Exhibition Schedule


500 Years of Italian Master Drawings from the Princeton University Art Museum
Through August 24, 2015

Pigott Family Gallery

Nearly 100 dazzling and rarely seen drawings dating frBerniniom the 15th through the 20th centuries will be on view in 500 Years of Italian Master Drawings from the Princeton University Art Museum. Beyond demonstrating the chronological and stylistic sweep of the history of Italian drawings, this thematically organized exhibition examines the pivotal role played by drawing, or “disegno,” in the Italian design process. Learn more IMAGE: Gian Lorenzo Bernini (Naples, 1598–1680), Seated Male Nude, c. 1618–24. Red chalk heightened with white chalk on buff laid paper. Princeton University Art Museum, Museum purchase, Laura P. Hall Memorial Fund and Fowler McCormick, Class of 1921, Fund


Promised Land: Jacob Lawrence at the Cantor

A Gift from the Kayden Family
Through August 3, 2015

Ruth Levison Halperin Gallery

This exhibition features an exceptional group of 5Builders3a6 works by the 20th-century American master, Jacob Lawrence (1917-2000), and one by his spouse, Gwendolyn Knight (1913–2005), recently given to the Cantor Arts Center by Dr. Herbert J. Kayden and his family in memory of Dr. Gabrielle H. Reem. The gift illuminates Lawrence’s career through 11 drawings, six paintings, one illustrated book, and 39 prints, all dating between the years 1943 and 1998. Learn more IMAGE: Jacob Lawrence (U.S.A., 1917–2000), Builders No. 3, 1973. Gouache, tempera and graphite on paper. Gift of Dr. Herbert J. Kayden and Family in memory of Dr. Gabrielle H. Reem, 2013.103 © 2015 The Jacob and Gwendolyn Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York


Pop Art from the Anderson Collection at SFMOMA
Through October 26, 2015
Freidenrich Family Gallery
This exhibition of 10 sensational works, including Robert Indiana’s iconic 1973 painting Love and Andy Warholwarhol_4_6_15’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. Learn more
IMAGE: Andy Warhol (U.S.A., 1928–1987), Self-Portrait, 1967. Acrylic and silkscreen enamel on canvas. Collection SFMOMA, gift of Harry W. and Mary Margaret Anderso © 2015 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York



American Battleground: Photographs of the Civil War, 1861–1865
Through August 3, 2015

Robert Mondavi Family Gallery
Photography was invented in France more than twGranto decades before the Civil War erupted in America. By the 1860s, visual culture and fine art in the United States were profoundly affected by the new medium, and the Civil War rapidly became the first conflict thoroughly documented by photographers. This installation features photographs, primarily landscape views, from the Cantor’s permanent collection. IMAGE: Artist unknown (U.S.A., 19th century), Portrait of General Grant in the Field, c. 1863. Albumen print. Cantor Arts Center collection, Stanford Family Collections, JLS.18775


Plus One: Pop Duplications
Through August 17, 2015

Rowland K. Rebele Gallery
In the early 1960s, American artists increasingly drew on popular imagery, commercial signage, and product design as source material and creative inspiration. Their work, soon coined Pop Art, often mimicked the means of mechanical reproduction associated with mass culture. This exhibition Mao_pairfocuses on duplications in the art of Jasper Johns, Roy Lichtenstein, Claes Oldenburg, Robert Rauschenberg, Wayne Thiebaud, and Andy Warhol.  It includes works produced in multiple, such as Warhol’s Mao Tse-Tung series, as well as single compositions featuring duplicate visual elements. The exhibition accompanies Professor Richard Meyer’s Spring 2015 advanced undergraduate course on Pop Art. IMAGES: Andy Warhol (U.S.A., 1928–1987), Mao Tse-Tung, 1972. Screenprint. Cantor Arts Center collection, Gift of the Marmor Foundation (Drs. Michael and Jane Marmor) from the collection of Drs. Judd and Katherine Marmor, (left) 2009.94.9.(right) 2009.94.5.© 2015 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York


Bravo!: Music and Theater in Enlightenment Europe
Through August 17, 2015Gillray3

