• Garry Winogrand, New York World’s Fair, 1964, gelatin silver print, 11 1/8 x 14".

    Garry Winogrand

    San Francisco Museum of Modern Art (SFMOMA)
    151 Third Street
    March 9–June 2, 2013

    Curated by Sarah Greenough, Erin O’Toole, and Leo Rubinfien

    It has been forty-six years since Garry Winogrand (1928–1984), America’s preeminent photographer of the social landscape, erupted out of moma’s epochal “New Documents” show. Winogrand’s métier was the urban ensemble, and no photographer had a better instinct for the found arabesque. Though only a fraction of Winogrand’s work was published during his lifetime, now his colleague and friend the photog- rapher Leo Rubinfien (with the help of O’Toole from SF moma and Greenough from the National Gallery of Art in Washington, DC) has selected more than three hundred photographs—one-third of which had never before been printed—to go on view. This major exhibition and catalogue promise to provide a revelatory time trip.

  • Lebbeus Woods, San Francisco Project: Inhabiting the Quake, Quake City, 1995, San Francisco. Rendering.

    “Lebbeus Woods, Architect”

    San Francisco Museum of Modern Art (SFMOMA)
    151 Third Street
    February 16–June 2, 2013

    Curated by Joseph Becker and Jennifer Dunlop Fletcher

    In 1995, Lebbeus Woods imagined San Francisco creatively transfigured by the very earthquakes that threaten it. These “Inhabiting the Quake” drawings depict an architecture that amplifies and arrests seismic forces, modeling them as arched, fractured, and splintered forms. SF MoMA’s major exhibition, which opens under the cloud of the architect’s recent death, will showcase these drawings in the city that inspired them, alongside works from thirty-five years of Woods’s speculative practice. The seventy-five drawings, collages, sketchbooks, and models on view address other cities whose infrastructures have been subjected to sometimes violent forces of change, Sarajevo, Zagreb, and Berlin among them. “War is architecture,” Woods once wrote. “Architecture is war.” Wielding pen and ink (and rarely seeking building commissions), this end-of-the-millennium Romantic proposed an architecture of conflict: between the static and the dynamic, the organic and the orthogonal, the constructive and the destructive forces shaping the city.