FAMSF ancient art curator, Renée Dreyfus, speaks Thursday, June 12, 2014, at the de Young on “Masters of Fire: The Copper Age in the Holy Land”
Renée Dreyfus, FAMSF curator in charge of ancient art and interpretation will speak at the de Young Museum on Thursday, June 12, at 1 PM about “Masters of Fire: The Copper Age in the Holy Land,” the exhibition which opens June 28, 2014 at the Legion of Honor. Curator lectures provide insight into exhibition conception and artifacts and are a wonderful way to get the most out of an exhibition. Image: Hedgehog Highlights
Renée Dreyfus, curator in charge of ancient art and interpretation at the Fine Arts Museums of San Francisco (FAMSF) will speak at the de Young Museum on Thursday, June 12, at 1 PM about Masters of Fire: The Copper Age in the Holy Land, the exhibition which opens June 28 at the Legion of Honor. Dreyfus, who always has lots of historical information readily at hand, will speak about artifacts that especially intrigue her and will set the stage for the anitquities that arrive later this month. If you do go, check the front rows for Colin Bailey, the new FAMSF director (he celebrates one year at the helm this month). He’s been at the several of the recent talks I’ve attended and it’s a pleasure to see him supporting and motivating museum staff and visiting scholars by engaging with their scholarship.
In 1961, Israeli archaeologists discovered over 400 copper objects wrapped in a straw mat at Naḥal Mishmar (West of the Dead Sea) hidden in a natural crevice that would be called the “Cave of the Treasure.” One of the greatest hoards of antiquity, these objects were so spectacular that they define an important era in Southern Levantine (modern-day Israel and surrounding lands) history now called the Chalcolithic (copper-stone) or Copper Age (5500–3500 BC).
Masters of Fire is the first comprehensive U.S. exhibition that explores the metallurgical revolution that produced these objects and how this led to significant changes in the technology, ritual, and especially the lifestyles of the Levant. The exhibition is organized by NYU’s Institute for the Study of the Ancient World (ISAW) and the Israel Antiquities Authority in collaboration with The Israel Museum, Jerusalem.
“The copper crowns and maces, or standards, found here testify to the amazing technical skill of the ancient smiths and artists who already knew the lost-wax process of casting,” said Renée Dreyfus who will address unknowns—whether or not the people who created these objects considered them as arts or ritual objects. “Of the 80 copper standards found in the Cave of the Treasure, no two are identical, proving that each was cast separately in an individual mold. This astonishing hoard of 429 remarkable objects also reveals the growth of prestige, status, and social rank.”
Copper objects from the Cave of the Treasure, hoard Nahal Mishmar, Late Chalcolithic period, 4500–3600 BC. Copper, lost wax technique. Israel Antiquities Authority, Israel Museum. Photo: courtesy FAMSF
“The term “Copper Revolution” has been used by scholars to describe the changes in social organization that occurred at this time,” continued Dreyfus. “Archaeologists have tracked the fragments of ore that were mined in Jordan and traced how they were carried almost one hundred miles into southern Israel to be crushed, repeatedly heated, and carefully smelted into small ingots. Once the copper was extracted, it was heated again and cast in open molds to make simple tools or weapons. However, the extraordinary discoveries in the Cave of the Treasure at Nahal Mishmar represent a very different path in metallurgy. The copper objects found there were made using the complicated lost-wax casting technique. These works are far more elaborate than any other copper creations known from this period. Whatever the original source of this hoard—whether a major religious or political center—the intricate scepters, crowns, and other copper objects must have been the accouterments of an elaborate ceremonial display. The Copper Age is therefore an early example of a society in which the ruling elite could afford prestige objects that were produced as symbols of its power.”
