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Archival Gem

A Trip to the Dark Room with Imogen Cunningham

SFMOMA on YouTube

Meet the Artists
Hung Liu portrait
William Scott Praise Frisco
Kay Sekimachi Oral History Animation
Violet Fields
Cheryl R. Riley
Artist Talk: Wolfgang Tillmans
Reagan Louie
Naama Tsabar: Work on Felt
Ilse Bing
Making a Mural with Liz Hernández
Reagan Louie
Johnnie Chatman: INSITE Conversations
Sitting on Chrome
Frank Bowling: New York, 1969
Mercedes Dorame: Everywhere is West
Marlon Mullen: The language of color
David Huffman: Trauma Smiles
David Huffman: The Social Abstractionist
Sadie Barnette
Artist Cribs: Sadie Barnette’s SPACE
Chanell Stone: Natura Negra
Raymond Saunders
Kerry James Marshall
Amalia Mesa-Bains
Joan Brown
Artist Cribs: David Huffman's Oakland Studio
Claudy Jongstra on art and sustainability
Richard Mayhew: "What color is love?"
Rafael Lozano-Hemmer’s biometric portraiture
Isamu Noguchi: There’s no such thing as time
Anselm Kiefer: “My paintings change”
Twin Walls Mural Company: Our Ancestors’ Wildest Dreams
Ruth Asawa on her forms and materials
Hung Liu on guns, art, history, forced labor, and taboos
Sahar Khoury on creative repair
Artist Journal: Klea McKenna
Dawoud Bey on visualizing history
Richard T. Walker on landscape and desire
Hal Fischer: The Gay Seventies
How to Make a Zine: A Very Bay Area Tutorial
Robert Rauschenberg: Erasing the Rules
Tucker Nichols: Flowers For Sick People
Kenyatta A. C. Hinkle on intuition
Nicole Miller: To the Stars
JR on The Chronicles of San Francisco
Charles Gaines: “Why is a bird a bird, and I’m not?”
Nam June Paik: Electronic Superhighway
Cauleen Smith imagines a Black, feminist utopia
Suzanne Lacy: Women fight back
Suzanne Lacy: We Are Here
Rodney McMillian on home and history
The Sea Ranch: Architecture, Environment, and Idealism
Vija Celmins: Saying the unsayable
Vija Celmins on her life in (and out of) the studio
Etel Adnan on art and urgency
Etel Adnan on lightning-strike paintings and words as gestures
Kerry Tribe on empathy in health care
O Grivo’s sculptural orchestra
Bea Nettles’s photographic tarot deck
Judy Chicago: Is there a "Female Aesthetic"?
Sean McFarland: Landscape photography as failed record
Sean McFarland’s metaphysical way of looking
How ORFN’s graffiti inspires Alicia McCarthy
Alicia McCarthy: Visually listening to bands of colors
Lindsey White: How humor threatens us
Liam Everett: The art of obstruction
Christina Kubisch: Discovering new sounds
Jacqueline Kiyomi Gork: The slipperiness of sound
Larry Sultan discovers his family through photography
Journey through the soundscape of a boiler room with Bill Fontana
Bill Fontana: The makings of a sound sculptor
Charles Gaines: Sublime Systems
Artists on Artists: Stanley Whitney on Joan Mitchell and the Drama of Painting
Emory Douglas: "Land, bread, housing, justice, and peace"
Rhonda Holberton Creates "The Best of Both Worlds"
Emory Douglas: Art for the People
Robert Frank as a young artist
Will Rogan's Mediums channel artists lost to time
Lieko Shiga on Kitakama village and the 2011 tsunami
Tomás Saraceno: Building “future flying cities” with spiders
Anselm Kiefer: History is a clay
William Kentridge: The Refusal of Time
Marco Breuer: Pushing the boundaries of photography
Njideka Akunyili Crosby’s Janded: Between two cultures
Ursula von Rydingsvard on sculpture and ancestry
Sohei Nishino’s maps trace more than the city
Bruce Conner: It’s All True
Nobuyoshi Araki: Journey through life and death
Akiyoshi Taniguchi’s meditations on photography
Rinko Kawauchi contemplates the small mysteries of life
Tomoko Sawada’s self-portraits create familiar characters
Eikoh Hosoe: Does photography reflect truth?
Nobuyoshi Araki’s “more is more” approach to photography
Daido Moriyama on the essence of photography
Kikuji Kawada on the Atomic Bomb Dome and postwar Japan
Ishiuchi Miyako’s early life near Yokosuka’s U.S. military base
Keizo Kitajima in the former USSR
Asako Narahashi’s photos from the sea
Hiromi Tsuchida: Documenting Japan’s past and present
Ishiuchi Miyako: What is a scar?
