de Young Museum

Individual Giving

Individual donors to the Fine Arts Museums make our exhibitions, education programs, and the conservation of our collections possible. There are many ways that you can support the Museums:

Corporate Support of the Fine Arts Museums

Investing in Art, Education, and our Community

The Fine Arts Museums of San Francisco (FAMSF), comprising the de Young in Golden Gate Park and the Legion of Honor in Lincoln Park, is a thriving arts organization with exciting exhibitions, innovative education programs, and popular public events. Last year, attendance at the Fine Arts Museums exceeded 2.25 million, making FAMSF the fourth most visited visual arts institution in North America and among the top 20 most visited institutions in the world.

Aligning your corporate identity with our wide-ranging programs will help your company achieve its brand awareness, client entertainment, employee access, and philanthropic goals, while also working to increase community access, expand public participation, and deepen understanding and appreciation of the arts.

Corporate Partnership Opportunities

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Volunteer

With numerous exhibitions and community programs, both the Legion of Honor and the de Young rely greatly on the Fine Arts Museums' Volunteer Council, a vital, 500 member-strong organization that provides visitor services and staff support at the Museums, seven days a week.

New volunteers are being accepted for weekdays and weekend shifts working on the floor at both the de Young and Legion of Honor.  On the Floor Volunteers help man the information desks at both museums, assist patrons in parcel checks, distribute wheelchair and accessibility devices, and help with attendance tracking.  Floor Volunteers work directly with public on a daily basis, so an affinity for customer service is essential!

If you'd like to apply, please click the "Volunteer Application" link on the left of this screen. 

Van Gogh, Gauguin, Cézanne and Beyond: Post-Impressionist Masterpieces from the Musée d’Orsay

September 25, 2010 - January 18, 2011

The second of two exhibitions from the Musée d’Orsay’s permanent collection, Van Gogh, Gauguin, Cézanne and Beyond: Post-Impressionist Masterpieces from the Musée d’Orsay follows on the heels of the first with a selection of the most famous late-Impressionist paintings by Claude Monet and Auguste Renoir, as well as works representing the individualist styles of the early modern masters, including Vincent van Gogh, Henri de Toulouse-Lautrec, Paul Gauguin, and the Nabis Pierre Bonnard and Édouard Vuillard.

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Eye Level in Iraq: Photographs by Kael Alford and Thorne Anderson

February 9, 2013 - June 16, 2013

This exhibition presents the photographs of Kael Alford (American, b. 1971) and Thorne Anderson (American, b. 1966), two American-trained photo journalists who documented the impact and aftermath of the US-led allied invasion of Iraq in 2003. They made these photographs during a two-year span that began in the months leading up to the allied invasion in spring 2003 and covers the emergence of the armed militias that challenged the allied forces and later the new central Iraqi government.

The photographs were made outside the confines of the U.S. military’s embedded journalist program, in an attempt to get closer to the daily realities of Iraqi citizens. The photographers wanted to show Iraq from an important and often neglected point of view. This shift in physical perspective placed them in great danger, but they sought to learn how the war, and the seismic political and cultural shifts that accompanied it, were affecting ordinary people.

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Crown Point Press at 50

Anderson Gallery of Graphic Art
October 20, 2012 - February 17, 2013

Crown Point Press at 50 marks the press’s 50th anniversary and features prints by 15 internationally renowned artists made at the press over the course of five decades. Some, such as Robert Bechtle and Wayne Thiebaud, have returned to the press throughout their careers; others, including Darren Almond, Chris Ofili, and Kiki Smith, are more recent additions to the roster. All share an enthusiasm for expanding their artistic practice by making prints.

When Kathan Brown established Crown Point Press in the San Francisco Bay Area in 1962, she expressed a commitment to etching that was remarkable for the time. Most workshop-based print publishing ventures in the 1960s  focused on lithography and screenprinting. Brown offered an alternative and welcomed artists who were new to intaglio, giving them an opportunity to explore an alternative printmaking possibility that was ideally suited to contemporary expression.

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Reflections: Celebrating 50 Years of the Studio Glass Movement

October 20, 2012 - January 27, 2013

To celebrate the 50-year anniversary of the studio glass movement, the Fine Arts Museums will present a small-focus exhibition of works by some of the medium’s pioneering artists, drawn from the collection of George and Dorothy Saxe and installed along the corridor adjacent to the Saxe Gallery for contemporary craft arts. To show both the artists’ personal evolutions and the evolution of the movement, the six-case installation will display an early and a late work each by Harvey Littleton, Dominick Labino, Dale Chihuly, William Morris, Thomas Patti, and Mark Peiser. The exhibition will also feature one work by Bay Area–based Marvin Lipofsky, founder of the glass program at the California College of Arts and Crafts (now California College of the Arts) in Oakland.

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Contemporary Ömie Bark Cloth

September 15, 2012 - January 6, 2013

Boldly patterned with graphic designs, the bark cloth that is made by Ömie women in the Oro province of Papua New Guinea expresses a great diversity of abstracted elements from the natural world. The painted cloths can relay creation stories or represent tattoo patterns that were once important to initiation ceremonies. The making of contemporary bark cloth in the Ömie territory is the exclusive creative and spiritual domain of 71 women artists. The cloth is crafted only by female chiefs and only within the community’s territory. It is produced according to strict ceremonies in accordance with past traditions. Artists are expected to command traditional wisdom in the making and decorating of the bark cloth with designs created by the ancestors. Girls learn the art from their mothers, grandmothers, or aunts, usually beginning as teenagers.

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