who we are
Cultivate Connections
Bridge Divides
Expand perspective
Unite
in 1937, elizabeth holmes fisher mandated that the Fisher Museum would forever remain free to the public. This commitment continues to be honored to this day.
Elizabeth Holmes Fisher
Founder of the Fisher Museum of Art
Our Story
In 1937, the University of Southern California accepted a gift from Elizabeth Holmes Fisher to construct what is now known as the USC Fisher Museum of Art, dedicated on November 14, 1939. In addition to founding the museum, Mrs. Fisher gave the University a significant portion of her art collection. Between 1939 and 1951, Mrs. Fisher donated a total of 74 paintings, drawings, and sculptures by European and American artists.
The Elizabeth Holmes Fisher Collection comprises 19th-century American Hudson River School and French Barbizon landscapes; 17th and 18th-century British portraits; and Dutch and Flemish masterworks from the 16th through 18th centuries. Close to one-third of the entire Fisher Collection is devoted to 16th and 17th-century European masters, namely Dutch, Flemish, German, and French. The collection contains representative forerunners from the “golden age” in each of four areas of painting: portraiture, landscape, history, and genre.
Mrs. Fisher’s dream of having her collection act as a nucleus to attract other donations was realized in 1965, when Armand Hammer donated 48 paintings to the Museum. Hammer began collecting art in the 1920s with the purpose of decorating his Moscow home. At first, he collected with his brother, Victor Hammer. Following their return to the United States, the brothers established the Hammer Galleries in New York City. In 1958, Hammer showed his collection at the Municipal Art Gallery in Los Angeles and announced his intention to donate the collection to a public institution. Between 1963 and 1974, Hammer donated a collection of works by Dutch, Flemish, German, and Italian masters of the 15th through 17th centuries.
Under the leadership of former gallery director Dr. Selma Holo, the greatest area of growth in recent years is in the 20th and 21st-century collections, achieved through the generosity of donors and through purchases made by the Museum. The contemporary collections are concentrated in the media of painting, prints, drawings, and photography. They mainly feature works by California artists, but also include an emphasis on international art, especially that of Mexico and Spain.
In 2015 pioneering Beverly Hills AIDS doctor, Dr. Eugene (Gene) Rogolsky, donated his collection of more than 700 works to the USC Fisher Museum of Art. Dr. Rogolsky’s collection is a complex, unorthodox, and introspective one, where photographs, prints, paintings, and sculptures range from sacred to profane, local to international, cerebral to prurient. Present in the collection are Czech artists, American photographers, and many local Los Angeles artists. While the collecting pattern is mostly a single work per artist, there are some who make their mark in the collection by virtue of a wider range of examples—famed Chicano artist Carlos Almaraz, for example, with 55 works.
Today, the USC Fisher Museum of Art maintains a permanent collection of approximately 3,286 works of art, ranging from old-master paintings to contemporary works dating from 1500 to the present day. The collection comprises works by European and American artists working principally in painting, printmaking, drawing, and photography, along with a number of sculptures and decorative art objects.
The USC Fisher Museum also oversees pieces of public art and sculpture located in front of the Museum’s entrance on Exposition Boulevard. These works contribute to the visual and cultural landscape of the USC campus, providing opportunities for reflection, interaction, and engagement, and are subject to the same procedures and policies as the rest of the museum’s collections.
Works of Art
he USC Fisher Museum houses a diverse collection of artworks spanning from the 16th century to today.
Hosted Exhibitions
The Fisher Museum of Art has been hosting exhibitions since 1939.
Our mission is
to unite the resources of our museums, campus, and communities, placing art at the core of our collective efforts to address our shared challenges.
As such, we embrace our role as conveners who facilitate dynamic art experiences that bridge divides, cultivate connection, and expand perspective.
Access to the permanent collection through digital records; exhibition and display; academic research and publication; and educational and classroom use are crucial to this mission.
The USC Fisher Museum of Art at USC Museums catalyzes campus and community connection through the power of art. USC Museums is guided by a common belief in the power of art to connect us to our deepest humanity and that of others.
