Guest essay, "Positive Gestures: Kal Spelletich's Machine Ensembles" (forthcoming)
The exhibition “Kal Spelletich: Significance Machines and Purposeful Robots,” combines art and mysticism with the rigors of science and technology to explore the power of prayer and other meditative practices. Kal Spelletich has been exploring the interface of humans and robots, using technology to put people back in touch with real-life experiences. Participants can operate the robots by touching an interface sensor that enables the machine to ‘read’ the viewer and react with a responsive gesture. By calming their fears and focusing their attention, participants can utilize techniques comparable to meditative practices to operate interactive sculptures with the possibility of performing their task with more precision and skill.
A series of public programs and a publication accompany the exhibition with essays by Anuradha Vikram and Tanya Zimbardo.
"Kal Spelletich: Significance Machines and Purposeful Robots" is organized by Saint Mary’s College Museum of Art curator, April Bojorquez.
A series of public programs and a publication accompany the exhibition with essays by Anuradha Vikram and Tanya Zimbardo.
"Kal Spelletich: Significance Machines and Purposeful Robots" is organized by Saint Mary’s College Museum of Art curator, April Bojorquez.
Sun Cycles
Interview with artist Mary Lucier for the Spring 2019 issue (forthcoming) of Voices in Contemporary Art (VoCA) Journal on the theme of women in media arts.
Suzanne Lacy: We Are Here
Contributor, "Suzanne Lacy: We Are Here," SFMOMA 2019
Prestel description: This generously illustrated book sheds light on the groundbreaking career of Suzanne Lacy, an artist, writer, and educator whose participatory, socially engaged performances helped define social practice art and continue to resonate with many of the most pressing issues in American culture.
Over the past five decades the genre-defying art of Suzanne Lacy has taken multiple forms, spanning performance, sculpture and video installations, and photography. Organizing public encounters that emphasize intensive community dialogue and collaborative choreography, Lacy has explored many political and social contexts that remain deeply relevant—including race, class, and gender equity; ageism; and violence against women. This record of Lacy’s career is anchored by an extensively illustrated survey of selected works that groups related projects and illuminates their core themes and approaches. Featuring photographs, stills, ephemera, and other primary documentation, this section incorporates a selection of reprinted texts and newly commissioned first-person accounts by Lacy’s collaborators, a group that includes critics and artists such as Judy Chicago, Allan Kaprow, Andrea Bowers, Moira Roth, and Lucy Lippard. Extensive, penetrating, and visually compelling, this long-awaited monograph documents the bold career of an artist whose profound attentiveness to social dynamics, politics, and context continues to provoke and inspire today.
Editors: Rudolf Frieling, Lucía Sanromán, Dominic Willsdon
Hardcover, 268 pages, 22,0 x 28,5 cm, 489 color illustrations.
Prestel description: This generously illustrated book sheds light on the groundbreaking career of Suzanne Lacy, an artist, writer, and educator whose participatory, socially engaged performances helped define social practice art and continue to resonate with many of the most pressing issues in American culture.
Over the past five decades the genre-defying art of Suzanne Lacy has taken multiple forms, spanning performance, sculpture and video installations, and photography. Organizing public encounters that emphasize intensive community dialogue and collaborative choreography, Lacy has explored many political and social contexts that remain deeply relevant—including race, class, and gender equity; ageism; and violence against women. This record of Lacy’s career is anchored by an extensively illustrated survey of selected works that groups related projects and illuminates their core themes and approaches. Featuring photographs, stills, ephemera, and other primary documentation, this section incorporates a selection of reprinted texts and newly commissioned first-person accounts by Lacy’s collaborators, a group that includes critics and artists such as Judy Chicago, Allan Kaprow, Andrea Bowers, Moira Roth, and Lucy Lippard. Extensive, penetrating, and visually compelling, this long-awaited monograph documents the bold career of an artist whose profound attentiveness to social dynamics, politics, and context continues to provoke and inspire today.
Editors: Rudolf Frieling, Lucía Sanromán, Dominic Willsdon
Hardcover, 268 pages, 22,0 x 28,5 cm, 489 color illustrations.
