Sarah Lucas has gained notoriety for creating sculptures and installations that showcase the innate crudeness of stereotypical conceptions of gender and sexuality. From the outset, Lucas has used self-portraiture to debunk conservative notions of femininity, adopting stances associated with male behavior that purposefully foster sexual ambiguity. Lucas’s penchant for androgyny has also filtered into her sculpture, with bodies that flaunt both male and female attitudes and attributes and deny any clear association with either.
Feathered Serpents and Flowering Trees mural (Feathered Serpent 1), 500–550. Earthen aggregate, stucco, and mineral pigments, 22 1/4 x 160 1/4 in (56.5 x 407 cm). Fine Arts Museums of San Francisco, Bequest of Harald J. Wagner, 1985.104a
FAMSF receives an unexpected bequest of over 70 wall mural fragments from the archeological site of Teotihuacan from the estate of Harald Wagner.
Circular relief, 300–450. Stone, 49 1/4 x 40 1/2 x 9 7/8 in. (125 x 103 x 25 cm). Museo Nacional de Antropología / INAH, 10-81807. Archivo Digital de las Colecciones del Museo Nacional de Antropología / INAH-CANON
This display of Sèvres and Vincennes porcelain celebrates a significant promised gift from Gustavo Seriñá to the Fine Arts Museums. Showing highly-decorated porcelain tea and dining wares, thirty pieces from this collection are from the early production of the French Royal Factory which was founded at Vincennes in 1740 and moved to Sèvres, just outside Paris, in 1756. This presentation highlights the Museums’ growing collection and its ability to present new exhibitions and scholarship in the field of European eighteenth-century porcelain.
For almost six decades Frank Stella has been one of the most important and influential figures in the evolution of modern art, expanding the definitions of art and challenging its conventions. Exploring pictorial space—how paintings can seem to expand or contract, lie completely flat or envelop the viewer, suggest movement or foster stillness—has led to some of Stella’s most significant innovations.
Artist: Stanley Mouse and Alton Kelley Publisher: Family Dog. Printer: The Bindweed Press. “Skeleton and Roses,” Grateful Dead, Oxford Circle, September 16 & 17, Avalon Ballroom, 1966. Color offset lithograph poster, 50.7 x 35.6 cm (19 15/16 x 14 in). Fine Arts Museums of San Francisco, Museum purchase, Achenbach Foundation for Graphic Arts Endowment Fund, 1974.13.100
April 8–August 20, 2017 | de Young