A photographer associated with the American Arts and Crafts movement, Edwin Hale Lincoln self-published an extensive photographic study of New England wildflowers, a 20-year project that culminated in 1914 with 400 plates in 8 volumes. This exhibition of nearly 50 photographs features floral subjects from the volumes entitled Lily, Violet, and Morning Glory Families and Aquatic Plants, Pink and Crowfoot Families, all from the Museums' permanent collections.
de Young Artist Studio
Artist Rosanna Raymond, a New Zealand-born Pacific Islander of Samoan descent, will choose treasures from the de Young's permanent collection as reference points for investigating museum space as a place for new art and art of the past. She will develop a performance piece, involving movement, costume, sound, and workds, that will become an installation with projections and reflections that enhance her work.
For nearly two decades, New York artist Jane Hammond has been using a fixed lexicon of 276 images to create paintings and works on paper, both flat and three-dimensional, that layer prints, photocopies, and photographs with collage and handwork. Her visual vocabulary borrows from carnival costume and puppetry, instructional manuals, board games, scrapbooks, maps, and more. Jane Hammond: Paper Work presents nearly 30 large-scale works on paper, many of which are unique and culled from private collections.
de Young Artist Studio
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.