Exhibition Schedule

MAJOR EXHIBITIONS ON VIEW

Object Lessons: Art & Its Histories

Ongoing

Gallery for Early European Art, Robert Mondavi Family Gallery, Marie Stauffer Sigall Gallery, Oshman Family Gallery

Spanning the second floor of the museum, SargentObject Lessons: Art & its Histories presents the most significant reinstallation of the museum's permanent collection galleries in twenty years. Organized around the curriculum of Art 1, Stanford's introduction to the history of Western Art, the exhibition reflects the museum’s deepened commitment to academic engagement, teaching through objects and belief in the power of close looking. Beloved favorites and never-before-seen works will offer new perspectives on the way art objects help us to understand our various histories, our current moment, and the possible trajectories of the future. Learn more IMAGE: John Singer Sargent (U.S.A., 1856–1925), Portrait of Sally Fairchild, 1884-1887. Oil on canvas. Gift of Dr. Herbert and Elizabeth Sussman, David and Valerie Rucker, Dr. Stephen Sussman and Kelly Watson, Eric and Nancy Sussman, and Dean and Chiara Sussman, 2012.1

 

The Wonder of Everyday Life: Dutch Golden Age Prints
Through March 20, 2017
Ruth Levison Halperin Gallery
While the Dutch Republic experienced unprecedented economic prosperity in the 17th century, printmakers were exceptionally sensitive—and sometimes obsessive—when rendering the details of everyday life. A hallmark of Dutch printsTown_hall created during this Golden Age is their depiction of the grit, dark corners, and textures present in the mundane objects featured in domestic scenes, landscapes, portraits, and even compositions interpreting literature or religious texts. The prints in this installation explore how Rembrandt van Rijn and his peers depicted the sensual experience of the material world, contemplated life’s fleeting and constantly changing nature, and navigated spirituality’s role in modern life. Learn more IMAGE: Jan de Baen (the Netherlands, 1633– 1702). The Burning of the Town Hall in Amsterdam, 1652. Etching. Cantor Arts Center Collection, Alice Meyer Buck Fund, 1983.100


CONTINUING EXHIBITIONS ON VIEW

 

Word: Power and Protection in North Africa
Through January 9, 2017

In North Africa, Islamized peoples wear, encase, inscribe, and drink the Qur’anic word as a means to access its theraboardpeutic and protective powers. Devotees of Islam consider the Word of God “the greatest of forces” and the Qur’an,which contains these divine words, the most revered and powerful entity.

This exhibition explores four key ways artists and their communities have engaged with Arabic script in North Africa and its neighboring regions during the 20th and early 21st centuries. Featured here are Qur’anic boards that transform writing into medicine, a hunter’s shirt that shields its wearer from harm, Tuareg amulets that solicit God’s assistance for their host, and a photograph by Lalla Essaydi that gives power to nonreligious texts. IMAGE: Artist unknown (Hausa peoples, Nigeria), Qur’anic Writing Board, c. 1975. Wood, ink, and leather. Cantor Arts Center collection, Gift of Thomas K. Seligman and Rita Barela, 2011.56

Comics in America
Through January 30, 2017
Lynn Krywick Gibbons Gallery
Comics are everywhere these days. Long derided as neither literature nor art, they are increasingly consideTerry2red a unique, sophisticated mode of communication and expression, employing complex juxtapositions of words and images. Artists have been producing remarkable work in a multiplicity of styles and formats, while lavish reprints have introduced readers to some of the finest works in the medium’s history. Drawing primarily from the Cantor’s collection of original comic art and 19th-century satirical prints, this exhibition explores topics such as the panel, sequence, page, and story, as well as comics’ treatment of time, rhythm, and tempo. IMAGE: Milton Caniff (U.S.A., 1907–1988), Terry and the Pirates (detail), 1946. Pencil, pen and ink, and gouache. Gift of Cherie and Ron Petersen, 1998.319. Used by Permission. ©2016 Tribune Content Agency, LLC

 

Highlights from the Marmor Collection
Through February 13, 2017

Freidenrich Family Gallery
This exhibition will feature groupings of work by La_Sortie2pioneering artists such as Robert Rauschenberg, Ed Kienholz, Bruce Nauman, and Ellsworth Kelly, among others. When juxtaposed, these works highlight new modes of art making that took root after the war and utilized media ranging from photography and print-making to mixed media assemblages. Learn more IMAGE: Roy Lichtenstein (U.S.A., 1923–1997), La Sortie, 1990. Woodcut. Gift of the Marmor Foundation (Drs. Michael and Jane Marmor) from the collection of Drs. Judd and Katherine Marmor, 2006.104. © Estate of Roy Lichtenstein / Gemini G.E.L


