FAMSF Blog

Corsets in Context: A History

The corset looms large in special exhibitions at both the de Young and the Legion of Honor. Jean Paul Gaultier, the subject of the de Young's  The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk , integrated this iconic garment into his prêt-à-porter collections as early as 1983. Meanwhile, over at the Legion of Honor in The Cult of Beauty: The Victorian Avant-Garde, 1860 –1900 (on view through June 17) the artists of the Aesthetic Movement rejected the corset in defiance of Victorian era fashions and social mores. Tonight, Friday Nights at the de Young explores the surprisingly dynamic world of Haute Corsets , with local corset makers Dark Garden and a screening of Truth or Dare , in which Madonna gets into the groove wearing Gaultier's unforgettable cone bra corset. Before you lace up, bone up on the fascinating history of this beguiling bodice!

Left: Emil Larsson, Body corset worn by Madonna, Blond Ambition World Tour, 1990. Dazed & Confused, April 2008 © Emil Larsson; Right: Edward Burne-Jones (English, 1833–1898). Pomona, 1886–1920. Wool, silk, cotton; tapestry weave. Museum purchase, Dorothy Spreckels Munn Bequest Fund. 2001.120.2

Two Views
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The Wonderful World of Victorian Children's Books

In the special exhibition Making the Modern Picture Book: Children’s Books from the Victorian Era (on view at the Legion of Honor through June 17), the intimate art of 19th-century story telling is revealed. England at this time was undergoing a formative period in the design, production, and marketing of children’s books, which were often gifted as rewards or prizes, and reinforced socially acceptable behavior in the guise of entertainment. Maintaining the principles of the Aesthetic Movement, publishers and renowned illustrators achieved a compelling fusion of art and literature.

William Nicholson (British, 1872–1949). An Alphabet: L is for Lady, 1898. Color lithograph. Achenbach Foundation for Graphic Arts. 1963.30.1351.13

L is for Lady
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The Third Tapestry
This month, Laurel Roth and Andy Diaz Hope begin their year as de Young Artist Fellows by setting up a research studio in the Kimball Education Gallery. Roth and Hope will use this time in the Artist Studio to design the third piece in a triptych of tapestries, which will be known as The Conflicts . Here, the artists articulate the ideas, inspiration, and foundation of this, the final piece of their triptych.

Allegory of the Monoceros, 2008 and Allegory of the Infinite Mortal, 2010. Woven tapestry. 108 x 75 inches

Diptych
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Mark Garrett Will Work for Art!

Will Work for Art introduces you to the people who make the Fine Arts Museums work. Today, we visit the Achenbach Foundation for Graphic Arts where we meet Mark Garrett, a senior museum technician. Originally from Tennessee, Mark has been with the Museums for 23 years!

Mark Garrett
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Man in the Mirror

Tonight, Friday Nights at the de Young celebrates the history of the dandy from Oscar Wilde to Jean Paul Gaultier. Whereas Oscar Wilde’s aesthetic style was derided as too feminine, Jean Paul Gaultier embraces gender bending, dressing men in skirts and women in exquisitely tailored suits. In this way, Gaultier's designs approach a new androgyny and subvert established fashion codes. The designer toys with standard concepts of the masculine and feminine throughout the special exhibition The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk , but one exhibit in particular literally speaks to this issue. He is the Man in the Mirror.

Man in the Mirror
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Designing Arthur Tress: San Francisco 1964

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.

Cover
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