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Pick of the Month
PICK OF THE MONTH
A War on Modern Art: The 75th Anniversary of Degenerate Art
Opens October 3
In 1937, Adolf Hitler and his Nazi regime viewed modernist artists as insane and threatening to Third Reich ideals and presented the Entartete Kunst (Degenerate Art) exhibition in Munich, hoping to turn public opinion against all modern art. Explore works by several of these "degenerate" artists as we mark the 75th anniversary of the exhibition's opening. Eighteen works on display.
Central Nigeria Unmasked: Arts of the Benue River Valley
Through October 14
The Benue River Valley is the source of some of the most abstract, dramatic, and inventive art works in sub-Saharan Africa. This exhibition, organized by the Fowler Museum at UCLA in association with the Musée du quai Branly, Paris, is the first major view of spectacular sculpture, ceramic objects, and video material representing the three sub-regions of the Benue River Valley. More than 150 objects drawn from international collections are organized in sections that unfold as a journey up the 650-mile-long Benue River. Learn more: tours, and catalogue.
Adventures in the Human Virosphere: The Use of Three-Dimensional Models to Understand Human Viral Infections
Through January 6
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, providing insight into viral structure and function. Because viruses are genetically simple, they often display surprisingly beautiful symmetries. This display presents 13 models.
When Artists Attack the King: Honoré Daumier and La Caricature, 1830–1835
Through November 11
As press coverage of the 2012 American presidential election heats up, this exhibition explores the art that ignited a 19th-century battle over politics and freedom of the press. The weekly Paris journal La Caricature published hundreds of lithographs by Honoré Daumier (1808–1879) and other artists that thoroughly ridiculed Louis-Philippe's reign. See how, in the approximately 50 prints on view, La Caricature used social satire, visual puns, and physical caricature to mock the king's ministers, their censorship of the press, and his physical appearance.
Not Wanting to Say Anything About Marcel: John Cage Plexigrams
Through November 11
John Cage (1912–1992), the prominent American experimental music composer, also exercised his creativity by making prints and assembling words into serious graphic and conceptual puzzles. In 1969 Cage produced a series of eight constructions, each with eight Plexiglas panels silkscreened with images and text, to honor his good friend and fellow artist Marcel Duchamp, who died in 1968. Stanford acquired four of these plexigrams in 1973. Their display at the museum corresponds to centennial celebrations of Cage’s birth, which is to be observed by Stanford’s Department of Music in mid-October.
Guardians: Photographs by Andy Freeberg, an Exhibition in Three Parts
Through January 6, 2013
San Francisco-based photographer Andy Freeberg traveled to St. Petersburg in 2008 intending to document how Russia had changed since he photographed it three decades earlier. While there, something completely different caught his eye—the women who watched over the paintings and sculptures in the museums were as intriguing to observe as the artwork. Freeberg noticed that the guards, who were stationed in the same place every day, seemed to unconsciously resemble and relate to the objects they protected. New photographs by Freeberg, of the Cantor Arts Center guards, as well as a student-produced documentary film about the Cantor guards, accompany the 16 works from 2008. Artist's Talk, October 3 at 6 pm.
Divided Visions: Reportage from the Sino-Japanese Wars
Through January 13, 2013
This exhibition examines how the two Sino-Japanese Wars were represented through master sensationalist Kiyochika Kobayashi's battle prints, sketches by the cartoonist Zhang Wenyuan, and photojournalism by John Gutmann. The images demonstrate how the Sino-Japanese Wars were not only major conflicts between competing Asian nations, but also a critical breeding ground for new forms of public art and audiences. Fourteen works on display.
Through January 13, 2013
Today's Chinese and Japanese artists are experimenting with ink to foil audience expectations, suggest randomness, and reinforce their cultural heritage. This exhibition includes video and works by Qiu Zhijie, Ushio Shinohara, Gu Wenda, and Xu Bing. Twenty works on display.
