Exhibition Schedule

MAJOR EXHIBITIONS ON VIEW

California: The Art of Water
Through November 28, 2016
Pigott Family Gallery
California: The Art of Water examines the way artists and photographers have portrayed one of California's mKeithost precious resources over the last two centuries.  The exhibition features over 50 works of water subjects by eminent artists, including Ansel Adams, Albert Bierstadt, David Hockney, Richard Misrach, Carleton Watkins, and others. Learn more IMAGE: William Keith (U.S.A., b. Scotland, 1838–1911), Upper Kern River, 1876. Oil on canvas. Cantor Arts Center collection, Stanford Family Collections.  Conservation supported by the Lois Clumeck Fund, JLS.12057

 

Soulmaker: The Times of Lewis Hine
Through October 31, 2016
Ruth Levison Halperin Gallery
One hundred years ago, the photographer Lewis Hine travelled to mills and factories in New England and the South, photographing child laborers. His photographs are aHIne_spinner_girlmong the most haunting images of children ever made. In this exhibition, a beautiful selection of Hine’s child-labor photographs is juxtaposed with stunning contemporary photographs taken by photographer Jason Francisco (Stanford M.F.A., ’89) of those same mill and factory sites as they look now. Guest curator: Alexander Nemerov, Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities and Chair of the Department of Art & Art History, Stanford University. Learn more IMAGE: Lewis Wickes Hine (U.S.A., 1874–1940), One of the spinners in Whitnel Cotton Mfg. Co. N.C. December 1908, 1908. Gelatin silver print. Princeton University Art Museum. Anonymous gift

 

Richard Diebenkorn: The Sketchbooks Revealed
Through August 8, 2016

Marie Stauffer Sigall Gallery
This exhibition presents the sketchbooks ofNew_Diebenkorn  celebrated 20th-century painter Richard Diebenkorn—Stanford’s most accomplished and recognized graduate in art. On display for the first time, the 29 books span 50 years of the artist's career and contain 1,045 drawings. The extraordinary sketchbooks were gifted to the Cantor by Phyllis Diebenkorn, the artist’s widow.

Learn more IMAGE: Richard Diebenkorn (U.S.A., 1922-1993), Untitled from Sketchbook #10, page 15, 1943-1993.Gouache and crayon on paper. Cantor Arts Center collection, Gift of Phyllis Diebenkorn, 2014.10.17. © The Richard Diebenkorn Foundation

 

Edward Hopper: New York Corner

Through August 8, 2016

Marie Stauffer Sigall Gallery

The exhibition showcases the painting New York Corner and contextualizes it by grouping works from the musHoppereum’s collection into several art-object-based “conversations.” These constellations point to the kinds of artistic practice that preceded the painting’s creation; showcase concurrent work, both similar and different, by Hopper’s contemporaries; and present the kinds of practice that followed.

IMAGE: Edward Hopper (U.S.A., 1882–1967), New York Corner (Corner Saloon), 1913. Oil on canvas. Museum  purchase made possible by the Halperin Art Acquisition Fund, an anonymous estate, Roberta & Steve Denning, Susan & John Diekman, Jill & John Freidenrich, Deedee & Burton McMurtry, Cantor Membership Acquisitions Fund, an anonymous acquisitions fund, Pauline Brown Acquisitions Fund, C. Diane Christensen, an anonymous donor, Modern & Contemporary Art Acquisitions Fund, and Kazak Acquisitions Fund


CONTINUING EXHIBITIONS ON VIEW

 

Intimate Frontiers: The Male Gaze in Fin-de-Siècle Vienna
Through August 8, 2016
Patricia S. Rebele Gallery
Intimate Frontiers is a new exhibition that explores the social and domestic world of women through the eyes of prKuhnominent male artists in fin-de-siècle Vienna. The exhibition features prints, drawings, and photographs from the Cantor’s collection that illuminate ways in which male artists attempted to represent women's intellectual and emotional lives by depicting them in private, unguarded moments. Student curator: Stanford undergraduate and Cantor Scholar Alex Zivkovic. IMAGE: Heinrich Kühn (Austria, b. Germany, 1866–1944), Miss Mary Warner in her Bedroom, c. 1910–14. Gum-bichromate print. Committee for Art Acquisitions Fund, 1983.265

An Oasis in Glass
Through August 8, 2016
Rowland K. Rebele Gallery
This exhibition invites visitors to envision the ritual experiflaskence of a woman in her bath through the display of glassware and related bathing accessories from the Roman Empire. Most of the objects are attributed to the thriving center of glass production and trade that was located in what is now the Middle East. Although they were manufactured and circulated much more widely, many were likely unearthed primarily in Egypt, where tombs were key sources of intact glass items. Also on view is an Egyptian Fayum portrait of a woman whose Roman hairstyle and decoration suggest she is someone who likely would have used the varied types of items on display. Student curator: Stanford undergraduate and Cantor Scholar Evelina Yarmit. IMAGE: Artist unknown (Roman, Syria), Date-shaped Flask, 1st–2nd century. Mold-blown glass. Cantor Arts Center collection, Stanford Family Collections, JLS.17275

Into the Forest: Landscape as Subject and Studio in 19th-Century France
Through August 8, 2016
Robert Mondavi Family Gallery
This installation of prints, drawings, and photographs exploresCorot how French artists depicted the landscape in the modern 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

