Exhibition Schedule


Night, Smoke, and Shadows: The Presence of Atmosphere in the 19th Century
Through October 6
Robert Mondavi Family Gallery
Many artists active in the 19th century manipulated the appearance of atmosphere in order to create the illusionSt_Pauls of space and texture, imply a mood, and even shape the narrative content of an image. They were inspired by industrialization and new ideas about optics and abstraction, and they exploited unprecedented opportunities to experiment with processes and materials. This exhibition includes prints, drawings, and photographs by artists such as James McNeill Whistler (U.S.A., 1834–1903), Max Klinger (Germany, 1857–1920), Félicien Rops (Belgium, 1833–1898), and Alvin Langdon Coburn (U.S.A., 1882–1966).
IMAGE: Alvin Langdon Coburn (Wales, b. U.S.A., 1882–1966), St. Paul's from Ludgate Circus, c. 1905. Photogravure. Museum Purchase Fund, 1973.91.

Artists Observe Nature
Through October 6
Early European Gallery
After 1600, it became increasingly common for draftsmenArtists_observe and
printmakers to study nature closely and directly, rather than copy natural motifs from books and other artworks. This exhibition features approximately 18 prints and drawings that reveal the empiricist’s impulse to capture nature, with its fine detail and fleeting light effects, and record it on paper. IMAGE: Edward Fisher (England, 1722–1785), Portrait of Paul Sandby, 1763. Mezzotint. Mortimer C. Leventritt Fund, 1976.213.

Brought to Light: Documentaries by Stanford Students
Through October 6
Patricia S. Rebele Gallery Columbarium
Explore personal accounts of neighborhood transformations, immigration, and final resting places in these short documentaries by first- and second-year Stanford MFA students. The six films are: Counting the Dead; Sleepless; The Last Piano Bar; Maria of Many; New Mission; and The Columbarium. IMAGE:Still from Columbarium.


Miniature Worlds: Indian Court Paintings from the Collection
Through October 20

Rowland Rebele Gallery
This focused exhibition predominately features paintings from 18th-century Rajasthan in Northern India that were orMinaturesiginally produced for the enjoyment of the nobility. Nine miniatures depict both sacred and secular subjects and exhibit a wide range of styles and pictorial modes that reflect the discrete tastes of monarchs and their courts. IMAGE: Artist unknown (Marwar, Rajasthan, India), Equestrian Portrait of Thakur Shri Kalyan Singh, c. 1760–1770. Opaque watercolor, tin, and gold leaf on paper. Gift of the Estate of Marion B. Pierstorff, 2005.94.


The New Landscape: Experiments in Light by Gyorgy Kepes
Through November 17
Lynn Krywick Gibbons Gallery
This exhibition explores the question of art’s relevance in a scientific age through the work of Hungarian-born Kepes1American artist, designer, and visual theorist Gyorgy Kepes (1906–2001). Forty-five panels depict what Kepes, associated with Germany’s Bauhaus and Chicago’s New Bauhaus, called the “new landscape” of scientific imagery—microscopic minerals, cellular patterns, and tissue fibers—as well as Kepes’s own experiments with camera-less photographic techniques. The exhibition is one of the first projects resulting from a $500,000 grant awarded to the Cantor and the Department of Art & Art History from the Andrew W. Mellon Foundation to facilitate research conducted by Stanford Ph.D. candidates on the Cantor’s collection. IMAGE: Gyorgy Kepes (U.S.A., b. Hungary 1906–2001), Light Graphic, Photogenic, 1945. Photographic enlargement on particleboard, date unknown. Lent by Department of Special Collections, Stanford University Libraries.


