Exhibition Schedule


The Conjured Life: The Legacy of Surrealism
Through 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 exhibitiMagritte2on reveals this movement’s enduring grip on the imaginations of artistsin the United States and around the world. Learn more  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 Endowment Fund, The Elizabeth Swindells Hulsey Exhibitions Fund, the Contemporary Collectors Circle, and Museum Members. IMAGE: René Magritte, Les merveilles de la nature (The Wonders of Nature), 1953. Oil on canvas. Collection Museum of Contemporary Art Chicago MCA#1982.48, gift of Joseph and Jory Shapiro, © Rene Magritte/Artists Rights Society (ARS), New York. Photo: Nathan Keay, © MCA Chicago


Object Lessons: Art & Its Histories


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


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


Warhol Unframed
Through May 1, 2017
Rowland K. 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. Twelve works in the exhibition. 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
Through 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. Fifteen works in the exhibition. IMAGE: Yamada Masanao (Japan, b. 1890), Netsuke of Mushrooms, 20th century. Wood. Stanford Museum Collections, 1998.79


The Eye and the Sky: Trevor Paglen in the Cantor Collection
Through July 31, 2017
Patricia S. Rebele Gallery

This is a focused exhibition (17 works) that positions contemporary photographer Trevor Paglen’s Time Study (Predator; Indian Springs, NV) alongside the work of 19th- and 20th-century photographers in the museuTime_Study_Paglenm's collection. Paglen’s haunting images raise and respond to questions about technologically mediated visual perception. This is the first installation in the new series In Context. IMAGE: Trevor Paglen (U.S.A., b. 1974), Time Study (Predator; Indian Springs, NV), 2010. Eight gold-toned albumen prints. Robert E. and Mary B. P. Gross Fund, 2016.7


New to the Cantor
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


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


Highlights from the Marmor Collection

Freidenrich Family Gallery
Drawn from the Marmor Collection, whose paintingsCelestial_Bolts, sculptures, and works on paper greatly enhance the museum’s ability to present the development of Western art from the 1950s to the present, the works featured in this exhibition are by pioneering artists such as Robert Rauschenberg, Jasper Johns, and Andy Warhol, among others. IMAGE: Arman (Armand Fernandez) U.S.A., b. France, 1928–2005. Celestial Bolts, 1964. Metal and polyester. Gift of the Marmor Foundation (Drs. Michael and Jane Marmor) from the collection of Drs. Judd and Katherine Marmor

Object Lessons: Art & Its Histories


Madeleine H. Russell Gallery

This installation of work by contemporary ChineHostessse artists addresses issues including urbanization, the environment, identity, and language. Selected by Richard Vinograd, Christensen Fund Professor in Asian Art, these objects complement the undergraduate course FromShanghai 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: Cang Xin (China, b. 1967), Hostess, 2002. Chromogenic print. Gift of Mr. & Mrs. L. S. Kwee, in honor of Thomas K. Seligman, 2012.220

African Artists as Innovators

Thomas K. Seligman Gallery
This student-curated exhibition explores the ways artists of African descent have developed new methods, fresh ideas, Moonand 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, 2010, Bound by the Moon, Archival digital print. Museum purchase made possible by the Phyllis Wattis Program Fund, 2012.13


Hope Gangloff Curates Portraiture
April 5–September 24, 2017

Ruth Levison Halperin Gallery

New York-based artist Hope Gangloff has been inviDark_Horse2ted to mine the museum’s permanent collection and select key works to hang alongside her own contemporary paintings. Using the format of artist as curator, this exhibition will create a conversation between past and present, while inviting viewers to experience the Cantor’s rich, historical collection through the eyes of a celebrated artist working today. IMAGE: Hope Gangloff (U.S.A., b. 1974), Dark Horse (Tim Traynor), 2015. Acrylic and collage on canvas. Collection of Nion McEvoy, Courtesy of the artist and Susan Inglett Gallery, New York, © 2017 Hope Gangloff, Photo © Adam Reich, NYC, L.3.1.2017

Creativity on the Line: Design for 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 Eames_Chairmodern 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). Learn more IMAGE: Charles Eames (U.S.A., 1907–1978) and Ray Eames (U.S.A, 1912–1988), Molded Fiberglass chair with table arm, for Herman Miller, Inc., 1960–61. Fiberglass, fabric, metal, and plastic. LA County Museum of Art, Los Angeles, Gift of the employees of Herman Miller, Inc., L.31.2.2015


Intermezzi: Max Klinger’s Staged Interruptions
May 10–October 2, 2017

Rowland K. Rebele Gallery
German printmaker and painter Max Klinger was Klingerknown for inventing fantastical narratives. This installation features six prints from Klinger’s 1881 portfolio Intermezzi, Opus IV, in which the artist presents scenes from multiple story lines in thirteen plates. IMAGE: Max Klinger (Germany, 1857–1920), Simplicius' Writing Lesson (Simplici Schreibstube), Plate VII from the portfolio Intermezzi, Opus IV, 1881. Etching. Museum Purchase Fund, 1970.15.7


Environmental Exposure: Photography and Ecology after 1970
May 24–September 18, 2017

Lynn Krywick Gibbons Gallery
This exhibition draws on the Cantor’s collection of photography from the 1970s and early ’80s to explore a transformative moment in the representation of the American lanWestondscape. After the formation of the Environmental Protection Agency in 1970, American photography increasingly recast familiar spaces and themes—the natural world, the city, the home, the automobile—in light of growing anxieties around waste, energy use, pollution, and development. Approximately 25 works. IMAGE: Brett Weston (U.S.A., 1911–1993), Lakescape, 1973. Gelatin silver print on board. Gift of Ronald H. and Fran Cohen, 2013.493.19

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