Susan Ehrens is an art historian, independent curator, and author.
Richard Mann is a professor of Art History at San Francisco State University.
Early Southwest pueblo pottery was used for religious and utilitarian purposes, and pueblo women handed down techniques for creating it to following generations. Today pueblo pottery has evolved into a fine art that is collected and admired, such as the examples on view at the de Young.
Since its founding in Rome in 1884, Bulgari has become synonymous with bold and innovative jewelry design. This exhibition focuses on the decades of the 1950s through the 1980s and features approximately 150 showstopping pieces from this era, including several striking pieces from the legendary Elizabeth Taylor collection.
Throughout his career, in both paint and text, David Hockney has engaged deeply with the past. His return to landscape is the result of a lifetime of looking. The grand scale of Hockney’s Yorkshire landscapes recalls the illusionism of ancient Roman wall painting, while his sensitivity to color and light evokes the Venetian pastoral tradition of Giorgione and Titian and later developed by Claude Lorraine, Constable, and Turner.
Lois Draper has been intrigued with textiles, dress design, and construction since her paper-doll stage in her early childhood. A native of California, Draper got her start teaching art at the Boys Club in San Diego. She also worked in a fabric store while pursuing a teaching credential in art education at San Diego State University. When the May Company department store opened its first store in San Diego, Draper jumped at the opportunity to be the assistant fashion coordinator.
Georgia O’Keeffe (1887–1986) is well known for her paintings of enlarged flower forms, sculptural desert landscapes, and stark natural elements interpreted with great freedom, ranging from precise realism to poetic abstraction. This “paring down” to essential shapes and forms characterized her dress as well, which was dominated by stark black and white shapes capturing the essence of form.
In a recent exhibition review, New York Times columnist Roberta Smith noted that “hybridity, a favored buzzword in the art world these days, is shown to be as old as the sea.” This public program will focus on the concept of hybridity as it relates to art and material culture from Africa, Oceania, Asia, and the Americas. It is the fifth in a series of programs addressing timely topics for curators, collectors, and art dealers.
Christopher Hallett is the Professor of Roman Art and the Chair of the History of Art Department at the University of California, Berkeley.