Exhibition Schedule

MAJOR EXHIBITIONS ON VIEW

Myth, Allegory, and Faith: The Kirk Edward Long Collection of Mannerist Prints
Through June 20, 2016
Pigott Family Gallery
Selected from the Kirk Edward Long collection of 16th-century prints, this exhibition illuminates the development of the SadelerMannerist 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 more than 180 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. Learn more IMAGE: Aegidius Sadeler II (Flanders, c. 1570–1629) after Bartolomeus Spranger (Flanders, 1546–1611), Wisdom Conquers Ignorance, c. 1600. Engraving. Lent by Kirk Edward Long

 

Richard Diebenkorn: The Sketchbooks Revealed
Through August 8, 2016

Marie Stauffer Sigall Gallery
This exhibition presents the sketchbooks ofNew_Diebenkorn  celebrated 20th-century painter Richard Diebenkorn—Stanford’s most accomplished and recognized graduate in art. On display for the first time, the 29 books span 50 years of the artist's career and contain 1,045 drawings. The extraordinary sketchbooks were gifted to the Cantor by Phyllis Diebenkorn, the artist’s widow.

Learn more IMAGE: Richard Diebenkorn (U.S.A., 1922-1993), Untitled from Sketchbook #10, page 15, 1943-1993.Gouache and crayon on paper. Cantor Arts Center collection, Gift of Phyllis Diebenkorn, 2014.10.17. © The Richard Diebenkorn Foundation

 

Edward Hopper: New York Corner

Through August 8, 2016

Marie Stauffer Sigall Gallery

The exhibition showcases the painting New York Corner and contextualizes it by grouping works from the musHoppereum’s collection into several art-object-based “conversations.” These constellations point to the kinds of artistic practice that preceded the painting’s creation; showcase concurrent work, both similar and different, by Hopper’s contemporaries; and present the kinds of practice that followed.

IMAGE: 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

 

Red Horse: Drawings of the Battle of the Little Bighorn
Through 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 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. Learn more 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


CONTINUING EXHIBITIONS ON VIEW

 

Contemporary Perspectives on the Battle of the Little Bighorn
Through June 13, 2016
Rehmus Family Gallery
Sarah Sadlier enrolled in Professor Scott Sagan’s Sophomore College seminar on the Battle of the Little Bighorn, in part because one of her ancestors, “Big Leggins” Bruguier, Wilcoxwas an interpreter for Sitting Bull and present in the Little Bighorn camp the day the fighting began. The experience proved so profound that she soon signed up to conduct research for the Cantor exhibition Red Horse: Drawings of the Battle of the Little Bighorn. She also initiated the Stanford course “The Art and Artifacts of the Battle of the Little Bighorn,” which she and Isabella Shey Robbins led in the fall. The course culminated in this student-curated art exhibition, an exploration of contemporary indigenous perspectives on the Battle of the Little Bighorn. IMAGE: Dwayne Wilcox (Oglala Lakota, b. 1957), Budweiser Killed More Indians than Custer, 2010. Colored pencil and ink. Courtesy of the artist

 

Who We Be
Through June 27, 2016

Lynn Krywick Gibbons Gallery
This exhibition takes a close examination of visual culture—particularly images, works, and ideas in the contemporary arts, justice movements, and popular culture to Winograndreflect on North American demographic and cultural change and cultural politics—since 1965. From the Watts uprising to the #BlackLivesMatter movement, from multiculturalism through hip­hop to the reception of post­identity art, we explore the questions: How do Americans see race now? Do we see each other any more clearly than before? Inspired by award­winning journalist and Stanford faculty Jeff Chang’s 2014 book Who We Be: The Colorization of America, this exhibition combines selections from the Cantor’s collection, objects and artwork from Stanford’s Institute for Diversity in the Arts, and loaned artworks specific for this project. IMAGE: Garry Winogrand (U.S.A., 1928–1984), Santa Monica, California, 1978 from the portfolio Women are Better than Men. Not Only Have They Survived, They Do Prevail,1982. Gelatin silver print. Cantor Arts Center collection, Gift of Patrick J. Kealy, 1983.155.5. © The Estate of Garry

 

