Venetian Red: SFMOMA Presents the Fisher Collection
Editor’s Note: On occasion, Venetian Red invites guest writers to contribute to these pages. Today Nancy Ewart, whose posts appear on ChezNamasteNancy and Examiner.com, covers the debut of the Fisher Collection as SFMOMA. VR has a long-standing interest in the Fisher collection; for other posts on this topic, click here.
By NANCY EWART
Anselm Kiefer, Melancholia,
(courtesy of SFMOMA)
I was out of town last month so I missed the press preview. However, one of the first things I did on my return was to get over to SFMOMA and see what all the shouting has been about. The museum is celebrating its 75th year and obtaining this collection gives them another reason to break out the champagne. This sweeping exhibition, entitled “Calder to Warhol: Introducing The Fisher Collection,” offers an extraordinary preview of the depth, breadth, and quality of the Fisher holdings, with works by Alexander Calder, Chuck Close, Sam Francis, Philip Guston, Anselm Kiefer, Ellsworth Kelly, Roy Lichtenstein, Brice Marden, Agnes Martin, Joan Mitchell, Gerhard Richter, Richard Serra, Wayne Thiebaud, Cy Twombly, Andy Warhol, and many others—160 works by 55 artists, a tasty amuse-bouclé indeed!
Even if the museum had the resources of the legendary King Midas, there is there is no way it could have bought even a fraction of these pieces. While it is difficult to get accurate figures on the sales of contemporary art, a 2005 Artnet article reported that the National Gallery of Art in Washington DC paid $4.5 million for one of Serra’s pieces. Richter’s auction high is the $5.4 million paid for the “Three Candles” and Twomby’s key works from the 50’s, 60’s and 70’s have exceeded $10 million. The collection is rich in works from artists below the top-ten echelon. According to a recent (May 1010) article in the Huffington Post, artists such as Chuck Close, David Hockney, Ellsworth Kelly, Anselm Kiefer, Claes Oldenburg, Robert Ryman, and Wayne Thiebaud, sell for prices in the $2 million to $4 million range.
Agnes Martin, well represented in the exhibit, sells for around seven figures; her prices are probably higher by now. So, while the dollar value of the collection is into the stratosphere, the artistic value to art lovers and the museum is beyond price. Anybody who has followed the saga of the Fisher’s and their art knows about the long and acrimonious battle over his wish to have a museum at the Presidio. Conservationists and wiser heads prevailed to stop it. It wasn’t just a case of NIMBY but involved serious issues over questions of traffic, a huge footprint and, frankly, some distrust of what would happen “after” all the shouting died down. San Francisco’s Board of Supervisors were anxious to keep the collection in the city and passed a resolution in 2007 to that effect. Nevertheless, the ultimate fate of the collection was unknown until the Fishers finally announced that the collection would to go the museum, by means of a 100-year renewable loan. Maybe it was astute behind-the scenes talks or perhaps an intimation of mortality that made Don Fisher agree to this for he passed away a few days later.
It is said that you gain immortality through your children; in a very significant sense, his art collection was one of Fisher’s children and now, it’s been gifted to us. The collection is a huge addition to SFMOMA’s collection and puts the museum on the map as a major destination for lovers of modern art. With few notable exceptions, the pieces are huge, bold and brassy, with a focus on the blue chip artists of the last decade or so. It’s beautifully organized and hung, thanks to curator Gary Garrels and the rest of the museum staff. The entire fourth and fifth floors of the museum, including the Rooftop Garden, present a distillation of the sculpture portion of the collection. The Fifth Floor gallery is full of light and airy Calder mobiles. One of the pieces, a charming freestanding sculpture evokes the aquarium of the title with a few witty twists and scrolls of wire. Calder could have given lessons to any minimalist sculptor on elegant simplicity. Major works by Serra, Richter and Kiefer, Lewitt and Bourgeois are also on display.
After all that, you will need a big cup of Blue Bottle coffee to tackle the rest of the show. The Ellsworth Kelly pieces are textbook examples of his statement that paintings should be the wall, art as a geometric idea and not an emotion. The Kiefer pieces will be another wonderful addition to the museum’s existing one. I am a fan of this enigmatic and philosophical artist so I lingered in front of his Sulamith” with its evocation of the Holocaust. Kiefer’s enigmatic and emotional pieces display an evocative Teutonic angst combined with an awesome list of painting materials (oil emulsion, wood cut, shellac, acrylic and straw on canvas).
Throughout the exhibit, Garrel’s has intelligently paired pieces against one another—a thickly textured Sam Francis (Middle Blue, 1959) matched with the more open brushwork of a 1989 Joan Mitchell; Diebenkorn’s Ocean Park #67 on a wall where it visually leads to the gallery full of Agnes Martin’s pieces. One of those paintings, (Wheat) with its subtle rectangles of cream, parchment and a glaze of creamy yellow, is possibly one of the quietest and most beautiful pieces in the show. The fourth floor is too full of good pieces to list but one in particular—a great Oldenburg Apple Core—adds a much needed taste of wit to the more ponderous pieces in the collection. SFMOMA has announced plans for a vast addition to the museum. Two hundred and fifty million of the needed $480 million has been raised by “friends of the museum” and the board is currently looking for an architect. When the new wing opens in 2016, it will include a 60,000-square-foot Fisher Wing and allow a far more extensive display of the collection.
“At this momentous time in SFMOMA’s history, we are not only celebrating 75 years of accomplishments and innovation, we’re also looking forward to a new era of growth and community service that will be greatly enhanced by the museum’s presentation of these outstanding works of art from the Fisher Collection,” said SFMOMA Director Neal Benezra. “Our collaboration with the Fisher family will give visitors access to some of the finest modern and contemporary masterpieces, placing SFMOMA among the greatest museums for contemporary art and elevating the cultural profile of the city as a whole.”
Claes Oldenberg, Apple
(Courtesy of Civic Center Blog)
As the first unveiling of Doris and Don’s incredible gift to the city of San Francisco, this exhibition will introduce the public to an incomparable group of iconic works that will inspire and educate generations of visitors in the years to come.” I think that Grace McCann Morely, the museum’s first director would be well pleased.
“SFMOMA: From Calder to Warhol.” On display through September 19.