Howard Fried: The Seven States of Openness
Guest author on Howard Fried in collection catalogue "Collecting on the Edge: Nora Eccles Harrison Museum of Art," NEHMA 2018
"The Golf Lesson: A Conversation with Howard Fried"
Contributor to "Sports" issue,
INCITE Journal of Experimental Media #7/8
2016 –2017
Editors: Astria Suparak and Brett Kashmere.
Layout and Design: Stripe SF / Jon Sueda.
INCITE Journal of Experimental Media #7/8
2016 –2017
Editors: Astria Suparak and Brett Kashmere.
Layout and Design: Stripe SF / Jon Sueda.
Soundtracks
Co-editor and author, online exhibition catalogue accompanying "Soundtracks," presented at SFMOMA from July 2017 to January 2018. An expanded edition was published in October 2017. It augments the original publication with a range of multimedia materials, including audio and video documentation of exhibition works, new installation photography, and video interviews with Soundtracks artists.
Reigniting Perception: Runa Islam and Artists' Film
Contributor, Spring 2017 issue of VoCA Journal
Public Works: Artists' Interventions 1970s to Now
Edited by Christian L. Frock and Tanya Zimbardo.
Essays by Christian L. Frock and Tanya Zimbardo; with conversational texts featuring María del Carmen Carrión, Courtney Fink, Leila Grothe, Valerie Imus, and Meredith Johnson
Published by Mills College Art Museum, 2015
136 pages, illustrated throughout
Book available for purchase from Mills College Art Museum
Free e-book available for download here
[Cover image: Bonnie Ora Sherk, Sitting Still series, 1970]
Essays by Christian L. Frock and Tanya Zimbardo; with conversational texts featuring María del Carmen Carrión, Courtney Fink, Leila Grothe, Valerie Imus, and Meredith Johnson
Published by Mills College Art Museum, 2015
136 pages, illustrated throughout
Book available for purchase from Mills College Art Museum
Free e-book available for download here
[Cover image: Bonnie Ora Sherk, Sitting Still series, 1970]
Equilibrium: A Paul Kos Survey
Co-author with Amy Owen, essay for exhibition brochure. Published by di Rosa Center for Contemporary Art, Napa, 2016. Design: Jon Sueda / Stripe SF; Editing: Lindsey Westbrook; Printing: Solstice Press, Oakland.
Sunlight and Shadows: Al Wong in Conversation
Guest contributor, republished interview with Al Wong about his film "Same Difference" (1975), which features an accompanying soundtrack by Terry Fox.
In "Terry Fox: Elemental Gestures."
Edited by Arnold Dreyblatt, Angela Lammert. Published by Verlag Kettler, 2016.
In "Terry Fox: Elemental Gestures."
Edited by Arnold Dreyblatt, Angela Lammert. Published by Verlag Kettler, 2016.
Conversation with Steve Seid
Author; Art Practical, published on March 2015. Part of the series Studio Sessions.
With Bruce Conner: A 1984 Interview in REVERSAL
Author / Contributor, OtherZine, Fall 2016 Issue #31
"Bruce Conner was there the night of July 12,1981 when a group of Bay Area filmmakers pulled the plug on the Cinematheque’s program and took over the screening. The “Emergency Filmmakers” largely took issue with how their short films weren’t being shown or were relegated to the Emerging Filmmakers series. While this legendary action mobilized by [Dean] Snider did precipitate a few changes at the Cinematheque, the energy fueled a desire for a more open space with the ethos of being free and fun.
No Nothing Cinema was founded a year later in San Francisco’s South of Market neighborhood. The flyer for its inaugural “Independents Day” screening underscored “No censorship, no cross, no crown, hot barbeque, cold drinks.”..."
Republished "With Bruce Conner" by Kayhan Ghodsi, which originally appeared in 1984 in the zine REVERSAL.
"Bruce Conner was there the night of July 12,1981 when a group of Bay Area filmmakers pulled the plug on the Cinematheque’s program and took over the screening. The “Emergency Filmmakers” largely took issue with how their short films weren’t being shown or were relegated to the Emerging Filmmakers series. While this legendary action mobilized by [Dean] Snider did precipitate a few changes at the Cinematheque, the energy fueled a desire for a more open space with the ethos of being free and fun.
