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.
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.
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.
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.
It’s hard to imagine that the artwork on view in The William S. Paley Collection: A Taste for Modernism (through December 30) once decorated the walls of a private home. Today’s guest blogger, Alisa Carroll, explores the role that art can play in both the construction of a home and the communication of the owner’s identity. Carroll is a San Francisco-based writer and consultant the editor-in-chief of 3D Magazine, and a San Francisco scout for Elle Décor. Her first book, a monograph with interior designer Jay Jeffers, will be published by Rizzoli in fall 2013.
Interiority—The quality of being focused on one’s inner life and identity.
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.