Exhibition Schedule

MAJOR EXHIBITIONS ON VIEW

Robert Frank in America
Through January 5, 2015
Pigott Family Gallery
This exhibition of 130 photographs sheds new light on the making of influential photographer Robert Frank’s prHollywood5ovocative book, The Americans. Frank traveled the nation between 1955 and 1956 for this project. His images document subjects such as Hollywood (seen both from within the studio and from the fans’ perspective) and the Ford Motor Company plant in Detroit, while probing social issues such as politics, race, religion, and postwar consumer culture. The exhibition, which includes photographs from the book as well as many unknown and unfamiliar pictures, explores a rich body of work that remains largely hidden more than half a century after it was made. Learn more IMAGE: Robert Frank (U.S.A., b. Switzerland, 1924), Hollywood, 1958. Gelatin silver print. Gift of Bowen H. McCoy, 1984.493.70 © Robert Frank.

 

Sympathy for the Devil: Satan, Sin, and the Underworld
Through December 1
Ruth Levison Halperin Gallery
The Cantor has Rodin’s famous masterwork the Gates of Hell. As Jackson Pollock’s important painting Lucifer comes to Stanford as part of the Anderson Collection, it is interesting to explore the visual history of the Devil and his realm. ADevil_as_tailorlso known as Satan, Lucifer, Mephistopheles, etc., the Devil and Hell itself are only briefly mentioned in the Bible; yet this source inspired artists. During the period from about 1500 to 1900, the Devil evolved from the bestial adversary of Christ to a rebellious, romantic hero or shrewd villain. In the 20th century this long tradition of graphic representation largely disappeared, as Hell came to be seen as an aspect of this world and its denizens as “other people.” Based on the collections at Stanford and augmented by several loans, this exhibition traces the dominant Western tradition over approximately four centuries. More than 40 prints, drawings, sculptures, and paintings— including works by Albrecht Dürer, Hendrick Goltzius, Jacques Callot, Gustav Doré, Max Beckmann, and Jerome Witkin—reveal how artists visualized Satan and his infernal realm and draw inspiration from religious sources and accounts by Homer, Dante, Virgil, and Milton. Learn more IMAGE: Jerome Witkin, The Devil as a Tailor, 1978-1979, oil on canvas, 72 x 65 inches; collection of James and Barbara Palmer, State College, Pennsylvania.

 

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.

 

The New Landscape: Experiments in Light by Gyorgy Kepes
Through November 17
Lynn Krywick Gibbons Gallery
This exhibition explores the question of art’s relevance in a scientific age through the work of Hungarian-born Kepes1American artist, designer, and visual theorist Gyorgy Kepes (1906–2001). Forty-five panels depict what Kepes, associated with Germany’s Bauhaus and Chicago’s New Bauhaus, called the “new landscape” of scientific imagery—microscopic minerals, cellular patterns, and tissue fibers—as well as Kepes’s own experiments with camera-less photographic techniques. The exhibition is one of the first projects resulting from a $500,000 grant awarded to the Cantor and the Department of Art & Art History from the Andrew W. Mellon Foundation to facilitate research conducted by Stanford Ph.D. candidates on the Cantor’s collection. IMAGE: Gyorgy Kepes (U.S.A., b. Hungary 1906–2001), Light Graphic, Photogenic, 1945. Photographic enlargement on particleboard, date unknown. Lent by Department of Special Collections, Stanford University Libraries.


CONTINUING EXHIBITIONS ON VIEW

 

Miniature Worlds: Indian Court Paintings from the Collection
Through November 3

Rowland Rebele Gallery
This focused exhibition predominately features paintings from 18th-century Rajasthan in Northern India that were orMinaturesiginally produced for the enjoyment of the nobility. Nine miniatures depict both sacred and secular subjects and exhibit a wide range of styles and pictorial modes that reflect the discrete tastes of monarchs and their courts. IMAGE: Artist unknown (Marwar, Rajasthan, India), Equestrian Portrait of Thakur Shri Kalyan Singh, c. 1760–1770. Opaque watercolor, tin, and gold leaf on paper. Gift of the Estate of Marion B. Pierstorff, 2005.94.

