Exhibition Schedule


She Who Tells a Story: Women Photographers from Iran and the Arab World
Through May 4, 2015

Pigott Family Gallery
This exhibition introduces the pioneering work Dashtiof 12 leading women photographers from Iran and the Arab world: Jananne Al-Ani, Boushra Almutawakel, Gohar Dashti, Rana El Nemr, Lalla Essaydi, Shadi Ghadirian, Tanya Habjouqa, Rula Halawani, Nermine Hammam, Rania Matar, Shirin Neshat, and Newsha Tavakolian. These photographers have tackled the very notion of representation with passion and power, questioning tradition and challenging perceptions of Middle Eastern identity. Their provocative work ranges from fine art to photojournalism and provides insights into political and social issues, including questions of personal identity and exploring the complex political and social landscapes of their home regions in images of great sophistication, expressiveness, and beauty. Learn more IMAGE: Gohar Dashti (Iran, b. 1980), Untitled #5 from the series Today’s Life and War (detail), 2008. Pigment print. Courtesy of the artist, Azita Bina and Robert Klein Gallery, Boston © Gohar Dashti


Loose in Some Real Tropics: Robert Rauschenberg’s “Stoned Moon” Projects, 1969–70
Through March 16, 2015

Ruth Levison Halperin Gallery
In 1969, American artist Robert Rauschenberg was invited by the NASA Art Program to document the launch of Apollo 11, the first manned spaceflight to the moon. Rauschenberg producedMoon_Book Stoned Moon, a series of large-format lithographs replete with scenes of astronauts, complex machinery, and various regional ephemera. This exhibition features 13 of the Stoned Moon lithographs together with 20 rarely seen collages and drawings, photographs of the artist visiting NASA’s facilities, and more. Learn more IMAGE: Robert Rauschenberg (U.S.A., 1925–2008), Drawing for Stoned Moon Book, 1970. Photo collage with watercolor and colored pencil on illustration board. Lent by Robert Rauschenberg Foundation. © Robert Rauschenberg Foundation/licensed by VAGA, New York, NY. Photo by Glenn Steigelman


Pop Art from the Anderson Collection at SFMOMA
Through October 26, 2015
Freidenrich Family Gallery
This exhibition of 10 sensational works, including Robert Indiana’s iconic 1973 painting Love and Andy WarholWarhol6’s 1967 self-portrait, celebrates the opening of the Anderson Collection at Stanford and underscores the family’s generosity and aesthetic vision. In addition to Warhol’s and Indiana’s works, the exhibition presents important paintings and sculptures by Jim Dine, Jasper Johns, Roy Lichtenstein, Claes Oldenburg, Robert Rauschenberg, and James Rosenquist. The works are on loan from the San Francisco Museum of Modern Art, which received them as a gift from Harry W. and Mary Margaret Anderson. Learn more
IMAGE: Andy Warhol (U.S.A., 1928–1987), Self-Portrait, 1967. Acrylic and silkscreen enamel on canvas. Collection SFMOMA, gift of Harry W. and Mary Margaret Anderson. © 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York



Daumier on Art and the Theatre

Through March 16, 2015
Robert Mondavi Family Gallery
After 1840, Honoré Daumier (France, 1808–1879) made numerous prints for the popular press that deal with Daumierart theory, the public reception of painting, and the performing arts. With sharp wit and a keen understanding of the complexities of modern life, Daumier turned his critical eye on the artists, musicians, dancers, and singers in the spotlight as well as their audience in these insightful and charming images. This installation contains roughly 16 prints and one drawing, all by Daumier. IMAGE: Honoré Daumier (France, 1808–1879), The Sad Expression of Sculpture Being Surrounded by Painting (Triste Contenance de la Sculpture ...), 1857. Lithograph. Mortimer C. Leventritt Fund, 1969.60

Shop, Gallery, Studio: The Art World in the 17th and 18th Centuries
Through March 16, 2015
Early European Gallery
During the 17th and 18th centuries, European artisShop2ts increasingly rendered in prints and drawings the new and traditional spaces in which people could view, buy, and converse about art. The images in this installation depict different sites in the rapidly evolving art world—some real and some more imaginary—where art was created, displayed for the public, sold, or discussed. This installation also examines the ways in which the social identities of the professional artist and the serious connoisseur manifest within these images. IMAGE: William Say (England, 1768–1834) after Sir Joshua Reynolds (England, 1723–1792), Dilettanti Society, 1812–1816. Mezzotint. Committee for Art Acquisitions Fund, 1979.5