Sympathy for the Devil: Satan, Sin, and the Underworld
Through December 1
Ruth Levison Halperin Gallery
The Cantor has Rodin’s famous masterwork the Gates of Hell. As Jackson Pollock’s important painting Lucifer comes to Stanford as part of the Anderson Collection, it is interesting to explore the visual history of the Devil and his realm. ADevil_as_tailorlso known as Satan, Lucifer, Mephistopheles, etc., the Devil and Hell itself are only briefly mentioned in the Bible; yet this source inspired artists. During the period from about 1500 to 1900, the Devil evolved from the bestial adversary of Christ to a rebellious, romantic hero or shrewd villain. In the 20th century this long tradition of graphic representation largely disappeared, as Hell came to be seen as an aspect of this world and its denizens as “other people.” Based on the collections at Stanford and augmented by several loans, this exhibition traces the dominant Western tradition over approximately four centuries. More than 40 prints, drawings, sculptures, and paintings— including works by Albrecht Dürer, Hendrick Goltzius, Jacques Callot, Gustav Doré, Max Beckmann, and Jerome Witkin—reveal how artists visualized Satan and his infernal realm and draw inspiration from religious sources and accounts by Homer, Dante, Virgil, and Milton. Learn more IMAGE: Jerome Witkin, The Devil as a Tailor, 1978-1979, oil on canvas, 72 x 65 inches; collection of James and Barbara Palmer, State College, Pennsylvania.


Robert Frank in America
Through January 5, 2015
Pigott Family Gallery
This exhibition of 130 photographs sheds new light on the making of influential photographer Robert Frank’s prHollywood5ovocative book, The Americans. Frank traveled the nation between 1955 and 1956 for this project. His images document subjects such as Hollywood (seen both from within the studio and from the fans’ perspective) and the Ford Motor Company plant in Detroit, while probing social issues such as politics, race, religion, and postwar consumer culture. The exhibition, which includes photographs from the book as well as many unknown and unfamiliar pictures, explores a rich body of work that remains largely hidden more than half a century after it was made. Learn more IMAGE: Robert Frank (U.S.A., b. Switzerland, 1924), Hollywood, 1958. Gelatin silver print. Gift of Bowen H. McCoy, 1984.493.70 © Robert Frank.


Within and Without: Transformations in Chinese Landscapes
Through January 12, 2015
Madeleine H. Russell Gallery
The landscape, the most prominent painting traditiXiaodongon in China, brings with it more than one thousand years’ worth of precedent and often has evolved in tandem with the social changes facing practicing Chinese artists. The genre continues to be mined by contemporary artists as a means to explore cultural heritage and to represent current transformations—to China’s landscapes, cityscapes, society, and culture. This exhibition of 15 works showcases Chinese artists who look both to their immediate environment and to the landscapes of China’s past in their interpretations and provocations. A variety of media—ink on paper, oil painting, and photography—are on display. IMAGE: Liu Xiaodong, A Highway Near the Yangzi, 2006. Oil on canvas. Lent by Mr. and Mrs. L.S. Kwee.

Well Pressed: Highlights from the Marmor Collection
Through February 2, 2015
Freidenrich Family Gallery
Over the last decade, the Marmor family and its Foundation have given the Cantor approximately 200 contempModern_head4orary artworks, primarily prints. Their extraordinary donation includes works by America’s most internationally admired artists and constitutes an overview of the lively and diverse range of American print publications from the late 1960s through the 1980s. More than two dozen monographic and thematic shows based on the Marmor gift have been on view so far. The 13 objects in this installation—11 from the Marmor holdings and two given by others—include early and late works by Jasper Johns, unconventional approaches to the print process by Roy Lichtenstein and Claes Oldenburg, and representative lithographs by Ellsworth Kelly, Richard Serra, and Frank Stella.

IMAGE: Roy Lichtenstein (U.S.A., 1923–1997), Modern Head #4, 1970. Lithograph on engraved and anodized aluminum. Lent by The Marmor Foundation. © Estate of Roy Lichtenstein.


Drama of Heaven and Earth: The Theatrical Traditions of Japan
Through June 8, 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 September 28, 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 himsArnesonelf 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), Assassination of a Famous Nut Artist, 1971. Whiteware with glazes. Museum purchase made possible by the Robert and Ruth Halperin Foundation, 2008.1.a–b. © Estate of Robert Arneson/Licensed by VAGA, New York, NY.


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 WarholLove’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.
IMAGE: Robert Indiana, Love, 1973; acrylic on canvas. Collection SFMOMA, Gift of Harry W. and Mary Margaret Anderson; © Robert Indiana / Artists Rights Society (ARS), New York.


