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Geneva Anderson digs into art

SFMOMA acquires Robert Arneson’s controversial George Moscone Bust, on view now at SFMOMA

Robert Arneson, Portrait of George (Moscone), 1981, glazed ceramic, 94 x 31.5 x 31.5 inches. SFMOMA purchase through Phyllis C. Wattis Fund for Major Accessions, acquisition made in memory of Jay Cooper. © Estate of Robert Arneson / Licensed by VAGA, New York, NY. Photo: courtesy Estate of Robert Arneson

A vital and once-controversial piece of San Francisco history has finally come home. On Friday, SFMOMA announced that it had acquired artist Robert Arneson’s Portrait of George (Moscone), 1981, a large-scale commemorative bust of former San Francisco Mayor George Moscone that incited great controversy when first commissioned and unveiled by the city more than 30 years ago. The famous bust was originally commissioned by The San Francisco Arts Commission as a public artwork for the Moscone Center in 1981. Portrait of George was to be the centerpiece of the Moscone Center, however, it was rejected due to controversial references to the 1978 assassinations of the Mayor and Supervisor Harvey Milk.

Robert Arneson’s Portrait of George not only marks an important moment in San Francisco’s history, but it also marks a turning point in Robert Arneson’s artistic trajectory.  After the rejection of Portrait of George, Arneson took a more critical, political direction in his work and he went on to create some of the most powerful expression of his career.  The bust went on view at SFMOMA on Friday, June 1, as part of an entire gallery devoted to Arneson’s work.

“Since becoming director at the museum in 2002, I have sought to acquire this important sculpture for San Francisco,” says SFMOMA Director Neal Benezra, who organized the exhibition Robert Arneson: A Retrospective in 1986 during his tenure as curator at the Des Moines Art Center and who has a longstanding commitment to supporting the artist’s work. “I could not be more pleased to finally share this cultural icon with the public and ensure its safekeeping in SFMOMA’s collection.”

Portrait of George (Moscone) was purchased for an undisclosed price through SFMOMA’s Phyllis C. Wattis Fund for Major Accessions; it comes from a private collection, in coordination with the artist’s estate, which is represented by George Adams Gallery in New York and Brian Gross Fine Art in San Francisco.

Complex History and Provocative Pedestal:  Robert Arneson took an unusual approach to the commemorative public sculpture by creating a portrait bust of Mayor Moscone that was not a straightforward likeness but the blend of caricature and portraiture consistent with Arneson’s signature style.  Early sketches of the proposed work were well received.  When the finished sculpture was unveiled at the Moscone Center inauguration on December 2, 1981, it struck a nerve with the public and its bold 58 inch tall pedestal, with its graffiti-like scrawls and 5 bullet holes, became a huge subject of controversy.

Arneson conceived the pedestal as part of the sculpture.  As the piece developed, he decided that rather than leaving it a neutral supporting element, it should come alive with words and images chronicling Moscone’s life.  Biographical references (“Hastings Law School” and “State Senate”) and some of Moscone’s favorite expressions (“Trust me on this one.” and “Are you having any fun?”) were unobjectionable.  Other inscriptions specific to events surrounding his assassination provoked controversy, such as references to Dan White’s murder weapon (“Smith and Wesson”), the dual slaying of the city’s first openly gay official (“Harvey Milk, too!” and “gay”), and White’s famous defense plea based on his penchant for binging on junk food (“Twinkies”), as well as “BANG, BANG, BANG, BANG, BANG” and depictions of blood-stained bullets.

By incorporating these elements Arneson had enriched the work to become more than just a personal memorial but a distillation of an unprecedented and intense moment in the city’s history.  The killings of two popular civic officials stunned a community that was still reeling from the Jonestown tragedy only two weeks earlier, when 900 members of the San Francisco–founded cult Peoples Temple committed mass suicide in Guyana.  Even for a city accustomed to political upheaval and violence, the deaths of Moscone and Milk were unrivaled civic blows. (Click here to read full SFMOMA press release which includes a description of  SFMOMA’s public advocacy for the artwork as then Mayor Dianne Feinstein called on the Arts Commission to reject the artwork.)

SFMOMA curator Gary Garrels tells the story of Robert Arneson’s infamous portrait of former San Francisco mayor George Moscone

Portrait of George (Moscone) joins 18 other sculptures and drawings by Arneson in SFMOMA’s collection.  Other major sculptures by Arneson in SFMOMA’s collection include Smorgi-Bob, the Cook (1971), California Artist (1982), Forge (1984), No Pain (1991), Chemo 1 (1992), and Chemo 2 (1992).  The collection contains several major drawings, including an eight-foot-high drawing Vertical George (1981), which is directly related to Portrait of George (Moscone). SFMOMA also organized and presented Robert Arneson: Self-Reflections (1997), a major survey exhibition of Arneson’s self-portraits.

Click here for a SFMOMA interactive feature created in 2007 about Arneson’s life and work—with audio and video clips, archival photographs, and documentation of the original Moscone bust controversy. (Part of SFMOMA’s Voices and Images of California Art, a series of interactive in-depth profiles of 11 of California’s most celebrated artists.)

Rene di Rosa connection:  The late Rene di Rosa, the Napa Valley grape grower and ebullient art collector whose di Rosa museum and sculpture preserve is world-renowned, was a friend of Robert Arneson. He met Arneson at UC Davis while he studying viticulture and Arneson was teaching art classes.  At the time of Arneson’s death in 1992 at age 62 from liver cancer, di Rosa owned 39 of Arneson’s artworks and had spoken frequently about his appreciation of Arneson’s humor and incisiveness as an artist.  He had watched Arneson’s career develop over a number of years from an artist who was initially reviewed in craft magazines because he was working in ceramics to a highly respected artist whose work garnered international attention.  Arneson’s San Francisco Chronicle obituary (11.4.1992) quoted di Rosa as recalling that “Mr. Arneson felt that the controversy around the Moscone bust ‘was politicized.  In that piece, Bob was setting out to state the facts of politics in a work of art.’   The di Rosa currently has a large Arneson ceramic bust, a self-portrait, on display in its main gallery.

Details:  SFMOMA is located at 151 Third Street, San Francisco, across from the Yerba Buena Center for the Arts.  Summer hours (Memorial Day to Labor Day): open daily (except Wednesdays): 10 a.m. to 5:45 p.m.; open late Thursdays, until 8:45 p.m.  General admission is $18—Thursday evenings admission is half-price. For more information, visit www.sfmoma.org.

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June 3, 2012 - Posted by | Art, SFMOMA | , , , , , , , , , , , , , , , ,

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