Sensual Splendor: Medieval Art from the Cantor Collection
Through March 30, 2015crucifixion

Lynn Krywick Gibbons Gallery
Medieval icons, funerary portraiture, and textiles from Byzantium, the Latin West, and Islam evoke the sensually saturated spaces of religious and secular ceremonies. This exhibition is curated by Bissera Pentcheva, associate professor of medieval art in Stanford’s Department of Art & Art History. IMAGE: Artist unknown, Icon of the Crucifixion, 1350–1400. Tempera on wood panel. Cantor Arts Center collection, Gift of Mortimer C. Leventritt, 1941.296


Bear Walker Society: Explorations in Global Modernism
Through March 30, 2015
Roland K. Rebele GalleryMorrisseau
This exhibition focuses on the work of leading Anishnaabe (Ojibway) artist Norval Morrisseau (1931-2007) and explores how conventional Anishnaabe beadwork and early interactions with Picasso impacted the development of his characteristic style. IMAGE: Norval Morrisseau (Anishnaabe [Ojibway], Canada, 1931– 2007), Bear Walker Society, 1992. Screenprint. Cantor Arts Center Collection, Gift of Malcolm and Karen Whyte, 2009.87


The Bay Area and Beyond: Selections from the Museum’s Collection
Through June 15, 2015
Freidenrich Family Gallery

The Cantor’s diverse collection of modern and contemporary art features paintings, sculptures, prints, drawings, anWindowd photographs by some of the most influential artists of our time. One of the collection’s strengths is work by Bay Area and Northern California artists such as Richard Diebenkorn, who attended Stanford in the 1940s and later served as artist in residence, and Nathan Oliveira and Frank Lobdell, both of whom taught at Stanford from the 1960s through the 1990s. The installation focuses on artists from the Bay Area, and it showcases a plurality of artistic approaches and concerns as society became increasingly nuanced and multifaceted. Works date from the 1950s to the present. IMAGE: Richard Diebenkorn (U.S.A., 1922–1993), Window, 1967. Oil on canvas. Cantor Arts Center collection, Gift of Mr. and Mrs. Richard Diebenkorn and anonymous donors, 1965.125


Interaction of Color: Josef Albers
Highlights from the Marmor Collection

Through June 15, 2015
Over the last decade, the Marmor family and its FounDay_Night7dation have given the Cantor approximately 200 contemporary artworks, primarily prints. Their extraordinary donation includes works by America’s most internationally admired artists and constitutes an overview of the lively and diverse range of American print publications from the late 1960s throughout the 1980s. Enjoy this new selections of works on paper by abstract painter and theorist Josef Albers. IMAGE: Josef Albers (U.S.A., b. Germany, 1888–1976), Day + Night VII, 1963 from  Day and Night: Homage to the Square. Lithograph. Lent by Collection of Michael and Jane Marmor. © 2015 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York


Drawn Together: A Selection of Recent Documentaries by Stanford StudentsDry_Season2
Through April 27, 2015
Patricia S. Rebele Gallery
Five short documentaries by first- and second-year MFA film students explore the theme of community. IMAGE: Still from Dry Season


Shifting Currents: Highlights from the 20th-Century Chinese Collection
Through July 13, 2015

Madeleine H. Russell Gallery
The Cantor’s Asian collection features works in a vZikaiariety of media. With especially strong holdings of Chineseand Japanese art, the collection comprises more than 5,000 objects and spans 3000 BCE to the late 20th century. Currently on view in the Cantor’s Asian galleries are works illuminating the many cultures of Asia—East, South, Southeast, and the Himalayas. This new selection focuses on the art of 20th-century China. IMAGE: Attributed to Feng Zikai (China, 1898–1975), Only the Mirror Knows the Beauty of a Poor Girl, c. 1940s. Ink and color on paper. Gift of Kevin Weis, 1990


Drama of Heaven and Earth: The Theatrical Traditions of Japan
Through July 13, 2015
Madeleine H. Russell Gallery
During medieval and early-modern times, the Japanese theatrical art of Noh developed from a form of popHeaven1ular performance to the solemn, abstract drama it is today. Noh’s later popularity with the ruling shogunate enabled kabuki theater, which came out of the raucous atmosphere of the pleasure quarters, to flourish during the Edo period (1615–1868). This exhibition presents masks, prints, ceramics, and other visual materials associated with the dramatic arts of Noh, kabuki, kyogen, bugaku, and kagura, demonstrating the parallel trajectories of these separate yet interrelated traditions. Approximately 25 works on display. IMAGE: Konishi Hirosada (Japan, c. 1810–1864), Togoro’s Wife Osan, c. 1850–1852. Woodblock print. Committee for Art Acquisitions Fund, 1986.24


