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It’s true. (via SFMOMA | OPEN SPACE)

It’s true.

(via SFMOMA | OPEN SPACE)

An artist known for her magical and imaginative books Lilly (2005) and Canary (2007), Lieko Shiga was living in Kitagama, a small farming village roughly 50 miles from Fukushima, when the earthquake struck. She was working as the town’s photographer, documenting local history and making pictures inspired by her experiences. The village was devastated by the tsunami; more than fifty of its 400 residents were killed, and Shiga’s house, studio, and years’ worth of photographs were destroyed.  Read it all: SFMOMA | OPEN SPACE

An artist known for her magical and imaginative books Lilly (2005) and Canary (2007), Lieko Shiga was living in Kitagama, a small farming village roughly 50 miles from Fukushima, when the earthquake struck. She was working as the town’s photographer, documenting local history and making pictures inspired by her experiences. The village was devastated by the tsunami; more than fifty of its 400 residents were killed, and Shiga’s house, studio, and years’ worth of photographs were destroyed. 

Read it all: SFMOMA | OPEN SPACE

Chris Finley, Hobo Camp Out, No Tag-Backs, 2011. (via SFMOMA | OPEN SPACE)

Chris Finley, Hobo Camp Out, No Tag-Backs, 2011.

(via SFMOMA | OPEN SPACE)

Man With Lipstick, Flip Phone and Baby hand, After Patrick Nagel, circa 1980s. Read on: SFMOMA | OPEN SPACE

Man With Lipstick, Flip Phone and Baby hand, After Patrick Nagel, circa 1980s.

Read on: SFMOMA | OPEN SPACE

“How Ya Like Me Now?”  SFMOMA | OPEN SPACE

“How Ya Like Me Now?” 

SFMOMA | OPEN SPACE

Flashback to 1974, when SFMOMA sponsored 6 artists on a life changing trip from San Francisco to the Baja desert. Read the whole blog post: SFMOMA | OPEN SPACE

Flashback to 1974, when SFMOMA sponsored 6 artists on a life changing trip from San Francisco to the Baja desert. Read the whole blog post: SFMOMA | OPEN SPACE

“In Untitled (1976), a contact sheet of eleven photographs, Woodman physically articulates the experience of transition… Divided, her identity a blur, she is counterpoised between the past and the future. Standing before her photographs, suspended in a young adult purgatory I thought I would never leave, I felt the same way: illegible, pulled in two.” (via SFMOMA)

“In Untitled (1976), a contact sheet of eleven photographs, Woodman physically articulates the experience of transition… Divided, her identity a blur, she is counterpoised between the past and the future. Standing before her photographs, suspended in a young adult purgatory I thought I would never leave, I felt the same way: illegible, pulled in two.”

(via SFMOMA)

Hans Haacke, Blue Sail, 1964–65 Via Anne Ray’s Collection Rotation on Open Space, featuring a collection of works that amplify feelings of peace, calm, and joy [insert breath of fresh air here].

Hans Haacke, Blue Sail, 1964–65

Via Anne Ray’s Collection Rotation on Open Space, featuring a collection of works that amplify feelings of peace, calm, and joy [insert breath of fresh air here].

New Year, New Columnists on Open Space! Please welcome writer, curator, and educator Tirza True Latimer; artist Tucker Nichols; writer, editor, and U.K. transplant Tess Thackara; multidisciplinary artist Charlene Tan; and the illustrious Steven Wolf, former newspaper reporter, and the founder of Steven Wolf Fine Arts. (via SFMOMA | OPEN SPACE)

New Year, New Columnists on Open Space!

Please welcome writer, curator, and educator Tirza True Latimer; artist Tucker Nichols; writer, editor, and U.K. transplant Tess Thackara; multidisciplinary artist Charlene Tan; and the illustrious Steven Wolf, former newspaper reporter, and the founder of Steven Wolf Fine Arts.

(via SFMOMA | OPEN SPACE)

One on One: Thom Donovan on Matt Mullican The arbitrariness of the symbol = the arbitrariness of fashion, of design, of the built world = the arbitrariness of facts, of photographic light and perspective = the arbitrariness of “us,” of relation.   Read more on SFMOMA | OPEN SPACE

One on One: Thom Donovan on Matt Mullican

The arbitrariness of the symbol = the arbitrariness of fashion, of design, of the built world = the arbitrariness of facts, of photographic light and perspective = the arbitrariness of “us,” of relation. 

 Read more on SFMOMA | OPEN SPACE

From our 5 Questions interview with Ann Magnuson on SFMOMA’s blog, Open Space: Have you ever run out of money? Oh yes. When I was struggling in the East Village during the first “great” recession in the late ’70s and early ’80s I was constantly running out. That’s what happens when you reject the 9-to-5 world. You give up financial security for freedom from authority figures. But it’s very hard to sustain. (via SFMOMA | OPEN SPACE » Blog Archive » 5 Questions: Ann Magnuson)

From our 5 Questions interview with Ann Magnuson on SFMOMA’s blog, Open Space:

Have you ever run out of money?

Oh yes. When I was struggling in the East Village during the first “great” recession in the late ’70s and early ’80s I was constantly running out. That’s what happens when you reject the 9-to-5 world. You give up financial security for freedom from authority figures. But it’s very hard to sustain.

(via SFMOMA | OPEN SPACE » Blog Archive » 5 Questions: Ann Magnuson)

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