contemporary art

A Conversation with Max Fishko

Next week the city of San Francisco will be flooded with art dealers and collectors, all clamoring to see the newest and brightest at the second annual artMRKT contemporary and modern art fair. The event’s opening festivities kick off this Thursday, May 17 and feature a preview reception benefiting the de Young and the Legion of Honor museums.

We recently sat down with artMRKT co-founder Max Fishko, a third-generation gallerist from New York City, to get his take on the contemporary art scene at large and in San Francisco.

Max Fishko

Max Fishko, co-founder of artMRKT

What's the Matter: Conserving the Sculpture of Stephen De Staebler

Matter + Spirit: The Sculpture of Stephen De Staebler presents the work of an artist who used a variety of materials ranging from metal to clay to create lasting works of art. Working with stoneware and sometimes porcelain, De Staebler built monumental sculptures that pushed the limits of the media and extended the boundaries of how these materials had been used in the past.

Standing Woman and Standing Man, 1975

Stephen De Staebler, Standing Woman and Standing Man, 1975. Pigmented stoneware and porcelain with surface oxides. Courtesy of Paul Thiebaud Gallery, San Francisco. Artwork © Estate of Stephen De Staebler.

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

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

The Conservator’s Role in Honoring Artistic Intent

When objects conservators design a treatment for a corroded sculpture, they often have to grapple with the issue of the artist’s intent.

For instance, would Henry Moore at age 29, who made a sculpture with a shiny metallic surface, be in agreement with Henry Moore at 75, who, when interviewed about a treatment, stated that he quite liked the idea that surfaces went green, dry and streaky with time?

One way a conservator can help tease out these contradictions is to interview contemporary artists about the materials and techniques they use and then record how these artists would like their sculptures cared for in the future. At the Fine Arts Museums we are developing a database tracking this information for contemporary sculpture under our care.

The artist Al Farrow with

Artist Al Farrow with his sculpture The Spine and Tooth of Santo Guerro previously on view at the de Young

Julian Cox in conversation with Collection Connections artist Marco Breuer

In the midst of the 48-hour installation of Line of Sight, Founding Curator of Photography and Chief Curator at the de Young Julian Cox sat down with Marco Breuer to discuss his artistic practice.

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