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Animal, Vegetable, nor Mineral is the first large-scale solo museum exhibition of Manila-born, Los Angeles-based artist Miljohn Ruperto (b. 1971). Working across photography, video, animation, generative artificial intelligence, and other mediums, Ruperto explores the ways humans have understood their place in the world. From digitally-created fantastical botanical specimens printed as gelatin silver photographs to immersive apocalyptic landscapes experienced in VR, Ruperto’s artworks highlight the elusiveness of knowledge and unsettle what we think we know about nature.

Often working...

The Cantor is honored to be the final—and only west coast—venue for this acclaimed exhibition organized by the Portland Museum of Art in Maine. Seventh-generation basket weaver Jeremy Frey (b. 1978) often remarks that the exhibition was “thousands of years in the making.” Wabanaki baskets have existed for more than thirteen thousand years in what is today known as Maine. The tradition was under threat when Frey, who is Passamaquoddy (one of four federally recognized Wabanaki tribes), began making baskets out of ash and sweetgrass in the early 2000s, helping to revitalize the art form.

Frey...

The Cantor Arts Center at Stanford University is delighted to announce the most significant reinstallation of the museum’s second floor in more than fifteen years. This project is born of sustained collaboration between Stanford faculty and museum curators, who together have thought seriously about the tremendous value of learning about art objects through firsthand study.

At Stanford, the arts and sciences comingle productively: In classrooms, labs, studios, and offices across campus, pioneering thinkers—in the sciences and technology, as well as in the arts and humanities—are proposing...

Part of the exhibition Nina Katchadourian: Curiouser, this outdoor installation investigates the difficulty in translating the elusive sounds created by birds. In sound systems installed in six trees, visitors can hear audio recordings of United Nations translators attempting to vocalize the sounds of six different birds, without having previous familiarity of the bird and only relying on the materials found in birding guidebooks.

This exhibition showcases Buddhist manuscripts and prints held at the Cantor and in Stanford libraries, ranging in dates from around the 11th century to the early 20th century, and coming from various parts of the traditional Buddhist world, from Sri Lanka to Japan. The Buddha’s Word highlights the written word not simply as the visual counterpart to speech but as a thing of beauty and sacredness in and of itself.

This exhibition is organized by the Cantor Arts Center in collaboration with faculty from the Department of Religious Studies, Stanford University. We gratefully acknowledge support...