Issei Suda on the drama of photography
Daido Moriyama on social rebellion in 1960s Japan
Jürg Lehni’s extraordinary drawing machine
Thomas Schütte: Playing with materials
Robert Frank on photographing The Americans
Dana Schutz on the personalities of paintings
Anthony Hernandez: Peeling away the layers of the Mojave Desert
Robert Adams: Photographing a “landscape of mistakes”
Ron Nagle: The sculptural language of hair loss
Ron Nagle on the ceramic “revolution”
László Moholy-Nagy's shadow play
Ken Hakuta: My uncle Nam June Paik
Jananne Al-Ani on the Middle Eastern landscape
Leonor Antunes on the architecture of inspiration
Julia Scher: Predictive Engineering
Jason Lazarus: “At sea” with found photographs
Robert Adams's sobering photographs of clearcutting in the Pacific Northwest
How Mike Mandel created new meaning from old photographs
Mike Mandel’s Baseball-Photographer Trading Cards
Michael Jang’s family snapshots
Catherine Opie’s groundbreaking queer portraiture
Janet Delaney on South of Market
Janet Delaney on hand-painted signs
Judith Joy Ross: Protest the War
Leo Rubinfien: How do you photograph a psychological wound?
An-My Lê: Landscapes of war
Rabih Mroué on “the war against the image”
Michael Jang: The night the Sex Pistols broke up
How Michael Jang photographed the most glamorous celebrities of 1970s Beverly Hills
John Divola: “Time is a verb”
John Divola: Photographing abandoned houses
Fred Wilson’s museum interventions
Jon Rubin’s Pictures Collected From Museum Visitors’ Wallets
Reinhard Mucha: Showing the show
Mike Light: Flying photographer
Mike Light: The West
Richard Deacon on being a “fabricator”
Betye Saar believes she has the best of both worlds
Betye Saar controls her destiny
Frank Stella paints tracks and circuits
Elizabeth Murray: Finding the artist inside the painting
Eva Hesse's spontaneous artistic process
Eva Hesse was true to her materials
Preserving Eva Hesse's latex
Robert Bechtle: Photorealism at high speed
Robert Bechtle: The car is a landscape
Antony Gormley answers: What is art?
Robert Bechtle's dabs of enlivening color
Sol LeWitt on making wall drawings
Robert Arneson on becoming an artist
Robert Bechtle: The intensity embedded in the paint
Richard Diebenkorn: “The sky took the place of the ocean”
Hilla and Bernd Becher invented a new genre of photography
Sol LeWitt on working with assistants
Petah Coyne: “Materials are a language”
Ellsworth Kelly on Abstraction
Paul Kos: Salt and ice
Paul Kos in the Sierras
Tony Cragg, radical materialist
Tony Cragg’s utilitarian materials
Vik Muniz's images
Vik Muniz on his series The Best of Life.
Stephen Shore ditched school for Warhol’s Factory
Fred Wilson on “degradaria”
Njideka Akunyili Crosby on painting cultural collision
Mildred Howard’s houses hold memories
Richard Learoyd takes us inside his giant homemade camera
Stephen Shore: Taking photographs that “feel like seeing”
The message is for the media: Ant Farm and Media Burn
Doug Hall on his utopian generation
Doug Hall’s giant Tesla coil
Brice Marden: Abstract painting can take you to paradise
Ant Farm on becoming “underground architects”
Brice Marden: Influences
Peter Campus on his most famous work and why he hates it
Tony Oursler’s “electronic effigies”: Between two spaces
Vito Acconci wants revolution
Hans Haacke: Fighting the establishment
Peter Campus says, “You can’t see yourself”
Abelardo Morell and the magic of the camera obscura
Liz Deschenes on her camera-less photography
Alison Rossiter gives new life to old photographic paper
Barbara Bosworth looks slowly and observes the landscape
Susan Meiselas on “the ethics of seeing”
Markus Schinwald’s strange prostheses and erotic table legs
John Baldessari on fighting the “photography” label
John Baldessari explains his “strange mind”
Sophie Calle’s voyeuristic portraits of hotel rooms
Mel Bochner transforms a wall with chalk
Sophie Calle on becoming an artist
Ewan Gibbs on his San Francisco drawings
Kateřina Šedá holds the Los Altos World Records
Charles R. Garoian: The teacher who was called to the principal’s office
Jessica Stockholder creates an intersection with the intersection
Spencer Finch takes viewers from technicolor to black and white