Fatal Laughs: The Art of Robert Arneson
Through September 28, 2015
Oshman Family Gallery
Robert Arneson revolutionized the medium of clay, transforming it from a “craft” medium into “fine art.” Over a career of more than 40 years—frequently using himsPrimary_dischargeelf as a subject—he explored ideas for art that were outside the conventional repertory, including those involving physical pain and psychological expression. Moreover, he did not flinch at sensitive topical subjects, including many that were sexual, racial, or political in character. Works in this exhibition include the 1964 Funk object His and Hers, which irreverently explores sexual and scatological subject matter while also considering the traditional function of ceramics. In three works from the 1970s, Assassination of a Famous Nut Artist, Splat, and Flip and Flop, the artist’s image is a vehicle for anguish and pain. In the latest works from the 1980s, Global Death and Destruction and Wolf Head, Arneson proves that clay is a powerful art medium. Learn more IMAGE: Robert Arneson (U.S.A., 1930–1992), Primary Discharge, 1990. Earthenware and glaze. Cantor Arts Center Collection, Given in Memory of Professor A. L. Schawlow by John F. and Barbara L. Holzrichter, 2009.75. © Estate of Robert Arneson/Licensed by VAGA, New York, NY



Imagining the Oceans
March 18–June 29, 2015

Marie Stauffer Sigall Gallery
Ocean environments have nourished the imagination of visual artists across history and cultures, yielding a dramatic Ottleyspectrum of influential works, aesthetics, and forms. Imagining the Oceans includes coastal scenes by marine genre painters such as Willem van de Velde; romantic and symbolist fantasies by Charles Méryon; a woodblock print by Utagawa Kuniyoshi; items from the Pacific Islands region; and depictions of modern beach culture by Willem de Kooning and others. IMAGE: William Young Ottley (England, 1771–1836), Prospero and Miranda Adrift, c. 1804. Pencil pen and gray wash. Cantor Arts Center collection, Museum Purchase Fund, 1970.399


American Battleground: Photographs of the Civil War, 1861–1865
March 25–August 17, 2015

Robert Mondavi Family Gallery
Photography was invented in France more than twGranto decades before the Civil War erupted in America. By the 1860s, visual culture and fine art in the United States were profoundly affected by the new medium, and the Civil War rapidly became the first conflict thoroughly documented by photographers. This installation features photographs, primarily landscape views, from the Cantor’s permanent collection. IMAGE: Artist unknown (U.S.A., 19th century), Portrait of General Grant in the Field, c. 1863. Albumen print. Cantor Arts Center collection, Stanford Family Collections, JLS.18775


Bravo!: Music and Theater in Enlightenment Europe
March 25–August 17, 2015Gillray3

Robert Mondavi Family Gallery
The prints and drawings included in this focused exhibition explore the realms of music and drama during the 18th century. Performance venues were popular social spaces where people of all classes gathered to see and be seen. IMAGE: James Gillray (England, 1757–1815), Shakespeare Sacrificed, 1789. Color etching and aquatint. Cantor Arts Center collection, Museum Purchase Fund, 1976.15


Promised Land: Jacob Lawrence at the Cantor

A Gift from the Kayden Family
April 1–August 3, 2015

Ruth Levison Halperin Gallery

This exhibition features an exceptional group of 5Builders3a6 works by the 20th-century American master, Jacob Lawrence (1917-2000), and one by his spouse, Gwendolyn Knight (1913–2005), recently given to the Cantor Arts Center by Dr. Herbert J. Kayden and his family in memory of Dr. Gabrielle H. Reem. The gift illuminates Lawrence’s career through 11 drawings, six paintings, one illustrated book, and 39 prints, all dating between the years 1943 and 1998. Learn more IMAGE: Jacob Lawrence (U.S.A., 1917–2000), Builders No. 3, 1973. Gouache, tempera and graphite on paper. Gift of Dr. Herbert J. Kayden and Family in memory of Dr. Gabrielle H. Reem, 2013.103 © 2014 The Jacob and Gwendolyn Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York


