Changes in the Collection Galleries

Many of the Center's 24 galleries present works from the collection plus long-term loans. Each collection gallery is dedicated to a distinct era or type of art. Together the galleries span the history of art from ancient China and Egypt to the 21st century. Works in the collection galleries change on a regular basis.

Marie Stauffer Sigall Gallery Weston
Edward Weston on Light, Line, and Form
Through June 3, 2012
This installation examines the consistently formal approach to shape, light and line common to Weston's still life, nude and landscape photographs alike.
Edward Weston, Boat-builder (Neil), 1935. Gelatin silver print. Lent by The Capital Group Foundation.

Marie Stauffer Sigall Gallery Jacobi2
Streets, Shops, Signs, and Surrealism
June 13 – September 23, 2012
This selection of works by artists active in Europe and the Americas in the mid-20th century features uncanny, unexpected photographs of urban streets, shops, and advertisements. Included in the rotation are works by Eugène Atget, Manuel Alvarez Bravo, Robert Doisneau, Robert Frank, John Gutmann, Lotte Jacobi, André Kertész, Lisette Model, and Edward Weston.
Lotte Jacobi, Puppenkosmetik, c. 1930. Gelatin silver print. Committee for Art Acquisitions Fund, 1981.41.

Patricia S . Rebele GalleryWalker Evans Shop front
Walker Evans and the RA/FSA Photography Project
Through June 24, 2012
Six photographs from the Center'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.
Walker Evans, Sidewalk and Shopfront, New Orleans, 1935. Gelatin silver print. Cantor Arts Center, Francis Alward Eames Fund, 1975.188.

Gallery for Early European ArtFalco
Anatomy Lessons: Art and the Male Body
Through July 8, 2012
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.
Juan Conchillos Falcó, Male Nude, 1702. Charcoal with blue and white chalk on paper. Mortimer C. Leventritt Fund, 1976.95.

Freidenrich Family Gallery for Contemporary ArtStella_newstead2
How a Stripe Works: Frank Stella's Early Gemini Prints, 1697–1970
Through August 12, 2012
This display explores the artist's collaboration with Kenneth Tyler at Gemini G.E.L. in series after series of striking monochromatic prints modeled on Stella's earlier paintings.
Frank Stella, Newstead Abbey, 1970. Lithograph. Lent by the Marmor Foundation.

Robert Mondavi Family Gallery
Style and Process: Japonisme on Paper
Through July 8, 2012Buhot2
During the late 1860s, Japanese art and goods flooded into Paris. This set off a craze for all things Japanese, particularly elegant and colorful Ukiyo-e prints. It also sparked Japonisme, the movement explored in this installation, in which European and American artists appropriated and responded to Japanese subjects, techniques, and graphic style.
Félix Hilaire Buhot, Japanese Baptism (Baptême Japonais), 1887. Etching with drypoint and aquatint, printed from a single plate. Robert E. and Mary B. P. Gross Fund, 2008.12.

Rowland K. Rebele GalleryCesna
Adventures in the Human Virosphere: The Use of Three-Dimensional Models to Understand Human Viral Infections
Through October 2012
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. Learn more
Angela Cesena, Model of Papillomavirus, 2011. Cardboard, yellow and green crepe paper, plastic syringes, Q-Tips, and Band-Aids.

Ruth Levison Halperin Gallery
When Artists Attack the King: Honoré Daumier and La Caricature, 1830–1835
August 1 – November 11, 2012
As press coverage of the 2012 American presidential election heats up, this exhibition explores the art that ignited a 19Daumierth-century battle over politics and freedom of the press. The weekly Paris journal La Caricature, founded in 1830 shortly after Louis-Philippe I (1773–1850) took the French throne, quickly became the King’s worst enemy in his fight for popular approval. It published hundreds of lithographs by Honoré Daumier (1808–1879) and other artists that thoroughly ridiculed the July Monarchy, as Louis-Philippe’s reign was known. Visit and see how, in the approximately 50 prints on view, La Caricature used social satire, visual puns, and physical caricature to mock the July Monarchy’s ministers, their censorship of the press, and the King’s physical appearance. Eugène-Hippolyte Forest (France, active 1847–1866), Bastard Fetus Heredity, Still-Born Count D’Averton (Bâstard Foetus Hérédité, Comte D’Averton Mort-Né), detail. La Caricature, Plate 102 (Volume 4, Issue 89, October 20, 1831). Lithograph with hand coloring. Gift of Mr. and Mrs. R. E. Lewis, 1973.2

Rehmus Family Gallery for Native American Art
Heritage and Apprenticeship in Northwest Coast ArtHaida
Ongoing
Recent changes on the Rehmus Family Gallery reveal the importance of family heritage and apprenticeship in modern and comtemporary Northwest Coast art.
Artist uknown, Haida, Canada. Group of Figures (detail), 1865-1910. Argillite, carved, inlays of ivory or bone. Stanford Family Collections, JLS.7583.

H. L. Kwee Galleria and McMurtry Family TerraceUrchin
Go Figure!
Ongoing
This installation features a variety of contemporary figurative paintings and sculptures in diverse media including bronze, clay, glass, and wood. Among the selections are examples by Magdalena Abakanowicz, Robert Arneson, Joan Brown, Roger Brown, Mel Edwards, Viola Frey, Robert Graham, Duane Hanson, Manuel Neri, Isamu Noguchi, and Peter Vanden Berge.
Richard Stankiewicz, Urchin, 1955. Steel and found metal. By exchange with the Bowers Museum of Cultural Art, for a gift from Jane Lathrop Stanford, 1995.77



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