No Nothing Cinema was founded a year later in San Francisco’s South of Market neighborhood. The flyer for its inaugural “Independents Day” screening underscored “No censorship, no cross, no crown, hot barbeque, cold drinks.”..."
Republished "With Bruce Conner" by Kayhan Ghodsi, which originally appeared in 1984 in the zine REVERSAL.
West Coast Visions
Author; Contributed catalogue essays on Steina and Bill Viola.
Published by Borusan Contemporary, Istanbul.
Published by Borusan Contemporary, Istanbul.
Dennis Leon: Site Works in the Bay Area
Author, SFMOMA Open Space, January 6, 2014.
"It is with great pleasure that Open Space is reproducing online for the first time select documentation by Dennis Leon (1933–1998) of the majority of his environmental sculptures. With deepest thanks to Christin Nelson."
"It is with great pleasure that Open Space is reproducing online for the first time select documentation by Dennis Leon (1933–1998) of the majority of his environmental sculptures. With deepest thanks to Christin Nelson."
Receipt of Delivery
Columnist, SFMOMA Open Space. Conceived of "Receipt of Delivery" a weekly series (2012-14) featuring Bay Area exhibition mailers selected from the SFMOMA Research Library’s unprocessed collection of artists’ ephemera.
Magic Is Everywhere: Mel Henderson (1922-2013)
Author; SFMOMA Open Space, December 4, 2013
"Mel Henderson welded shut the locked doors of the Berkeley Gallery in San Francisco’s South of Market neighborhood on the advertised opening night of June 3, 1969. The gallery inside was left visibly empty. The exhibition was on the outside: thirteen searchlights installed along every other block of Market Street, from the Ferry Building to the foot of Twin Peaks. Each searchlight turned to the sky was manned by professional attendants and directed by groups of participants, the beams intersecting with two planes hired to fly low overhead, one towing flares. Discussing with the San Francisco Chronicle that evening how the searchlights were the event itself, Henderson declared, “The gallery no longer serves an important purpose. The thing is for people to see how the environment can be changed, how it can be beautiful...”
"Mel Henderson welded shut the locked doors of the Berkeley Gallery in San Francisco’s South of Market neighborhood on the advertised opening night of June 3, 1969. The gallery inside was left visibly empty. The exhibition was on the outside: thirteen searchlights installed along every other block of Market Street, from the Ferry Building to the foot of Twin Peaks. Each searchlight turned to the sky was manned by professional attendants and directed by groups of participants, the beams intersecting with two planes hired to fly low overhead, one towing flares. Discussing with the San Francisco Chronicle that evening how the searchlights were the event itself, Henderson declared, “The gallery no longer serves an important purpose. The thing is for people to see how the environment can be changed, how it can be beautiful...”
Manitoba Museum of Finds Art: Interview with Alberta Mayo
Author, SFMOMA Open Space, November 7, 2011.
"f you had visited the waiting area of the directors’ offices at SFMOMA between 1975 and 1978, you would have encountered an exhibition not advertised on the museum’s official schedule: one of the 23 shows organized by Alberta Mayo under the auspices of the Manitoba Museum of Finds Art (MMOFA). Mayo, then assistant to Director Henry Hopkins and Deputy Director Michael McCone, directed her own museum within “the other museum,” turning her administrative space into the venue for a range of solo and group exhibitions by artists who — with a few exceptions, like Sol LeWitt — were largely under SFMOMA’s programming rada..."
"f you had visited the waiting area of the directors’ offices at SFMOMA between 1975 and 1978, you would have encountered an exhibition not advertised on the museum’s official schedule: one of the 23 shows organized by Alberta Mayo under the auspices of the Manitoba Museum of Finds Art (MMOFA). Mayo, then assistant to Director Henry Hopkins and Deputy Director Michael McCone, directed her own museum within “the other museum,” turning her administrative space into the venue for a range of solo and group exhibitions by artists who — with a few exceptions, like Sol LeWitt — were largely under SFMOMA’s programming rada..."
Proto-Stairwell’s: Jim Melchert’s Location Project #10
Guest contribution to the blog of the collaborative social practice project Stairwell's (co-founded by Carey Lin and Sarah Hotchkiss). March 13, 2014.
