhibitions and that will greet visitors after our reopening. The space will also be used to work with artists, review and display potential museum accessions, and study works in the collection (see pages 8–9 for a recent example).

Left and above: The mock-up gallery in our new Collections Center offers a glimpse of new exhibition spaces that will greet visitors in 2016.

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Summer 2014

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Board of Trustees Chair

Charles R. Schwab

President

Robert J. Fisher

Vice Chairs Mimi L. Haas

Diana Nelson Robin M. Wright Secretary/Treasurer

Media Arts on the Road SFMOMA’s media arts department sets out for new points on the compass this year with exhibitions in Istanbul and Ann Arbor, Michigan. Both projects were conceived by Rudolf Frieling, curator of media arts, to showcase works from the museum’s collection in revealing new contexts.

A series of three exhibitions that Rudolf has curated for the University of Michigan Museum of Art culminates in Appropriation/Collaboration: Christian Marclay/Harrell Fletcher & Miranda July (May 3–July 20). Featuring Marclay’s found-footage video Telephones (1995) along with Fletcher and July’s web-based participatory project Learning to Love You More (2002–9, learningtoloveyoumore.com), the exhibition highlights artistic approaches to appropriation and user-generated content, two defining phenomena of the digital age.

The technological frontier is part of the territory charted in West Coast Visions (June 14– November 16) at Borusan Contemporary, Turkey’s leading platform for the collection and exhibition of media arts. The presentation explores the geography and mythology of the American West through works by Jeremy Blake, Bill Fontana, Doug Hall, Steina, and Bill Viola—and builds an imaginary bridge between two coastal cities poised on a fluid continuum between East and West.

Steina’s video installation The West (1983) is traveling to Istanbul for the exhibition West Coast Visions, opening June 14. Steina, The West, 1983; Collection SFMOMA, Accessions Committee Fund purchase: gift of Mimi and Peter Haas, Susan and Robert Green, Mr. and Mrs. Brooks Walker Jr., and Thomas Weisel; © Steina; photo: Ben Blackwell.

GAME 1

Masterpieces Everywhere Quick—think of a work of art. Got one? Now examine your surroundings and find something that most resembles it.

#PlayArtfully

Travel Diary Garry Winogrand, co-organized by SFMOMA and the National Gallery of Art in Washington, D.C., heads to New York this summer, where it will be on view at the Metropolitan Museum of Art from June 27 to September 21. The international tour is sponsored by the Terra Foundation for American Art.

Alka Agrawal Joachim Bechtle Gay-Lynn Blanding James W. Breyer Carolyn Butcher Dolly Chammas Adam H. Clammer Charles M. Collins Lionel Conacher Roberta Denning Jean Douglas Robert L. Emery Carla Emil Vincent Fecteau Irwin Federman Ann C. Fisher Doris Fisher Jonathan Gans M. Arthur Gensler Jr. Richard L. Greene Linda W. Gruber Maryellen C. Herringer Adriane Iann Bradley James Richard M. Kovacevich Pamela Kramlich Janet W. Lamkin Christine E. Lamond Gretchen C. Leach David Mahoney Marissa Mayer Nion McEvoy Kenneth P. McNeely

Dennis J. Wong

Christopher Meany Lisa S. Miller David Morin Deborah Novack Katie Paige Stuart L. Peterson Andrew P. Pilara Lisa S. Pritzker Becca Prowda Daniel H. Rimer Linnea Conrad Roberts Ed Ruscha Chara Schreyer Lydia Shorenstein Charlotte Mailliard Shultz Norah Sharpe Stone Norman C. Stone John G. Stumpf James R. Swartz Roselyne Chroman Swig Susan Swig Barbara Vermut John Walecka Brooks Walker Jr.† Thomas W. Weisel Carlie Wilmans Michael W. Wilsey Pat Wilson Kay Harrigan Woods †

Chair Emeritus

Honorary Trustee Gerson Bakar Ex-officio Trustees Jennifer Morla (Architecture + Design Forum) Charlot Malin (Artist’s Circle) Gay-Lynn Blanding (Collectors Forum) Linda W. Gruber (Director’s Circle) Marcia Middleton (Docent Council) Ellen Koskinas (Foto Forum) Candace Cavanaugh (Modern Art Council) Heather Holt and Marcus Keller (SECA) As of April 30, 2014

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NONPROFIT ORGANIZATION U.S. POSTAGE PAID SAN FRANCISCO MUSEUM OF MODERN ART

Always Something New All About Our New Photography Center

Hit the Streets with SFMOMA Families

See a New Side of Gorgeous

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At the MuseumStore Meet the Spherovelo, a unique ride-on for your favorite cutie-pie ages 10 to 24 months—or even younger with a little assistance from Mom or Dad. Winner of the 2013 Red Dot Product Design Award, the Spherovelo has two play settings that help your child learn balance. Suitable for indoor or outdoor play. Choose from red or turquoise. $110/Members $99

SFMOMA MuseumStore 51 Yerba Buena Lane / 415.357.4044 SFO International Terminal / 650.553.8043 museumstore.sfmoma.org / 415.357.4035

5/8/14 6:58 AM