Archive for Richard Long

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


(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)

The Organization of Forms

Posted in Artists Speak, Drawing, Female Artists, Liz Hager, Painting, Photography, Textiles with tags , , , , on June 6, 2009 by Liz Hager


Robert Hartman—This Valley Rocks

Robert Hartman,This Valley Rocks, 2007,
lifochrome photograph  (courtesy Triangle Gallery).

It is safe, I suppose, to assume that today most if not all of us have had the experience of looking down from an airplane onto this earth. What we see is a free flow of forms intersected here and there by straight lines, rectangles, circles, even drawn curves; that is, by shapes of great regularity. Here we have, then, natural and man-made forms in contradisctinction. And here before us we can recognize the essence of designing, a visually comprehensible, simplified organization of forms that is distinct from nature’s secretive and complex working. . .

Bruce Connor, Bowing Down to Half Dome, 1974-84,
collage with cloth, paper, photograph, paint (courtesy Gallery Paule Anglim).

. . . Or on a beach, we may find a button, a bottle, a plank of wood, immediately recognizable as “our” doing, belonging to our world of forms and not to that which made the shells, the seaweed, and the undulated tracings of waves on sand. . .

Chris Drury—Heart River 1999

Chris Drury, Heart River, 1999,
blood and river mud on paper, pattern from a cross section through a human heart (photograph Dawes & Billings).

. . . Also we can observe the counterplay of the forming forces: the sea slowly grinding an evenly walled piece of glass, foreign to it in shape and substance, into a multiform body suitable for adoption into its own orbit of figuration. On the other hand, we see the waves controlled, where dams and dikes draw a rigid line between land and water. . .

Richard Long, Sahara Line, 1988, found stones.

. . . To turn from “looking at” to action: we grow cabbages in straight rows and are not tempted by nature’s fanciful way of planting to scatter them freely about. We may argue that sometimes we follow her method and plant a bush here and another there, but even then we “clear” the ground. . .

Anni Albers—Pasture, pictorial weaving 1958

Anni Albers, Pasture, 1958, pictorial weaving.

. . . Always, though sometimes in a way that is roundabout and apparent only as an underlying scheme of composition, it is clarity we seek. But when the matter of usefulness is involved, we plainly and without qualification use our characteristics: forms that, however far they may deviate in their final development, are intrinsically geometric.

—Anni Albers, On Weaving, Wesleyan University Press, p. 71

Wider Connections

Anni Albers

Bruce Conner

Chris Drury

Robert Hartman

Richard Long

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