Afternoon at SFMoMA

Tuesday was the free admission day at SFMoMA (the first Tuesday of every month is no charge to get in there and see their exhibits). I’d been meaning to go check it out since I moved here but you know how it is, that first Tuesday comes around so fast every month and there’s always something else to do. So I hadn’t been there since moving here. In fact, I hadn’t been there since the very first time that I came to San Francisco back in 1998. At the time, I didn’t know anything about the city. I had a long weekend off of work (I was working at a bookstore at the time) and I got in my truck and drove until I ended up here. I saw some of the major tourist attractions (Pier 39, for example) and I saw the museum because I thought that’s what I should do while I was in the city.
The museum hasn’t changed much since that time, at least not from what I can recall. But that’s not a bad thing. It’s classic. It’s consistent. It’s a mixture of truly modern (made today) art and old favorites. The exhibit being highlighted there was “Matisse: Painter as Sculptor” - a series of sculptures and sculptural drawings by the painter and those who were working at the same time that he was. Rooms and rooms in the museum are filled with sculpture. Not the third floor though - the third floor is photography. There are several different rooms of photography there right now, mostly black and white. The in-motion photos taken by Martin Munkacsi were the ones that caught my eye. But I had trouble focusing on the images.
The truth is that I don’t particularly love art museums. I always think that I will because I enjoy galleries and museums are big versions of galleries, but I think the larger scale allows something to get lost for me. Picture after picture after picture hangs on the wall and it’s too much. It’s too difficult for me to get a sense of the overall body of work there because it’s just too large. It doesn’t matter that SFMoMA does a good job of setting up small rooms with a theme because I’m facing the barrage of a whole five-story museum of work. So although I enjoyed some of the art, I felt lost in there. Oddly, it was a large-scale installation piece that caught my attention, a piece that I’m not sure I would say I “liked” but which I definitely noticed. The artist is Felix Schramm and the drywall-based structures have this urban excavation feel to them. Perhaps their sheer size, the way the overwhelm and the room and command your attention, was what made them stand out to me. Whereas the paintings and sculptures got lost to the rooms, I could get lost in the installation.
Mostly, I sat on the benches provided by the museum and watched the people who come to see the exhibits there. People dressed like avante garde artists and hippie mothers and poetic students and travelers on vacation from somewhere not here and locals who have a Tuesday afternoon free. And then I wandered the city where the art is in motion.