"Descending along the sidewall of the Paramount Theatre in Oakland, the emergency exit stairs played a starring role in Jim Melchert’s outdoor Location Project #10 (November 1974). The Oakland-based artist shot various angles of the structural elements of this south wall from the parking lot below. For approximately two hours each night for a week, he projected a different color slide transparency onto the movie palace from the location of the Capwell’s department store (now Sears) facing opposite. Five of the seven daytime images he used to activate the site feature the elegant form of the stairs and its shadows. He transposed these fragments of the exterior surface onto the building itself, establishing “a structure out of combined points of view.” This play between real and pictured space on one evening included an enlargement of his own silhouette photographing his shadow against the wall.
Melchert’s previous location projects consisted of indoor sequences of people, often other artist friends, moving in relation to the planes of a wall and floor, projected life-size onto the same wall where these participants had carried out an action. Location Project #10 expanded on that approach and combined it with an interest in how our perception reconciles two views of the same situation. The project was organized by The Oakland Museum as part of the offsite Environmental Events section of the exhibition Public Sculpture/Urban Environment (1974). Apart from a change in paint color, the Paramount’s façade seems unchanged nearly forty years later and holds the same possibility — a bare expanse for projection."
Photo: Jim Melchert, Location Project #10, from the Points of View series, Thursday, November 7, 1974; Paramount Theatre, Oakland; photo courtesy the artist; © Jim Melchert
"Descending along the sidewall of the Paramount Theatre in Oakland, the emergency exit stairs played a starring role in Jim Melchert’s outdoor Location Project #10 (November 1974). The Oakland-based artist shot various angles of the structural elements of this south wall from the parking lot below. For approximately two hours each night for a week, he projected a different color slide transparency onto the movie palace from the location of the Capwell’s department store (now Sears) facing opposite. Five of the seven daytime images he used to activate the site feature the elegant form of the stairs and its shadows. He transposed these fragments of the exterior surface onto the building itself, establishing “a structure out of combined points of view.” This play between real and pictured space on one evening included an enlargement of his own silhouette photographing his shadow against the wall.
Melchert’s previous location projects consisted of indoor sequences of people, often other artist friends, moving in relation to the planes of a wall and floor, projected life-size onto the same wall where these participants had carried out an action. Location Project #10 expanded on that approach and combined it with an interest in how our perception reconciles two views of the same situation. The project was organized by The Oakland Museum as part of the offsite Environmental Events section of the exhibition Public Sculpture/Urban Environment (1974). Apart from a change in paint color, the Paramount’s façade seems unchanged nearly forty years later and holds the same possibility — a bare expanse for projection."
Photo: Jim Melchert, Location Project #10, from the Points of View series, Thursday, November 7, 1974; Paramount Theatre, Oakland; photo courtesy the artist; © Jim Melchert
Terry Fox: Timbre
Author / Columnist in Residence; SFMOMA Open Space, March 13, 2013
"Thirty seven years ago on March 13, 1976, the then-San Francisco artist Terry Fox (1943–2008) performed Timbre for an audience at the Mountain Theatre at Mount Tamalpais. Fox’s text below on his SFMOMA offsite performance was originally published by the nonprofit La Mamelle (1975–1995) and illustrated with photo documentation by Tom Marioni. The following video stills were selected from a rare copy of the artist’s video documentation from our archives that I arranged to have digitally transferred."
"Thirty seven years ago on March 13, 1976, the then-San Francisco artist Terry Fox (1943–2008) performed Timbre for an audience at the Mountain Theatre at Mount Tamalpais. Fox’s text below on his SFMOMA offsite performance was originally published by the nonprofit La Mamelle (1975–1995) and illustrated with photo documentation by Tom Marioni. The following video stills were selected from a rare copy of the artist’s video documentation from our archives that I arranged to have digitally transferred."
2012 SECA Art Award: Zarouhie Abdalian, Josh Faught, Jonn Herschend, David Wilson
Author, with Jenny Gheith.
