Notes from the de Young

Here are more notes from my museum drawing campaign. I had a lot of difficulty sketching within Masters of Venice exhibit at the de Young Museum. The crowds were larger and less patient with stationary observers like me. This added new feelings of urgency to drawings. I focused on the idea of “disegno” and tried not to dwell on details. I also gave up on correct spelling in my notes. My final sketch of a Titian painting became an abstraction, highlighting the artist’s use of shapes and values within the format.

My move to the permanent collection was a great relief from the special exhibit. I was able to spend more time with the sculptures in the near empty galleries.

Notes from the Contemporary Jewish Museum

The idea of sketching three-dimensional objects in museums was planted in my head after participating in Imin Yeh’s Space Bi project (Please visit for more info!). It makes sense, right? When you see an interesting object in a space where photography is not allowed, drawing becomes the best way to capture the experience.

I’m accustomed to making art in my own private studio so I was a bit apprehensive about drawing out in the open. I also never believed in the idea of “live painting” in front of an audience. So far, I’ve had very positive experiences drawing in galleries. I think that people respond more to the activity than the actual results. Yesterday at the CJM, a security guard patted me on the back and said “you’re doing it!”

I regret not having any sketches for the Richard Serra exhibit at SFMOMA. Sketching would have been appropriate since the exhibit showed the relationships between drawing and sculpture. I’ll have to sneak some oil sticks in next time. A second look will be easy with my free pass! It’s ironic that I’m using my Asian Art Museum badge to put myself to work in other museums.