Shirley Jaffe in Francis’s rue Tiphaine studio, Paris, with Francis’s grey/white cellular painting, early 1950’s.
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We are thrilled to announce our first installment of Archive Connection, a deeper look into the artist’s archives.

 

Archive Connection Essay No. 1 Shirley Jaffe
Poem of Shapes
By Leila Elliott

Students from Art Division, Los Angeles working in the print studio.

Community Engagement

The Sam Francis Foundation has a deepened commitment to amplifying and supporting programming dedicated to Black Lives Matter, art education, literacy, and environmental protection. We also support programming designed to answer the current need within the artistic community during the COVID-19 pandemic.

Community Engagement

The Sam Francis Foundation has a deepened commitment to amplifying and supporting programming dedicated to Black Lives Matter, art education, literacy, and environmental protection. We also support programming designed to answer the current need within the artistic community during the COVID-19 pandemic.

Students from Art Division, Los Angeles working in the print studio.

The Space of Effusion: Sam Francis in Japan

Richard Speer
Edited and with a foreword by Debra Burchett-Lere

“Now that we are deprived of the pleasure of going to museums to experience art first-hand, I found myself enjoying the silky texture of the book cover and its equally silky at-touch pages inside. Going through the multiple reproductions and photos, gave me a sensation that I’m traveling along with Francis to Japan.” — Edward Goldman

Director’s Letter

Hello from all of us at the Sam Francis Foundation! The SFF board and team send best wishes to our Sam Francis community during this unusual year as it has affected us on a variety of levels. We are fortunate to continue working remotely (thanks to our subscribers and donors) focused on our educational legacy objectives, especially providing updates to the living Sam Francis: Online Catalogue Raisonné Project

Debra Burchett Lere channeling Superwoman by Kiki Kogelnik at the National Museum of Women in the Arts, Washington DC.
Debra Burchett Lere channeling Superwoman by Kiki Kogelnik at the National Museum of Women in the Arts, Washington DC.

Director’s Letter

Hello from all of us at the Sam Francis Foundation! We send our best wishes and healthful and hopeful regards to our Sam Francis community during this unusual year as it has affected so many of us on a variety of levels. We are fortunate to continue working remotely (thanks to our subscribers and donors) focused on our legacy objectives, especially ongoing updates to the living Sam Francis: Catalogue Raisonné Project….

Sam Francis in Rue Tiphaine studio, Paris. Photo by Lennart Olson/Tio, Stockholm

WORKS ON PAPER & CANVAS

Currently published to date 1945–1956

 

Welcome to the Sam Francis: Online Catalogue Raisonné Project, the compilation of unique works on paper and expanded version of canvas and panel paintings.  This installment documents all known unique works attributed to the artist from 1945 through 1956. Additional years will be added through 1994 on a regular basis.

 

This project is a subscription-based educational service.  There are two ways to subscribe:

 

BASIC (no cost)
EXPANDED (annual fee)

Artwork Spotlight

In documenting the oeuvre of Francis we discover interesting stories regarding an artwork’s history, particularly as it leaves the studio and enters the collecting world. This new series of posts will highlight artworks and their histories with short commentary designed to further engage the public in an educational dialogue.

Sam Francis, The Bound and the Unbound, 1984, five-panel, two-sided, folding screen, acrylic on gessoed hollow-core wooden panels, hinged together; overall 244 x 610 cm (96 1/8 x 240 5/16 in.), view after completion in the Broadway, Santa Monica studio. Undisclosed collection; formerly Idemitsu Museum of Arts, Tokyo.

Artwork Spotlight

Sam Francis, The Bound and the Unbound, 1984, five-panel, two-sided, folding screen, acrylic on gessoed hollow-core wooden panels, hinged together; overall 244 x 610 cm (96 1/8 x 240 5/16 in.), view after completion in the Broadway, Santa Monica studio. Undisclosed collection; formerly Idemitsu Museum of Arts, Tokyo.

In documenting the oeuvre of Francis we discover interesting stories regarding an artwork’s history, particularly as it leaves the studio and enters the collecting world. This new series of posts will highlight artworks and their histories with short commentary designed to further engage the public in an educational dialogue.

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