 

Within and Without: Transformations in Chinese Landscapes
Through January 12, 2015
Madeleine H. Russell Gallery
The landscape, the most prominent painting traditiXiaodongon in China, brings with it more than one thousand years’ worth of precedent and often has evolved in tandem with the social changes facing practicing Chinese artists. The genre continues to be mined by contemporary artists as a means to explore cultural heritage and to represent current transformations—to China’s landscapes, cityscapes, society, and culture. This exhibition of 15 works showcases Chinese artists who look both to their immediate environment and to the landscapes of China’s past in their interpretations and provocations. A variety of media—ink on paper, oil painting, and photography—are on display. IMAGE: Liu Xiaodong, A Highway Near the Yangzi, 2006. Oil on canvas. Lent by Mr. and Mrs. L.S. Kwee.

Well Pressed: Highlights from the Marmor Collection
Through February 2, 2015
Freidenrich Family Gallery
Over the last decade, the Marmor family and its Foundation have given the Cantor approximately 200 contempModern_head4orary 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 through the 1980s. More than two dozen monographic and thematic shows based on the Marmor gift have been on view so far. The 13 objects in this installation—11 from the Marmor holdings and two given by others—include early and late works by Jasper Johns, unconventional approaches to the print process by Roy Lichtenstein and Claes Oldenburg, and representative lithographs by Ellsworth Kelly, Richard Serra, and Frank Stella.

IMAGE: Roy Lichtenstein (U.S.A., 1923–1997), Modern Head #4, 1970. Lithograph on engraved and anodized aluminum. Lent by The Marmor Foundation. © Estate of Roy Lichtenstein.

 

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 art theory, Sad_sculpturethe 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 artists increasingly rendered in prints and drawings the new aShopnd 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, 1979.54.

Drama of Heaven and Earth: The Theatrical Traditions of Japan
Through June 8, 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.

 

The Bay Area and Beyond: Selections from the Museum’s Collection
Through October 26, 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.

 

FUTURE EXHIBITIONS

Drawn Together: A Selection of Recent Documentaries by Stanford Students
October 15, 2014–March 30, 2015
Patricia S. Rebele Gallery

 

Indigenous Modernism in Focus: The Art of Norval Morrisseau
November 19, 2014–March 30, 2015
Rowland K. Rebele Gallery

 

“Loose in Some Real Tropics”: Robert Rauschenberg’s “Stoned Moon” Series, 1969–70
December 24, 2014–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 34 large-format lithographs replete with scenes of astronauts, complex machinery, and various regional ephemera. This exhibition features a number of the Stoned Moon lithographs together with 20 rarely seen collages and drawings, photographs of the artist visiting NASA’s facilities, correspondence between the artist and the NASA Art Program, and 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.

 

She Who Tells a Story: Women Photographers from Iran and the Arab World
January 28, 2015–May 4, 2015

Pigott Family Gallery
This exhibition introduces the pioneering work of 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.

 

Imagining the Oceans
March 18, 2015–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 and Odilon Redon; a woodblock print by Utagawa Kuniyoshi; items from the Pacific Islands region; and depictions of modern beach culture by Willem de Kooning, Jacqueline Thurston, 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, 2015– August 17, 2015

Robert Mondavi Family GalleryGrant
Photography was invented in France more than two 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, 2015– 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, 2015– August 3, 2015

Ruth Levison Halperin Gallery

This exhibition features an exceptional group of 26 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, nine prints, and one illustrated book, all dating between the years 1943 and 1998.

 

500 Years of Italian Master Drawings from the Princeton University Art Museum
May 27, 2015– August 24, 2015

Pigott Family Gallery

Nearly 100 dazzling and rarely seen drawings dating from 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.

 

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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