The 2012 SECA Art Award’s site-responsive projects, ranging from drawing to performance, sound, video, and sculpture, were on view during November 2013. The accompanying exhibition catalogue features interviews and texts by the award curators Jenny Gheith and Tanya Zimbardo, documentation of the commissions, as well as illustrations of previous work. Fold-out poster cover designed by David Wilson.
The 2012 SECA Art Award’s site-responsive projects, ranging from drawing to performance, sound, video, and sculpture, were on view during November 2013. The accompanying exhibition catalogue features interviews and texts by the award curators Jenny Gheith and Tanya Zimbardo, documentation of the commissions, as well as illustrations of previous work. Fold-out poster cover designed by David Wilson.
Fifty Years of Bay Area Art: The SECA Awards
Co-editor, with Alison Gass
Foreword by Neal Benezra; essays by Alison Gass and Tanya Zimbardo; additional contributions by Meredith George Van Dyke
168 pages, 199 illustrations, 8 ¼ x 10 inches, hardcover
Published in 2011
Since 1967, SECA — SFMOMA’s Society for the Encouragement of Contemporary Art — has honored the achievements of Bay Area artists through the biennial SECA Art Award. Published in honor of the group’s fiftieth anniversary, this book highlights work by every SECA award recipient through 2010, creating a fresh, multifaceted dialogue between the artists’ varied contexts and approaches. The plates are accompanied by insights from the artists, excerpts from periodicals and press releases, and essays by SECA Art Award curators Alison Gass and Tanya Zimbardo, which provide further illumination into the groundbreaking work presented throughout the award’s history.
Published on the occasion of the exhibition Fifty Years of Bay Area Art: The SECA Awards, held at the San Francisco Museum of Modern Art (December 9, 2011–April 3, 2012)
ISBN 9780918471895 (hardcover)
Foreword by Neal Benezra; essays by Alison Gass and Tanya Zimbardo; additional contributions by Meredith George Van Dyke
168 pages, 199 illustrations, 8 ¼ x 10 inches, hardcover
Published in 2011
Since 1967, SECA — SFMOMA’s Society for the Encouragement of Contemporary Art — has honored the achievements of Bay Area artists through the biennial SECA Art Award. Published in honor of the group’s fiftieth anniversary, this book highlights work by every SECA award recipient through 2010, creating a fresh, multifaceted dialogue between the artists’ varied contexts and approaches. The plates are accompanied by insights from the artists, excerpts from periodicals and press releases, and essays by SECA Art Award curators Alison Gass and Tanya Zimbardo, which provide further illumination into the groundbreaking work presented throughout the award’s history.
Published on the occasion of the exhibition Fifty Years of Bay Area Art: The SECA Awards, held at the San Francisco Museum of Modern Art (December 9, 2011–April 3, 2012)
ISBN 9780918471895 (hardcover)
Gerald Gooch, Richard Lowenberg, and Robert Moon on Baja (1974)
Author; SFMOMA Open Space, February 21, 2012
"In 1974 the San Francisco Museum of Art accepted an unusual exhibition proposal from Bay Area–based artists Robert Moon and Gage Taylor: along with artist friends Robert Fried, Gerald Gooch, Bill Martin, and Richard Lowenberg, Moon and Taylor would take a monthlong expedition to Baja, Mexico, covering 2,500 miles in two vans and a pickup truck..."
"In 1974 the San Francisco Museum of Art accepted an unusual exhibition proposal from Bay Area–based artists Robert Moon and Gage Taylor: along with artist friends Robert Fried, Gerald Gooch, Bill Martin, and Richard Lowenberg, Moon and Taylor would take a monthlong expedition to Baja, Mexico, covering 2,500 miles in two vans and a pickup truck..."
2010 SECA Art Award: Mauricio Ancalmo, Colter Jacobsen, Ruth Laskey, Kamau Amu Patton
Author. Foreword by Neal Benezra; texts and interviews with the artists by Apsara DiQuinzio and Tanya Zimbardo
36 pages, 22 illustrations, 7 ½ x 10 inches, softcover
Published in 2011
This publication highlights work by the recipients of the 2010 SECA Art Award, SFMOMA’s biennial award program honoring Bay Area artists. The four winners of the 2010 award — Mauricio Ancalmo, Colter Jacobsen, Ruth Laskey, and Kamau Amu Patton — utilize diverse media to explore themes ranging from human partnership to memory. Along with illustrations of selected pieces included in the award exhibition and previous works by the artists, the catalogue features interviews and texts by curators Apsara DiQuinzio and Tanya Zimbardo.
