During the construction of SFMOMA's expansion the museum is presenting a dynamic array of collaborative and traveling museum exhibitions; public art displays; and site-specific projects. SFMOMA is collaborating with seven Bay Area institutions to present major thematic exhibitions featuring works from SFMOMA’s collection, and highlights from the museum’s photography holdings are traveling to museums throughout California as part of an unprecedented statewide tour.
Last updated: Monday, September 22, 2014
On view at CCA Wattis Institute for Contemporary Arts, San Francisco
This exhibition by Austrian artist Markus Schinwald (b. 1973) marks his first major commission for a U.S. institution. The site-responsive installation at the CCA Wattis Institute for Contemporary Arts will include an architectural intervention that changes the physical and psychological potential of the gallery, providing a display apparatus for Schinwald’s paintings and sculptures. Part of SFMOMA’s On the Go program, the exhibition continues the museum’s long-standing New Work series, which was conceived as a means to feature the most innovative expressions of contemporary art. For the Wattis, this project inaugurates a new exhibition program developed by its recently appointed director, Anthony Huberman. Markus Schinwald is co-curated by Huberman and Jenny Gheith, assistant curator of painting and sculpture at SFMOMA; it is the first exhibition collaboratively organized by the two institutions.
On view at the Bakersfield Museum of Art
September 11, 2014 - January 4, 2015
On view at the Haggin Museum, Stockton
April 16, 2015 - June 14, 2015
Featuring approximately 100 photographs, this exhibition reveals a distinctively rich and diverse tradition of photography in Mexico. The show begins with works from the medium's first artistic flowering in the wake of the Mexican Revolution (1910-20) and goes on to explore the explosion of the illustrated press at midcentury; the documentary investigations of cultural traditions and urban politics that emerged in the 1970s and 1980s; and more recent considerations of urban life and globalization. Photography in Mexico includes work by Edward Weston, Tina Modotti, Lola Álvarez Bravo, Manuel Álvarez Bravo, Manuel Carrillo, Graciela Iturbide, Elsa Medina, Pablo Ortiz Monasterio, and Mariana Yampolsky, among others.
On view at the Oakland Museum of California
Fertile Ground will bring together art and archival materials from the collections of SFMOMA and the Oakland Museum of California (OMCA) to present the stories of four creative communities active in Northern California between the 1930s and the present. Focusing on the local conditions that have allowed art to flourish, the exhibition will interweave the histories and friendships of artists, collectors, curators, and other individual and institutional collaborators, against a backdrop of transformative social change in California. The four featured communities will comprise: the circle of Diego Rivera and Frida Kahlo in 1930s San Francisco; the California School of Fine Arts in the immediate postwar period; the studio art department at UC Davis in the 1970s; and the Mission scene that took root in the 1990s through the present. Artists in the exhibition include Frida Kahlo, Diego Rivera, Mark Rothko, Clyfford Still, Richard Diebenkorn, David Park, Robert Arneson, Manuel Neri, Wayne Thiebaud, William T. Wiley, Barry McGee, Chris Johanson, and Margaret Kilgallen, among others. Fertile Ground is curated by Drew Johnson, curator of photography and visual culture and René de Guzman, senior curator of art at OMCA, with Janet Bishop, curator of painting and sculpture, Caitlin Haskell, assistant curator of painting and sculpture, and Peter Samis, associate curator of interpretation, at SFMOMA.
On view at the Crocker Art Museum, Sacramento
October 12, 2014 - February 1, 2015
On view at the UCR/California Museum of Photography, University of California, Riverside
March 28 - August 15, 2015
SFMOMA has been actively acquiring the work of internationally recognized artists including Masahisa Fukase, Eikoh Hosoe, Daido Moriyama, and Shōmei Tōmatsu since the 1970s, assembling one of the world’s preeminent collections of Japanese photography. This exhibition begins with the avant-garde tradition that emerged in Tokyo in the 1960s and 1970s and explores its influence on the diverse photographic practices that continue today. The tumultuous period following World War II provided fertile ground for a generation of Japanese photographers who responded to societal upheaval by creating a new visual language dubbed “Are, Bure, Boke”—rough, blurred, and out of focus. Named for the magazine Provoke, which sought to break the rules of traditional photography, this exhibition traces how Japanese photographers responded to their country's shifting social and political atmosphere.
On view at the Museum of the African Diaspora, San Francisco
Featuring approximately 30 artworks, Portraits and Other Likenesses will demonstrate how artists from the early 20th century to our own time have negotiated a vast array of European, African, and American visual-cultural forms to redefine what it means to make a portrait. On view in the newly renovated galleries at the Museum of the African Diaspora (MoAD), Portraits and Other Likenesses will feature paintings, sculptures, photographs, and videos from SFMOMA, many of them recently acquired and on view for the first time as part of the collection. The exhibition situates key historical artworks by Romare Bearden, Sargent Johnson, Seydou Keita, and Wifredo Lam in dialogue with recent works by living artists including Njideka Akunyili, Dawoud Bey, Nick Cave, Mildred Howard, Glenn Ligon, Rodrigo Moya, Chris Ofili, Paula Santiago, Yinka Shonibare, Carrie Mae Weems, Jack Whitten, Kara Walker, Fred Wilson, and Lynette Yiadom-Boakye, among others. Together, the works assembled demonstrate that as people move between geographies, meanings change too. There is perhaps no clearer evidence of this than the history of the modern portrait, which has evolved from a form of personal identification, to a genre as invested in fiction, subversion, stereotype, and vanity as it is in the sheer description of physical features. Portraits and Other Likenesses is curated by Lizzetta LeFalle-Collins, deputy director and director of curatorial affairs at MoAD; Janet Bishop, curator of painting and sculpture at SFMOMA; and Caitlin Haskell, assistant curator of painting and sculpture at SFMOMA.