Robert Mondavi Family Gallery
The prints and drawings included in this focused exhibition explore the realms of music and drama during the 18th century. Performance venues were popular social spaces where people of all classes gathered to see and be seen. IMAGE: James Gillray (England, 1757–1815), Shakespeare Sacrificed, 1789. Color etching and aquatint. Cantor Arts Center collection, Museum Purchase Fund, 1976.15


Modern Times: O’Keeffe, Stieglitz, and Toomer
Through September 21, 2015

Patricia S. Rebele Gallery
The aesthetic and romantic relationship between Geoseaweed3rgia O’Keeffe and Alfred Stieglitz has been widely studied, but less is known about O’Keeffe’s intense connection with Harlem Renaissance writer Jean Toomer. This focused exhibition explores the relationship of these three artists as seen through the lens of about six works from the Cantor’s collection along with correspondence among the artists. Works include O’Keeffe’s gem-like painting Seaweed, photographs by Stieglitz, and Toomer’s modernist novel, Cane. IMAGE: Georgia O'Keeffe (U.S.A., 1887–1986), Seaweed, 1927. Oil on canvas. Gift of The Georgia O'Keeffe Foundation, an anonymous donor, and the Committee for Art Acquisitions Fund, 1997.96. © 2015 Georgia O'Keeffe Museum/Artists Rights Society (ARS), New York


Shifting Currents: Highlights from the 20th-Century Chinese Collection
Through September 28, 2015

Madeleine H. Russell Gallery
The Cantor’s Asian collection features works in a vZikaiariety of media. With especially strong holdings of Chineseand Japanese art, the collection comprises more than 5,000 objects and spans 3000 BCE to the late 20th century. Currently on view in the Cantor’s Asian galleries are works illuminating the many cultures of Asia—East, South, Southeast, and the Himalayas. This new selection focuses on the art of 20th-century China. IMAGE: Attributed to Feng Zikai (China, 1898–1975), Only the Mirror Knows the Beauty of a Poor Girl, c. 1940s. Ink and color on paper. Gift of Kevin Weis, 1990


Drama of Heaven and Earth: The Theatrical Traditions of Japan
Through September 28, 2015
Madeleine H. Russell Gallery
During medieval and early-modern times, the Japanese theatrical art of Noh developed from a form of popHeaven1ular performance to the solemn, abstract drama it is today. Noh’s later popularity with the ruling shogunate enabled kabuki theater, which came out of the raucous atmosphere of the pleasure quarters, to flourish during the Edo period (1615–1868). This exhibition presents masks, prints, ceramics, and other visual materials associated with the dramatic arts of Noh, kabuki, kyogen, bugaku, and kagura, demonstrating the parallel trajectories of these separate yet interrelated traditions. Approximately 25 works on display. IMAGE: Konishi Hirosada (Japan, c. 1810–1864), Togoro’s Wife Osan, c. 1850–1852. Woodblock print. Committee for Art Acquisitions Fund, 1986.24


Fatal Laughs: The Art of Robert Arneson
Through October 5, 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 himsPrimary_dischargeelf 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. Learn more IMAGE: Robert Arneson (U.S.A., 1930–1992), Primary Discharge, 1990. Earthenware and glaze. Cantor Arts Center Collection, Given in Memory of Professor A. L. Schawlow by John F. and Barbara L. Holzrichter, 2009.75 © Estate of Robert Arneson/Licensed by VAGA, New York, NY


Word as Image: Highlights of the Marmor Collection
Through October 26, 2015

Freidenrich Family Gallery
While artists throughout history have integrated words into their works, modern and contemporary artists have given them a significant position and function—as demonstrated in this Pinkfocused installation of prints and drawings. Highlights include Ed Ruscha’s iconic screen print Hollywood; Bruce Nauman’s first word-image print, Raw-War; and Jasper Johns’s large-scale lithograph with lead collage, No, on view at the Cantor for the first time. IMAGE: Allen Ruppersberg (U.S.A., b. 1944), The Color of Pink, 1988. Screenprints on aluminum. Cantor Arts Center collection, Gift of the Marmor Foundation (Drs. Michael and Jane Marmor) from the collection of Drs. Judd and Katherine Marmor, 2006.112.a-c



