View Web Version of this Newsletter
Pick of the Month
In the Galleries
PICK OF THE MONTH
Light Works: Dan Flavin and Robert Irwin
Opens March 21
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.
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’ 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.
Wood, Metal, Paint: Sculpture from the Fisher Collection
Through October 13
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 building, it is accessible during museum hours.
IN THE GALLERIES
Looking at Walker Evans
Through June 24
The Center’s collection includes two Walker Evans photographs, Hitchhikers,Vicksburg, Mississippi and Sidewalk and Shopfront, New Orleans, which are rarely seen due to their light-sensitive nature. The works are installed now for Stanford students and other visitors to examine in conjunction with the exhibition Walker Evans.
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 the contemporary times to ancient Egypt, and a diverse range of media.
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.
Anatomy Lessons: Art and the Male Body
Through July 8
During the 16th to 18th centuries, physicians and artists increasingly studied human anatomy at 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.
All events are free and are held in the auditorium unless otherwise noted.
Spotlight on Art
Friday, March 9, 2 pm
Adam Katseff, MFA candidate, and George Philip LeBourdais, PhD candidate, discuss Walker Evans
Student Guide Discussions
Saturdays, March 3 and 10, 3:30 pm
Meet in the main lobby. Join Stanford student guides in informal gallery discussions focused on selected works.
Lecture: Walker Evans
Thursday, March 1, 6:30 pm
Rafael Campo, physician, poet and Writer-in-Residence at the Stanford Humanities Center. Co-sponsored by the Arts, Humanities, and Medicine Program at the Stanford Center for Biomedical Ethics and the Stanford Institute for Creativity and the Arts.
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.
Join today to take advantage of these benefits and more!
• Invitations to opening receptions
• Subscription to our newsletter and calendar
• Priority registration for classes and lectures
• Reciprocal privileges at over 300 museums at Sponsor level
• Art Trips: members only art-related travel
Join us on Facebook
Museum Hours: Wednesday–Sunday: 11 am–5 pm, Thursday: 11 am–8 pm
Images, top to bottom:
Dan Flavin, "monument" 1 for V. Tatlin, 1969. Cool white flourescent light. Private collection. © 2011 Stephen Flavin / Artists Rights Society (ARS), New York.
Walker Evans, Main Street, Saratoga Springs,New York, 1931. Gelatin silver print. Lent by Elizabeth and Robert J. Fisher, MBA ’80. © Walker Evans Archive, The Metropolitan Museum of Art.
Alfonso Roybal (Awa Tsireh), Let Us Pray, 1950s. Watercolor. Cantor Arts Center, Gift of Malcolm and Karen Whyte, 2009.89
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.
Walker Evans, Sidewalk and Shopfront, New Orleans, 1935. Gelatin silver print. Cantor Arts Center, Francis Alward Eames Fund, 1975.188.
Artist unknown. Kuba peoples, Bushoong group, Democratic Republic of the Congo, Mukenga mukyeem mask, 20th century. Fabric, raffia, hide, cowrie shells, beads, and wood. Given in memory of Paul J.F. Schumacher by Marietta C. Schumacher, 1999.180.
Edward Weston, Boat-builder (Neil), 1935. Gelatin silver print. Lent by The Capital Group Foundation.
Juan Conchillos Falcó, Male Nude, 1702. Charcoal with blue and white chalk on paper. Cantor Arts Center, Mortimer C. Leventritt Fund, 1976.95.
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.
PR Department-Cantor Arts Center at Stanford University-Lomita Drive at Museum Way-Stanford, California 94305-5060 - EMAIL firstname.lastname@example.org, WEB museum.stanford.edu