Beyond the Frame: Curating in Context
Through July 4, 2016
This self-guided, walking exhibition encourages vieThinkerwers to think actively about the settings in which they experience particular works of art through a walking tour of five selected works from the Cantor's collection. Timelines on each object's identifying label recall the respective periods during which these pieces have been on view here and elsewhere, providing a testament to the artworks’ curatorial pasts and potentials—as well as a new context for considering their significance. Student curator: Stanford undergraduate and Cantor Scholar Margaret Tomaszczuk. IMAGE: Auguste Rodin (France, 1840–1917), The Thinker, 1880–81. Bronze. Iris and B. Gerald Cantor Foundation, promised gift to the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, 1988.106

 

Intimate Frontiers: The Male Gaze in Fin-de-Siècle Vienna
Through August 8, 2016
Patricia S. Rebele Gallery
Intimate Frontiers is a new exhibition that explores the social and domestic world of women through the eyes of prKuhnominent male artists in fin-de-siècle Vienna. The exhibition features prints, drawings, and photographs from the Cantor’s collection that illuminate ways in which male artists attempted to represent women's intellectual and emotional lives by depicting them in private, unguarded moments. Student curator: Stanford undergraduate and Cantor Scholar Alex Zivkovic. IMAGE: Heinrich Kühn (Austria, b. Germany, 1866–1944), Miss Mary Warner in her Bedroom, c. 1910–14. Gum-bichromate print. Committee for Art Acquisitions Fund, 1983.265

An Oasis in Glass
Through August 8, 2016
Rowland K. Rebele Gallery
This exhibition invites visitors to envision the ritual experiflaskence of a woman in her bath through the display of glassware and related bathing accessories from the Roman Empire. Most of the objects are attributed to the thriving center of glass production and trade that was located in what is now the Middle East. Although they were manufactured and circulated much more widely, many were likely unearthed primarily in Egypt, where tombs were key sources of intact glass items. Also on view is an Egyptian Fayum portrait of a woman whose Roman hairstyle and decoration suggest she is someone who likely would have used the varied types of items on display. Student curator: Stanford undergraduate and Cantor Scholar Evelina Yarmit. IMAGE: Artist unknown (Roman, Syria), Date-shaped Flask, 1st–2nd century. Mold-blown glass. Cantor Arts Center collection, Stanford Family Collections, JLS.17275

Into the Forest: Landscape as Subject and Studio in 19th-Century France
Through August 8, 2016
Robert Mondavi Family Gallery
This installation of prints, drawings, and photographs exploresCorot how French artists depicted the landscape in the modern age and approached making art “en plein air” (in the open air). The phenomenon of making art outdoors took shape in the early decades of the 19th century with the experimental Barbizon School of painters and fully flourished under the Impressionists. Exhibition highlights include photographs by painter James Tissot (1836–1902), a rare cliché-verre—a drawing reproduced using a photographic process—by Jean-Baptiste Camille Corot (1796–1875), and prints by Camille Pissarro (1831–1903). IMAGE: Jean-Baptise Camille Corot (1796–1875), Souvenir of Ostia, 1855. Cliché-verre. Committee for Art Acquisitions Fund, 1987.34

 

Blood in the Sugar Bowl
Through August 15, 2016
Gallery for Early European Art

This exhibition focuses on sugar plantation slavery during the peak of the sugar trade, the late 18th–mid-19th century. On display are sugar bowls from the Cantor’s collection, Henry Corbould’s illustration Fashionable Women Pourisugar_bowlng Tea, and loans from Stanford UniversityLibraries Special Collections, including James Gillray’s caricature The Anti-Saccharites, and William Blake’s depictions of slave torture in his 1777 Narrative, of a five years’ expedition, against the revolted Negroes of Surinam. The exhibition also includes loans from other private and public collections. Student curator: Stanford PhD candidate and Mellon Curatorial Research Assistant Rachel Newman. IMAGE: Josiah Wedgwood (England, 1730–1795), Covered Sugar Bowl, c. 1785-95. Stoneware. Cantor Arts Center collection, Committee for Art Acquisitions Fund, 1989.154.a-b

 

