The San Francisco Museum of Modern Art was the first museum on the west coast dedicated to 20th century art. It first opened in 1935 but underwent a major renovation and opened a new museum facility designed by renowned Swiss architect Mario Botta in January of 1995. Botta used a lot of historical influences, but the most prevalent is definitely the influence of Roman architecture.
The two most obvious arguments for that are the fact that the building is a civicly themed building and the fact that it dominates the surrounding area. But some the other arguments that can be made are the size and shape, and the unusual addition of an oculus in the roof. It also fits into the grid of the city streets surrounding it, much in the way Romans organized their buildings.
The San Francisco Museum of Modern Art (hereafter referred to as the SFMOMA) is most defiantly a civicly oriented building. Museums usually are, as they hold treasures for the people of the city to admire, but the SFMOMA goes beyond that. It is a symbol of pride for the people of San Francisco, and is known throughout the country as such. It was called "A vibrant new heart for art in San Francisco," by Morton Beebe in Smithsonian Magazine, July 1995.
Millions of people go through the doors to see the constantly changing exhibitions in the many galleries. As the meuseuem was being renovated, this was probably a consideration. So, taking in to account that people would come from around the world to see not only what was inside, but the building itself, Botta designed a structure that was not only efficient, but pleasing to view as well. That is why the SFMOMA is a civicly themed building.
The SFMOMA most definitely dominates the surrounding landscape. The color alone makes it stand out from the background. The vibrant brick façade is a visual shocker when viewed against the bland grays of the adjacent buildings and even the liquid blue (and often times gray) sky. As a viewer standing on the street, looking up at the building, you are suddenly forced to forget about any other structure. Even the skyscrapers past Market that can be seen in the background, seem to fade away and become just a washed canvas a upon which the subject is set. I personally have become distracted a number of times while driving past it in the heavy traffic, only to be brought back to reality by the sound of impatient horns behind me.
The building itself brings to mind ancient Roman structures such as the Sanctuary of Fortuna Primigenia and the Ara Pacis Augstae. The shape of the building makes you feel like you're climbing a mountain, just by looking at it. An implied slope draws you gaze upward to the oculus skylight and even up further to the heavens. Controlling the viewers gaze was a common theme in Roman architecture. Techniques used in the design of the SFMOMA were also used in the afore mentioned examples.
A seldom talked about feature in the SFMOMA that relates to Roman architecture, is the way the interior is designed. Very organized and very efficient in getting people to the galleries and moving them around to the next one. It brings to mind the way the Coliseum was designed. Maximum efficiency for the masses going through the structure.
After going up the staircase to the first level, one has the option of going either direction to see the many galleries, all which are given equal visibility. The galleries flow around in a circle and bring you back to the staircase, where you are to go up a level and follow the same movements. It should be noted that although a person as the choice of going left or right after exiting the staircase, the majority of the people seem to flow to the right, as the building draws you that way. It's seems that there is another more subliminal method for keeping foot traffic moving.
The SFMOMA is also laid out on a grid, much like the Romans organized their buildings, though this was more likely a requirement that a stylistic choice. In any major metropolitan area, the buildings and streets are laid out on a grid, as it is the most efficient way to move people around from one place to another. The SFMOMA simply fits into this pre-established grid, that was set in the early days of San Francisco. It's placement as part of this grid allows accessibility from all directions. Not amazingly, the grid pattern for city streets was also employed by the Romans.
The final and most famous part of the SFMOMA that equates it to ancient Roman architecture is the oculus. An unusual addition, the oculus skylight it the main source of natural light inside the museum, as well as being a ascetically pleasing sight on the outside. The oculus was most famously used in the Pantheon, where it provided light to the interior and gave visitors an opportunity to gaze outward, to the heavens. It is this addition that has transformed the SFMOMA from a mere art museum to a worldwide landmark.
Mario Botta's renovation to the SFMOMA created not only a landmark, but a modern glimpse to the ancient architectural masterpieces of Rome. The current incarnation of the west coast's first museum dedicated to modern art is sure to stand for many years to come in the new millennium, and is also likely
“Arise Ye Wretched of the Earth” is a painting done in oils by Hung Liu in 2007. It is painted on canvas, which is about 6.8x6.5 feet in size. The total scale seems as big as a king size bed. The whole painting can be seen as a screen shoot because there are two brown painted strips (the upper strip is about 0.5x6.5 feet in size and the lower one is about 1.1x6.5 feet in size) cropping horizontally at the top and the bottom. This makes the painting vivid, and drags viewers’ attention, making viewers focus on the content in between the painted strips.
When taking a general look at the painting, it is about several females, supporting each other, floating in the sea or river. Everything is covered by muddy, bloody color, which brings a sense of dirty and messy. However, if viewers investigate it deeper, it turns out to be more organized and powerful.
The painting in between the two strips can be divided into three spaces, which are foreground, middle ground, and background. There is a horizontal border separating foreground and middle ground. The border separating middle ground and background turns out to be slightly diagonal and curved. The water fills up everywhere in the foreground, which holds ½ of the painting. Also, in the background, which holds about ¼ of the painting, there is filled up with painted water except the upper left corner where left a tiny triangle looked like a part of the shore. In the middle ground, there are eight female figures lined up in a horizontal row, floating in the water. They are holding and supporting each other by hands. The first and second woman (count from left to right) are smiling and facing the southeast. They are helping each other by bending one’s arm round other’s shoulder. The third woman is over lapped by the forth one. Their eyes all close tightly, face the north.
A couple of weeks ago, I went to the San Francisco’s Museum of Modern Art and visited the second floor room 204. The gallery called Jaquelin H. Home had a collection of Latin America Modernism. One of the works in the gallery was from Frida Kahlo, Manuel Rodriguez Lozano, Joaquin Torres Garcia and Diego Rivera. All of these works are painted on oil on canvas and tempera on Masonite. Kahlo’s painting caught my attention and I picked it because I consider her work relevant.
It is a perfect place for visitors to consider the collections of Latin America Modernism because it has long been a core area of emphasis within SFMOMA’s collection. Albert Bender, a founding trustee of the museum, was passionate about Mexican artists and was instrumental in bringing Diego Rivera to San Francisco in 1930 to paint murals at the San Francisco Art Institute and the Pacific Stock Exchange Luchcheon Club. When the museum opened its doors in 1935. Bender purchased Rivera’s newly completed The Flower Carrier, on view here, for the collection. The following year he donated the marriage portrait that Frida Kahlo painted of herself and Rivera. The bird at the top of the painting holds a banderole in its beak noting that the picture was painted in San Francisco, California for Albert Bender. The paintings of Kahlo and Rivera are joined in this gallery by those of their contemporaries, including Jose Clement Orozco and Rufino Tamayo. Works by other Latin American artists can be seen nearby with a more geometric abstract painting by the Uruguayan artist Joaquin Torres Garcia is included in the gallery focused on “Structures”, while Cuban artist Wilfredo Lam’s The Oracle and the Green Bird is presented in the adjacent gallery devoted to Surrealism.