Pat Steir: After Hokusai, After Hiroshige

July 17, 2010February 10, 2011

Complementing Japanesque at the Legion of Honor, this exhibition shows the continued influence of the Japanese print on Western artists into the late twentieth century. American painter, printmaker, and conceptual artist Pat Steir (b. 1938) was the first artist selected by Kathan Brown in 1982 to travel to Japan to make a color woodcut for Crown Point Press’s groundbreaking printmaking program in Kyoto.

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Pat Steir: After Hokusai, after Hiroshige

Yellow Bridge in the Rain after Van Gogh after Hiroshige, 1985 Color monotype, spit-bite aquatint, and etching

To Dye For: A World Saturated in Color

July 31, 2010January 9, 2011

To Dye For features over 50 textiles and costumes from the Fine Arts Museums’ comprehensive collection of textiles from Africa, Asia and the Americas. A truly cross-cultural presentation, the exhibition showcases objects from diverse cultures and historical periods, including a tie-dyed mantle from the Wari-Nasca culture of pre-Hispanic Peru (500–900 A.D.), a paste-resist Mongolian felt rug from the 15th–17th century and a group of stitch-resist dyed 20th-century kerchiefs from the Dida people of the Ivory Coast.

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Sponsors

To Dye For: A World Saturated in Color is organized by the Fine Arts Museums of San Francisco and supported by Olive and Bruce Baganz, Dr. Donald Breyer, Mary F. Connors, Dr. Guido Goldman, Harry and Diane Greenberg, Thomas Murray, Francesca Passalacqua and Don Ed Hardy, S. Peter Poullada and Nancy Sheppard, San Francisco Tribal, and Fifi White. Additional support provided by Britex Fabrics, Judith and Reed Content, Barbara and Dolph Shapiro, and Peter and Beverly Sinton.

Left: Mat (mosen) for the tea ceremony, 19th century. Mongolia or China for the Japanese market Wool; felted, resist dyeing (tie-dye). Right: Felt rug, 15th–17th century, Mongolia. Wool; felt, stencil-resist dyed

Volunteer

With their numerous exhibitions and community programs, both the de Young and the Legion of Honor rely greatly on the Fine Arts Museums' Volunteer Council, a vital 300+ member organization that provides visitor services and staff support seven days a week.

Individual Giving

Contact Information

Pam Earing
Director of Individual Giving
415.750.8940
pearing@famsf.org

Larissa Trociuk, Individual Giving Officer
415.750.3641
ltrociuk@famsf.org

Major gifts of support have a significant impact on the Museum’s ability to present new exhibitions, offer the highest-quality of educational programming, and engage audiences in interactive experiences with art.   They enable the conservation of FAMSF’s collections, and inspire capital projects which support asset-building needs.  Major gifts come in many forms and can be made through cash contributions, gifts of appreciated securities, bequests and planned gifts, or in-kind gifts such as contributions of valuable art.

Photo/Synthesis

May 1, 2010October 3, 2010

Photo/Synthesis highlights the dynamic trend in the field of contemporary photography, collages, assemblages, and other multi-part or composite photo-based projects. Dating from the 1960s to the present, the works in this exhibition transcend the limitations of traditional photography in which the camera simply captures a unique view or a decisive moment in time. Breaking free of the conventional frame, they are instead the products of various methods of assembling and organizing multiple photographic images into larger artistic statements.

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David Hockney (British, b. 1937), Luncheon at the British Embassy, Tokyo, Feb. 16, 1983 1983. Photocollage. 1996.74.183

I Keep Foolin’ Around: William T. Wiley as Printmaker

March 20, 2010July 5, 2010

Bay Area artist William T. Wiley (b. 1937) is well known as a painter, sculptor, and draftsman whose imagery is infused with a lively blend of satiric wit, cultural commentary, and storytelling. I Keep Foolin’ Around focuses on his significant work in printmaking and features prints from the museum’s collection, including its William T. Wiley Print Archive and the Crown Point Press Archive.

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It's Only a Pay Per Moon, 1974. Color lithograph on chamois with hand-coloring. 1978.1.179

Business Council

What kind of impact does your company want to have in the community? What kind of cultural engagement opportunities do you envision for your employees?

Membership in the Business Council engages businesses of all sizes and from a wide variety of industries in the cultural life of our community and demonstrates a company's commitment to the arts.

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