Mining the Ancient
Through August 22, 2016

Oshman Family Gallery
Artists throughout the ages have looked to the past to unearth inspiration. Mining the Ancient presents the work of five contemporary artists who take their cue from the lanMartinguage of the ancient and find inspiration for their sculptural practices in fragments of the past. Juxtaposed with key historical works from the Cantor’s ancient art collection, this group exhibition explores the ways in which some of the most recent art practice of today creates fantastic dialogues with some of the oldest art objects in our civilization’s history. IMAGE: Kris Martin (Belgium b. 1972), Sommerferienewigkeitsgefuhl, 2014. Bronze. Collection of Kaitlyn and Mike Krieger. Image Courtesy Sies + Höke, Düsseldorf, Photographed by Achim Kukulies, Düsseldorf

 

Multiplicity: Portraiture in the Cantor's Photography Collection

Through September 26, 2016

Freidenrich Family Gallery

Using multi-image formats to represent the mutability of Countesspsychological states, social status, and public personae, the photographic works in Multiplicity draw attention to the dynamic exchange between artist and sitter. The works in this exhibition highlight the communication between those situated before and behind the camera, and explore the ground between frank representation and the invention of fictional identities. IMAGE: Jim Goldberg (U.S.A., b. 1953), Countess Vivianna de Blanville, 1982. Toned gelatin silver print. Gift of William R. and Louise Fielder, 1991.252.24

 

Figuration/Abstraction: Highlights from the Collection
Through September 26, 2016

Freidenrich Family Gallery

Dual installations reflect the split between figuration and abstraction that began in the early 1900s and greWonnerw over the course of the 20th century. The chasm between these two styles was not impassable, though—many artists made work that could slip fluidly from one category to the next, including celebrated Bay Area painter Richard Diebenkorn, whose work is featured in both installations.  Figuration/Abstraction illuminates how even within individual artists’ careers, the choice between working abstractly or figuratively was not always definitive. IMAGE: Paul Wonner (U.S.A., 1920–2008), Mirror, Skull, and Chair, c. 1960–62. Oil on canvas. Cantor Arts Center collection, Gift of the artist, 1969.233

Showing Off: Identity and Display in Asian Costume
Through November 7, 2016

Madeleine H. Russell Gallery
Fashion is a form of language. What we wear bRoberoadcasts critical information about us and serves as a visible indicator of social rank, profession, ethnicity, or status. This exhibition of Asian textiles and other works from the Cantor’s collection demonstrates how costume and objects of personal adornment functioned as a method of identification and display from the late 18th century to today. Ranging from Qing court costumes to Indonesian textiles, the selection on view spotlights visual symbols while showcasing rarely displayed garments. IMAGE: Artist unknown (China, Qing dynasty), Man’s Dragon Robe, c. 1821–50. Silk tapestry with metal-wrapped threads. Cantor Arts Center collection, Gift of Colonel and Mrs. John Young, 1976.75

 

FUTURE EXHIBITIONS

Soulmaker: The Times of Lewis Hine
May 21–October 24, 2016
Ruth Levison Halperin Gallery
One hundred years ago, the photographer Lewis Hine travelled to mills and factories in New England and the South, photographing child laborers. His photographs are aHIne_spinner_girlmong the most haunting images of children ever made. In this exhibition, a beautiful selection of Hine’s child-labor photographs is juxtaposed with stunning contemporary photographs taken by photographer Jason Francisco (Stanford M.F.A., ’89) of those same mill and factory sites as they look now. Guest curator: Alexander Nemerov, Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities and Chair of the Department of Art & Art History, Stanford University. IMAGE: Lewis Wickes Hine (U.S.A., 1874–1940), One of the spinners in Whitnel Cotton Mfg. Co. N.C. December 1908, 1908. Gelatin silver print. Princeton University Art Museum. Anonymous gift

California: The Art of Water
July 13–November 28, 2016
Pigott Family Gallery
This major exhibition is devoted to artistic portrayals of California’s most precious—and currently scarce—resource. ItKeith presents more than 70 works by eminent artists including Ansel Adams, Albert Bierstadt, David Hockney, Richard Misrach, and Carleton Watkins, and features images from a variety of regions around the state, during the Gold Rush to the present. The exhibition offers a compelling aesthetic experience set within debates about water that have spanned the 19th century to the present. It is also accompanied by an array of public programs designed to raise awareness and appreciation of California’s complicated water issues. IMAGE: William Keith (U.S.A., b. Scotland, 1838–1911), Upper Kern River, 1876. Oil on canvas. Cantor Arts Center collection, Stanford Family Collections.  Conservation supported by the Lois Clumeck Fund, JLS.12057.



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