Published on the occasion of the exhibition 2010 SECA Art Award: Mauricio Ancalmo, Colter Jacobsen, Ruth Laskey, Kamau Amu Patton, held at the San Francisco Museum of Modern Art (December 9, 2011–April 3, 2012)
ISBN 9780918471888 (softcover)
36 pages, 22 illustrations, 7 ½ x 10 inches, softcover
Published in 2011
This publication highlights work by the recipients of the 2010 SECA Art Award, SFMOMA’s biennial award program honoring Bay Area artists. The four winners of the 2010 award — Mauricio Ancalmo, Colter Jacobsen, Ruth Laskey, and Kamau Amu Patton — utilize diverse media to explore themes ranging from human partnership to memory. Along with illustrations of selected pieces included in the award exhibition and previous works by the artists, the catalogue features interviews and texts by curators Apsara DiQuinzio and Tanya Zimbardo.
Published on the occasion of the exhibition 2010 SECA Art Award: Mauricio Ancalmo, Colter Jacobsen, Ruth Laskey, Kamau Amu Patton, held at the San Francisco Museum of Modern Art (December 9, 2011–April 3, 2012)
ISBN 9780918471888 (softcover)
San Francisco Museum of Modern Art 360°: Views on the Collection
Contributor. Texts on works by Hans Haacke, Harrell Fletcher & Miranda July, Howard Fried, Douglas Gordon, Anthony McCall.
Edited by Judy Bloch and Suzanne Stein
Contributions by Robert Adams, Hilton Als, Stephen Arkin, Joseph Becker, Dodie Bellamy, Neal Benezra, Andrew Berardini, Bill Berkson, Janet Bishop, Julia Bryan-Wilson, Aric Chen, George Chen, Juliet Clark, Norma Cole, Jaime Cortez, Jill Dawsey, Joseph del Pesco, Apsara DiQuinzio, Chris Downey, Jennifer Dunlop Fletcher, Geoff Dyer, Rachel Federman, Rudolf Frieling, Gary Garrels, Jenny Gheith, Tyler Green, grupa o.k. (Julian Myers and Joanna Szupinska), Caitlin Haskell, Marvin Heiferman, Glen Helfand, Justin Hoover, Erin Williams Hyman, Shannon Jackson, Rachel Jans, Drew Heath Johnson, Jordan Kantor, Douglas Kearney, Corey Keller, Arnold Joseph Kemp, Kevin Killian, Wayne Koestenbaum, Kerry Laitala, Constance Lewallen, Greil Marcus, Leo G. Mazow, David Meckel, Kate Mendillo, Douglas R. Nickel, Erin O’Toole, Sandra S. Phillips, Kent Roberts, Sarah Roberts, Frank Smigiel, Chris Sollars, Stephanie Syjuco, Margaret Tedesco, Henry Urbach, Anne M. Wagner, Dominic Willsdon, and Tanya Zimbardo
360 pages, 237 illustrations, 7 ½ x 10 ½ inches, softcover
Published in 2016
This companion to SFMOMA’s collection features 208 works chosen by the museum’s curators for their cultural — and sometimes personal — significance. The publication explores these highlights through striking images, new and original texts by curators, and creative responses by artists, poets, historians, and filmmakers, among others. Showcasing selections from all four departments of the museum, this book presents new perspectives on individual works, inviting readers to step in, circle round, and get to know one of the world’s premier collections of modern and contemporary art.