Beauty_with_fan

Object Lessons: Art & Its Histories

Through February 13, 2017

Madeleine H. Russell Gallery

Featuring scroll paintings, prints, and albums, this installation presents highlights from modern China. The objects, selected by Richard Vinograd, Christensen Fund Professor in Asian Art, complement the undergraduate course From Shanghai Modern to Global Contemporary: Frontiers of Modern Chinese Art, which explores the complexities of Chinese artistic practice from the late 19th century to the present. IMAGE: Ji Kang (China, b. 1913); Xie Zhiliu (China, 1910–1997). Beauty with a Fan, 1947. Watercolor and ink on silk. Lent by the Chang Family Collection

 

Golden State Stories: Documentaries by Stanford Students
Through March 6, 2017
Patricia S. Rebele Gallery

California, the Golden State, is home to approximately 39 million people. These short documentary films offer an intimate glimpse into the lives of just a few, including residents of a houseboat community threatened with eviction, a 99-year-old woman who moved from Louisiana to San Francisco during the Great Migration in the 1930s, and people driving for Uber late at night as a second job. The Cantor is pleased to present these powerful and engaging documentaries by first- and second-year MFA students in Stanford’s Documentary Film and Video program.

 

New to the Cantor: Dashiell Manley
Through April 24, 2017

Freidenrich Family Gallery
For over a century, artists have employed the newspaper as a source of inspiration, communication, and evManleyen as artistic medium. Los Angeles-based artist Dashiell Manley upholds this tradition. This solo exhibition of Manley’s work calls into question the ways in which we experience current events and the value of print journalism in an age increasingly mediated through digital means. Learn more IMAGE: Dashiell Manley (U.S.A., b. 1983), The New York Times, Monday October 6 2014, national edition Southern California (front page), 2014. Watercolor pencil on canvas. Courtesy of Private Collection, San Francisco. Photograph courtesy of the artist and Jessica Silverman Gallery

 

New to the Cantor
Ongoing
Freidenrich Family Gallery
New to the Cantor presents recent projects by artiSillmansts who have never before been exhibited at the museum. Featured works share the potential to extend and nuance the art historical narratives that the Cantor can share with its audiences. IMAGE: Amy Sillman (U.S.A., b. 1966), Untitled, 2012. Oil on canvas. On loan from Ian Patrick Sobieski, © Amy Sillman, courtesy of Sikkema Jenkins & Co., New York

 

New to the Cantor: Spencer Finch

Ongoing

Oshman Family Gallery
Spencer Finch’s artistic practice investigates the intersection between lived visual experience and scientific research. In works like Betelgeuse, he uses a colorimeter—a deFinchvice that measures the intensity of color—to record light seen in the natural world and replicate its hue and luminosity in sculptural form. In doing so, Finch not only examines how we see, but also probes questions surrounding memory, time, and perception. A monumental light sculpture, Betelgeuse's form evokes an explosive celestial object and emits the same light reading as its eponymous star—the second brightest in the Orion constellation. Learn more IMAGE: Spencer Finch (U.S.A., b. 1962), Betelgeuse, 2015.  Powder-coated steel, fluorescent light and colored filters. On loan from the Berggruen Gallery, San Francisco © Spencer Finch. Courtesy James Cohan, New York


African Artists as Innovators
Ongoing

Thomas K. Seligman Gallery
This student-curated exhibition explores the ways artists of African descent have developed new methods, fresh ideas, Marshalland inventive art forms throughout history. By juxtaposing works made as early as 4500 BCE and as recently as 2012--from across the continent as well as its Diasporas--the exhibition highlights the rich history of innovation in African art. IMAGE: Frank Marshall, South Africa, b. 1985. Dead Demon Rider 1, 2010. Archival digital print, 7/8. Museum purchase made possible by the Phyllis Wattis Program Fund, 2012.14

 

FUTURE EXHIBITIONS

The Conjured Life: The Legacy of Surrealism
December 21, 2016–April 3, 2017
Pigott Family Gallery

