Suprises beyond the master

The "Matisse: Painter as Sculptor" exhibit at the SFMOMA (ongoing until September 13th) just didn't do it for me. But I should say upfront that I'm not a *huge* Matisse fan to being with - in his more well known role as a painter, or otherwise. The weekend crowds (relatively-speaking, anyway) and hubbub didn't help (for this type of show; when I'm in the mood, I sure do like a crazy opening).

That said, I thought it *was* a well-put-together exhibition in an academic sense: thorough and researched, this was sure and apparent. Sculptural works - mostly from Matisse, but a few from other related artists - were placed among a multitude of related artistic devices in all manner of media; commentary by the curator(s) abounded (scripted - on the walls, or sonant - in your ears). The scope of his work, in form, in interval, and in occasion, reminded me of my ignorance of art history. The man was surely a huge and important figure, pushing modern art boundaries at the start of the century.

But, again, it wasn't for me. In short, I could appreciate the care and the positioning of the works, but the whole didn't hit me on a pure enjoyment level (which is where I usually need art to hit me, given my aforementioned lack of edumacation). Actually, in this way, the show reminded me of the Picasso exhibit they had up a few months ago.

Still, there were some unexpected surprises.

I would say to check out the Felix Schramm installations on the same floor (good thing they were on the same floor or else I probably wouldn't have seen them; you know how I only like to visit one floor of a museum at a time!). They struck me in sort of the same way as the Richard Serra pieces at the MOMA in New York City insofar that they play with (i.e. fuck with) your sense of space and personal balance, albeit in a much different medium. Both created pieces that made me slightly uncomfortable on a very primal level (at first, but then, of course, you snap back to the fact that you're in a sterile and eminently safe museum setting - haha); the walls are broken and they are falling in! For the most part, he uses typical and thoroughly modern (i.e. "disposable") building materials, drywall and 2x4's and so forth; this was actually more refreshing than seeing something done with a more "permanent" medium (ex. rock or steel or lead). And, in whole, the installations seemed to be timely: images of the destruction of our houses and infrastructure made out of this stuff stuff (i.e. via war, via hurricane, etc.) are everywhere, left and right. Our land - but moreso "someone else's" land - is topsy and turvy, broken and twisted.

I would also direct you to the projection-based work of Anthony McCall, "You and I, Horizontal"; find it at the top of the 4th floor stairs (as if there was any doubt now); walk straight ahead. It certainly was the most playful work I've come into contact with in awhile (although that might change with the upcoming Olafur Eliasson exhibition this coming month). I won't spoil the experience, but suffice to say that the room is dark (go in; go in!), and the experience is hypnotizing (if you let it be). It was fun to see a bunch of random folks chillin' on the floor; others were trying to catch or manipulate the lights beams as they crossed the room. It still makes me smile to think about it; the sculpture is made out of "nothing". I'm not sure the scene was what the artist had in mind, but sometimes these things develop in unexpected ways.. and that must be pleasing: your art is alive and subject to the swish and sway of the wild!