When Kathan Brown first opened Crown Point Press (CPP) in 1962, lithography and screenprinting were the prevailing fine art printmaking workshop processes. With the establishment of CPP, Brown provided artists with alternatives to these methods, affirming her commitment to intaglio—any process in which incisions in a plate’s surface hold the ink that will create the image. These new printmaking possibilities evolved into increasingly diverse offerings that afforded artists new outlets for their creativity, the fruits of which are currently on display in Crown Point Press at 50 (through February 17, 2013) at the de Young.
Tonight, Friday Nights at the de Young features work in progress by Artist Fellow Monique Jenkinson (aka Fauxnique). As part of the creation of her original work, Instrument, Jenkinson is working with three different choreographers in an experimental process designed to enact, expose, and undermine the roles of the dancer as workhorse and the choreographer as auteur. The presentation tonight will be a rare opportunity to witness the development of Instrument, inspired in part by Rudolf Nureyev: A Life in Dance (on display at the de Young through February 17, 2013). The first in a series of three, today’s post focuses on the collaboration between Jenkinson and choreographer Miguel Gutierrez.
At the age of 14, former ballerina Stephanie Herman ditched school and waited in line for six hours at New York’s Metropolitan Opera House to see Rudolf Nureyev dance with Margot Fonteyn. Little did she know that a decade later, she would be dancing with the famed ballerino, whose career and costumes are the subject of the special exhibition Rudolf Nureyev: A Life in Dance, which opens tomorrow, October 6.
There are only two weeks left to experience the special exhibition Chuck Close and Crown Point Press: Prints and Processes on view at the de Young. The tight focus of this exhibition allows visitors to zero in on the processes behind Chuck Close’s photorealist technique as it appears in the print format.
It was well known within the Columbia Broadcasting System (CBS) that chief executive William S. Paley would always set aside what he was working on to take a call from The Museum of Modern Art (MoMA). Paley’s relationship with MoMA began in 1937, just eight years after its founding, and included roles as trustee, president, and chairman. His eventual donation of his collection to the museum—an important selection of modernist art—strengthened the institution in vital ways, and is the subject of The William S. Paley Collection: A Taste for Modernism, which is on view through December 30 at the de Young. Paley's relationship with MoMA was built on great generosity, and continued until his death in 1990.
Recently, our photo services and imaging department responded to a rather unusual request from San Francisco Opera set designer Naomie Kremer. Kremer, who was designing a video set for an operatic adaptation of Frances Hodgson Burnett’s classic The Secret Garden (premiering on March 1, 2013) asked if she could incorporate portraits from the Museums’ permanent collection into her design. As today’s guest blogger, Kremer takes us on an incredible journey into The Secret Garden, giving us a sneak peek into the fantastical world she created.
The Secret Garden is a well-loved children’s story familiar to many generations. I’ve discovered that for many people, it is an iconic story that strikes a deep chord and seems to stay in their subconscious long after its last reading.
For the past year, Artist Fellow Sarah Wilson and her artistic partner Catch Me Bird have been creating Off the Walls, a multimedia performance based on the de Young Museum’s iconic painting Aspiration (1936) by Aaron Douglas. On September 20, the world premiere of Off the Walls will take flight in the Koret Auditorium at the de Young. Today we highlight Z Space, one of the project’s collaborating partners, whose technical residencies offer artists and performers the time and resources to experiment with various staging elements and production designs integral to the creative process.
It’s the fifth and final day of Five Days of Friday! Tonight, September 7, Friday Nights at the de Young hosts a ton of great events, including live music, performances, art demonstrations, video installations, and of course, art making for all! One of tonight’s highlights is a visit by the San Francisco Public Library Green Bookmobile, featuring titles used by Artist Fellows Andy Diaz Hope and Laurel Roth to research The Conflicts, a triptych of monumental tapestries. Guest bloggers Hope and Roth share their reading list below—check it out and then check out a book tonight at the Bookmobile!
Catherine Herrera is a Bay Area artist and filmmaker of Ohlone descent who has collaborated with the de Young Museum on numerous projects over the past several years. This Friday Night at the de Young, September 7, Herrera’s video installation Bridge Walkers will be on view for one night only in the observation deck on the ninth floor of the museum’s Hamon Education Tower. In this, the third installment of Five Days of Friday, director of public programs Renee Baldocchi sits down with Herrera to learn more about the installation and the artist’s practice.