de Young

Artist-in-Residence Glenda Joyce Hape Harvests Flax in Golden Gate Park

One of the many goals of the Artist-in-Residence program at the de Young Museum is to explore connections between the artists and the surrounding park environment. These connections enrich our museum visitors' experience through the guest artists' explorations and interpretations. Visiting artists from around the globe offer a unique experience to learn about natural materials found right here in Golden Gate Park.

Māori artist Glenda Hape uses flax to weave and create contemporary art. There are more than 7,500 exotic plant species surrounding the de Young in Golden Gate Park, including several types of ornamental flax. The species of flax Glenda needed to continue her weaving projects in the Kimball Gallery is called Phormium tenax, also known as New Zealand flax (or harakeke in the Māori language). Last week, Glenda explained how difficult it is to harvest the materials she uses in her artistic practice, but with the assistance of Andy Stone, gardner and park supervisor for the San Francisco Recreation and Parks, Glenda's harvesting trip around Stowe Lake was bountiful and she found just the right flax (harakeke).

Fan shaped flax bush

FRAME|WORK: A Mask Fan from Eighteenth-Century England

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.

Mask fan, England, 1740–1750. Opaque watercolor on vellum; ivory sticks. Gift of Susanne King Morrison in memory of Elizabeth Brant King. 1980.66

An Interview with October Artist-in-Residence Glenda Joyce Hape

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: A Māori cloak

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.

Celebrities in our Closets

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!

Fred Astaire

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.

Jacket, pants and shoes for Chinese film costume, Fred Astaire, 1944. United States. Orange-red wool, red-gold lame, red suede. Theater and Dance Collection, gift of Mrs. Gladys Lloyd Robinson. T&D1962.115a-d

Will Work for Art: Rose Burke

"Will Work for Art" takes you behind the scenes to meet the people who make the Fine Arts Museums work. This week we step into the storeroom to meet Rose Burke, a buyer for the Museum Stores. Originally from right here in San Francisco, Burke has been with the Museums for six years.

When Paper is More than a Surface

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.

Josef Albers (American, 1888–1976). Embossed Linear Construction 2-D, from a portfolio of 8 inkless embossings, 1969. Inkless embossing on 300-gram Arches watercolor paper. Anderson Graphic Arts Collection, gift of the Harry W. and Mary Margaret Anderson Charitable Foundation. 1996.74.17.8

More Real than Real: The Photography of Ralph Eugene Meatyard

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: Magnolia Blossom by Imogen Cunningham

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: Christopher Lentz

"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.

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