Ed Ruscha and the Great American West includes 99 works that reveal the artist’s engagement with the American west and its role in our national mythology. This exhibition is organized by the Fine Arts Museums of San Francisco and celebrates the career of one of the world’s most influential and critically-acclaimed artists.
Colleen Terry is an assistant curator for the Achenbach Foundation for Graphic Arts at the Fine Arts Museums of San Francisco.
For a period of twenty years (1909–1929) Sergei Diaghilev’s “Ballets Russes” astonished European audiences and became the most influential ballet company of the 20th century. By employing very talented designer/artists in ground breaking artistic collaborations, his company redefined the aesthetics of ballet. Focusing on selected costumes, this lecture shows the relationships between designers' sketches, finished costumes, and thematic interpretations. We will look carefully at costume details and talk about the various fabrics and decorative trims that were used.
Karin Breuer is curator in charge of the Achenbach Foundation for Graphic Arts at the Fine Arts Museums of San Francisco.
American Post-Impressionist artists were part of a major rift in modern art in the early 20th century. The most significant turning point was "The International Exhibition of Modern Art” in 1913, or the “Armory Show.” The exhibition brought together European and American artists in the most shocking exhibition the country had ever seen. Many of the artists are well known today: Paul Cezanne, James McNeill Whistler, Henri Matisse, Robert Henri, William Glackens, and many others. The lecture explores these important artists who were on the cusp of major changes in painting and sculpture.
Richard Diebenkorn provoked an important dialogue between representation and abstraction during his period of work in Berkeley. In 1955, when he was nationally acclaimed as an abstract artist, he confounded the art world with his dramatic shift to representation. Diebenkorn started out painting in a representational mode but later switched to Abstract Expressionism while studying and teaching at the California School of Fine Arts, between 1946 and 1949. Then, during his Berkeley years, Diebenkorn changed and enhanced his working methods, favored themes, and artistic identity.