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(via SFMOMA | OPEN SPACE)

(via SFMOMA | OPEN SPACE)

To say that I get a kick out of 100 Boots would be to make a bad pun and besides, Antin’s photographic tale of unmanned footwear on the go, beyond being droll and endearing, is unsettling. When I first saw it, its antic clarity moved me almost to tears. Read more on OPEN SPACE Pictured: Eleanor Antin, 100 Boots Trespass, from the series 100 Boots, a set of 51 photo-postcards, 1971

To say that I get a kick out of 100 Boots would be to make a bad pun and besides, Antin’s photographic tale of unmanned footwear on the go, beyond being droll and endearing, is unsettling. When I first saw it, its antic clarity moved me almost to tears.

Read more on OPEN SPACE

Pictured: Eleanor Antin, 100 Boots Trespass, from the series 100 Boots, a set of 51 photo-postcards, 1971

Is this new digitized life so integrated that even to take photos of these digital spectators is to be a “digital spectator”? (via SFMOMA | OPEN SPACE)

Is this new digitized life so integrated that even to take photos of these digital spectators is to be a “digital spectator”?

(via SFMOMA | OPEN SPACE)

Today is International Workers’ Day. We’ve posted a selection of worker-related works from our permanent collection to our blog, so you can see just a few of the many angles from which artists have portrayed working men and women. Pictured here: Dorothea Lange’s Hoe Culture, Alabama (Tenant Farmer near Anniston), From the Resettlement Administration, 1936. Click here to see more artwork.

Today is International Workers’ Day. We’ve posted a selection of worker-related works from our permanent collection to our blog, so you can see just a few of the many angles from which artists have portrayed working men and women.

Pictured here: Dorothea Lange’s Hoe Culture, Alabama (Tenant Farmer near Anniston), From the Resettlement Administration, 1936.

Click here to see more artwork.

“Diary of a Crazy Artist: Is Ross Mirkarimi Really the Batman?” Read it on OPEN SPACE

“Diary of a Crazy Artist: Is Ross Mirkarimi Really the Batman?”

Read it on OPEN SPACE

Will Rogan, Untitled, from the series Public Sculpture, 2001 This balance of hope and disillusion feels especially poignant to me these days, as we try to excavate ourselves from the smoking rubble of our nuked economy, as we listen to the stomach-churning 2012 presidential campaign rhetoric, as we watch the glorious Arab Spring victories simmer down into the mundane phase of nation-building and democratic retooling… Read more: SFMOMA | OPEN SPACE

Will Rogan, Untitled, from the series Public Sculpture, 2001

This balance of hope and disillusion feels especially poignant to me these days, as we try to excavate ourselves from the smoking rubble of our nuked economy, as we listen to the stomach-churning 2012 presidential campaign rhetoric, as we watch the glorious Arab Spring victories simmer down into the mundane phase of nation-building and democratic retooling…

Read more: SFMOMA | OPEN SPACE

It’s true. (via SFMOMA | OPEN SPACE)

It’s true.

(via SFMOMA | OPEN SPACE)

Did Carleton Watkins’s photography save Yosemite, despite the fact that his life’s work burned in the 1906 San Francisco Earthquake? Read about it on OPEN SPACE. Pictured here: Carleton E. Watkins. Mt. Broderick, Nevada Fall, 700 ft., Yo Semite, 1861.

Did Carleton Watkins’s photography save Yosemite, despite the fact that his life’s work burned in the 1906 San Francisco Earthquake?

Read about it on OPEN SPACE.

Pictured here: Carleton E. Watkins. Mt. Broderick, Nevada Fall, 700 ft., Yo Semite, 1861.

Jess, The Mouse’s Tail, 1951/1954. Collage | gelatin silver prints, magazine reproductions, and gouache on paper. (via SFMOMA | OPEN SPACE)

Jess, The Mouse’s Tail, 1951/1954. Collage | gelatin silver prints, magazine reproductions, and gouache on paper.

(via SFMOMA | OPEN SPACE)

Pin boards exhibit photocopied images of more structures and objects; they are deliberately dark, sometimes undecipherable, haphazardly organized. Viewers can sit at a table and rifle through piles of photocopies and text and listen through headphones to Vonna-Michell performing disjointed, nonlinear narratives. All of this material, we are led to understand, has been generated by the artist’s pursuit to understand one historical event… Read more on OPEN SPACE

Pin boards exhibit photocopied images of more structures and objects; they are deliberately dark, sometimes undecipherable, haphazardly organized. Viewers can sit at a table and rifle through piles of photocopies and text and listen through headphones to Vonna-Michell performing disjointed, nonlinear narratives. All of this material, we are led to understand, has been generated by the artist’s pursuit to understand one historical event…

Read more on OPEN SPACE

The original plankers? Richard Peterson, Devo Planking! 1979, courtesy Gildar Gallery and Carmen Wiedenhoeft Gallery via Open Space

The original plankers?

Richard Peterson, Devo Planking! 1979, courtesy Gildar Gallery and Carmen Wiedenhoeft Gallery

via Open Space

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