Archive for Agnes Martin

Venetian Red: SFMOMA Presents the Fisher Collection

Posted in Bay Area Art Scene, Contemporary Art, Fine & Decorative Arts with tags , , , , , , , , , , on July 17, 2010 by Liz Hager

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!

Roy Lichtenstein, Reflections
(Courtesy of SFMOMA)

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.

Chuck Close, Agnes Martin
(Courtesy of SFMOMA)

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.

Andy Warhol, Nine Multicolored Marilyns
(Courtesy of SFMOMA)

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.

Alexander Calder, Double Gong
(Courtesy of SFMOMA)

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).

Anselm Kiefer, Sulamith
(Courtesy of SFMOMA)

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.

Richard Diebenkorn, Ocean Park #67
(Courtesy of SFMOMA)

“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.

Wider Connections

More on the Fisher collection from ChezNamasteNancy
Kenneth Baker weighs in

deCAMPed: Will SF Say Goodbye to the Fisher Collection?

Posted in Bay Area Art Scene, Female Artists, Fine & Decorative Arts, Liz Hager with tags , , , , , , , , , , , on July 4, 2009 by Liz Hager

By LIZ HAGER

(Previous VR posts on this subject can be found at A Day at CAMP: Thoughts on the Fisher Collection and The Evolving Uses of the Presidio: CAMP Update.)

John Chamberlain

John Chamberlain sculpture of crushed sheet metal/car parts in the Gap, Inc. lobby.

In a not unsurprising move, Donald Fisher officially announced Wednesday that he would withdraw his proposal to build a museum (CAMP) for his contemporary art collection on the Parade Grounds of the Presidio’s Main Post, making the prospects for keeping the collection in San Francisco seem ever more remote. Options are still available. Perhaps Fisher and SFMOMA will work out a suitable arrangement. Fisher could seriously consider the other Presidio site, the Commissary (currently home to the Sports Basement), which was mentioned early on by the Trust as its preferred alternative site.  A worst-case scenario might force Don Fisher to decide whether he would rather give up some curatorial control to MOMA in return for real estate in a prestigious downtown location or maintain absolute curatorial control in a more remote (and less prestigious) location. On the other hand he might just get a best offer from any number of other cities—Houston, Chicago, Miami, Boston.

The nearly two-year vetting process has pitted steadfastly competing interests against one another. Preservationists and neighborhood groups squared off against Fisher’s largesse, egotism and stubborn pride. And, as is often the case, the process of this rancorous bickering over often parochial interests nearly drowned out advocates for the public good—the greater economic, social, and psychic good of maintaining a broad and deep cultural collection in our city.

Finally, on Wednesday Donald Fisher signaled that he’d had enough, commenting: “Doris and I will take some time to consider the future of our collection and other possible locations for a museum, which could include other sites within the Presidio and elsewhere.”

For a lot of reasons, many consider the MOMA scenario to be the most sensible alternative. But the Commissary site (off Mason Street) at the Presidio is not a bad option. A contemporary art museum presents a vast improvement to the eyesore that currently occupies the site (temporarily in use by the Sports Basement).  Built in 1989, the Commissary is not protected as an historical structure. The plans for renovating Doyle Drive (construction begins in 2011) include an underground tunnel at the southern edge of the site that will camouflage traffic from the field below. Further, the tunnel’s grassy mound will slope gently towards the site, creating the feeling of a park. The restored (and protected) Crissy Field with its marshlands and beach, not to mention the wild frothy waters of the Bay and emblematic Golden Gate Bridge beyond, would be an impressive sight indeed from the second-story window of a new building . . .

One thing is for sure: if the Fishers’ ambitious and high-quality collection ultimately lands elsewhere, the real losers will be not only be the impersonal “city of San Francisco,” but the very personal you and I. The city will perhaps loose the incremental tourist revenue that comes with a world-class museum, nothing to scoff at.  You and I on the other hand will miss out on an huge chunk of American culture (there are over 1,000 pieces in the collection), as well as the incalculable joy of exercising our imaginations, while contemplating works by Agnes Martin, Frank Stella, Roy Lichtenstein, Philip Guston, Richard Long, David HockneyElizabeth Murray, Ellsworth Kelly, Brice Marden, Sean Scully, Chuck Close, William Kentridge (visitors to the recent MOMA exhibit will remember that the Fishers own many Kentridge’s pieces), Jeff Wall, Bill Viola, and Sigmar Polke, among many others.

Now is a time like no other for the public to stand up for the public good. It doesn’t really matter whether it’s MOMA or the Commissary—both are fine options—just as long as the collection stays here. Letters to the Fisher, the MOMA or Presidio Boards, the Chronicle could help influence the decision. We can’t afford not to.  Otherwise, the final words might best be the refrain from Joni Mitchell: “Don’t it always got to go that you don’t know what you’ve got til it’s gone?”