Astley D. M. Cooper and Mrs. Stanford's Jewels
August 5-November 16, 2015
Lynn Krywick Gibbons Gallery
Nationally recognized during his time but largJewelsely forgotten in our own, painter Astley D. M. Cooper (1856–1924) used a faux Egyptian temple as a studio, paid off bar debts with paintings, and threw the wildest parties that San Jose, California had ever seen. With their luscious colors and trompe l’oeil trickery, his landscapes, portraits, and wild western scenes aimed to both please and astonish. This exhibition, curated by Annie Ronan, PhD, Department of Art & Art History, explores Cooper’s life as well as the Bay Area bohemia out of which he first emerged. IMAGE: Astley Cooper (U.S.A., 1856–1924), Mrs. Stanford's Jewel Collection, 1898. Oil on canvas. Cantor Arts Center collection, Stanford Family Collections, JLS.16294

August 12, 2015–January 25, 2016

Robert Mondavi Family Gallery
“Empathy” entered the English language via aesthetics and Boschpsychology in the late 19th century. Today, empathy is discussed not only in the arts and humanities, but also in Silicon Valley, Stanford’s d.school, and the latest neuroscience. We share a deep need to walk in the shoes of another. This exhibition traces the meaning and practice of empathy through artistic representations of Buddhist compassion; Christianity’s commandment to love our neighbor; Enlightenment moral philosophy; and Civil Rights-era photography. It accompanies the “Thinking Matters” course taught by Jane Shaw, professor of religious studies. Approximately 18 works on display. IMAGE: Hieronymus Bosch (the Netherlands, c. 1450–1516), Last Judgment, c. 1510. Oil on panel. Lent by Kirk Edward Long


Piranesi’s Paestum: Master Drawings Uncovered
August 19, 2015–January 4, 2016

Ruth Levison Halperin Gallery
The exhibition presents 15 stunning drawings by the celebrated Italian printmaker, Giovanni Battista Piranesi (1720–1778). Regarded as landmarks of 18th-century Italian Basilicadrawing, this suite of large-scale renderings constitutes Piranesi’s most extensive body of work devoted to a single topographical site. The drawings depict the three ancient Greek temples, originally dedicated to Poseidon, Hera, and Athena, at Paestum, south of Naples. Learn more IMAGE: Giovanni Battista Piranesi (Italy, 1720–1778), Paestum, Italy: Exterior of the Basilica, 1777. Black chalk, pencil, brown and grey washes, pen and ink. Sir John Soane’s Museum.

Warriors, Courtiers, and Saints: The Etchings of Jacques Callot
August 26, 2015–February 15, 2016

Gallery for Early European Art
During his brief career, Jacques Callot (France, 1592–1635) challenged the old assumption that printmakers Vostermanwere incapable of inventing original compositions by creating elegant, expressive prints. Warriors, Courtiers, and Saints features a selection of 16 prints that demonstrate Callot’s remarkable range—from recording the horrors of war to rendering whimsical landscapes, formal courtly scenes, and somber religious subjects—all in his light and fluid style.

IMAGE: Lucas Vosterman (the Netherlands, 1595–1675), Portrait of Jacques Callot, c. 1645. Etching and engraving. Robert M. Loeser Collection, 1944.2.60

Artists at Work
September 9, 2015–January 18, 2016

Pigott Family Gallery

This major exhibition will include some 100 European and American prints, drawings, and photographs drawn froModotti2m the Cantor’s rich collection. A special feature will pay tribute to the legacy of Richard Diebenkorn—Stanford’s most accomplished and recognized graduate in art—by displaying, for the first time, the extraordinary recent gift of his sketchbooks, donated to the Cantor by Phyllis Diebenkorn, the artist’s widow. Artists at Work celebrates the opening of the Cantor’s neighbor the McMurtry Building, the new home of the Department of Art & Art History. Learn more IMAGE: Tina Modotti (Mexico, 1896–1942), Edward Weston in Mexico, c. 1923. Gelatin silver print. Museum Purchase Fund, 1973.58