Jeremy Blake: A waking dream
Christian Jankowski needs subtitles for Silicon Valley Talks
Jonn Herschend on finding beauty behind the scenes
Larger than life! David Wilson and his sixteen-foot-high ink drawing Frog Woman Rock
Alec Soth photographs loneliness in Silicon Valley
Soul food for the brain: Chris Johanson and public sculpture
Mike Mills finds the past in the present, interviewing the “futurists” of Los Altos
Where did all the art go? Jonn Herschend and stories of the SFMOMA evacuation
Zarouhie Abdalian makes social sound in downtown Oakland
Fake snacks and jack-o’-lanterns: Josh Faught takes us to the Neptune Society Columbarium
Open your eyes! Rediscover San Francisco with David Wilson’s Arrivals
Gu Wenda on the artist as peacemaker
How Gu Wenda turns hair and glue into works of art
Gates of steel: Mark di Suvero and his path to welding
Bow and arrow to the heart: Mark di Suvero’s love for the Golden Gate
Mark di Suvero likes to work with his hands
From Revlon to Robert Smithson: Mary Heilmann finds inspiration everywhere
Lynn Hershman Leeson’s seductive chat bot
Mapping nine centuries of a Romanian city with Tiffany Chung
AA Bronson and his fictional museum Cornucopia
Let’s talk about sex: AA Bronson pushes critics to consider queer culture
The story of Ernest Cole, a black photographer in South Africa during apartheid
The photographs of South African nightclub bouncer Billy Monk
In Boksburg, David Goldblatt photographs the reality of apartheid
Jim Campbell: Transmitted in light
Naoya Hatakeyama on what’s awe-some
Tiffany Chung: Maps are about people
Akram Zaatari describes Hashem el Madani’s “photography of the working class”
The Futurefarmers stand on one leg, together
Yto Barrada on how the Strait of Gibraltar shapes life in Tangier
Lamia Joreige maps Beirut’s tumultuous past and future
The Futurefarmers on picnics and Powers of Ten
Lamia Joreige on disappearance and memories of war
Adrian Ghenie: Painting a dictator in the moment before his execution
Adrian Ghenie: Attending art school in Communist Romania
Yto Barrada on laziness as resistance
Tuan Andrew Nguyen: Straddling two cultures and building a platform for art
Óscar Muñoz explores memory through ephemeral materials
Óscar Muñoz created an art space that thrives on uncertainty
Akram Zaatari: Collecting images from the Arab world
Adrian Ghenie started a gallery because he was a “failure”
Tuan Andrew Nguyen: Using graffiti and breakdancing to rebrand a country
Trevor Paglen on the secret history of early Yosemite photography
Parra on getting “weirded out”
Trevor Paglen photographs classified “black sites”
Pablo López Luz on shooting the landscape of Mexico City
Alejandro Cartagena on photographing while walking through dry riverbeds
How Daniela Rossell’s photographs came to be viewed as images of Mexico’s “poster girls of corruption”
Daniela Rossell questions “female territories”
Stephanie Syjuco creates knockoffs of works of art
Miranda July and Harrell Fletcher’s Learning to Love You More: Piggybacking assignments
Miranda July and Harrell Fletcher’s Learning to Love You More: Before web 2.0
Miranda July and Harrell Fletcher’s Learning to Love You More: Instant acceptance
Richard Serra answers: Why make art?
Advice from Richard Serra: Clear away the clutter and do your own thing
How do you take notes? Richard Serra draws his thoughts
Have you seen my bird? Rigo 23’s “found lost bird” posters
From cross-stitch to cake with Gay Outlaw
Hung Liu: There’s dignity in a woman handling a machine
David Best is a burning man
William Allan brings books back to life
Jordan Kantor on the act of looking and looking again
Graffiti is a sport, and Barry McGee a sportsman
Will Rogan: “We are on this planet that’s spinning around the sun and it’s totally insane”
The legendary Wayne E & Wayne R show
Kamau Amu Patton and the machine that’s always learning
A large and flickering grid of light by Jim Campbell
Klara Kristalova on the darker side of childhood
Talking trash, over Skype, with Tiago Carneiro da Cunha
Daniel Schwartz: “My university is the road”
Traveling “through the eye of history” with photographer Daniel Schwartz
Jim Goldberg: Why do we keep making the same mistakes?
