‘Cuz all those Gap khakis bought a buttload of art: My very long photo essay of the Fisher Collection show at SFMOMA. Above, Spider, 1995, by Louise Bourgeois.
Untitled (Rome), 1971, by Cy Twombly.
Not part of the Fisher collection, but pretty fracking spectacular nonetheless: The Mondrian cake at the museum’s rooftop cafe. I ate the Thiebaud cake. Photos of art — and cake — after the jump.
Polar Stampede, 1961, by Lee Krasner.
Bracket, 1989, by Joan Mitchell.
Che Faro Senza Eurydice (I have lost my Eurydice), by Mark di Suvero.
The Street, 1956, by Philip Guston.
Malediction, 2006-7, by Martin Puryear.
Live Ammon (Tzing), by Roy Lichtenstein.
Radio, 1962, also by Lichtenstein.
As It Goes, 1978, by Philip Guston.
Fools, 1990, by Ed Ruscha.
Das letzte Selbstbildnis II, by George Baselitz.
Untitled (Magician), by Sigmar Polke.
Kiki and Self-Portrait, both from 2006, by Chuck Close.
Valley Streets, 2003 by Wayne Thiebaud.
Joseph Beuys (Camouflage), 1986, by Andy Warhol.
Drills, 1961, by Andy Warhol.
Stele I, 1973, by Ellsworth Kelly. The rooftop cafe has a fudgsicle inspired by this piece.
Belgica Blue Tin Raster, 1990, by Carl Andre.
Unternehmen Seelow (Operation Sea Lion), 1983-84, by Anselm Kiefer.
A museum-goer inspects Melancholia, 1990-91, by Anselm Kiefer.
Stadbildt Madrid, 1968, by Gerhard Richter.
Blue Green Black Red, 1996 by Ellsworth Kelly.
And here it is, the Wayne Thiebaud layer cake: Butter cake with mandarin curd, done up in the lightest of butter cream frostings, with rose-geranium and strawberry. It was an orgasm in the mouth.
The art’s nice and all, but the museum is worth the price of admission solely for this masterpiece of a dessert. And I say this as someone who is not even a sweet-tooth.