Wider Connections

Donald Fisher—CAMP

Presidio Board; Presidio Trust contact

MOMA Board contact

Letters to the Editor, Chronicle

Kenneth Baker visits the collection (video)

On the Grid: Plain Weave, Crosswords and the Paintings of Agnes Martin

Posted in Christine Cariati, Contemporary Art, Female Artists, Fine & Decorative Arts, Textiles with tags , on May 28, 2009 by Christine Cariati

plainweave

Plain weave is the simplest of weave structures. Warp and weft alternately interlace, forming a tiny checkerboard pattern. Plain weave is elegant, strong and wears well. If unadorned with a surface pattern, there is no right or wrong side. In its simplest form, when the warp and weft are of equal weight, tension and spacing, all the threads are equally visible. It is a model of harmony and balance. It is also the underpinning of the more elaborate overshot weaves–plain weave is the grid underneath the floating pattern that holds the whole thing together. Plain weave is incredibly versatile–variations in yarn weight, fiber content and spin, spacing and tension create infinite textural possibilities. Vary the color in warp or weft and you have stripes, checks, plaids.  One of the most interesting possibilities of plain weave is called color-and-weave, in which various arrangements of color in warp and weft create intricate patterns–equally effective in black and white as in color.

color-and-weave
Ann Sutton, Structure of Weaving (color-and-weave)

The designing of color-and-weave patterns is often done on that other elegant and deceptively modest substrate–graph paper:

graphPaper

A piece of empty graph paper is simplicity itself yet it provides a way to sort and work out a lot of very complex ideas. Like plain weave, it provides a jumping off point, gives us a stable, reliable background to build on.

c-w-hand

Weaving charts have a lot in common with the crossword grid. Another backdrop, this time for words and associations, not pattern and color. A good crossword clue will set off a chain of memories, associations and retrieved scraps of information–as you fill in the answers, the grid changes and shifts, the answers form their own unique pattern.

crossword_grid

Thinking about the ways we perceive, design and visualize patterns brings to mind the work of Agnes Martin, whose entire oeuvre since 1961 involved the magical intersection of horizontal and vertical lines. Large or small, these paintings have a monumental grace. There is an expansiveness to her work, a sense of completeness, stability.

Martin said: “my paintings have neither objects, nor space, nor time, not anything–no forms. They are light, lightness, about merging, about formlessness, breaking down form.” In her work, the patterns interlock–viewing one section, you see the whole. Her grids are anything but static. Martin’s canvases are always somewhat rectangular, so whatever grids they contain are thrown slightly off balance. Her grids and patterns can evoke textiles–stitching, quilting, pleating–and particularly weaving. Many years ago, at an exhibit of Martin’s work, I was standing in front of one of her large paintings, a luminous grid in soft blues and browns. I stepped back to see what happened when I moved a bit further away, and a man came and stood in front of me. To my extreme delight, he was wearing a wool sports jacket, woven in a subtle plaid in exactly the same colors as the painting–it seemed as though a piece of the painting had popped into another dimension. The man was loudly complaining to his companion that it was a painting about nothing, it was just a bunch of lines. He was oblivious to the magical connection between his jacket and the painting and, sadly, completely unable to see the serenity and power in the beautiful painting in front of him.

Agnes Martin, Starlight, 1963

Agnes Martin, Starlight, 1963

Recommended reading:
Agnes Martin (Dia Foundation)
Agnes Martin: Recent Paintings 2000

Agnes Martin by Barbara Haskell, Anna C. Chave & Rosalind Krauss
In Pursuit of Perfection: The Art of Agnes Martin, Maria Martinez and Florence Pierce by Timothy Robert Rodgers

Programming the Cosmos: Leo Villareal at the National Gallery

Posted in Contains Video Elements, Contemporary Art, Film & Video, Fine & Decorative Arts, Liz Hager, Sculpture with tags , , , , , , , , on January 29, 2009 by Liz Hager

Hypnotic, mysterious, mesmerizing, cosmic, soothing, ephemeral. . . enlightening. These are some of the sensations that wash over viewers as they encounter Leo Villareal’s Multiverse in the underground concourse between the East and West Buildings of the National Gallery. A computer geek from teen-hood, Villareal harnesses one of the fundamental attributes of the computer—simple rules, complex patterns—to create unique and kenetic light sculptures.

With 41,000 LED bulbs Multiverse is by far Villareal’s most complex work to date.  The software he developed for this project generates several different layers of synchronized patterns (Villareal likens what he does to composing music) that alternately shoot in straight lines down the length of the tube, explode in a big bang-like effect, bounce along in ball-shaped clusters, or just pulse.  The concourse is a transitional space; its ceiling is oppressively low, the space claustrophobic. Normally it must make for a rather prosaic journey. But whisked along the moving sidewalk under the twinkling stars, one is liberated into the cosmos, living a brief  StarTrekian moment.  The universe talks to us; we try to decipher its meaning.

While Villareal’s art acknowledges artistic forbearers in Dan Flavin and James Turrell, the underlying concept of his light pieces relates more to Sol LeWitt‘s wall drawings, Agnes Martin‘s grids, and even Peter Halley‘s paintings.

Comments Villareal: “I’m very interested in rules and underlying structures, which all tie in with the code I’m writing. There are things in nature that inspire me, like wave patterns or natural systems that at first glance appear to be very complex, but when I study them further there are simple rules that govern them. That’s what I try to get at in my code—building simple rules that refer to some of these ideas. Laws are another thing I’ve been working on lately. I’m not a physicist, but I use rules to create software and in the software I’m able to play with parameters like gravity, velocity, friction. I’m able to use these parameters and access them as an artist and see what compelling things result.”

Not everyone has been wildly enthusiastic about the project. Some critics feel that Villareal didn’t have enough mature work to warrant membership in the National Gallery club with Picasso, Titian, Rothko and Sol LeWitt.  The lack of critical thought surrounding Villareal’s work and the superficiality of the work (technology for technology’s sake, not art’s sake) are other criticisms.  Programmers have gone on record as saying that Villareal’s software is pretty basic stuff.

Multiverse may not embody a BIG ART IDEA, but what’s wrong with a little Sybaritic pleasure now and again?

Wider Connections

Multiverse

More Leo Villareal

Other light artists

Cool Hunting

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