The Bay Area and Beyond: Selections from the Museum’s Collection
Through October 26, 2015
Freidenrich Family Gallery

The Cantor’s diverse collection of modern and contemporary art features paintings, sculptures, prints, drawings, anWindowd photographs by some of the most influential artists of our time. One of the collection’s strengths is work by Bay Area and Northern California artists such as Richard Diebenkorn, who attended Stanford in the 1940s and later served as artist in residence, and Nathan Oliveira and Frank Lobdell, both of whom taught at Stanford from the 1960s through the 1990s. The installation focuses on artists from the Bay Area, and it showcases a plurality of artistic approaches and concerns as society became increasingly nuanced and multifaceted. Works date from the 1950s to the present. IMAGE: Richard Diebenkorn (U.S.A., 1922–1993), Window, 1967. Oil on canvas. Cantor Arts Center collection, Gift of Mr. and Mrs. Richard Diebenkorn and anonymous donors, 1965.125.



Daumier on Art and the Theatre
October 15, 2014–March 16, 2015
Robert Mondavi Family Gallery
After 1840, Honoré Daumier (France, 1808–1879) made numerous prints for the popular press that deal with art theory, Sad_sculpturethe public reception of painting, and the performing arts. With sharp wit and a keen understanding of the complexities of modern life, Daumier turned his critical eye on the artists, musicians, dancers, and singers in the spotlight as well as their audience in these insightful and charming images. This installation contains roughly 16 prints and one drawing, all by Daumier.
IMAGE: Honoré Daumier (France, 1808–1879), The Sad Expression of Sculpture Being Surrounded by Painting (Triste Contenance de la Sculpture ...), 1857. Lithograph. Mortimer C. Leventritt Fund, 1969.60.

Shop, Gallery, Studio: The Art World in the 17th and 18th Centuries
October 15, 2014–March 16, 2015
Early European Gallery
During the 17th and 18th centuries, European artists increasingly rendered in prints and drawings the new aShopnd traditional spaces in which people could view, buy, and converse about art. The images in this installation depict different sites in the rapidly evolving art world—some real and some more imaginary—where art was created, displayed for the public, sold, or discussed. This installation also examines the ways in which the social identities of the professional artist and the serious connoisseur manifest within these images.
IMAGE: William Say (England, 1768–1834) after Sir Joshua Reynolds (England, 1723–1792), Dilettanti Society, 1812–1816. Mezzotint. Committee for Art Acquisitions Fund, 1979.54.

“Loose in Some Real Tropics”: Robert Rauschenberg’s “Stoned Moon” Series, 1969–70
December 24, 2014 – March 16, 2015

Ruth Levison Halperin Gallery
In 1969, American artist Robert Rauschenberg was invited by the NASA Art Program to document the launch of Apollo 11, the first manned spaceflight to the moon. Rauschenberg producedMoon_Book Stoned Moon, a series of 34 large-format lithographs replete with scenes of astronauts, complex machinery, and various regional ephemera. This exhibition features a number of the Stoned Moon lithographs together with 20 rarely seen collages and drawings, photographs of the artist visiting NASA’s facilities, correspondence between the artist and the NASA Art Program, and more. IMAGE: Robert Rauschenberg (U.S.A., 1925–2008), Drawing for Stoned Moon Book, 1970. Photo collage with watercolor and colored pencil on illustration board. Lent by Robert Rauschenberg Foundation. © Robert Rauschenberg Foundation / licensed by VAGA, New York, NY. Photo by Glenn Steigelman.


She Who Tells a Story: Women Photographers from Iran and the Arab World
January 28, 2015 – May 4, 2015

Pigott Family Gallery
This exhibition introduces the pioneering work of 12 leading women photographers from Iran and the Arab world: Jananne Al-Ani, Boushra Almutawakel, Gohar Dashti, Rana El Nemr, Lalla Essaydi, Shadi Ghadirian, Tanya Habjouqa, Rula Halawani, Nermine Hammam, Rania Matar, Shirin Neshat, and Newsha Tavakolian. These photographers have tackled the very notion of representation with passion and power, questioning tradition and challenging perceptions of Middle Eastern identity. Their provocative work ranges from fine art to photojournalism and provides insights into political and social issues, including questions of personal identity and exploring the complex political and social landscapes of their home regions in images of great sophistication, expressiveness, and beauty.


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