Exhibition Schedule

MAJOR EXHIBITIONS ON VIEW

Artist at Work 2017: Hope Gangloff

The artist Hope Gangloff will be at the Cantor from May 21-29, and using the museum's atrium as her painting studio. Visitors are invited to watch her work!
    Wednesday, May 24, 11:30am-1:30pm
    Thursday, May 25, 11:30am-1:30pm
    Friday, May 26, 11:30am-1:30pm
GAngloffCantor is pleased to announce that Hope Gangloff has accepted the invitation to be the first Diekman Contemporary Commissions Program artist. For the inaugural presentation of the program—Artist at Work 2017: Hope Gangloff—she has painted several portraits to hang along the light-filled Atrium Balcony. The artist will be working on-site in the museum’s grand 1894 Atrium, painting her friend, and our own team member, Tammy Fortin. Learn more IMAGE: Artist Hope Gangloff, Photograph (detail) by Don Stahl, NYC

 

Creativity on the Line: Design for the Corporate World, 1950–1975
Through 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

 

Object Lessons: Art & Its Histories

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 & 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


CONTINUING EXHIBITIONS ON VIEW

 

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

 

Environmental Exposure: Photography and Ecology after 1970
Through 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

 

Hope Gangloff Curates Portraiture
Through 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. Learn more 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

Intermezzi: Max Klinger’s Staged Interruptions
Though 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

 

Modern & Contemporary Art at the Cantor
Through October 23, 2017
Freidenrich Family Gallery
Bischoff This installation speaks to the materials, ideas, and questions artists are exploring today and presents the collection as a continually evolving entity. Highlights include Duane Hanson's beloved Slab Man, Alexander Calder's Chariot, Richard Diebenkorn's Disintegrating Pig, Sean Scully's Angel, and a never-before-exhibited work from our collection by Jesús Raphael Soto. IMAGE: Elmer Bischoff (U.S.A., 1916–1991), Interior with Cityscape, 1969. Oil on canvas. Gift of Mr. and Mrs. John Freidenrich, 2006.37

 

New to the Cantor: Spencer Finch

Ongoing

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
Ongoing

Freidenrich Family Gallery
Drawn from the Marmor Collection, whose paintingspunching_bag, 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: Claes Oldenburg (U.S.A., b. Sweden, b. 1929), Double-Nose/Purse/Punching Bag/Ashtray, 1970. Leather, bronze, and wood. Given in honor of Gerhard Casper, President, Stanford University (1992–2000) by the Marmor Foundation, 2000.105.a-b


Object Lessons: Art & Its Histories

Ongoing

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
Ongoing

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

FUTURE EXHIBITIONS

Reinstallation of the Cantor’s Rodin GalleriesAge_of_Bronze

Opens September 6, 2017
This fall the Cantor Arts Center will present a reinstallation of its exceptional collection of sculpture by Auguste Rodin (France, 1840–1917) to mark the centenary of this unparalleled artist’s death. Drawing from the Cantor’s internationally recognized holdings of more than 200 works executed in bronze, plaster, terra-cotta, wax, and stone, this project re-envisions all three of the museum’s Rodin galleries. IMAGE: Auguste Rodin (France, 1840–1917), The Age of Bronze, 1875–1876. Bronze. Gift of the B. Gerald Cantor Collection, 1983.300

 

Nina Katchadourian: Curiouser

September 15, 2017–January 15, 2018
Pigott Family Gallery
This mid-career survey of artist Nina KatchadouriNina_12an — who is based in Brooklyn but was raised on the Stanford campus — explores several major bodies of her work including video, photography, sculpture, and sound art. Using ingenuity and humor, Katchadourian’s art encourages us to reinvigorate our own sense of curiosity and creativity and to see our everyday surroundings as sites for discovery. IMAGE: Nina Katchadourian (U.S.A., b. 1968), Lavatory Self-Portrait in the Flemish Style #12. From Seat Assignment project, 2010-ongoing. C-print. Collection of Nion McEvoy, San Francisco. Image courtesy of the artist and Catharine Clark Gallery, San Francisco, L.23.119.2017



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Rodin! The Complete Stanford Collection
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