 

Blood in the Sugar Bowl
Through August 15, 2016
Gallery for Early European Art

This exhibition focuses on sugar plantation slavery during the peak of the sugar trade, the late 18th–mid-19th century. On display are sugar bowls from the Cantor’s collection, Henry Corbould’s illustration Fashionable Women Pourisugar_bowlng Tea, and loans from Stanford UniversityLibraries Special Collections, including James Gillray’s caricature The Anti-Saccharites, and William Blake’s depictions of slave torture in his 1777 Narrative, of a five years’ expedition, against the revolted Negroes of Surinam. The exhibition also includes loans from other private and public collections. Student curator: Stanford PhD candidate and Mellon Curatorial Research Assistant Rachel Newman. IMAGE: Josiah Wedgwood (England, 1730–1795), Covered Sugar Bowl, c. 1785-95. Stoneware. Cantor Arts Center collection, Committee for Art Acquisitions Fund, 1989.154.a-b

 

Mining the Ancient
Through August 22, 2016

Oshman Family Gallery
Artists throughout the ages have looked to the past to unearth inspiration. Mining the Ancient presents the work of five contemporary artists who take their cue from the lanMartinguage of the ancient and find inspiration for their sculptural practices in fragments of the past. Juxtaposed with key historical works from the Cantor’s ancient art collection, this group exhibition explores the ways in which some of the most recent art practice of today creates fantastic dialogues with some of the oldest art objects in our civilization’s history. IMAGE: Kris Martin (Belgium b. 1972), Sommerferienewigkeitsgefuhl, 2014. Bronze. Collection of Kaitlyn and Mike Krieger. Image Courtesy Sies + Höke, Düsseldorf, Photographed by Achim Kukulies, Düsseldorf

 

Multiplicity: Portraiture in the Cantor's Photography Collection

Through September 26, 2016

Freidenrich Family Gallery

Using multi-image formats to represent the mutability of Countesspsychological states, social status, and public personae, the photographic works in Multiplicity draw attention to the dynamic exchange between artist and sitter. The works in this exhibition highlight the communication between those situated before and behind the camera, and explore the ground between frank representation and the invention of fictional identities. IMAGE: Jim Goldberg (U.S.A., b. 1953), Countess Vivianna de Blanville, 1982. Toned gelatin silver print. Gift of William R. and Louise Fielder, 1991.252.24

 

Figuration/Abstraction: Highlights from the Collection
Through September 26, 2016

Freidenrich Family Gallery

Drawn from the museum’s permanent collection of mWonnerodern and contemporary art, the two part installation reflects the great story of the split between figuration and abstraction that began in the early 1900s and grew over the course of the twentieth century. Each installation is dedicated to highlighting the development of one of these two modes of art-making. IMAGE: Paul Wonner (U.S.A., 1920–2008), Mirror, Skull, and Chair, c. 1960–62. Oil on canvas. Cantor Arts Center collection, Gift of the artist, 1969.233

Art++ Technology and Art Lab
Through September 26, 2016

Lynn Krywick Gibbons Gallery

Art++ is a new augmented reality (AR) application thaAlhambrat enlivens museum visitors’ in-gallery experience. Developed by Stanford graduate students and Cantor Arts Center staff, with support from the Brown Institute for Media Innovation, Art++ immerses visitors in the history, context, and importance of selected artworks by overlaying relevant content on a tablet viewfinder. With overlay features such as explorable historic photos and 3Dpanoramas, the learning experience becomes interactive and self-guided, encouraging visitors to look at art in new and exciting ways. Learn more IMAGE: John Varley, the Younger (England, 1850–1933), Entrance to the Brown_logoHall of the Two Sisters, Alhambra, Granada, 1880-1895. Oil on canvas. Gift of Thomas Welton Stanford, JLS.11806

Showing Off: Identity and Display in Asian Costume
Through November 7, 2016

Madeleine H. Russell Gallery
Fashion is a form of language. What we wear bRoberoadcasts critical information about us and serves as a visible indicator of social rank, profession, ethnicity, or status. This exhibition of Asian textiles and other works from the Cantor’s collection demonstrates how costume and objects of personal adornment functioned as a method of identification and display from the late 18th century to today. Ranging from Qing court costumes to Indonesian textiles, the selection on view spotlights visual symbols while showcasing rarely displayed garments. IMAGE: Artist unknown (China, Qing dynasty), Man’s Dragon Robe, c. 1821–50. Silk tapestry with metal-wrapped threads. Cantor Arts Center collection, Gift of Colonel and Mrs. John Young, 1976.75

 

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

Word: Power and Protection in North Africa
August 17, 2016–January 9, 2017

In North Africa, Islamized peoples wear, encase, inscribe, and drink the Qur’anic word as a means to access its therapeutic and protective powers. Devotees of Islam consider the Word of God “the greatest of forces” and the Qur’an, boardwhich 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

Object Lessons: Art & Its Histories

September 15–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 and 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.

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

 

Comics in America
October 5, 2016–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, 1946. Pencil, pen and ink, and gouache. Gift of Cherie and Ron Petersen, 1998.319. Used by Permission. ©2016 Tribune Content Agency, LLC


The Wonder of Everyday Life: Dutch Golden Age Prints
November 16, 2016–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. 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

 

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

 

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



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