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Exhibitions

Kay Sekimachi’s Guestbook

A visitor's response to Key Sekimachi.

For the past several months, visitors have studied our current textiles exhibition, Kay Sekimachi: Student, Teacher, Artist. Sekimachi’s life-long artistic endeavors were on display, including numerous textile studies, her signature monofilament sculptures, early student works and pieces created earlier this year. Visitors were encouraged to sign a guestbook for the exhibition leaving notes for Sekimachi, which will be affixed in a journal for her archives. Some of our favorite responses are below.

November 2, 2016

10 Works of Art to Avoid If You're Hungry

Ed Ruscha, Pepto - Caviar Hollywood, 1970. Color Screenprint On Copperplate Deluxe Paper; Torn And Deckle Edges, Sheet: 378 x 1080 mm (14 7/8 x 42 1/2 in.); Image: 256 x 955 mm (10 1/16 x 37 5/8 in.). Museum purchase, Mrs. Paul L. Wattis Fund.

Ed Ruscha, Pepto-Caviar Hollywood,1970. Color screenprint, 15 x 42 1/2 in. Published by Cirrus Editions, Los Angeles. Fine Arts Museums of San Francisco, Museum purchase, Mrs. Paul L. Wattis Fund, 2000.131.37.1 © Ed Ruscha

Did you know that some of the prints in Ed Ruscha and the Great American West were made with edible materials? Pepto - Caviar Hollywood in particular was made with - you guessed it - Pepto Bismol and caviar, perhaps a reference to the excesses and obsessions of the Hollywood film industry.
 
What other works of art pique our interest in food? If you’re looking to tame the grumble in your belly, look to these works for inspiration on your next snack:

July 28, 2016

Office Hours: An Interview with the Curators of Wild West

Peter Hurd, A Ranch on the Plains, 1954. Tempera on hardboard, 29 3/4 x 47 1/8 in. (75.6 x 119.7 cm). FAMSF, gift of the California Brewing Company, 54.37

Wild West: Plains to the Pacific, now open at the Legion of Honor, includes more than 170 works—from John Raphael Smith’s mezzotint, The Widow of an Indian Chief Watching Over the Arms of her Deceased Husband made in 1789, to photographs of the central valley taken by Matt Black in 2014—to trace an ever-changing sense of America’s frontier. We talked to the exhibition curators, Jim Ganz and Colleen Terry, about what visitors can expect.

This exhibition is made up entirely from works in our own collection. Does that present any special opportunities?

Jim Ganz: This is a chance to see some old favorites from the de Young in completely new contexts at the Legion of Honor, paired with works that they wouldn’t ordinarily be paired with. For example, Albert Bierstadt’s California Spring reflects the long tradition of European landscape painting, and it’s an idealized, bucolic view of the Sacramento Valley. Robert Bechtle’s Four Palm Trees, on view in the same gallery, was painted at Dixon, CA, only about 20 miles from the location depicted in the Bierstadt. 

June 24, 2016

Decades of Style

Yves Saint Laurent (French, born Algeria, 1936 – 2008) for the House of Dior. “Refrain” Cocktail Dress, 1958. White silk surah printed with gray and black pebble pattern. Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Mr. and Mrs. Lewis Iselin, Jr., 1959. Image © The Metropolitan Museum of Art

Clothes tell the story of an age.

June 4, 2015

The Scottish Visitors: A Family from Pitlessie

Sir David Wilkie (1785–1841), Pitlessie Fair (detail), 1804. Oil on canvas, 24¼ x 43½ in. Scottish National Gallery, Edinburgh. Purchased 1921 (NG 1527)

These might not appear to be the most pious folks—the fifth commandment concerning honoring your parents doesn’t appear to be high on these kids’ list. But read more about how Sir David Wilkie secretly sketched his fellow parishioners in church, and then used those drawings to populate his great painting, Pitlessie Fair from 1804.

The latest of our Scottish visitors, the excerpt below is from the exhibition catalog for Botticelli to Braque: Masterpieces from the National Galleries of Scotland, available for purchase in the Museum Store.

March 26, 2015

The Scottish Visitors: Berthia Hamilton Don-Wauchope

Francis Campbell Boileau Cadell 1883–1937, Portrait of a Lady in Black, about 1921. Oil on canvas, 30 x 25 inches. Scottish National Gallery of Modern Art, Edinburgh. Bequeathed by Mr and Mrs G.D. Robinson through the Art Fund, 1988

A drawing room with lilac walls and highly polished black floors—and a pile of props like top hats, opera cloaks, and fans. Read more about how Cadell used his spectacular living space to inject a little glamour into his portrait of our next Scottish vistor, Berthia Hamilton Don-Wauchope, the artist's 50-something neighbor from Edinburgh. The except below is from the  exhibition catalog for Botticelli to Braque: Masterpieces from the National Galleries of Scotland, available for purchase in the Museum Store.

March 19, 2015

The Scottish Visitors: Lady Agnew of Lochnaw

John Singer Sargent 1856–1925, Lady Agnew of Lochnaw (1865–1932), 1892. Oil on canvas, 125.7 x 100.3 cm (49½ x 39½ in). Scottish National Gallery, Edinburgh. Purchased with the aid of the Cowan Smith Bequest Fund, 1925 (NG1656).

The next in our weekly series of Scottish visitors is Lady Agnew, who sat for John Singer Sargent at the age of 27. Her pose is "notably langorous," possibly because she was recovering from a period of nervous exhaustion at the time. The except below is from the  exhibition catalog for Botticelli to Braque: Masterpieces from the National Galleries of Scotland, available for purchase in the Museum Store.

March 13, 2015

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