Published on the occasion of the museum’s 2016 opening following a major expansion
ISBN 9780918471932 (softcover)
Edited by Judy Bloch and Suzanne Stein
Contributions by Robert Adams, Hilton Als, Stephen Arkin, Joseph Becker, Dodie Bellamy, Neal Benezra, Andrew Berardini, Bill Berkson, Janet Bishop, Julia Bryan-Wilson, Aric Chen, George Chen, Juliet Clark, Norma Cole, Jaime Cortez, Jill Dawsey, Joseph del Pesco, Apsara DiQuinzio, Chris Downey, Jennifer Dunlop Fletcher, Geoff Dyer, Rachel Federman, Rudolf Frieling, Gary Garrels, Jenny Gheith, Tyler Green, grupa o.k. (Julian Myers and Joanna Szupinska), Caitlin Haskell, Marvin Heiferman, Glen Helfand, Justin Hoover, Erin Williams Hyman, Shannon Jackson, Rachel Jans, Drew Heath Johnson, Jordan Kantor, Douglas Kearney, Corey Keller, Arnold Joseph Kemp, Kevin Killian, Wayne Koestenbaum, Kerry Laitala, Constance Lewallen, Greil Marcus, Leo G. Mazow, David Meckel, Kate Mendillo, Douglas R. Nickel, Erin O’Toole, Sandra S. Phillips, Kent Roberts, Sarah Roberts, Frank Smigiel, Chris Sollars, Stephanie Syjuco, Margaret Tedesco, Henry Urbach, Anne M. Wagner, Dominic Willsdon, and Tanya Zimbardo
360 pages, 237 illustrations, 7 ½ x 10 ½ inches, softcover
Published in 2016
This companion to SFMOMA’s collection features 208 works chosen by the museum’s curators for their cultural — and sometimes personal — significance. The publication explores these highlights through striking images, new and original texts by curators, and creative responses by artists, poets, historians, and filmmakers, among others. Showcasing selections from all four departments of the museum, this book presents new perspectives on individual works, inviting readers to step in, circle round, and get to know one of the world’s premier collections of modern and contemporary art.
Published on the occasion of the museum’s 2016 opening following a major expansion
ISBN 9780918471932 (softcover)
75 Years of Looking Forward
Contributor. Essay, "Video City: A New Medium in the Museum," and texts on Howard Fried, Hans Haacke, Douglas Gordon.
Edited by Janet Bishop and Sarah Roberts.
A comprehensive record of the museum's evolution, from its founding in 1935 to the present. Among the highlights are Jackson Pollock's first solo exhibition in 1945, Robert Rauschenberg's early work, and the extensive collection of early landscape photography in the West. The book includes more than 300 large-scale plates and 50 text entries on individual works, with special emphasis on art unique to the Bay Area.
Paperback, 448 pages, 2010.
10" x 1.2" x 12"
Edited by Janet Bishop and Sarah Roberts.
A comprehensive record of the museum's evolution, from its founding in 1935 to the present. Among the highlights are Jackson Pollock's first solo exhibition in 1945, Robert Rauschenberg's early work, and the extensive collection of early landscape photography in the West. The book includes more than 300 large-scale plates and 50 text entries on individual works, with special emphasis on art unique to the Bay Area.
Paperback, 448 pages, 2010.
10" x 1.2" x 12"
Jim Pomeroy – Viewing the Museum: The Tale Wagging the Dog
Guest author, SFMOMA Open Space, October 5, 2009.
"Thirty years ago this fall the artist Jim Pomeroy and SFMOMA curator Suzanne Foley were corresponding about his proposal to include his text “Viewing the Museum: The Tale Wagging the Dog” in her survey of 1970s Bay Area conceptual and performance practices, Space/Time/Sound. In light of recent discussions on Open Space about the New Langton Arts crisis and the role of nonprofit arts organizations, Tanya Zimbardo, Assistant Curator of Media Arts, here revisits Pomeroy’s analysis of modern art museums vs. artists’ spaces. Wonderfully, we are also able to present for the first time a downloadable PDF of his original text and images of their letters." -- Suzanne Stein, founding editor, Open Space
"Thirty years ago this fall the artist Jim Pomeroy and SFMOMA curator Suzanne Foley were corresponding about his proposal to include his text “Viewing the Museum: The Tale Wagging the Dog” in her survey of 1970s Bay Area conceptual and performance practices, Space/Time/Sound. In light of recent discussions on Open Space about the New Langton Arts crisis and the role of nonprofit arts organizations, Tanya Zimbardo, Assistant Curator of Media Arts, here revisits Pomeroy’s analysis of modern art museums vs. artists’ spaces. Wonderfully, we are also able to present for the first time a downloadable PDF of his original text and images of their letters." -- Suzanne Stein, founding editor, Open Space
100 Video Artists
Contributor, text plate on Bruce Nauman.
