FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week, in a joint celebration of Halloween and the imminent opening of Masters of Venice: Renaissance Painters of Passion and Power, we feature an extraordinary mask fan from the department of Textile Arts.
The Artist-in-Residence program resumes this month in the Kimball Education Gallery with Glenda Joyce Hape, a Māori artist from New Zealand. Glenda is a weaver who combines traditional and contemporary techniques and materials to create Māori kakahu, or cloaks. We recently sat down with Glenda to discuss her background, practice, and inspiration.
FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week, we feature an exemplary Māori cloak from the Museums’ inaugural collections (currently on display at the de Young) in honor of the October Artist-in-Residence, Māori weaver Glenda Joyce Hape.
Clothes tell a story. Here at the Fine Arts Museums, our closets are filled with gowns, costumes, and accessories worn by countless cultural icons of days gone by. Today we give you a rare glimpse into our vaults as we reveal some of the most famous skeletons in our closet!
We don’t have any top hats, white ties or tails worn by the light-as-air Mr. Astaire, but we do have this bright red Chinese costume (with shoes!) that he wore in the “Limehouse Nights” sequence of MGM’s film Ziegfeld Follies, 1944.
Paper is fundamental to traditional printmaking, but paper as a medium can be as diverse as the images printed on its surface. Surface Tension: Contemporary Prints from the Anderson Collection (on view at the de Young through January 15, 2012) puts paper front and center, exploring the ways in which artists from the late 1960s to today engage paper as more than just a surface.
Though no ink touched the paper in Josef Albers's Embossed Linear Construction series (1969), he used embossing, a traditional printmaking process, to transform ordinary sheets of watercolor paper into subtle bas-relief constructions that extend into the viewer’s space.
Photographs, a ubiquitous component of contemporary life, serve as an ever-evolving record of our lives and those of our friends and family. Children provide an immediate source of inspiration, and many new parents quickly adopt the role of amateur photographer.
FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week, we feature an iconic photograph by renowned Bay Area photographer Imogen Cunningham. Magnolia Blossom is currently not on view, so take some time to stop and smell the flowers (virtually)!
"Will Work for Art" takes you behind the scenes to meet the people who make the Fine Arts Museums work. This week we introduce you to the fabulous Christopher Lentz, Manager of Visitor Services and Volunteer Programs. Originally from Nashville (by way of Honolulu), Christopher has been with the Museums for over two years.
In 1980, H. McCoy Jones announced that he and his wife, Caroline, would donate his entire private collection of more than six hundred Central Asian carpets to the Fine Arts Museums. Two years later, Cathryn M. Cootner was appointed as the de Young’s first textile curator (her tenure as curator-in-charge would run through 1995). Cootner’s robust acquisition and exhibition program transformed the Museums into a well-respected repository for high quality textiles and oriental rugs. Chief among these was a watershed exhibition of Caroline McCoy-Jones’s unsurpassed collection of Anatolian kilims in 1991. We took a moment to sit down with Cathy Cootner to reflect on the McCoy Joneses and their spectacular kilims twenty years later.