A part of
usc museums
In 2022, the University of Southern California established USC Museums, comprising the USC Fisher Museum of Art (est. 1939) and the USC Pacific Asia Museum, the USC Pacific Asia Museum (est. 1971 and acquired by USC in 2013), and the University Collections Management Compliance Program (est. 2022).
Under this new structure, each museum maintains its distinct identity, individual collections, site-specific staff, and mission. Together, USC Museums envisions becoming USC and South Los Angeles’s most innovative arts laboratory and a model for experiential learning and co-creation in the museum field. By positioning ourselves as “co-creators,” we aim to unite the resources of our museums, campus, and communities, placing art at the core of our collective efforts to address shared challenges. In democratizing our practices, opening our processes, and making collaboration central to everything we do, we can offer our audiences the access, connection, and representation they desire.
exhibition proposals
The USC Fisher Museum of Art accepts exhibitions proposals from USC staff and students, as well as external parties. Decisions on proposals are made based on relevance to the museum and universities’ missions, as well as to our surrounding community. Proposals are reviewed biannually by our curator, director, and internal staff, in addition to our Museum Advisory Committee. Please note that exhibitions are scheduled 2 to 3 years in advance and we are rarely able to accommodate last-minute proposals. To submit a proposal, send your exhibition summary and any supporting materials to fmoa@usc.edu. Due to the high volume of submissions, we do not respond individually to each proposal.
BUILDING AND REBUILDING
Fisher Museum’s iconic structure.
The Fisher Museum and its companion building, Harris Hall, form a cohesive grouping of urban spaces and structures that contribute to what is known as a distinctive Los Angeles style. Originally designed by architect Ralph Flewelling, FAIA, the museum was intended to integrate seamlessly with the School of Architecture and Fine Arts, both in architectural design and functional purpose.
Situated at the southernmost edge of the campus, the Fisher Museum and Harris Hall present dual facades: one facing the street and one oriented towards the university. This positioning creates an attractive landscape setting along Exposition Boulevard while connecting a complex of buildings to individual courtyards to the north.
Originally, the courtyard of the Fisher Museum was unfinished, but it was completed in 1949 when USC alumnus Rowland H. Crawford undertook an addition to the museum. Key features of the building, such as the relationship between indoor and outdoor spaces, the simplicity of form and materials, and the strong façade with brick banding and dual entries, exemplify a California approach to architecture and are characteristic of many features that later developed at the USC campus.
Today, the Fisher Museum is experiencing a creative resurgence under new leadership. Bonnie Fisher, FASLA, landscape architect and great-granddaughter of Elizabeth Holmes Fisher, along with her husband, Boris Dramov, FAIA and architect, both alumni of the USC School of Architecture, and their daughter, Dana Dramov McCollough, also an alumna of the USC School of Architecture, are collaborating with the museum staff and the Schools of Architecture and Fine Arts to plan improvements to the Fisher courtyard. These are intended to enhance its role as a central focus and elevate the prominence of the visual arts within the campus and the community.
Under this new structure, each museum maintains its distinct identity, individual collections, site-specific staff, and mission. Together, USC Museums envisions becoming USC and South Los Angeles’s most innovative arts laboratory and a model for experiential learning and co-creation in the museum field. By positioning ourselves as “co-creators,” we aim to unite the resources of our museums, campus, and communities, placing art at the core of our collective efforts to address shared challenges. In democratizing our practices, opening our processes, and making collaboration central to everything we do, we can offer our audiences the access, connection, and representation they desire.
Donors and Partners
STUDENTS WITH USC MUSEUMS
Whether you are an art enthusiast or simply curious about the world of art, SUM provides everyone an opportunity to discuss, learn, and develop their skills and knowledge on all things museums and art.
Our members have the unique opportunity to immerse themselves in the prestigious USC Fisher Museum of Art and the USC Pacific Asia Museum. With chances to connect with museum staff and participate in unprecedented experiences, our organization provides a vibrant community for students to expand their passion for all things artistic.
