As a follow up to our last post about the conservator’s role in dealing with artistic intent, the Objects Conservation Department has been working with outdoor sculpture contractors from Tracy Power Conservation to conserve the Louise Nevelson sculpture Ocean Gate. The sculpture is located at the south corner of the Osher Sculpture Garden at the de Young.
FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week, we feature a life-size sculpture depicting a Nigerian bush spirit, currently on view in the African gallery at the de Young.
Shrine figure or bush spirit with seven heads, 20th century
Nigeria, Cross River, Ijo people
Wood, glass eyes, paint
172.7 x 35.6 x 45.7 cm (68.5 x 14.5 x 18 in.)
Museum purchase, gift of Phyllis C. Wattis and the Phyllis C. Wattis Fund for Major Accessions
Visitors to Balenciaga and Spain (on view at the de Young through July 4) will immediately notice something different about this installation: music! Melodic notes of Spanish guitar waft through the galleries and draw the viewer further into the exhibition, culminating in the section of the show devoted entirely to the influence of dance. The drama of Spanish dance traditions inspired Balenciaga and can be seen throughout his designs; we hope that the music included in the exhibition does the same for you!
The section detailing the influence of dance in Balenciaga and Spain at the de Young.
FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week, a painting by Honorè Daumier depicts an activity with which we are all too familiar: the commute. Third Class Carriage (Un Wagon de Troissieme Classe) is currently on display at the Legion of Honor in Gallery 17.
Honorè Daumier (French, 1808–1879)
Third Class Carriage (Un Wagon de Troisieme Classe), 1856–1858
Oil on panel
10 1/4 x 13 3/8 (26 x 33.9 cm)
Museum purchase, Whitney Warren, Jr. Bequest Fund in memory of Mrs. Adolph B. Spreckels, Bequest funds of Henry S. Williams in memory of H.K.S. Williams, Magnin Income Fund, Art Trust Fund, Alexander and Jean de Bretteville Fund, Art Acquisition Endowment Income Fund in honor of Mrs. John N. Rosekrans, 1996.51
The art of Isabelle de Borchgrave is in itself a type of recycling. Inspired by sumptuous costume and textiles from the past, de Borchgrave recreates some of history’s most iconic fashions in the surprising medium of paper. Pulp Fashion: The Art of Isabelle de Borchgrave, on view at the Legion of Honor through June 12, displays paper outfits derived from those seen in European paintings, museum collections, photographs, sketches and even literary descriptions. De Borchgrave’s art practice seems particularly relevant in today’s conservation-minded climate in which “recycle and reuse” has become a mantra for artists and fashionistas alike.
Paper fashion was not always associated with such principled objectives. In the late 1960s, when de Borchgrave was just beginning her career, paper dresses captured the cultural zeitgeist not only for their pithy design and novelty, but specifically for their disposability.