Jim Goldberg’s compassionate lens
Richard Misrach: Graffiti in the wake of Hurricane Katrina
Photographer Jacob Aue Sobol in Greenland
Rosana Castrillo Diaz on finding meaning in the everyday
Stephanie Syjuco on the economy of art
Harrell Fletcher and Miranda July’s Learning to Love You More: Web-based assignments designed to get people to leave their computers
Helène Aylon “midwifes” an image
Robert Rauschenberg pays tribute to John Cage
Form, growth, behavior: The making of Andrew Kudless’s “bulbous” sculpture
Teresita Fernández harnesses the behavior of fire
Premature mortality: William Kentridge reflects on the AIDS epidemic in South Africa
Beach life: William Kentridge and Tide Table
William Kentridge: transformation with animation
William Kentridge and his animated alter egos
Kerry James Marshall: Requiem for a decade
Kerry James Marshall: Art is a series of visual problems that need to be solved
Completely out of whack: Kerry James Marshall on his murals for SFMOMA
Kerry James Marshall wants to see black people in art, all the time
Kerry James Marshall goes grisaille
Olafur Eliasson: Everyone sees a different rainbow
Ann Hamilton evokes the working class with the color blue
Ann Hamilton gives voice to Charleston’s invisible history
“Un-reading”: Ann Hamilton erases texts to make room for other stories
In the studio with Olafur Eliasson
Experimenting in the lab with Olafur Eliasson
Olafur Eliasson’s machine: A phenomenon maker
Olafur Eliasson wants you to slow down and take your time
What does a solid-gray painting have to do with Bob Dylan? Brice Marden explains
Brice Marden on finding inspiration in olive groves
Brice Marden: How to look at paintings
Kota Ezawa: Translating photographs into drawings
Painting versus photography: Jeff Wall compares and contrasts
Jeff Wall advocates for staged photography
Jeff Wall: “I begin by not photographing”
Henry Wessel: Photographing while “half asleep”
Henry Wessel: The view from the driver’s seat
Henry Wessel: Why it’s better to see without recognizing
Anselm Kiefer: An artist is “outside of the world”
Anselm Kiefer: We use mythology to give life meaning
Deborah Luster: Helping prisoners show themselves to the world
Why Deborah Luster decided to photograph prisoners
“The people who stole the prisoners”: Deborah Luster’s accidental performance work
“Hold these people in your hand”: Deborah Luster’s photographs of prisoners
How Richard Serra influenced Matthew Barney
Matthew Barney and ancient Japanese whaling traditions
Matthew Barney puts his body into his work
Football and perception: Matthew Barney on the field emblem
Matthew Barney on ambergris, a.k.a. whale waste
Matthew Barney on using plastics and petroleum jelly
Amy Franceschini reimagines World War II–era community gardens for San Francisco
Richard Tuttle: Art is an adventure
It’s alive! Richard Tuttle creates a wire piece at SFMOMA
Why was Richard Tuttle’s 1975 exhibition so controversial?
Richard Tuttle flirts with nothingness
Gary Hill: Your actions reflect yourself
Gary Hill gets down to the neurons
Gary Hill crashes into a wall
Gary Hill touches sound
Gary Hill embraces the Millionaires Club
Gary Hill doesn’t miss a beat
Robert Bechtle: The camera is a sketchbook
Robert Bechtle: Paintings are not as ephemeral as photographs
Robert Bechtle gets (photo)real
Romance novels and slave narratives: Kara Walker imagines herself in a book
Kara Walker on the dark side of imagination
Kara Walker explains her interest in “demoted” art forms
Kara Walker depicts violence and sadness that can't be seen
Doris Salcedo: Memory as the essence of work
Doris Salcedo: "Extreme experiences as a point of departure"
Ed Ruscha on combining painting and photography
Ed Ruscha: Drawing with gunpowder
Ed Ruscha takes a leap from canvas to book
Ed Ruscha: Painting words
Ed Ruscha’s big-city visions
Why Pipilotti Rist works with video
Pipilotti Rist: Our hearts are “rinsed” every second
Pipilotti Rist’s fairy tale about a destructive goddess 
Pipilotti Rist’s “instant diamonds”
Judy Chicago: The Dinner Party
Lindy Roy’s liquid inspiration for Poolhouse
On target: Jasper Johns on creating his target paintings
How Zen poems influenced Brice Marden’s paintings
Because he says so: Jasper Johns is not a Dadaist
Frank Stella: Rebuilding painting
Frank Stella and the art of the protractor
Frank Stella describes “art worth making”
David Smith and the search for “accidental beauty”
Richard Serra throws molten lead inside SFMOMA
Glenn Ligon on “the idea of a black man”
Jay DeFeo’s The Rose: The enormous painting that was “almost alive”

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