Exhibition Schedule

NOW ON VIEW

Inside Rodin’s Hands: Art, Technology, and Surgery
Through August 3, 2014
Ruth Levison Halperin Gallery
Dr. James Chang, an internationally renowned hand Rodin_handreconstruction surgeon at Stanford, has long been fascinated by Rodin’s sculptures of hands, many of which evince medical conditions such as Dupuytrens syndrome and Apert syndrome. Chang has incorporated these sculptures into his hand surgery educational program, using new technologies that scan the sculptures, create interior anatomy, and allow for virtual surgery to correct the condition. This groundbreaking, multi-disciplinary exhibition demonstrates these technologies and provides an exciting interactive experience for visitors. It also offers antecedent depictions of the hand from 16th- to 19th-century anatomical texts. Learn more IMAGE: Auguste Rodin (France, 1840–1917), Large Clenched Left Hand, c. 1888. Bronze. Posthumous cast, 1971, 7/12. Gift of the Iris and B. Gerald Cantor Foundation, 1974.49.

 

Carleton Watkins: The Stanford Albums
Through August 17, 2014
Pigott Family Gallery
YosemiteCarleton Watkins, one of the greatest landscape photographers of the 19th century, is perhaps best known for mammoth-plate photographs of California’s legendary Yosemite Valley. The photographs were unprecedented in their size and detail, and helped convince the 38th U.S. Congress and President Lincoln to pass the Yosemite Act of 1864, the first official step toward preserving the Sierra Nevada valley for public use. To commemorate the 150th Anniversary of this Act, the Cantor will mount a major exhibition of Watkins’s Pacific Coast photographs, all drawn from three unbound albums in Stanford Library’s Special Collections and Archives. The exhibition will feature iconic and rarely-seen images of Yosemite, the area around San Francisco, and of the Columbia River and Oregon. Learn more IMAGE: Carleton Watkins (U.S.A., 1829–1916), Washington Column, 2082 ft., Yosemite, 1865–1866, from the album Photographs of the Yosemite Valley. Albumen print. Lent by Department of Special Collections, Stanford University Libraries.


Flower Power
Through July 27, 2014
Freidenrich Family Gallery
Nine sensational works by five important artists--Andy Warhol, Donald Sultan, Alex Katz, Willie Cole, and Tom Wesselmann--focus on flowers, which have long been a popular subject in art. Flowers, used as decorative motifs in ancient times and asFlower_power symbols in Christian iconography, took on new connotations when Beat poet Allen Ginsberg coined the term “flower power” in the mid 1960s, encouraging activists against the Vietnam War to offer flowers to policemen and politicians and turn threatening protests into a form of peaceful street theater. Artists have continued to represent flowers, exploring their formal properties as well as their political and social connotations. The prints in Flower Power illustrate some of these concerns. This exhibition also illustrates the generosity of the Marmor family: most of the works are from the Marmors, either as gifts or as loans. IMAGE: Willie Cole (U.S.A., b. 1955), Pressed Iron Blossom No. 2, 2005. Five-color lithograph. Gift of Eleanor F. Rosenberg, 2007.63

 

Brought to Light: Documentaries by Stanford Students
Through August 3, 2014
Patricia Rebele Gallery
Explore personal accounts of neighborhood transformations, Student_filmimmigration, and final resting places in these short documentaries by first- and second-year Stanford MFA students. The six films are: Counting the Dead; Sleepless; The Last Piano Bar; Maria of Many; New Mission; and The Columbarium.

 

Mapping Edo: The Social and Political Geography of Early Modern Japan
Through September 7, 2014
Madeleine H. Russell Gallery
Experience Edo-period Japan (1615–1868) through archival Edo_gifmaps, prints, and paintings of the capital and surrounding provinces. This exhibition explores the shift that came with Japan's unification at the start of the period in how the ruling shogunate and commercial enterprises visualized and presented early modern Japan. Included on view are selections from Utagawa Hiroshige's One Hundred Famous Views of Edo series, maps of provincial castles, and images of famously beautiful places and venerable historical sites. Approximately 20 works on display.
IMAGE: Utagawa Hiroshige, Ryogoku Bridge and the Great Riverbank, 1857. From One Hundred Famous Views of Edo series. Woodblock print. Gift of Martin S. Mitau, 1967.70.6

Night, Smoke, and Shadows: The Presence of Atmosphere in the 19th Century
Through October 6, 2014
Robert Mondavi Family Gallery
Many artists active in the 19th century manipulated the appearance of atmosphere in order to create the illusionSt_Pauls of space and texture, imply a mood, and even shape the narrative content of an image. They were inspired by industrialization and new ideas about optics and abstraction, and they exploited unprecedented opportunities to experiment with processes and materials. This exhibition includes prints, drawings, and photographs by artists such as James McNeill Whistler (U.S.A., 1834–1903), Max Klinger (Germany, 1857–1920), Félicien Rops (Belgium, 1833–1898), and Alvin Langdon Coburn (U.S.A., 1882–1966).
IMAGE: Alvin Langdon Coburn (Wales, b. U.S.A., 1882–1966), St. Paul's from Ludgate Circus, c. 1905. Photogravure. Museum Purchase Fund, 1973.91.

Artists Observe Nature
Through October 6, 2014
Early European Gallery
After 1600, it became increasingly common for draftsmenArtists_observe and
printmakers to study nature closely and directly, rather than copy natural motifs from books and other artworks. This exhibition features approximately 18 prints and drawings that reveal the empiricist’s impulse to capture nature, with its fine detail and fleeting light effects, and record it on paper. IMAGE: Edward Fisher (England, 1722–1785), Portrait of Paul Sandby, 1763. Mezzotint. Mortimer C. Leventritt Fund, 1976.213.

Miniature Worlds: Indian Court Paintings from the Collection
Through October 20, 2014

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.

 

The New Landscape: Experiments in Light by Gyorgy Kepes
Through November 17, 2014
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.

 

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.

FUTURE EXHIBITIONS

Pop Art from the Anderson Collection
August 13, 2014–October 26, 2015
Freidenrich Family Gallery
This exhibition of 10 sensational works, including Robert Indiana’s iconic 1973 painting Love and Andy WarholHeart’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.
IMAGE: Claes Oldenburg, Funeral Heart, 1961. Enamel paint, plaster, and muslin. Gift of Harry W. and Mary Margaret Anderson.

 

Sympathy for the Devil: Satan, Sin, and the Underworld
August 20–December 1, 2014
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, and Max Beckmann—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.

Fatal Laughs: The Art of Robert Arneson
August 20, 2014–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 himsArnesonelf 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. IMAGE: Robert Arneson (U.S.A., 1930–1992), Assassination of a Famous Nut Artist, 1971. Whiteware with glazes. Museum purchase made possible by the Robert and Ruth Halperin Foundation, 2008.1.a–b. © Estate of Robert Arneson/Licensed by VAGA, New York, NY

 

Robert Frank in America
September 10, 2014–January 5, 2015
Pigott Family Gallery
This exhibition of 131 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

Daumier on Art and the Theatre
October 15, 2014–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
October, 15 2014–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.



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