Rafael Lozano-Hemmer’s Frequency and Volume: Relational Architecture 9 is a lot of fun. It’s always a good thing when the museum is interactive and people get into it. For my part, it’s completely appropriate that I’d walk in and immediately get KNBR without even trying. And it’s probably good that no sporting event was playing at the time otherwise I may not have left. I’d be curious what happens in there on Super Bowl Sunday. I certainly hope there’s a good party.
The Logan Collection. This was interesting. Part of me liked seeing these and part of me is starting to become somewhat tired of individual collections which seem to be more along the lines of collecting “big names” rather than telling me anything about the art or really showing me anything new. That said, I can confirm that I’m a Rauschenberg fanboy. Especially his prints. I also really liked Fred Tomaselli’s Field Guides. I still don’t get Guston.* And I still can’t stand Koons though I’ve reached the point where he just makes me shake my head and laugh (admittedly, that may be his point).
*The one artist whose work I keep coming back to and keep failing to even understand why anyone thinks it’s worthwhile.
Paul Klee’s Circus. This was fun. I always enjoy the little Klee room. It was one of the few things I liked back when the second floor was kind of a bore* and I’m glad it’s still there. His color is always a treat. Pairing his line drawings with a Calder sculpture was inspired. It’s just a shame there aren’t more Calder wire sculptures available.
*Pre Anniversary Show, the second floor never changed, or at least, never felt like it changed. Most of it consisted of “common cards” from famous artists. The Rothko was still a highlight but the only other memorable piece was Michael and Bubbles. And yeah, my feelings about the museum were like my current feelings about the De Young.
I was very pleased to discover Ken Light’s work. As I’ve been spending more and more time in the valley, I find myself starting to think about photo projects there. I don’t have any specific projects other than documenting Lita’s neighborhood before it disappears. But it’s impossible to drive through and spend time with the people there and not see the possibilities. Ken Light’s work shows a lot of the things I’ve noticed.
I also too a quick walk through South Africa in Apartheid and After. The exhibition is good enough and powerful enough to warrant a second look. But I also wanted to look at the photo Ernest Cole took of the black nanny with a white baby. When I was thinking about the exhibition last time, I kept thinking of that one image and comparing it to the Robert Frank image of the same subject matter. They make an interesting pair and I’d like to see them together, without context, to see where people think they’re from. And what kind of person the identify as the photographer.