Collections

FRAME|WORK: A Ceiling from the Palacio de Altamira, Spain

FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week, we feature an extraordinary Spanish ceiling from the era of Christopher Columbus, currently installed at the Legion of Honor.

Anonymous maker, Ceiling from the Palacio de Altamira, Spanish 1482–1503. Painted, gilded, and composed wood. Gift of Mrs. Richard Ely Danielson and Mrs. Chauncey McCormick. 46.16

Will Work for Art: Rose Burke

"Will Work for Art" takes you behind the scenes to meet the people who make the Fine Arts Museums work. This week we step into the storeroom to meet Rose Burke, a buyer for the Museum Stores. Originally from right here in San Francisco, Burke has been with the Museums for six years.

When Paper is More than a Surface

Paper is fundamental to traditional printmaking, but paper as a medium can be as diverse as the images printed on its surface. Surface Tension: Contemporary Prints from the Anderson Collection (on view at the de Young through January 15, 2012) puts paper front and center, exploring the ways in which artists from the late 1960s to today engage paper as more than just a surface.

Though no ink touched the paper in Josef Albers's Embossed Linear Construction series (1969),  he used embossing, a traditional printmaking process, to transform ordinary sheets of watercolor paper into subtle bas-relief constructions that extend into the viewer’s space.

Josef Albers (American, 1888–1976). Embossed Linear Construction 2-D, from a portfolio of 8 inkless embossings, 1969. Inkless embossing on 300-gram Arches watercolor paper. Anderson Graphic Arts Collection, gift of the Harry W. and Mary Margaret Anderson Charitable Foundation. 1996.74.17.8

More Real than Real: The Photography of Ralph Eugene Meatyard

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: Magnolia Blossom by Imogen Cunningham

FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week, we feature an iconic photograph by renowned Bay Area photographer Imogen Cunningham. Magnolia Blossom is currently not on view, so take some time to stop and smell the flowers (virtually)!

Will Work for Art: Christopher Lentz

"Will Work for Art" takes you behind the scenes to meet the people who make the Fine Arts Museums work. This week we introduce you to the fabulous Christopher Lentz, Manager of Visitor Services and Volunteer Programs. Originally from Nashville (by way of Honolulu), Christopher has been with the Museums for over two years.

The Kilims of Caroline and H. McCoy Jones

In 1980, H. McCoy Jones announced that he and his wife, Caroline, would donate his entire private collection of more than six hundred Central Asian carpets to the Fine Arts Museums. Two years later, Cathryn M. Cootner was appointed as the de Young’s first textile curator (her tenure as curator-in-charge would run through 1995). Cootner’s robust acquisition and exhibition program transformed the Museums into a well-respected repository for high quality textiles and oriental rugs. Chief among these was a watershed exhibition of Caroline McCoy-Jones’s unsurpassed collection of Anatolian kilims in 1991. We took a moment to sit down with Cathy Cootner to reflect on the McCoy Joneses and their spectacular kilims twenty years later.

FRAME|WORK: Anti-Mass by Cornelia Parker

FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week, we feature a unique sculpture that unites art and science. Cornelia Parker's striking Anti-Mass is currently on view at the de Young.

Cornelia Parker (English, b. 1956). Anti-Mass, 2005. Charcoal and wire. Museum purchase, Friends of New Art and the American Art Trust Fund in honor of Harry S. Parker III and Stephen A. Nash. 2006.2

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