Arboreal Architecture: A Visual History of Trees
April 15–July 20, 2015

Lynn Krywick Gibbons Gallery
From the earliest stages of human history, trees have provided resources for civilization, symbolic structure to families,St_Jerome spatial logic for the scientific method, and inspiration to artists. This exhibition, supported by a Mellon Foundation grant designed to enhance the training of PhD students in Stanford’s Department of Art & Art History, comprises representations of trees in the Cantor’s collection, ranging from a 6th-century Egyptian medallion to 21st-century photographs of industrial smokestacks and spiky date palms. Assembled into groups of different themes, the two dozen artworks—a majority of them works on paper—reveal how engrained trees are in human thought and speech, while also showing how easily and powerfully they can represent our emotions. IMAGE: Jan Georg van Vliet (the Netherlands, c. 1610–c. 1635), Saint Jerome Reading under a Tree, c. 1631. Etching. Cantor Arts Center collection, Robert M. Loeser Collection, 1944.2.42


500 Years of Italian Master Drawings from the Princeton University Art Museum
May 22–August 24, 2015

Pigott Family Gallery

Nearly 100 dazzling and rarely seen drawings dating frBerniniom the 15th through the 20th centuries will be on view in 500 Years of Italian Master Drawings from the Princeton University Art Museum. Beyond demonstrating the chronological and stylistic sweep of the history of Italian drawings, this thematically organized exhibition examines the pivotal role played by drawing, or “disegno,” in the Italian design process. Learn more IMAGE: Gian Lorenzo Bernini (Naples, 1598–1680), Seated Male Nude, c. 1618–24. Red chalk heightened with white chalk on buff laid paper. Princeton University Art Museum, Museum purchase, Laura P. Hall Memorial Fund and Fowler McCormick, Class of 1921, Fund


Piranesi’s Paestum: Master Drawings Uncovered
August 19, 2015–January 4, 2016

Ruth Levison Halperin Gallery
The exhibition presents 15 stunning drawings by the celebrated Italian printmaker, Giovanni Battista Piranesi (1720–1778). Regarded as landmarks of 18th-century Italian Basilicadrawing, this suite of large-scale renderings constitutes Piranesi’s most extensive body of work devoted to a single topographical site. The drawings depict the three ancient Greek temples, originally dedicated to Poseidon, Hera, and Athena, at Paestum, south of Naples. IMAGE: Giovanni Battista Piranesi (Italy, 1720–1778), Paestum, Italy: Exterior of the Basilica, 1777. Black chalk, pencil, brown and grey washes, pen and ink. Sir John Soane’s Museum.


Into the Forest: Landscape as Subject and Studio in 19th-Century France
August 26, 2015–January 4, 2016

Robert Mondavi Family Gallery
This installation of 17 prints, drawings, and photographs explores how French artists depicted the landscape in the Corotmodern age and approached making art “en plein-air” (in the open air). The phenomenon of making art outdoors took shape in the early decades of the 19th century with the experimental Barbizon School of painters and fully flourished under the Impressionists. Exhibition highlights include photographs by painter James Tissot (1836–1902), a rare cliché-verre—a drawing reproduced using a photographic process—by Jean-Baptiste Camille Corot (1796–1875), and prints by Camille Pissarro (1831–1903). IMAGE: Jean-Baptise Camille Corot (1796–1875), Souvenir of Ostia, 1855. Cliché-verre. Committee for Art Acquisitions Fund, 1987.34

Warriors, Courtiers, and Saints: The Etchings of Jacques Callot
August 26, 2015–January 4, 2016

Gallery for Early European Art
During his brief career, Jacques Callot (France, 1592–1635) challenged the old assumption that printmakers Vostermanwere incapable of inventing original compositions by creating elegant, expressive prints. Warriors, Courtiers, and Saints features a selection of 16 prints that demonstrate Callot’s remarkable range—from recording the horrors of war to rendering whimsical landscapes, formal courtly scenes, and somber religious subjects—all in his light and fluid style.

IMAGE: Lucas Vosterman (the Netherlands, 1595–1675), Portrait of Jacques Callot, c. 1645. Etching and engraving. Robert M. Loeser Collection, 1944.2.60

Artists at Work
September 16, 2015–January 11, 2016

Pigott Family Gallery

This major exhibition will include some 100 European and American prints, drawings, and photographs drawn from the Cantor’s rich collection. A special feature will pay tribute to the legacy of Richard Diebenkorn—Stanford’s most accomplished and recognized graduate in art—by displaying, for the first time, the extraordinary recent gift of his sketchbooks, donated to the Cantor by Phyllis Diebenkorn, the artist’s widow. Artists at Work celebrates the opening of the Cantor’s neighbor the McMurtry Building, the new home of the Department of Art & Art History.

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