Park McArthur

SFMOMA

A straight-on view of a white entry wall to a museum gallery with light blonde wood floors and even lighting. The title of the exhibition, "New Work" and the artist's name, "Park McArthur" are installed on the wall in vinyl lettering, the title in grey and the artist's name in red, and both in the same thin, sans serif font. They are stacked one on top of the other and installed so that their left-most edges are flush with the edge of the wall. Beneath the title text is a box of exhibition brochures, and on the right side of the wall is a small rectangular work, its details too distant to make out.

A right-angle view of the entry wall with title, box of brochures, and small rectangular work visible. Through the opening on our right, hanging on the wall across from us, is a large, silver-metallic wall sculpture in the shape of a road sign or place marker without anything printed on its surface. It takes up about three fourths of the entire wall from top to bottom.

Close up view of a dark grey, rectangular granite block with the following words etched or printed onto its surface: "Thank you for stepping up and building our future SFMOMA"

Installation view of an open gallery space with light blonde wood floors, white walls, and track lighting. The view is from the front right corner to the back left corner. Small, framed pictures too distant to discern are interspersed between large, silver-metallic wall works shaped like highway signs or other public markers. The signs are blank, bearing no text or imagery.

Straight-on view of two works hung on a white wall. On our left is another small, granite block, but this one does not bear any inscription. On our right is a framed photograph with a thick white mat and a thin black frame of a sandy ground.

Close-up view of the blank, granite block with a wall label containing work details on our right. The label, or what's traditionally called a "tombstone," seems to have the exact same dimensions as the granite block.

Close-up view of the blank granite block where it's possible to see its veins and mottled, dark grey surface.

A photograph in a thin black frame with a thick white mat showing a shaded patch of sand with a bamboo mat and other wooden planks and boards strewn about on top of it. In the background is a pile of scrap wood, a semi-circle of tree stumps, and some grass lining the perimeter. A concrete sidewalk enters into the picture plane from the right side at a diagonal, ending in sand.

A close up of a photograph of a shaded patch of sand with a bamboo mat and other wooden planks and boards strewn about on top of it. In the background is a pile of scrap wood, a semi-circle of tree stumps, and some grass lining the perimeter. A concrete sidewalk enters into the picture plane from the right side at a diagonal, ending in sand.

Installation view facing the back wall of the gallery. On our left is a vertically-oriented, silver-metallic wall work consisting of three, horizontal rectangular panels stacked on top of one another. The remaining three silver-metallic wall works are horizontally-oriented rectangles. One hangs on the wall directly in front of us, and the other two are on the wall to our right. There are two small, framed photographs hanging to the right of the wall work on our left, and another small, framed photograph hanging to the left of the wall work directly in front of us.

Straight-on view of the vertically-oriented, silver-metallic wall work consisting of three, horizontal rectangular panels stacked on top of one another and the two small, framed photographs on its right. Each of the panels that make up the wall work has rounded corners and a smooth surface. The top panel has a decorative curve at the top, like something one might see on a historical place marker.

Straight-on view of the vertically-oriented, silver-metallic wall work consisting of four, horizontal rectangular panels stacked on top of one another. Each of the four panels that make up the work has rounded corners and a smooth surface. The top panel has a decorative curve at the top, like something one might see on a historical place marker.

Right-angle view of the vertically-oriented, silver-metallic wall work consisting of four, horizontal rectangular panels stacked on top of one another. Each of the four panels that make up the work has rounded corners and a smooth surface. The top panel has a decorative curve at the top, like something one might see on a historical place marker.

Straight-on view of two framed photographs installed side by side so that their right and left edges are touching. Both have thin, black frames and thick, white mats. The photograph on our left is a close-up view of the weather-worn surface of a faded red picnic table, a sunny patch of grass in the background. The photograph on our right shows more of the picnic table and the concrete slab on which it sits.

The photograph that is a close-up view of the weather-worn surface of a faded red picnic table, a sunny patch of grass in the background. On closer inspection, there is a carving of a star in the center of the table's surface indicating the cardinal directions with the letters N, S, W, and E.

The photograph that shows a mostly-full view of the picnic table and the concrete slab on which it sits, from a skewed side angle, so that both its base and surface are visible. It is mostly in full sun and its legs cast long dark shadows on the concrete slab beneath it.

Straight-on view of the horizontal silver-metallic wall work installed on the back wall of the gallery with a small, framed photograph on its left. The silver-metallic work consists of two horizontal panels stacked on top of one another, the one on the bottom about twice the height of the one on top. The top panel has a slightly shorter width than the bottom panel, and they are both aligned on the right side, exposing a bit of another metal panel in the top left corner that is behind the front two.

Straight-on view of a framed photograph with a thin, black frame and thick, white mat. The photograph shows the shadow cast by a picnic table on the line formed where concrete meets grass.

