Current Exhibitions

September 21, 2018 - January 19, 2019

No Time

Public Opening: Saturday, September 22, 5–8 pm

No Time explores human relationships to the natural world in the past, present, and future. The exhibition offers a playful speculation into our perceptions of what we call “nature” and our role in its transformation. In the context of current discussions around climate change, the works in No Time show how artists can reinterpret and reimagine the landscape.

No Time builds an imaginary environment inspired by the Moss People sculptures of Finnish contemporary artist Kim Simonsson, complemented by dozens of artworks drawn from the McEvoy Family Collection. Predominant in No Time are historical, modern, and contemporary photographs spanning more than 130 years, including works by Nobuyoshi Araki, Binh Danh, Mitch Epstein, Rodney Graham, Mike and Doug Starn, Carleton Watkins, and Francesca Woodman.

Also featured in the exhibition are works by: Ansel Adams, Diane Arbus, Paul Caponigro, Keith Carter, Gohar Dashti, John Divola, Lee Friedlander, Adam Fuss, Charles Gaines, Emmet Gowin, James Hoff, Graciela Iturbide, Keizo Kitajima, Lisa Kokin, Richard Learoyd, Terri Loewenthal, Goshka Macuga, Tony Matelli, Ralph Eugene Meatyard, Abelardo Morell, Taiyo Onorato and Nico Krebs (TONK), Trevor Paglen, Gordon Parks, Alison Rossiter, Rosana Schoijett, David Benjamin Sherry, Mark Steinmetz, Larry Sultan, Penelope Umbrico, Henry Wessel, Jr., Garry Winogrand, and Margo Woloweic.

The exhibition is presented in tandem with the Global Climate Action Summit and Coal + Ice.


September 21, 2018 - January 19, 2019

Take Only Memories, Leave Only Footprints

Curators’ Talk: Saturday, January 19, 2 – 4pm

No Time is accompanied by a daily program of videos presented in two alternating cycles: Take Only MemoriesLeave Only Footprints.

Seeing is a primary way of knowing, yet our vision is limited to our biological capabilities and temporal position. Long-term environmental changes and the influence of technological interventions are difficult to apprehend from any present moment. Cinema can, however, unlock the potential to both transcend our experience and transform our habitat. It allows us to see in supernatural time spans and at scales unavailable to the naked eye. This technology of image-making reveals deeper aesthetic truths behind the vistas. Film can track visions of our natural and built environments over time to preserve landscapes for future viewers. A prescription for appreciating these complex ecologies is “Take only memories, leave only footprints.”

Take Only Memories, Leave Only Footprints features works by Jeroen Cluckers, Daniel Crooks, Siegfried A. Fruhauf, Tanja Geis, Conner Griffith, Laura Kraning, Lois Patiño, Sabrina Ratté, Jan van IJken, Jane Veeder, and Liam Young. It is curated by Kathleen Maguire and Samuel Sharkey, Exploratorium, San Francisco and presented in conjunction with No Time, McEvoy Foundation for the Arts’s (MFA) exhibition that explores human relationships to the natural world in the past, present, and future. The program is organized in two alternating cycles, each beginning at the top of the hour in MFA’s Screening Room.

Image: Siegfried A. Fruhauf, still from Vintage Print, 2015 (detail). © sixpackfilm


Upcoming Exhibition

February 8, 2019 - May 4, 2019

True Blue Mirror: Ellen Berkenblit and Sarah Braman

Artists’ Talk: Ellen Berkenblit and Sarah Braman: Saturday, February 9, 3:30 – 5:00 pm

Opening Reception: Saturday, February 9, 5:00 pm – 8:00 pm

True Blue Mirror is the Bay Area premiere exhibition for artists Ellen Berkenblit and Sarah Braman, featuring recent works by the prolific, New York-based artists from the McEvoy Family Collection. The exhibition stages a theatrical dialogue between Berkenblit’s gestural, semi-abstract paintings and Braman’s blocky, quasi-mystical sculptures and environments.

True Blue Mirror brings together for the first time Braman’s sculptural animation of vernacular materials – camper shells, chairs, wallpaper – with Berkenblit’s boldly realized, often recurring cast of characters that are imbued with a Pop sensibility. Their pairing, Moore suggests, proposes an impromptu stage production of sorts, engaging Braman as set designer and Berkenblit as casting director. Juxtaposing the work of the artists – who had not met in person prior to formulating this exhibition – reveals correspondences in line, color, and composition, yet differences in scale and dimensionality, as reflected and refracted through the vision of the other. As an exercise in viewer speculation, True Blue Mirror explores surprising similarities, as well as surprises within the similar, in a combined body of work that is both exuberant and introspective.

Furthering MFA’s continued growth as a place of exploration for artists and visitors alike, the exhibition includes a selection of photographs chosen by the artists from the McEvoy Collection.

True Blue Mirror is curated by Kevin Moore.

Ellen Berkenblit (b. 1958) is a painter who lives and works in Brooklyn, New York. She studied painting at The Cooper Union and her work is in many museum collections, notably the Museum of Contemporary Art, Los Angeles; the Aspen Art Museum; the Whitney Museum of American Art; and The Museum of Modern Art, New York. Her first film, Ellen Berkenblit: Lines Roar, was shown at the Drawing Center, New York, in 2018.

Sarah Braman (b. 1970) is a sculptor who lives and works in Brooklyn, New York, and Amherst, Massachusetts. She grew up in Tonawanda, New York, and attended the Tyler School of Art,
Philadelphia, and the Maryland Institute College of Art, Baltimore. She had a solo exhibition at
the Museum of Fine Arts, Boston, in 2013, and her work Driving, sleeping, screwing, reading
(included in the present exhibition) was featured at the Massachusetts Museum of Contemporary Art, North Adams, in 2017.

Kevin Moore is a writer and curator based in New York. In addition to helping build the McEvoy Family Collection, he is the Artistic Director and Curator of FotoFocus, Cincinnati. Moore has produced numerous museum exhibitions and accompanying catalogues, most recently, Old Paris and Changing New York: Photographs by Eugène Atget and Berenice Abbott (Taft Museum of Art/Yale University Press, 2018), Mamma Andersson: Memory Banks (Contemporary Arts Center/Damiani, 2018), and “Emulsion Society,” in Lincoln Kirstein’s Modern (Museum of Modern Art, 2019).

Illustration by Jon Sueda