ACCESSIBILITY AND INCLUSION
USC Fisher values a broad range of perspectives from our visitors, employees, volunteers, students, faculty, and community. The museum acknowledges that diversity, equity, accessibility, and inclusion are vital to the USC Fisher’s future viability, relevance, and sustainability. We as an institution continue to create policies and practices that help to eliminate barriers to participation, ensure that our offerings reflect the diversity of the communities we serve and the inclusivity to which we aspire.
Diversity
At USC Fisher, diversity is defined as the characteristics and attributes that make each of us unique at the individual or group level. Diversity has many dimensions, including gender identity and expression, race, national origin, sexual orientation, religion, disability, and age; as well as cultural and socioeconomic backgrounds, life experiences, skills, thoughts, perspectives, and ideas.
Equity
Equity involves acknowledging diversity, celebrating our differences and working together to eliminate barriers that prevent participation of all people and communities. Building equity requires that we seek an understanding of the underlying causes of disparities within our society, and strive to address and overcome them, in order to fulfill our commitment to providing equal opportunities in our employment and other practices.
Inclusion
While diversity always exists in social systems, inclusion and equity must be fostered. At USC Fisher, we need to do this by cultivating an environment where people feel supported and listened to. As a museum with a global collection, it is our mission and responsibility to ensure that our staff, interns, and volunteers demonstrate cultural competence, and that our collections and programming reflect and respond to diverse needs, interests, and cultures of our communities here in Pasadena and beyond.
Accessibility
An accessible museum is one that is inclusive of, and makes accommodations for, people with all types of disabilities. At the USC Fisher, we are committed to creating accessible environments throughout the institution’s physical building and in our practices; and providing the public with physical and intellectual access to the museum and its resources. We believe these commitments strengthen the institution for everyone.
Services for Visitors with Disabilities
Everyone is welcome at USC Fisher. We aim to make our exhibitions and programs accessible to all visitors with the help of the following services and amenities. If you have accessibility needs please contact the museum ahead of time and they can assist you with accessible parking locations and other information. Please email: rochemic@usc.edu
Parking
Accessible parking is available in the USC Campus, please click here for locations.
Gallery Chairs
A limited number of portable gallery chairs are available on a first-come, first-served basis, free of charge. Please inquire at the Information Desk upon arrival.
Closed Captioning
All videos for special exhibitions are closed-captioned.
Service Animals
In accordance with titles II and III of the ADA, USC Fisher welcomes service dogs only. Service dogs must be housebroken as well as harnessed, leashed, or tethered to their accompanying individual.
With the exception of service animals that meet the federal government’s guidelines for animals trained to perform tasks for the benefit of an individual with a qualifying disability under the Americans with Disabilities Act (ADA), visitors are not permitted to bring animals into USC Fisher.
Facility Rentals
Planning an Event
USC Fisher Museum of Art is available for rental and special events on a case-by-case basis, dependent upon the current exhibition (for event requests inside the museum) and availability. All requests must be submitted in writing a minimum of 10 working days in advance of the requested date. Food and drink receptions are held in the semi-private outdoor patio and catering, rentals and set up are the responsibility of the requesting department or group. Tours are available upon request.
The museum grants exclusive use of its facilities to the Roski School of Fine Arts for their commencement and reception.
Film production is prohibited inside the galleries.
Work with us
Our museum is always excited to connect with passionate and talented individuals who are inspired by the arts and culture. If you thrive in a collaborative environment and are interested in future opportunities with us, we encourage you to stay in touch. We offer a supportive and inclusive workplace with diverse opportunities for professional growth. For more information, contact us.
