Last month we featured John Roddam Stanhope’s Love and the Maiden in FRAME|WORK, which served as the first in a series of blog posts that will demonstrate key elements of the Aesthetic Movement through this singular painting. In this installment, curatorial assistant of European art Melissa Buron examines how Stanhope's use of tempera paint contributed to the aesthetic of the Victorian avant-garde.
Last weekend marked the one-year anniversary of Japan’s tragic earthquake and tsunami. Today marks the birthday of Jennifer Bartlett, whose opus, At Sea, Japan, was inspired by Japanese artistic traditions and is highlighted in this week’s FRAME | WORK . This work is currently not on view, so we hope you enjoy At Sea, Japan as we reflect on Japan’s recovery and resilience.
The designs of Jean Paul Gaultier often straddle the seemingly divergent worlds of haute couture and street fashion. To illustrate the profound influence of the street’s wild style on Gaultier’s designs, the museum commissioned San Francisco based artist Rio Yañez to create a 65-foot long graffiti mural, which will serve as the backdrop for the Punk Cancan section of the exhibition.
If there is one article of clothing associated with the Victorian Era, it is the corset. This Sunday, March 11, we continue our exclusive series of public programs for The Cult of Beauty: The Victorian Avant-Garde, 1860–1900 with Visions of Beauty—Inside the Victorian Artists Salon, presented in partnership with Dark Garden Corsetry and the Pre-Raphaelite Brotherhood Artist Salon. We recently sat down with Autumn Adamme, the owner of Dark Garden and your guide to all things corseted, to discuss this controversial fashion icon.
FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week, we feature an exquisite bas-relief of a gift bearer from ancient Persia, currently on view in the Hall of Antiquities at the Legion of Honor.
Arthur Tress: San Francisco 1964 opens tomorrow at the de Young. Although the primary subject of the exhibition is the city we call home, many of the locations represented in the pictures were difficult to pin point. During his preparations for the exhibition, curator James Ganz tried to track down some of the more mysterious sites portrayed, which resulted in a San Francisco adventure of his own.
The blog series Museum Without Walls features de Young Artist Fellows working outside of the museum with other artists and local, community based arts organizations. In this edition, we catch up with Sarah Wilson and Catch Me Bird at their Djerassi alumni artist residency where they gave us a glimpse into the early stages of their creative process.
On view through June 10 in the Textiles Gallery at the de Young, The Art of the Anatolian Kilim: Highlights from the McCoy Jones Collection showcases extraordinary examples of flat-woven kilims from the 15th to the 19th century. Considered to be the most important group of Anatolian kilims outside of Turkey, these kilims are notable for their elaborate design patterns, unusual
Monique Jenkinson (aka Fauxnique), a 2012 de Young Artist Fellow, is currently working in an open process format in the Kimball Education Gallery. The fundamental goals of the yearlong Artist Fellows program are to support work by artists both inside and outside of the museum, and to foster long-term relationships with those artists and their collaborating partners. In some cases, the foundation for this relationship has been long established through programs such as Friday Nights at the de Young. Case in point: Monique Jenkinson, dancer and performance artist.
Photo by Michelle Blioux
Tomorrow The Cult of Beauty: The Victorian Avant-Garde, 1860–1900 (February 18–June 17) opens at the Legion of Honor! Exactly 130 years ago, the tenets of the Aesthetic Movement were introduced to San Francisco by none other than Oscar Wilde.