A photograph showing the shadow cast by a picnic table on the line formed where concrete meets grass.

Straight-on view of the horizontal silver-metallic wall work installed on the back wall of the gallery. The work consists of two horizontal panels stacked on top of one another, the one on the bottom about twice the height of the one on top. The top panel has a slightly shorter width than the bottom panel, and they are both aligned on the right side, exposing a bit another metal panel in the top left corner that is behind the front two.

Detailed side-angle view of the silver-metallic wall work showing the top left corner where the back panel is exposed. There looks to be a depth of a few inches between front and back panels and a metal bar at the top of the back panel. Small, regularly-placed screws dot the surface of the otherwise smooth front panels.

Installation view from the back wall of the gallery facing the front wall. On our left is a horizontal silver-metallic wall work with two framed photographs to its right. Directly ahead is a wall with three narrow planks of wood hung parallel to one another and a small black frame to the left of them. On our right is the wall with granite block, framed picture, and vertically-oriented silver-metallic wall work.

Installation view from the back right corner facing the front left corner showing two horizontal, silver-metallic wall works hanging on the wall on our left—one much larger than the other—beside two small framed photographs, and on our right, the wall with the framed work and the three narrow planks of wood hung parallel to one another.

Straight-on view of two silver-metallic wall works, hung so that their bottom edges are aligned horizontally on the wall. The work on the left is larger than the one on the right, and both have partially exposed back panels with structural metal beams. As with the other silver-metallic wall works, their corners are rounded and their surfaces smooth.

A close-up view of a large, silver-metallic wall work with partially-exposed back panel showing structural metal beams—two horizontal at top and bottom, and three vertical. At least one column of screws dotting the surface of the front panel is aligned with the vertical metal beam behind it. The surface of the sculpture reflects the overhead light in long bands.

Close up left-angle view of the large, silver-metallic wall work with partially-exposed back panel showing structural metal beams—two horizontal at top and bottom, and three vertical. At least one column of screws dotting the surface of the front panel is aligned with the vertical metal beam behind it. The surface of the sculpture reflects the overhead light in long bands.

Close-up, right-angle view of the large, silver-metallic wall work showing the bottom right corner where the front and back panels are affixed to the structural metal beams. There is a gap of what looks like an inch or two between the front and back panels. From this angle, the surface texture of the industrial metal sheeting is more pronounced.

Straight-on view of the smaller of the two silver-metallic wall works hanging on this wall. Peaking out from beneath the large front panel is the back side of a smaller back panel, with parts of its structural metal beams exposed.

Close-up left-angle view of the bottom left corner of the silver-metallic wall work, showing the back panel sticking out from behind the front panel, and a gap of what looks like a few inches between them.

Straight-on installation view of the silver-metallic wall work next to two framed photographs on its right, hung so that their right and left edges touch.

Close-up installation view of the two framed photographs, both in thin black frames with thick white mats. In the photograph on our left, a beam from the underside of a picnic table cuts horizontally across the top third of the composition. A shadow cast by the picnic table bench comes down on a diagonal across a concrete slab. An area of the concrete slab in full sun takes up the majority of the picture plane in the photograph on our right, save for a sliver of the faded red picnic table that runs diagonally across the top edge. The works are hung so that the right edge of the left photograph touches the left edge of the right photograph.

The photograph of the beam on the underside of a picnic table that cuts horizontally across the top third of the composition. A shadow cast by the picnic bench comes down on a diagonal across a concrete slab. A few pine needles suspended from the wooden beam appear to glint in the sunlight.

The photograph in which an area of a concrete slab in full sun takes up the majority of the picture plane, save for a sliver of the faded red picnic table that runs diagonally across the top edge. The texture of the concrete looks rough and pebbly.

Straight-on installation view of the three narrow, wooden planks, hung parallel to one another, with what looks like a framed drawing or diagram on our left, though the details are too distant to discern. The spacing between the middle and left plank is narrower than the spacing between the middle and right plank. And each of their heights is variable. To the right of the planks is a column of wall text.

Detailed view of the framed drawing in grey and red pencil, which appears to be a ramp construction plan with drawn blueprints, notes, and a list of materials. The drawing is labeled Ramp Scheme – 160 Main St. at the top.

Closer view of the three, narrow wooden planks hung parallel to one another. The spacing between the middle and left plank is narrower than the spacing between the middle and right plank. Each of their heights is variable, and it appears that their midpoints are centered horizontally.

Close up view of the end of one of the narrow wooden planks showing two grooves running the lengths of its surface. The wood itself is a light-colored, unfinished wood.

Close-up view of the end of another of the wooden planks showing two grooves running the lengths of its surface. The wood itself is a light-colored, unfinished wood, and on closer inspection there appear to be some letters faintly inscribed on its surface.

Park McArthurNew WorkSFMOMA

Exhibition Images

Park McArthurNew Work
SFMOMA