Featuring dozens of works dating from the 1920s to the present day, this exhibition demonstrates the deep currents Surrealism sent through the international art world beginning in the first half of the 20th century. This exhibition reveals this movement’s enduring grip on the imaginations of artistsBaj_2 in the United States and around the world. The Conjured Life:The Legacy of Surrealism  is organized by the Cantor Arts Center, Stanford University. This presentation builds upon the exhibition Surrealism: The Conjured Life organized by Museum of Contemporary Art Chicago and generously provided by The Pritzker Traubert Collection Exhibition Fund, Helen and Sam Zell, Carol and Douglas Cohen, Carolyn S. Bucksbaum, Anonymous, Betsy and Andrew Rosenfield, Richard and Ellen Sandor Family, and Mary E. Ittelson.The Cantor Arts Center gratefully acknowledges support of this presentation from The Loughlin Family Exhibition Fund, The Clumeck Fund, The Elizabeth Swindells Hulsey Exhibitions Fund, the Contemporary Collectors Circle, and Museum Members. IMAGE: Enrico Baj, Le General Mechant et Decore (Angry General with Decorations), 1961. Oil, fabric, G-string, beads, metal, ribbons, lace, metal string, colored glass, leather buttons, and medals. Collection Museum of Contemporary Art Chicago, gift of Joseph and Jory Shapiro

 

Warhol Unframed
January 18–June 5, 2017
Patricia S. Rebele Gallery
The Cantor’s curricular exhibition series continues this winter with an installation of warhol works selected fromWarhol the Cantor’s collection. Organized in close collaboration with faculty members Richard Meyer, Robert and Ruth halperin Professor of Art history, and Peggy Phelan, the Denning Family Chair and Director, Stanford Arts institute and Professor of theater & Performance Studies and English, the exhibition complements their winter Quarter class, Warhol: Painting, Photography, Performance, and will serve as a resource to their students throughout the quarter. IMAGE: Andy Warhol (U.S.A., 1928-1987), Detail from Contact Sheet [Arnold Schwarzenegger and Maria Shriver's wedding with Kennedys, Grace Jones], 1986. Gelatin silver print. Gift of the Andy Warhol Foundation for the Visual Arts, FJ86.00107. © The Andy Warhol Foundation for the Visual Arts, Inc

 

A Mushroom Perspective on Sacred Geography
February 8–May 15, 2017
Lynn Krywick Gibbons Gallery
In East Asian cultures, the lingzhi mushroom was believed to be a spiritual organism that thrived only at sacred simushroomtes. Drawing from the Cantor’s rich collection of Chinese, Japanese, and Korean art, A Mushroom Perspective on Sacred Geography brings together a wide variety of objects (painting, ceramic, jade, lacquer, and works on paper) to examine the dynamic interconnections between humans, natural
organisms, and sacred landscapes. the exhibition, curated by Phoenix Yu-chuan Chen, a PhD candidate in the Department of Art & Art history, ultimately urges us to consider our own longstanding and ongoing relationship with nature. IMAGE: Yamada Masanao (Japan, b. 1890), Netsuke of Mushrooms, 20th century. Wood. Stanford Museum Collections, 1998.79

 

In Context: Trevor Paglen
March 15–August 31, 2017
Rowland K. Rebele Gallery
In Context, a new exhibition series, spotlights recent museum acquisitions and explores their significance in relation to the Cantor’s existing collection. The first installation in this series Muybridge_vulturepositions contemporary photographer Trevor Paglen’s 2010 work Time Study (Predator; Indian Springs, NV) alongside the work of seminal 19th-century artist Eadweard Muybridge. Paglen’s haunting images engage with the grand tradition of late19th- and early 20th-century American landscape photography, raising and responding to questions about technologically mediated visual perception. IMAGE: Eadweard Muybridge, U.S.A., 1887. Vulture, flying. Collotype. Stanford Family Collections, 1941.1018.221

 

Creativity on the Line: Design and the Corporate World, 1950–1975
April 26–August 21, 2017
Pigott Family Gallery

This groundbreaking exhibition presents a fascinating new perspective on the creation and production of mid-century Huxtable_drillmodern design by such major American figures as Eliot Noyes and Paul Rand (for IBM and Westinghouse), Charles and Ray Eames and George Nelson (for Herman Miller), Ivan Chermayeff (for Mobil Oil), and Will Burtin (for Upjohn). Also included are a number of major European producers of well-designed objects, such as Ettore Sottsass and Marcello Nizzoli (for Olivetti), and Dieter Rams (for Braun). IMAGE: Garth Huxtable (U.S.A., 1911–1989), Design for Millers Falls drill, view from the side, c. 1950. Pencil and crayon on vellum mounted on board. Gift of Ada Louise Huxtable and L. Garth Huxtable, Getty Research Institute, Los Angeles (2013.M.2) © J. Paul Getty Trust, L.26.24.2016



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