Latest News
News Archive
Departments
Bethany Montagano, Director, USC Museums
David Blair, Deputy Director
Michelle Bourdon, Visitor Services, Store & Revenue Manager
Courtney Crane, Executive Administrative Supervisor
Evelyn Davis, Visitor Services, Store & Tours Associate
Maria Galicia, Education & Programs Coordinator, USC Fisher Museum of Art
Cristina Hernandez-Guerrero, Manager, Public Programs and Campus Partnerships
Stephanie Kowalick, Director of Collections, Compliance, and Exhibitions
Sharon Lemire, Grants and Corporate Sponsorships Coordinator
Claire Lipsman, Registrar
Mike Roche, Operations & Events Supervisor
Juan Rojas, Public Art and Collections Facilities Manager & Preparator
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See what everyone is saying about us. #USCFISHER
So lucky to have witnessed the performance by Abigail DeVille. Loved the discussion after with Edgar Arceneaux where they got into migration, family, borders, north, south, countries, the homeless, colleges, majors and so much more. Thanks edgar_three for getting me out there! Thrilled to have also seen and met a Creative Capital grantee 2015!!🙌🙌 #abigaildeville #art #performance #uscfisher #creativecapital creative_capital
Apr 1
Saw the Kara Walker Exhibit at USC today with silk_kittenn & I highly recommend it. Walker’s work explores Black American history, and she uses silhouettes, historic illustrations, classic mythology and much more to create her vision. Sobering & arresting artwork from one of the greats 🤘☮️
#karawalker #contemporaryart #usc #uscfisher #uscfishermuseum #emancipationproclamation #emancipationapproximation #blackhistory #blackart #africanamericanart #africanamericanhistory
Oct 11
Amazing exhibition of works by Louise Bourgeois now on view at USC Fisher Museum of Art.
Repost from fishermuseum
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Our newest exhibition, “Louise Bourgeois: What is the Shape of This Problem?” is officially OPEN!
On view Tuesdays-Fridays from 12:00-5:00 PM, and Saturdays from 12:00-4:00 PM.
#louisebourgeois #modernart #losangelesmuseums #uscfisher #uscfishermuseum #mentalhealth
Sep 23
It was a little hard to get pictures once it got dark outside, but here`s a couple from the event. Almost all the seats were filled 🤍✨ Always a pleasure to sit down, relax and create with others.
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#paintnight #blacktrojans #blackartist #keviettebydesign #kmino #uscroski #alum #southla #family #music #apttmh #palette #acrylicpaint #paintbrush #uscfisher #artsy #creative #loveGod
Mar 6
Ayeee, got a Paint Night Tonight for my Black Trojan family! A couple years ago, I had my exhibition "Black Girl Blues," but for this project, I was tasked with visually expressing the other end of the spectrum – Black JOY! I`m so excited for you all to see the image you`ll be recreating. We will be at the Fisher Museum of Art from 6pm to 8pm 😆 So thankful to the Most High Yah for this opportunity! Fight On, and all glory goes to God. 💯 I hope to see y`all there.
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#paintnight #blackhistory #blackjoy #blackart #keviettebydesign #kevietteminor #usc #uscalum #southcentral #losangeles #celebrate #sonomacountyartist #socal #norcal #digital #painting #illustration #insecurehbo #uscfisher #blackgirlblues
Feb 24
Today is the last day to see pamdouglasart work in "Art and Hope at the End of the Tunnel" at fishermuseum
Curated by russianedward
#uscfisher #artandhopeattheendofthetunnel #artandhope #santuary #refugees #contemporaryart #arttoday
Dec 4
#Repost fishermuseum with make_repost
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Gajin Fujita
How the pandemic has affected my art practice:
During this pandemic, I found it that I have had more time to live with my art practice. So, I’ve been able to give and pay more attention to the paintings I’ve worked on. Also in this pandemic, I have been able to witness and experience the many social ills that we humans create and a lot of it has made for some great content to be used in my works.
A short statement about included pieces:
In this painting, No Man’s Land, I’ve painted a particular corner of the LA inner city, where we call the cornfields. This area is mostly a commercial zone so there really doesn’t exist a residential neighborhood but there once was a thriving community that existed when the Tongva people used to call this area their home. I’ve also painted Bird/God (tengu) characters attacking a coyote on this street corner. In this painting, I wanted to capture the idea of evolution and the idea of time. I feel all the fighting, struggles, competition, and dominance that all life on this planet is constantly practicing make up natural evolution.