Originally from New York City, Dreyfus is a celebrated curator of ancient art. She graduated from Boston University with a degree in philosophy. She then went on to Brandeis University to receive her M.A. in Ancient Mediterranean Studies and finished her doctorate in Ancient Near Eastern Studies at UC Berkeley. She speaks several ancient languages, is very active in the FAMSF’s Ancient Arts Council. She was recently appointed to the newly formed visiting committee of the J. Paul Getty Museum that appraises the J. Paul Getty Trust on the museum. Some of Dreyfus’ publications include: deYoung: Selected Works (2006); Hatshepsut: From Queen to Pharaoh (Metropolitan Museum of Art Series) co-authored with Catharine H. Roehrig, and Cathleen A. Keller (2005); Pergamon: The Telephos Frieze from the Great Altar, Volume 2 (1997) co-authored with Ellen Schraudolph; California Palace of the Legion of Honor (1995); The Mystery of the Dead Sea Scrolls (1994) co-authored with Melissa Leventon.
Details: Talk by Renée Dreyfus is Thursday, June 12, 1 PM at the Koret Auditorium at the de Young Museum. Tickets are $3 members, $4 non-members. No advance purchase or reservations required. It is not necessary to have an entry ticket to the de Young to attend the lecture. If you would like to enter the de Young Museum, tickets are $10 adults, $7 seniors, FAMSF members free. Tickets to Modernism from the National Gallery of Art are $24 to $11 for non-members and free for FAMSF members. The exhibition, Masters of Fire: The Copper Age in the Holy Land is June 28, 2014-January 4, 2105 at the Legion of Honor.
Directions/Parking: The de Young Museum is located at 50 Hagiwara Tea Garden Drive, at John F. Kennedy Drive, in San Francisco’s Golden Gate Park. Enter Golden Gate Park (JFK Drive side) at 8th Avenue for 4 hour free street parking. For direct access to the Music Concourse Parking facility, turn right on Fulton and then left on 10th Avenue.
Finally! The Fine Arts Museums of San Francisco announces a New Director, Colin Bailey, from the Frick Collection
Colin Bailey, deputy director and chief curator of the Frick Collection in New York, is the new director of the Fine Arts Museums in San Francisco. He starts on June 1, 2013.
After much anticipation, The Fine Arts Museums of San Francisco (FAMSF) named its new director today, filling the position left vacant since the death of John Buchanan 15 months ago. Colin Bailey, currently associate director and chief curator of the Frick Collection in Manhattan and a noted curator and award-winning author will step into the position on June 1, 2013. Bailey was selected after an exhaustive year-long international search by a 13-member selection committee of the Fine Arts Museums of San Francisco’s Board of Trustees. The announcement was made today at 1 p.m. at the de Young Museum at a highly attended press conference officiated by FAMSF president and board chair Diane B. Wilsey (Dede) with guest speaker San Francisco Mayor Ed Lee. At today’s press conference it was made clear that Bailey will initiate a new mandate “moving beyond the museums’ reputation as a home for blockbuster exhibitions to focus more on its permanent collections.”
Diane B. Wilsey said of Bailey, who did not attend today’s press conference, “we all agree that Colin has the qualities that will elevate the museums to the next level.” She added that Bailey will keep “the focus on curatorial excellence, art historical relevance, and continued service to our community.” She also added that John Buchanan had been a lot of “fun to work with” and that that Colin was also “fun.”
Wilsey’s camaraderie with the late Buchanan was legendary and the two, whom ARThound dubbed “the dynamic duo” were responsible for the coup that brought the celebrated French Impressionism shows to San Francisco in 2010. (Read about that here.)
Mayor Ed Lee spoke enthusiastically of Bailey’s selection, acknowledging the difficulty of the search process and thanking the Board of Trustees. In a video shown at the press conference, (watch it below), Bailey said the appointment is “a dream come true,” and his purpose in The City will be “to conserve, to show, to educate.”
