Circular relief, 300–450. Stone, 49 1/4 x 40 1/2 x 9 7/8 in. (125 x 103 x 25 cm). Museo Nacional de Antropología / INAH, 10-81807. Archivo Digital de las Colecciones del Museo Nacional de Antropología / INAH-CANON
Artist: Stanley Mouse and Alton Kelley Publisher: Family Dog. Printer: The Bindweed Press. “Skeleton and Roses,” Grateful Dead, Oxford Circle, September 16 & 17, Avalon Ballroom, 1966. Color offset lithograph poster, 50.7 x 35.6 cm (19 15/16 x 14 in). Fine Arts Museums of San Francisco, Museum purchase, Achenbach Foundation for Graphic Arts Endowment Fund, 1974.13.100
April 8–August 20, 2017 | de Young
Edgar Degas, "The Millinery Shop," 1879–1886. Oil on canvas, 39 3/8 x 43 5/8 in. (100 x 110.7 cm). The Art Institute of Chicago, Mr. and Mrs. Lewis Larned Coburn Memorial Collection, 1933.428. Bridgeman Images
June 24–September 24, 2017 | Legion of Honor
Claude Monet, "Luncheon on the Grass, Central Panel," 1865–66. Oil on canvas, 248 x 217 cm (97 5/8 x 85 3/8 in.). Musée d’Orsay, Paris.
February 25 – May 29, 2017
Legion of Honor
Legion of Honor app
App uses Interactive 3D Mapping & Indoor Positioning Technology
SAN FRANCISCO (January 21, 2016) – The Fine Arts Museums of San Francisco are pleased to unveil the official app for the Legion of Honor. Taking advantage of Apple’s latest developments in indoor positioning, the app serves as a personal tour guide for museum-goers, allowing visitors to wander the galleries as if on a private curatorial tour. This is the first app for the Legion of Honor.
de Young, San Francisco | March 12 – May 30, 2016
SAN FRANCISCO – The Fine Arts Museums of San Francisco are pleased to present the world premiere retrospective of Oscar de la Renta’s work – the first major survey celebrating the life and career of one of fashion’s most influential designers. The exhibition is organized in close collaboration with the House of Oscar de la Renta and the designer’s family, and is curated by André Leon Talley, former American editor-at-large for Vogue and a lifelong friend of de la Renta.
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.
This exhibition is organized by the Fine Arts Museums of San Francisco, and draws upon works generously loaned by the High Museum of Art, Atlanta.
Thorne Anderson, Thawra, Baghdad, Iraq, April 18, 2003. Digital inkjet print. High Museum of Art, Atlanta. © Thorne Anderson
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.
L: Wayne Thiebaud, Tide Figures, 2006. Color drypoint with hardground etching printed on gampi paper chine collé. Crown Point Press Archive, gift of Crown Point Press. Art © Wayne Thiebaud/Licensed by VAGA, New York, NY. R: Robert Bechtle, Three Houses on Pennsylvania Avenue, 2011. Color soft-ground etching with aquatint. Published by Crown Point Press, San Francisco. Collection of Crown Point Press
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.
Organized by the Fine Arts Museums of San Francisco.
L: Harvey K. Littleton, 300 Rotated Elipsoid, 1980. Blown glass. FAMSF, partial gift of Dorothy and George Saxe to the Fine Arts Museums Foundation. R: Dominick Labino, Emergence in Polychrome, 1981. Blown glass. Partial gift of Dorothy and George Saxe to the Fine Arts Museums Foundation
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.
Support for this exhibition comes from The Christensen Fund
Aspesa Gadai, Odunaige (Climbing vine with thorns and tendrils) 2006. Jiapa village, Oro Province, Papua New Guinea. Natural pigments nioge(barkcloth). 176.0 x 76.0 cm. National Gallery of Victoria, Melbourne. Purchased NGV Foundation, 2008 (2008.73). © The artist, courtesy Ömie Nemiss Incorporated