I recently visited SFMOMA to see their latest exhibition, Tomas Saraceno: Stillness In Motion – Cloud Cities. The show was organized by the museum’s Architecture and Design department and is located on the 5th floor of the museum. Saraceno’s sculptures are suspended throughout a white room, tethered by various gauges of black wire. Each geometric form contains reflective panels, which almost blend into the space, creating further dimension and a blurred sense of place. Visitors are encouraged to walk around the space, looking at the forms from varying angles while weaving in and out of the complex network of cables. The room itself if painted white, providing high contrast to the various gauges of black cables while further obscuring the viewer’s depth perception.
About Tomás Saraceno
Born in Argentina and trained as an architect and visual artist in Buenos Aires and Frankfurt, Tomás Saraceno is a research-based artist whose work envisions and tests hypothetical solutions that employ aeronautic and structural strategies, drawing from scientific investigations and collaborations in physics, biology, cosmology and engineering. His work has deep sociological motives, with undercurrents of human connection and the pursuit and provocation of speculative futures.
Saraceno is dedicated to exploring and questioning the intersections between the built and the natural world. Founded in Frankfurt but now located in Berlin, his studio operates like a laboratory and network, with multiple collaborators working internally and externally in researching and realizing works, from large-scale inhabitable installations, to the intricate structures of soap bubbles and spider webs, to the first and the longest manned aerosolar flight ever achieved.
Saraceno holds residencies at Centre National d’Études Spatiales (2014–2015), MIT Center for Art, Science & Technology (2012–ongoing) and Atelier Calder (2010). In 2009, Saraceno attended the International Space Studies Program at NASA Ames. The same year Saraceno presented a major installation at the Venice Biennale, and was later awarded the prestigious Calder Prize. His installation works have been included in exhibitions at galleries and museums around the world including The San Francisco Museum of Modern Art Tomás Saraceno Press Release 3
Metropolitan Museum of Art, Walker Art Center, Museo d’Arte Contemporanea, Rome, HangarBicocca, Milan, Hamburger Bahnhof, Berlin and Kunstsammlung Nordrhein -Westfalen K21, Dusseldorf.
SFMOMA Hours and Admission
Open Friday–Tuesday 10 a.m.–5 p.m. and until 9 p.m. Thursday. Closed Wednesday. Public spaces open at 9:30 a.m.
My goal with this match was to really blend into the cloud-space, creating a visual illusion that mimics the stark contrast between the thin cables against the white walls. To do this I wore this on-trend Lavish Alice dress that is form-fitting, has a collar detail, along with two front slits that show a little leg!
I was really impressed with the number of Ellsworth Kelly paintings in The Fisher Collection at SFMOMA. His large-scale canvases are stark, yet dynamic in their contrasting fields of color, or lack thereof in the case of this match. What I love most, though, about Kelly’s work are his innovative and unique shaped canvases. While this particular piece, Black Triangle With White from 1976 still resembles the typical square or rectangular canvas, the fact that the shapes are joined makes the piece unlike the “typical” 2-D painting.
These angles join to form an asymmetrical shape that is further defined by the black right angle that seems to rest atop a long rectangle. The pieces really remind me of Tangrams and I paired the painting with this fun color blocked Diane Von Furstenberg dress.
Known as the originator of the mobile, his work is a literal balancing act as each component is carefully positioned as to create an overall sense of balance, equilibria, movement, and visual interest. These suspended shapes move with air currents (such as the piece I matched) or with touch, yet do so in a way that maintains balance and composure.
This particular sculpture, called Big Crinkly from 1969 is positioned outside on floor 3 as part of Alexander Calder: Motion Lab. I chose to match the piece with a Vince Camuto dress that mimics the colors of the sculpture – blue, black, red and white – which are typically used in his work. My Via Spiga sandals are old but I found them on sale at Nordstrom Rack at the link below, check it out!