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Open Easter Sunday, April 8
Pick of the Month
In the Galleries
PICK OF THE MONTH
Faculty Choice: Doree Allen
Thursday, April 26, 7–10 pm
Voices in the Gallery: Putting Art into Words. Art museums are “imaginative precincts” in which writers contemplate the vibrant silence of color, line, and form to find new subjects and to awaken the words, rhythms, sound, and syntax of their own linguistic medium. Voices in the Gallery explores the creative alchemy between the verbal and visual arts by choosing and writing about a work in the Center’s collection, free.
Through April 8
American photographer Walker Evans's images of life on small-town streets, and on sharecroppers’ porches, inspired generations of photographers and helped shape contemporary art. This exhibition presents Evans's 50-year career, drawn entirely from the collection of Elizabeth and Robert J. Fisher, MBA ’80. Learn more about tours and programs.
Memory and Markets: Pueblo Painting in the Early 20th Century
Through May 27
In the early 20th century, a new movement of Native American painting emerged in the Pueblo communities of the Southwestern United States. Encouraged by local anthropologists and teachers to record past and current scenes of their daily life on paper, the artists found inspiration in the centuries-old tradition of Pueblo painting found in pottery, murals, and archaeological remains. In the 1930s, the formation of the Studio at the Santa Fe Indian School formalized the training of generations of Native painters.
Light Works: Dan Flavin and Robert Irwin
Through July 8
Beginning in the 1920s, with the work of the Constructivists, electric light became a medium for art. With the advent of Minimalism in the late 1960s, artists found that using light as a medium could challenge perception and be impersonal as well as emotionally engaging. This installation features two large pieces. One by Dan Flavin is an example of the artist’s use of mass-produced fluorescent light. The second work, an untitled disc by Robert Irwin, typifies the interest in light and space that occupied a number of artists in Los Angeles in the 1960s.
Wood, Metal, Paint: Sculpture from the Fisher Collection
Through October 13, 2013
Over the past decade, the Fisher family has been exceedingly generous in lending works of art from their unrivaled collection. This new long-term installation, selected in consultation with contemporary art professor Pamela Lee, includes pieces by John Chamberlain, Sol LeWitt, and Claes Oldenburg, together with Carl Andre’s Copper-Zinc Plain, a floor piece comprised of 36 tiles, and John Chamberlain’s Bijou, a large early work made of crushed automobiles and paint. The works on display are especially significant because they are examples of the innovations that established the reputations of these artists.
Sequence at Stanford
Richard Serra's Sequence is on loan from the Doris and Don Fisher Collection for five years. Its siting at the Center finally gives viewers the chance to encounter Sequence in the open air, as Serra intended. Entrance to Sequence is via the Center buildin; it is accessible during museum hours.
IN THE GALLERIES
Edward Weston on Light, Line, and Form
Through June 3
This installation examines the consistently formal approach to shape, light, and line common to Weston's still life, nude and landscape photographs alike.
Walker Evans and the RA/FSA Photography Project
Through June 24
Six photographs from the Cantor's permanent collection by Evans, Dorothea Lange, Arthur Rothstein, John Vachon, and Marion Post Wolcott, all of whom worked for the Farm Security Administration (FSA) during the 1930s, are shown in conjunction with the exhibition Walker Evans.
Anatomy Lessons: Art and the Male Body
Through July 8
During the 16th to 18th centuries, physicians and artists increasingly studied human anatomy first hand, rather than by looking at illustrated books. The prints and drawings in this installation explore ways artists depicted the male body during this time of change—as symbols of raw power and idealized beauty, as the subject of scientific exploration, and in academic drawings.
Adventures in the Human Virosphere: The Use of Three-Dimensional Models to Understand Human Viral Infections
Through February 2013
For decades, Stanford Associate Professor Robert Siegel has taught the course Humans and Viruses, requiring students to research and build three-dimensional models of specific viruses. The models have explanatory power and provide insight into viral structure and function. Because viruses are genetically simple, they often display surprisingly beautiful symmetries.
Expanding Views of Africa
The arts of Africa date from the beginning of humanity to the present and express universal and timeless ideas. The reinstalled African art galleries feature more than 200 objects and are designed to expand conventional ways of considering African art and culture. The galleries offer historical depth, geographic and chronological representation ranging from contemporary times to ancient Egypt, and a diverse range of media.
All events are free and are held in the auditorium unless otherwise noted.
Stanford Lively Arts presents Jazz at the Cantor Arts Center
Wednesday, April 4, noon
This season’s lunchtime jazz lecture/demonstration series highlights the rich cross-fertilization between American jazz and music from Latin America and the Caribbean. The program is supported in part by the Joan and John Jay Corley Fund for Performance. Cantor Arts Center auditorium, free.
Spotlight on Art
Friday, April 13, 2 pm
Barbara Greene, PhD candidate in the Department of Art and Art History, talks about a selected work of art.
Walker Evans of the Week
Interact with us online through April 8, as we explore one Walker Evans photograph each week. Check our Web site weekly as Annie Ronan, PhD candidate in American art history, facilitates a discussion on aspects of Walker Evans’s work.
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Images, top to bottom:
Oral Communication Specialist Doree Allen, right, and student tutor provide feedback to students preparing for presentations at Sweet Hall’s video lab. Photo by L.A. Cicero
Walker Evans, Self-portrait, 5 rue de la Sante, Paris, 1926. Gelatin silver print. Lent by Elizabeth and Robert J. Fisher, MBA ’80. © Walker Evans Archive, The Metropolitan Museum of Art
Thomas Vigil (Pan Yo Pin), Hopi Snake Dancers, c. 1930. Watercolor over pencil. Stanford Museum Collection, JLS.4447
Dan Flavin, “monument” for V. Tatlin, 1969. Cool white fluorescent light. Loan courtesy the Fisher Family.© 2012 Stephen Flavin / Artists Rights Society (ARS), New York
John Chamberlain, Bijou, 1961. Painted and chromium-plated steel. Loan courtesy of the Fisher Family. © 2011 John Chamberlin/Artists Rights Society (ARS), New York.
Richard Serra, Sequence, 2006. Photo: Linda A. Cicero / Stanford News.
Edward Weston, Boat-builder (Neil), 1935. Gelatin silver print. Lent by The Capital Group Foundation.
Walker Evans, Hitchhikers, Vicksburg, Mississippi, 1936. Gelatin-silver print. 1984.301.21 © Walker Evans Archive, The Metropolitan Museum of Art.
Philip Gale, Fire (detail), 1564. Engraving. Cantor Arts Center, Lent by Kirk Edward Long.
Angela Cesena, Model of Papillomavirus, 2011. Cardboard, yellow and green crepe paper, plastic syringes, Q-Tips, and Band-Aids.
Sokari Douglas Camp, Accessories Worn in the Delta(detail), 2006.Steel, wood, and gold leaf. Museum purchase made possible by the Phyllis Wattis Program Fund, 2010.80.a-b
Student in the gallery.
Members at a reception.
Reproduction of these images is prohibited by copyright laws and international conventions without the express written permission from the copyright holder.
© 2012 Cantor Arts Center at Stanford University. All rights reserved.
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