Drawings from Los Angeles in the 1960s and 1970s: The Marmor Collection
Through Feburary 3, 2013
This installation includes a variety of approaches, from the illusionistic drawings of Ed Ruscha and Vija Celmins to the musings of John Altoon. Ten works on display.
Wood, Metal, Paint: Sculpture from the Fisher Collection
Through October 13, 2013
This new, long-term installation includes pieces by Martin Puryear, Sol LeWitt, Claes Oldenburg, Carl Andre, and John Chamberlain. The six works on display are especially significant because they serve as examples of the innovations that established the reputations of these artists.
Sequence at Stanford
Richard Serra's Sequence is on loan from the Doris and Don Fisher Collection for five years. Its siting at the Center finally gives viewers the chance to encounter Sequence in the open air, as Serra intended. Entrance to Sequence is via the Center building; it is accessible during museum hours.
All events are free and are held in the auditorium unless otherwise noted.
Wednesday, October 3 at 6 pm
Artist's Talk: San Francisco photographer Andy Freeberg discusses his series Guardians, currently on view, and his related work.
Sunday, October 7, 2–5 pm
Stanford University Founders' Celebration
The program will include remarks by President Hennessy, exhibits of Stanford family ephemera, period music and light refreshments. The Mausoleum will also be open to visitors on this special occasion.
Friday, October 12 at 2 pm
Spotlight on Art: Sydney Simon, PhD candidate in contemporary art, discusses Martin Puryear's Malediction.
The San Francisco Fall Antiques Show. Featuring an extraordinary range of fine and decorative arts, including an Exhibition and related Lectures Series focusing on Sea Worthy: The Best of Nautical Art and Antiques, inspired by the America's Cup activities taking place on the Bay. Bring a copy of this E-News, and receive special rates on admission ($12 in advance/$15 at the door) and lecture ($12 in advance/$15 at the door) tickets.
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Images, top to bottom:
Conrad Felixmüller, Self-Portrait with Wife and Son, 1923. Gouache, watercolor, and pencil. Lent by ArtNow International, L.29.5.2008. © 2012 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn.
Artist unknown, Vessel to protect a pregnant woman and her fetus (jina bitibiyu). Cham-Mwana peoples. Mid-20th century. Ceramic. Musée du quai Branly, Paris © 2010. Musee du quai Branly Photo Thierry Ollivier/Michel Urtado/ Scala, Florence
Angela Cesena, Model of Papillomavirus, 2011. Cardboard, yellow and green crepe paper, plastic syringes, Q-Tips, and Band-Aids..
Auguste Bouquet, "The Pear and Its Seeds. (La Poire et ses Pépins.)". La Caricature, Plate 290 (Volume 6, Issue 139, July 4, 1833). Lithograph with hand coloring. Francis Alward Eames Fund, 19188.8.131.52.
John Cage, Not Wanting to Say Anything About Marcel, 1969. Portfolio of eight screenprints printed on Plexiglas panels (“plexigrams”). Gift of John and Nancy Merryman, 1973.25.
Andy Freeberg, Statue of Mausolos, the Ruler of Karia, 377-355 B.C., Pushkin State Museum of Fine Arts, 2008. Archival pigment ink print. Lent by the artist. © Andy Freeberg.
Kiyochika Kobayashi, Sinking of a Chinese Ship in the Yellow Sea (detail), 1894. Woodblock print. Mortimer C. Leventritt Fund, 1972.127.
Vija Celmin, Zeppelin (detail), 1968. Graphic on acrylic ground on paper. Private collection.
Carl Andre, Copper-Zinc Plain, 1969. Copper and zinc. Loan courtesy the Fisher Family.
Richard Serra, Sequence, 2006. Photo: Linda A. Cicero / Stanford News.
Members at a reception.
Reproduction of these images is prohibited by copyright laws and international conventions without the express written permission from the copyright holder.
© 2012 Cantor Arts Center at Stanford University. All rights reserved.
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