de Young Museum
Australian artist Timothy Horn plays with sugar, scale, and the legend of Alma Spreckels in his reinterpretation of historical decorative arts from the Fine Arts Museums of San Francisco. As part of the Collections Connections series, Horn uses the European decorative arts collections as the inspiration for three large-scale works in Timothy Horn: Bitter Suite, on view from June 14 to October 12, 2008.
Best known as a sculptor, Martin Puryear has returned in recent years to an exploration of printmaking, masterfully rendering his three-dimensional ideas into print. He uses the flexibility of the printmaking process to consider variations of his sculptural forms, and he often explores ideas by reworking plates from existing editions. A major lender to this exhibition is Paulson Press in Berkeley, where Puryear made etchings beginning in 2001.
A photograph is under no obligation to present visual proof or even visual truth. Its appearance is the product of myriad choices on the part of the photographer. The works in this exhibition explore those choices made by the photographer, including composition, layering of elements, depth of field, and focus.
Space Explorations includes works by Felice Beato, Lee Friedlander, Edward Steichen, Brassai, and Margaret Bourke-White. A number of the works on view are on loan from the Prentice and Paul Sack Photographic Trust.
Shimon Attie’s Sightings: The Ecology of an Art Museum is a multiple-channel, high-definition video installation that explores the relationship between works of art and museum visitors and staff. Attie’s particular interest is giving visual form to the heightened moment of mutual encounter between art viewer and art object. The exhibition is part of the museum’s Collection Connections series, which invites artists to create new work that reinterprets traditional objects from the FAMSF collections.
Maya Lin: Systematic Landscapes
Al Farrow’s current body of work continues to appropriate and reinterpret the traditional iconography of Jewish, Christian, and Islamic religious institutions and beliefs, and their historic links to complex political, cultural, and military issues and events. The Spine and Tooth of Santo Guerro (2007), is Farrow’s most important work in both technical and aesthetic terms. At first glance, this elaborate construction appears to be only a beautifully crafted scale model of a European Gothic cathedral, albeit not one that is historically identifiable.