Life to the power of n: Lynn Hershman Leeson
Contributor.
Life to the power of n is a new monograph on the work of artist Lynn Hershman Leeson, released in conjunction with the year-long, joint exhibition of the same name, and co-published by Gallery Paule Anglim, San Francisco, and bitforms gallery, New York, in partnership with The Hess Collection. The San Francisco Museum of Modern Art (SFMOMA) is pleased to announce Life to the power of n or, life to the power of infinity, a series of exhibitions highlighting the work of Lynn Hershman Leeson that will take place throughout the Bay Area in 2008. Internationally recognized as one of the most influential among San Francisco based media artists, Hershman Leeson has shaped the history of contemporary art in the Bay Area since the early 1970s. This collaborative survey of the artist's past and current projects is a joint effort among local institutions and art collections; it will feature six presentations over the course of the year, individually organized by each participating venue but jointly promoted under the title of Life to the power of n. For more than three decades Hershman Leeson has worked in a variety of media, including performance, photography, video, installation, artificial intelligence and the internet, and feature film. Re-examining the artist's pioneering contributions to contemporary art, Life to the power of n revisits early site-specific installations and groundbreaking experiments in alternative art spaces. It also features new commissions. Common denominators among the individual presentations are the artist's reconfiguration of historic and archival material, as well as her incorporation of user participation through new online platforms such as Second Life. Life to the power of n<i/> proposes that there is not just one real life and one virtual life, but potentially endless manifestations of life and art that combine and mutate into hybrid forms of exhibition display, performance, online communities, interactive interfaces, user-generated content, and public screenings. Life to the power of n was initiated by SFMOMA and coordinated by Rudolf Frieling, the museum's curator of media arts. The project is jointly organized by the UC Berkeley Art Museum and Pacific Film Archive, the de Young Museum, The Hess Collection, New Langton Arts, SFMOMA, and 01SJ A Global Festival of Art on the Edge at the San Jose Museum of Art.
Life to the power of n is a new monograph on the work of artist Lynn Hershman Leeson, released in conjunction with the year-long, joint exhibition of the same name, and co-published by Gallery Paule Anglim, San Francisco, and bitforms gallery, New York, in partnership with The Hess Collection. The San Francisco Museum of Modern Art (SFMOMA) is pleased to announce Life to the power of n or, life to the power of infinity, a series of exhibitions highlighting the work of Lynn Hershman Leeson that will take place throughout the Bay Area in 2008. Internationally recognized as one of the most influential among San Francisco based media artists, Hershman Leeson has shaped the history of contemporary art in the Bay Area since the early 1970s. This collaborative survey of the artist's past and current projects is a joint effort among local institutions and art collections; it will feature six presentations over the course of the year, individually organized by each participating venue but jointly promoted under the title of Life to the power of n. For more than three decades Hershman Leeson has worked in a variety of media, including performance, photography, video, installation, artificial intelligence and the internet, and feature film. Re-examining the artist's pioneering contributions to contemporary art, Life to the power of n revisits early site-specific installations and groundbreaking experiments in alternative art spaces. It also features new commissions. Common denominators among the individual presentations are the artist's reconfiguration of historic and archival material, as well as her incorporation of user participation through new online platforms such as Second Life. Life to the power of n<i/> proposes that there is not just one real life and one virtual life, but potentially endless manifestations of life and art that combine and mutate into hybrid forms of exhibition display, performance, online communities, interactive interfaces, user-generated content, and public screenings. Life to the power of n was initiated by SFMOMA and coordinated by Rudolf Frieling, the museum's curator of media arts. The project is jointly organized by the UC Berkeley Art Museum and Pacific Film Archive, the de Young Museum, The Hess Collection, New Langton Arts, SFMOMA, and 01SJ A Global Festival of Art on the Edge at the San Jose Museum of Art.
Camerawork Journal
Contributor, book review “Blonde on Bot,” Camerawork: Fall/Winter 2006, Volume 33, No. 2.
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