In 2004 artist Matthew Picton laid a sheet of plastic over the cracks in the asphalt of a playground. He traced the cracks and painted them with black enamel paint. Then he carefully cut and burned away the plastic surrounding the cracks. What was left was a giant spidery web.
The year 2012 represents a milestone for Chuck Close, the Crown Point Press, and the Fine Arts Museums of San Francisco’s works on paper department, the Achenbach Foundation for Graphic Arts. Chuck Close and Crown Point Press: Prints and Processes, the special exhibition currently on view in the Anderson Gallery, honors these lasting relationships.
This weekend marks your last chance to experience the special exhibition Arthur Tress: San Francisco 1964 , on view at the de Young until June 3. As book designer and guest blogger Martin Venezky aptly notes, the catalogue represents a lasting impression of an otherwise temporary exhibition. Today, Venezky shares with us the process behind the creation of this unique publication.
The catalogue for the special exhibition Arthur Tress: San Francisco 1964 provides a nice case study into the inner workings of a book design. The book itself is deceptively simple. It contains reproductions of sixty-eight photographs from the exhibition, an essay, an interview, locations and credits, a foreword, and a set of additional images—some historical, some personal, and some working contact sheets. But beneath the seemingly placid surface there were hundreds of options to consider and decisions to make.
Recently one of the Museums’ most generous supporters, Dorothy Saxe, purchased a sculpture for the collection in memory of our late director John E. Buchanan. Created by contemporary glass artist Beth Lipman, Candlesticks, Books, Flowers and Fruit (2010) is a complex compilation of multiple elements balanced precariously on a table. My role as an objects conservator is to ensure that all the elements of this fragile sculpture are installed safely and in keeping with the artist’s original intent.
Photographs, a ubiquitous component of contemporary life, serve as an ever-evolving record of our lives and those of our friends and family. Children provide an immediate source of inspiration, and many new parents quickly adopt the role of amateur photographer.
FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. Today, in honor of Jacob Lawrence's birthday, we feature his compelling masterwork Migration, currently on display at the de Young.
For the past six weeks, we have followed the progress of Balcomb Greene's Six-Sided Planes through the museum on its way to exhibition. We began tracking the painting's journey when it first entered the Fine Arts Museums via the registration department. It then went on to paintings conservation for a makeover before heading on to the Board of Trustees for final approval. Next it re-entered the registration department for final acquisition, after which it was photographed for record-keeping purposes. And last week, we learned about the work's art historical context and significance from the American art department's curatorial perspective. Now, after all the research, preparation, and planning, Six-Sided Planes is finally on display in Wilsey Court!
Art technician Paul Tavian wheels the painting through Wilsey Court.
Last week, we followed Six-Sided Planes into the photgraphy studio where it was shot for record identification. Today we learn about the history and significance of this painting from the curatorial perspective.
My name is Emma Acker, and I’m a curatorial assistant in the American Art department at the Fine Arts Museums. In May of this year, I presented Balcomb Greene’s Six-Sided Planes as a potential purchase to the Acquisitions Committee of our Board of Trustees.
Now that the Board of Trustees has approved the purchase of Balcomb Greene's Six-Sided Planes and it has been permanently accessioned into the Museums' collection, the next step is to make identification photography of the artwork. This photo will be used for internal recordkeeping on the collections management database and the website.
After Six-Sided Planes received its makeover in the paintings conservation lab, it was transported to the Legion of Honor for review during the full Board meeting (there are several sub-committee Board meetings that take place throughout the year).