FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week, we feature an exquisite tea service from Russia made by Peter Carl Fabergé currently on view at the Legion of Honor.
As a follow up to our last post about the conservator’s role in dealing with artistic intent, the Objects Conservation Department has been working with outdoor sculpture contractors from Tracy Power Conservation to conserve the Louise Nevelson sculpture Ocean Gate. The sculpture is located at the south corner of the Osher Sculpture Garden at the de Young.
FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week, we feature a life-size sculpture depicting a Nigerian bush spirit, currently on view in the African gallery at the de Young.
The art of Isabelle de Borchgrave is in itself a type of recycling. Inspired by sumptuous costume and textiles from the past, de Borchgrave recreates some of history’s most iconic fashions in the surprising medium of paper. Pulp Fashion: The Art of Isabelle de Borchgrave, on view at the Legion of Honor through June 12, displays paper outfits derived from those seen in European paintings, museum collections, photographs, sketches and even literary descriptions. De Borchgrave’s art practice seems particularly relevant in today’s conservation-minded climate in which “recycle and reuse” has become a mantra for artists and fashionistas alike.
Paper fashion was not always associated with such principled objectives. In the late 1960s, when de Borchgrave was just beginning her career, paper dresses captured the cultural zeitgeist not only for their pithy design and novelty, but specifically for their disposability.
"Will Work for Art" takes you behind the scenes to meet the people who make the Fine Arts Museums operate. Steven F. Correll is a Registrar who literally makes the "scene" possible by organizing and tracking artwork as it moves through the Museums. Originally from San Diego, CA and Ponca City, OK, Steve has been with the Museums for 4 years.
In my last post, I introduced you to the cutting edge photography Reflectance Transformation Imaging (RTI), a technique invented by Tom Malzbender at Hewlett Packard Labs. Here at the Museums, we have been using RTI to gain better understanding of objects in our permanent collection. We have just completed another round of RTI photography of this 5th-century Greek pelike.
In 1996 construction workers accidentally uncovered a mosaic while widening a road in the modern Israeli town of Lod, near Tel Aviv. A preliminary excavation immediately conducted by the Israel Antiquities Authority (IAA) revealed that three feet below the modern surface there was a mosaic floor dating to about AD 300. The three most complete and impressive panels from the floor are on view at the Legion of Honor through July 24.
FRAME|WORK is a new weekly blog series that highlights an artwork in the Museums' permanent collections. This week we feature a landscape painted by one of our marquee artists, Wayne Thiebaud.
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.