Gajin Fujita
No Man`s LAnd
2020
Spray paint, paint markers, Sakura streak, 12K white gold leaf, and 24k gold leaf on wood
Courtesy of the Artist and L.A. Louver Venice, California
Copyright Gajin Fujita
#museum #art #history #photography #artist #contemporaryart #painting #gallery #arte #exhibition #museo #artwork #artgallery #culture #photooftheday #modernart #love #kunst #museums #losangeles #usc #uscfisher #gajinfujita
Nov 5
•Repost•
fishermuseum Join us for an exciting conversation on November 5th with three artists from Los Angeles: Gajin Fujita, Alfonso Gonzalez Jr., and Devin Reynolds. Featured artists from the current exhibition Art & Hope at the End of the Tunnel will discuss their process and practice, inspiration, growing up in Los Angeles, and creating work during the pandemic. The evening’s discussion will be moderated by artist, curator, and USC Roski School of Art and Design alum Dulce Soledad Ibarra. Followed by Q&A and refreshments.
Register for this event at the LINK IN BIO!
#museum #art #history #photography #artist #contemporaryart #painting #gallery #arte #exhibition #museo #artwork #artgallery #culture #photooftheday #modernart #love #kunst #museums #losangeles #usc #uscfisher #Roski #gajinfujita #dulcesoledadibarra #alfonsogonzalesjr
Gajin Fujita
"No Man`s LAnd"
2020
Spray paint, paint markers, Sakura streak, 12K white gold leaf and 24k gold leaf on wood
Courtesy of the Artist and L.A. Louver Venice, California
Copyright Gajin Fujita
Alfonso
"Air"
2020
Oil and enamel on canvas
Courtesy of Thomas Johnson
Copyright Alfonso Gonzales Jr.
Devin Reynolds
"Chainlink
2021
Acrylic on panel
On Loan from Artist
Copyright Devin Reynolds
otisalumnx otiscollege #supporteachother
Nov 5
Curated by my favorite Russian russianedward and up at the USC Fisher Museum fishermuseum in great company with kengonzalesday grantalexandra zcwalsh farrahkarapetian among many others
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How the pandemic has affected my art practice:
Making art one is constantly reflecting and negotiating the process of creating. During the pandemic, I wrestled with how I could carve (and even maintain) a creative path through such uncertainty and mark the time we were in. I came to deeply appreciate the simplicity of making small drawings that weren’t connected to my past works or driven by deadlines of shows and completions of projects. Stripping down to the bare minimum as time stretched out during this period put me back in touch with how I was a creator as an art student. You just show up and see what happens.
A short statement about the included piece:
`The Sun Burns My Eyes Like Moons` draws from solar eclipse expeditions, carvings on Egyptian temples, and the study of the sun up at Mt. Wilson Observatory at the solar observatory at the turn of the century.
Lia Halloran
The Sun Burns My Eyes Like Moons (Prototype)
2021
Cyanotype from painted negative ink and acrylic on paper
Courtesy of the Artist and Luis De Jesus, Los Angeles
#museum #art #history #photography #artist #contemporaryart #painting #gallery #arte #exhibition #museo #artwork #artgallery #culture #photooftheday #modernart #love #kunst #museums #losangeles #usc #uscfisher
Nov 4
Gallery artists Mark Steven Greenfield, and Andy Moses are included in Edward Goldman’s curatorial group-show at USC’s Fisher Museum of Art, “ART AND HOPE at the end of the tunnel.” Forbes Magazine’s Tom Teicholz writes and interviews Goldman on the exhibition’s central theme convening on art created during the pandemic. Link in bio!
“As an artist, this pandemic has had some unexpected silver linings,” Andy Moses wrote in response. “It allowed my mind to slow down.”
On view September 10 to December 9 fishermuseum
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(1) Artwork: Mark Steven Greenfield, “Escrava Anastacia” (2020) Gold leaf and acrylic on wood panel, 24” x 24”
russianedward forbes tommywood
Oct 23