Richard Diebenkorn: The Sketchbooks Revealed and Edward Hopper: New York Corner
September 9, 2015–February 8, 2016
This unique exhibition, a companion to Artists at Work (see Diebenkorn_Hopperabove), presents the sketchbooks of celebrated 20th-century painter Richard Diebenkorn, recently gifted to the museum by his widow, PhyllisG. Diebenkorn, and works by Edward Hopper, including the Cantor’s major new acquisition, New York Corner. Learn more IMAGES: Top: Richard Diebenkorn (U.S.A., 1922–1993), Untitled from Sketchbook #13, page 13, c. 1965–66. Pen and ink on paper. Gift of Phyllis Diebenkorn, 2014.13.15. © The Richard Diebenkorn Foundation.
Bottom: Edward Hopper (U.S.A., 1882–1967), New York Corner (Corner Saloon), 1913. Oil on canvas. Museum  purchase made possible by the Halperin Art Acquisition Fund, an anonymous estate, Roberta & Steve Denning, Susan & John Diekman, Jill & John Freidenrich, Deedee & Burton McMurtry, Cantor Membership Acquisitions Fund, an anonymous acquisitions fund, Pauline Brown Acquisitions Fund, C. Diane Christensen, an anonymous donor, Modern & Contemporary Art Acquisitions Fund, and Kazak Acquisitions Fund


Missing Persons
November 11, 2015–March 21, 2016

Freidenrich Family Gallery
The diverse works in this exhibition, including some 50 photographs, prints, artist books, and historical ephemera, dramatize the loss of those made missing by time, deatMissingh, disaster, politics, or artistic composition. A silhouette portrait by Raphaelle Peale records the trace of a person’s profile by capturing a momentary shadow. Self-portraits by Lee Friedlander and Laura Volkerding play with shadow, absence, and blankness, suggesting the presence of a person who is not directly on view. Contemporary artists such as Glenn Ligon, Kara Walker, and Ester Hernandez address the missing through the lenses of history and oppression. IMAGE: Raphaelle Peale, U.S.A., c. 1820. Portrait of H.L. Silhouette cutout. Committee for Art Acquisitions Fund, 1978.46


Red Horse: Drawings of the Battle of the Little Bighorn
January 16–May 9, 2016

Ruth Levison Halperin Gallery
This exhibition presents 12 ledger drawings by Red Horse, a Minneconjou Lakota Sioux warrior who fought aRed_Horse_detailgainst Custer and the 7th Cavalry at the Battle of the Little Bighorn in June 1876. Selected from a group of 42 drawings that chronicle the battle, the images depict scenes such as combat on horseback, wounded and dead warriors and soldiers, and Native Americans leaving the battlefield. The exhibition brings together key collaborators from Stanford and its communities to explore these indigenous-centered illustrations from diverse perspectives. Taking an interdisciplinary approach, the exhibition highlights the dynamic ways Red Horse’s drawings continue to function as an artist’s narrative of this important moment in American and Native American history. IMAGE: Red Horse (Minneconjou Lakota Sioux, 1822-1907), Untitled from the Red Horse Pictographic Account of the Battle of the Little Bighorn (detail), 1881. Graphite, colored pencil, and ink. NAA MS 2367A, 08570700. National Anthropological Archives, Smithsonian Institution


Myth, Allegory, and Faith: The Kirk Edward Long Collection of Mannerist Prints
February 10–June 20, 2016
Pigott Family Gallery
Selected from the Kirk Edward Long collection of 16th-century prints, this exhibition illuminates the development of the 3_FatesMannerist style in Italy, traces its dissemination and adaptation for both secular and religious purposes, and follows its eventual transformation into the Baroque style at the end of the century. The exhibition features some 140 engravings, etchings, woodcuts, and chiaroscuro woodcuts by such renowned artists as Federico Barocci, Parmigianino, Hendrick Goltzius, and Annibale Carracci, and by such famous printmakers as Marcantonio Raimondi, Giorgio Ghisi, and Cornelis Cort. IMAGE: Pierre Milan (France, c. 1500–c. 1557) after Rosso Fiorentino (France, b. Italy, 1494–1540), The Three Fates, 1538–40. Engraving. Lent by Kirk Edward Long

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