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SFMOMA

SFMOMA: Top Of The Line

My second match at the newly renovated SFMOMA is with a digital print by Gerhard Richter, which is part of The Fisher Collection. The piece is comprised of hundreds of intensely colored horizontal stripes, and the experience of this piece is almost dizzying as without a focal point, the viewer’s gaze cannot seem to rest! While examining this piece I found that my eyes traveled horizontally across the canvas from left to right and then from top to bottom in an attempt to register each variation between the tiny bands of color. Such scrutiny, though, required me to look away several times, as I might have otherwise been drawn into hypnotic state!

When I saw this Pre-Fall dress from Missoni online I immediately thought of this specific collection of work with Richter’s oeuvre. I wasn’t entirely sure how well the palette would match up but it seems that they reflect one another with contrasting warm yellow / pink tones against sections of cool blues/ greens. I love the idea of “blending in” with the art and I think the aesthetic of both creatives entities aligns so well. There is a certain satisfaction in bring two separate entities together when seems so obvious that they were meant to coexist!

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SFMOMA: The Full Spectrum

I recently visited SFMOMA during a weekend trip San Francisco and was really excited to see the revamped museum! First on my list was to check out The Fisher Collection which features several big name contemporary American artists and their diverse approaches to abstraction.  Some of the big name artists include Ellsworth Kelly, Alexander Calder, Sol LeWitt, Agnes Martin, Gerhard Richter, Richard Serra, and Andy Warhol amongst many others. The work in the collection spans from medium to oversized and in the museum’s new space, it is truly awe-inspiring.

One of my favorite pieces in the collection is Ellsworth Kelly’s painting, Spectrum Colors Arranged By Chance. The piece is especially interesting to me because it it is non-representational yet reminiscent of magnified pixels. However, when considering the time that Kelly painted this, 1951-53, clearly this likeness is not what he had in mind. I love the fact that the piece is devoid of any visible brushstrokes and the precision alone is almost mechanical.

I paired this piece with the gorgeous St. John dress seen below that really mimics the coloration of the Kelly painting. The dress is artful, unique, and incredibly comfortable, too!

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