Though Jeremy Anderson is often placed in a lineage of avant-garde thought which can be traced back to the Cubism and Surrealism of a half-century prior, his own concept of sculpture as an art form went well beyond any physical limitations.

We are pleased to share our video series reflecting on the impact Joan Brown had as a person and an artist, both during her lifetime and after her death.

October 26, 2020, is the 30th anniversary of Joan Brown's death at age 52 in Prasanthinilayam, India, 1990. George Adams recounts organizing her memorial exhibition, which opened at the gallery in September of the following year.

Though it is easy to remember Jack Beal solely for the role he played in re-affirming the figure as a subject of contemporary painting, a more complex side of his legacy is what lead him to the idealized, modeled affect of his best-known works.

"A side of the gallery that is perhaps not well known but no less central to the gallery’s history and reputation is drawings."

Most of the gallery’s relationships with our artists stretch back decades and, while their work is always paramount in our minds, it is often the personal experiences which stand out most. Here, George Adams recalls such moments with Joan Brown.

We are pleased to present our first online viewing room, as part of the ADAA Member Viewing Rooms in collaboration with Artlogic.

When Andy told us he had just completed another sketchbook, we asked him to give us a virtual "tour". This book was started last summer and takes us through vacations, the school year, changing seasons and, in the final pages, the COVID-19 pandemic.

In 1991, George Adams accompanied Robert Arneson and his wife, Sandra Shannonhouse on a visit to the Pollock-Krasner House, former home and studio of painters Jackson Pollock and Lee Krasner.

As SFAI passed its first centennial in 1971, the experimentation and innovation of years prior was increasingly a defining characteristic of the school.

In 1961, CSFA changed its name to the San Francisco Art Institute. Under this new identity, the school continued to evolve, expanding programming to include the multi-media and conceptual disciplines that were beginning to take form in the arts.

In the early 1980s, Luis Cruz Azaceta was living and working out of a small studio in Ridgewood, Queens. George Adams recalls his first time visiting Luis’ studio and the impression he made.

As we continue to celebrate the history of the San Francisco Art Institute and its alumni, one of the school’s most enduring (and important) legacies has been the fostering of communities that extend beyond the classroom.

With the San Francisco Art Institute’s recent announcement that it may be forced to close, we wanted to take the opportunity over the next few weeks to highlight just how critical the Institute has been in shaping art in the Bay Area and beyond.

Here is the full video of our Online Studio Visit with Luis Cruz Azaceta! Azaceta gives us a tour of his “bunker” as he discusses the beginnings of his career in New York, his history with the gallery and his current exhibition.