Artists-in-Residence Brad Rosenstein and Jean Lamprell conclude their month-long residence this weekend at the de Young. Rosenstein, an independent curator, has transformed the Artist Studio into a floating gallery of gossamer tutus created by renowned costumier Jean Lamprell. In this blog post, museum educator Gregory Stock interviews this dynamic duo.
Consisting of approximately 250 artworks, Rembrandt’s Century presents a diverse picture of the art and personalities that defined the Dutch Golden Age. Drawn entirely from the Museums’ permanent collection of works on paper in the renowned Achenbach Foundation for Graphic Arts, this exhibition required months of preparation. Curators, conservators, and art technicians worked together to frame—both literally and figuratively—this important selection of masterworks.
De Young Artist Fellows Andy Diaz Hope and Laurel Roth are preparing for the final installation of their monumental triptych The Conflicts. Get a sneak peek at the culminating exhibition of their fellowship in the group show Punch Card, opening at Catharine Clark Gallery this Saturday, January 19, 2013. Hope and Roth will present the completed tapestries at the de Young in the Artist Studio throughout the month of March. In this blog post, Hope and Roth examine the role technology has played in the process of creating this work.
Like any artist, December Artist-in-Residence Melissa Cody diligently does her research, and like a true innovator, she’s aware that you need to know the rules in order to break them. A fourth-generation Navajo weaver, Cody’s residency focuses on weaving and its relationship to communities and their environments. Although the main part of her residency takes place in public, she is also conducting research behind the scenes at the de Young.
Like or not, the holiday gift-giving season is upon us, the time of year we begin making a list and checking it twice. It’s a good thing that Christmas and Hanukkah only come around once a year, what with all the stress gift selection causes. In 17th- and 18th-century France, however, the fine art of gift giving was a yearlong endeavor.
This week, de Young Artist Fellow Monique Jenkinson debuts Instrument, the culminating performance of her yearlong fellowship. Inspired in part by the special exhibition Rudolf Nureyev: A Life in Dance (on view at the de Young through February 17, 2013), the performance piece will make its world premiere at CounterPULSE, a collaborating partner, on November 29. To create Instrument, Jenkinson partnered with three different choreographers, with each collaboration taking place in isolation. All three choreographers remain unaware of the work of the other two participants, and like us, they will not see the work in its entirety until the premiere.
This is the final post in a three-part series documenting Jenkinson’s work with each of these diverse choreographers. Chris Black, falls somewhere between the experimental process of Miguel Gutierrez and the more structured ballet techniques of Amy Seiwert.
De Young Artist Fellow Monique Jenkinson is putting the finishing touches on Instrument, the culminating performance of her yearlong fellowship inspired in part by Rudolf Nureyev: A Life in Dance (on display at the de Young through February 17, 2013). To create this work, Jenkinson invited three choreographers to make movement on her body, which she’ll integrate with her own choreography. In October, we posted about the first of these three collaborations, and today, we check in with Jenkinson and choreographer Amy Seiwert in the second installment in this three-part blog series.
Objects are fussy. They’re susceptible to humidity, light levels, vibrations, and any number of other dangers, both large (floods) and small (mice). And whether it’s a tiny tea cup or a four-ton bronze statue, each object also has its own idiosyncrasies. Wood, for example, doesn’t get along with water, and paper can’t stand light. A museum is carefully designed, in part, to control all these factors and to give objects the secure and stable home they deserve. But what happens when an object needs to travel outside the museum’s walls?
The permanent collections of the Fine Arts Museums of San Francisco number over 100,000 objects, and only a percentage are on view. However, many of these treasured artworks can be viewed in exhibitions at other institutions throughout the world at any given time. When art objects are loaned in this way, they often travel for long periods of time, which is why it’s so important for our conservators to carefully prepare objects for their extended journeys. Such was the case when the Cleveland Museum of Art requested to borrow an ancient turban from the Nasca culture of Peru, featured in the exhibition Wari: Lords of the Ancient Andes that opened last week.
This Halloween, we take you inside one of the Museums’ most enigmatic inhabitants: the mummy Irethorrou. While mummies have long been the antagonists of numerous horror films, they also provide us with incredible insight into the funerary practices and religious beliefs of ancient Egyptians. We dare you to read on as curator Dr. Renée Dreyfus and Egyptologist Jonathan P. Elias unwrap the Museums’ mummy.