Normally, ARThound does not repost news from other websites or journalists but Janos Gereben, emailed me his article for the The Examiner (sfexaminer.com) about today’s appointment of Bailey and his reporting on his salary is excellent. Janos has written a series of articles leading up to today’s appointment, which can be found at www.sfexaminer.com. He shared with me that he got Bailey’s earnings at the Frick using old-school reportage—he looked up his tax records which are publicly accessible. Here then quoting Janos…
FAMSF president and board chair Diane B. Wilsey announcing the appointment of Colin Bailey as the new FAMSF director. Wilsey has run the FAMSF since the death of John Buchanan 15 months ago. Photo: Geneva Anderson
“From a small but world-renowned private institution, Bailey is moving to a San Francisco city government organization, which is responsible for the de Young and California Legion of Honor museums. He will manage 550 employees, some on The City’s payroll, most paid by the nonprofit Corporation of the Fine Arts Museums (COFAM).
Frick operates on a $22 million budget, has 330,000 visitors a year, against FAMSF’s 1.6 million visitors and $54 million operating budget.
Compensation, at least on paper, doesn’t reflect those differences in size: Bailey’s salary at the Frick was $235,000 in FY 2011, according to the latest IRS report available.
His position here is “Director of Museums, City and County of San Francisco Classification 0963, Department Head III,” which has a base salary under $100,000; he is expected to receive additional funding and perks from private sources and COFAM.”
Today’s press conference was scheduled for noon but began close to 1 p.m. due to late running Board of Trustees meeting, where Bailey was officially approved. The scuttlebutt among the press, impatient for the show to get on, ran the gamut from speculation about the delay in announcing a new director to criticism of Wilsey’s leadership during the recent period of curator dismissals and staff resignations to the organization’s press relations team which has recently been in flux. Several FAMSF curators were in attendance and they too seemed to eagerly await the announcement, one acknowledging that things had been “unsettled.”
At the press conference, Wilsey explained that the board meeting was delayed until today, to give Bailey “the courtesy of talking his own [Frick] board, which he did yesterday.” This, she said, enabled Bailey “to give proper notice.” He will start at FAMSF on June 1, 2013. She did not explain why the trustees’ meeting itself ran late.
Colin Bailey, the new Director of the Fine Arts Museums of San Francisco in an introductory video screened at today’s press conference
More about Colin Bailey: Born in London, Bailey earned his doctorate in art history at Oxford University. He specializes in 18th- and 19th-century French art, was named Chevalier de L’Ordre des Arts et des Lettres in 1994 for his contribution to French culture and was promoted to Officier in 2010. He also held a residency under Henri Loyrette, the former president and director of the Louvre in Paris. He has been chief curator of the Frick since 2000, when he narrowly lost the competition for the museum’s directorship. Previously, he worked at the Getty Museum, Philadelphia Museum of Art, Kimbell Art Museum, and the National Gallery of Canada, where he was deputy director and chief curator. He is returning to California 30 years after a fellowship at the J. Paul Getty Museum in Malibu.
He has organized more than two dozen exhibitions, including the recent Renoir, Impressionism and Full-Length Painting at the Frick, many of which have represented new scholarship and have been praised for providing keen insights into individual artists. Other exhibitions include Masterpieces of European Painting from Dulwich Picture Gallery; Renoir’s Landscapes, 1865-1883; and Rembrandt and His School: Masterworks from the Frick and Bailey’s many publications include The Loves of the Gods: Mythological Painting from Watteau to David; Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection; and Patriotic Taste: Collecting Modern Art in Pre-Revolutionary Paris, the book that won the Mitchell Prize.
Diane B. Wilsey and Colin B. Bailey, the new director of FAMSF, who will start June 1, 2013. Photo: Bill Zemanek
Colin Bailey and his partner will be spending the Easter holiday here in the Bay Area, having Easter dinner with Wilsey at her home and finalizing the signing on a spacious apartment that the couple will share with their dog. Details on the dog to follow…
ARThound’s most recent coverage of the Frick Collection— ARThound in New York: A Dresden goldsmith and court jeweler works his magic and catalogues it in small booklets—“Gold, Jasper and Carnelian” at The Frick Collection through August 19, 2012
ARThound 