Drawing Complaint

2015 ◽  
Vol 1 (1-2) ◽  
pp. 84-107
Author(s):  
Tina Takemoto
Keyword(s):  
San Francisco ◽  
Large Scale ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Cultural Appropriation ◽  
Successes And Failures

Matthew Barney’s 2006 solo exhibition at the San Francisco Museum of Modern Art showcased large-scale sculptures, drawings, and photographs relating to his filmDrawing Restraint 9featuring the artist and his partner Björk on a whaling ship in Japan. This essay examines Barney’s neo-Orientalist project in light of cultural appropriation and discusses the author’s participation inDrawing Complaint: Memoirs of Björk-Geisha,a guerrilla art scheme to interrupt the exhibition opening. The successes and failures of this intervention are considered alongside other artistic practices that deploy disidentification and hyperracial drag to interrogate the consumption of exotic and erotic spectacles only to encounter further exotification or cooptation. This essay also reflects on the instability of disidentificatory interventionist tactics as well as the psychic and personal toll of embodying toxic representations especially for queer artists of color who deliberately perform their own racial and sexual abjection as a mode of critique.

Ahmad, Yousef (1955–)

2018 ◽  
Author(s):  
Samia Touati
Keyword(s):  
United States ◽  
Large Scale ◽  
Modern Art ◽  
Fine Arts ◽  
The United States ◽  
University Of California ◽  
Museum Of Modern Art ◽  
Art Appreciation ◽  
Master Of Fine Arts ◽  
Instrumental Role

A writer, an art advisor, and an artist, Yousef Ahmad has contributed significantly to the evolution of art in Qatar. Ahmad took upon himself the responsibility to document and archive the development of art in Qatar. Ahmad has developed an innovative style of calligraphic painting, whereby numerous letters and words are transformed into abstract signs and manifest abstract arrangements. Being more inclined to create large-scale works, Ahmad depicts Arabic words in their variety of shapes with a particular focus on the construction of his composition. In 1982, Ahmad traveled to the United States, where he received his Master of Fine Arts degree from Mills College, University of California. Following his return to Qatar, Ahmad taught art appreciation for more than twenty years at Qatar University, where he met His Excellency Sheikh Hassan bin Mohamed bin Ali Al Thani. Sharing an avid love for art with HE Sheikh Hassan, Ahmad has played an instrumental role in collecting a variety of artworks which constitute the major collections of Mathaf: Arab Museum of Modern Art and the Orientalist Museum. He also acted as the first director for Mathaf: Arab Museum of Modern Art, then named the Museum of Arab Art.

scholarly journals Doris Salcedo’s Melancholy Objects

2007 ◽  
Vol 5 (1) ◽  
Author(s):  
Vera Mackie
Keyword(s):  
San Francisco ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Museum Displays ◽  
Starting Point

This article takes Doris Salcedo's work 'Atrabiliarios' (held in the San Francisco Museum of Modern Art) as the starting point for a discussion of the mechanisms of melancholy and fetishism. This is linked to a discussion of the politics of looking, museum displays and memory.

“Enlightenment, Advertising, Education, Etc.”: Herbert Bayer the Museum of Modern Art's Road to Victory

October ◽  
2014 ◽  
Vol 150 ◽  
pp. 63-86
Author(s):  
Kristie La
Keyword(s):  
Native Americans ◽  
Large Scale ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Virgin Land ◽  
The Family ◽  
In The Beginning

“In the beginning was virgin land and America was promises.”2 So began the text panel located in the opening panorama of the photo exhibition Road to Victory: A Procession of Photographs of the Nation at War that the Museum of Modern Art organized in 1942 and circulated between 1943 and 1945. Years before Edward Steichen became curator of photography at MoMA and organized the global blockbuster exhibition The Family of Man, he combed government, press, and corporate archives to select the photographs for Road to Victory, his first curatorial project at the museum. Encircling the opening text were large photographic panels of picturesque landscapes, stern Native Americans, and a few buffalo. The largest panel—of pristine mountain valleys—was sixteen by twelve feet, making the viewer about the same height as the three portraits of Native Americans. Exhibition designer Herbert Bayer, recent Austrian émigré and former Bauhaus master, removed the walls from the second floor of the museum, using the large-scale photographs to structure the exhibition architecturally. Arranged in a semicircle, these opening panels welcomed the viewer and urged him to follow the curve into the exhibition.

The Artist Initiative at San Francisco Museum of Modern Art

2016 ◽  
Vol 61 (sup2) ◽  
pp. 24-28 ◽  
Author(s):  
Robin Clark ◽  
Michelle Barger
Keyword(s):  
San Francisco ◽  
Modern Art ◽  
Museum Of Modern Art
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