Exhibition Schedule


Artists at Work
Through January 18, 2016

Pigott Family Gallery

How do artists become inspired? How do they make art objects? How does place affect them? This major exhibition of more than 70 works demystifies the artistic process as it explores works in the Cantor collection by Edouard paired_gangloff_manetManet, J. M. W. Turner, Thomas Hart Benton and Richard Serra, plus loaned works by contemporary artists Trevor Paglen, Garth Weiser, Hope Gangloff, and Rachel Owens, among others. The exhibition is thematically related to the Cantor installations Richard Diebenkorn: The Sketchbooks Revealed and Edward Hopper: New York Corner, and was inspired by the fall opening of the museum’s newest neighbor, the McMurtry Building for the Department of Art & Art History, where art will be both made and studied. Learn more IMAGES: Top: Hope Gangloff (U.S.A., b. 1974), Queen Jane Approximately, 2011. Acrylic on canvas. Private collection. Image courtesy the artist and Susan Inglett Gallery, NYC. Bottom: Edouard Manet (France, 1832–1883), Olympia, 1867. Etching. Mortimer C. Leventritt Fund, 1971.89.1Collection, 1998.359.


Richard Diebenkorn: The Sketchbooks Revealed
Through August 22, 2016 (Closed February 22)

Marie Stauffer Sigall Gallery
This exhibition presents the sketchbooks ofDiebenkorn_new  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 13, 1943-1993. Gouache and watercolor on paper. Gift of Phyllis Diebenkorn, 2014.10.15. © The Richard Diebenkorn Foundation. 


Edward Hopper: New York Corner

Through August 22, 2016 (Closed February 22)

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


Piranesi’s Paestum: Master Drawings Uncovered
Through 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 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


Missing Persons
Through 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. Learn more IMAGE: Raphaelle Peale (U.S.A., 1774–1825), Portrait of H.L., c. 1820. Silhouette cutout. Committee for Art Acquisitions Fund, 1978.4



Stefano Della Bella: Capriccio and Fantasy
Through January 4, 2016

Rowland K. Rebele Gallery
During the 17th century, Europeans voraciously collected printsBella for their capacity to instruct and entertain. This installation features a selection of etchings from the 1640s that Florentine artist Stefano Della Bella (1610-1664) designed to delight the eye. These prints, called capriccios, are intended to be decorative and beautiful. Their iconography can be erotic, irrational, playful, morbid, graceful, or violent-anything to stimulate the viewer's imagination while showcasing Della Bella's exceptional dexterity and capacity for invention. IMAGE: Stefano Della Bella (Italy, 1610–1664), Plate 2 from the set Ornaments or Grotesques (Ornamenti o grottesche), c. 1647. Etching. Cantor Arts Center Collection, Gift of Andrea Rothe and Jeanne McKee Rothe, 2011.101.2


Through 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

Warriors, Courtiers, and Saints: The Etchings of Jacques Callot
Through February 15, 2016
Gallery for Early European ArtVosterman
Etcher Jacques Callot (1592–1635) revolutionized French printmaking in the 17th century. During his brief career, Callot developed a distinctively light and fluid style to naturalistically depict violent and divisive subjects. The 39 prints in this installation indicate how the political, economic, and social fallout of Europe’s devastating Thirty Years’ War (1618–1648) shaped Callot’s times and influenced his art. IMAGE: Lucas Vosterman (the Netherlands, 1595–1675), Portrait of Jacques Callot, c. 1645. Etching and engraving. Robert M. Loeser Collection, 1944.2.60


Speed and Power
Through March 21, 2016
Lynn Krywick Gibbons Gallery
People living in the 20th century witnessed an unprecedented—and often frightening—accelerationWinogrand  in the pace of everyday life, wrought by the introduction of a host of new travel technologies. Starting with Europe’s big cities and traveling on across the Atlantic, the exhibition will explore the many ways that trains, planes, and automobiles have shaped modern urban life and how artists have integrated the interrelated themes of speed and power into their work. Guest curator: Mark Braude, lecturer, Stanford University. IMAGE: Garry Winogrand (U.S.A., 1928–1984), Cape Kennedy, Florida, 1969. Gelatin silver print. Cantor Arts Center collection, Gift of Patrick J. Kealy, 1979.193.1. © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco


Showing Off: Identity and Display in Asian Costume
Through May 23, 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


Mining the Ancient
Through August 29, 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


Figuration/Abstraction: Highlights from the Collection
Through August 29, 2016

Freidenrich Family GalleryShimomura

Dual installations reflect the split between figuration and abstraction that began in the early 1900s and grew 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: Roger Shimomura (U.S.A., b. 1939), Lush Life #2, 2008. Acrylic on canvas. Cantor Arts Center collection, Gift of Marilynn and Carl Thoma, 2010.97


Word as Image II: Highlights from the Marmor Collection
December 16, 2015–April 4, 2016
Patricia Rebele Gallery
Words have figured in various guises throughout the history of art, frequently appearing in liturgical contexts including illuminated manuscripts in the Middle Ages or decoratively ornamented Qu’ranic writings from the Ottoman Empire. Throughout the 20th century, artists have used texts and lettering to reference a newly prevalent culture of mass production, to blur the lines between popular culture and fine art, and to upend seemingly simple meanings.

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. 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


Into the Forest: Landscape as Subject and Studio in 19th-Century France
February 3–July 4, 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


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. Learn more 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


Contemporary Perspectives on the Battle of the Little Big Horn
February 24–June 13, 2016
Rhemus Family Gallery
Indigenous undergraduates Sarah Sadlier and Isabella Shey Robbins will lead a fall, student-initiated course that will yield an exhibition designed to accompany the Cantor’s major show Red Horse: Drawings of the Battle of the Little Bighorn. The student-curated exhibition will include works by contemporary indigenous artists and offer their modern-day perspectives on this historic battle as well as on other indigenous events and issues. Karen Biestman, Associate Dean and Director of Stanford’s Native American Cultural Center, will serve as faculty sponsor.


The Wonder of Everyday Life: Dutch Golden Age Prints
February 24–July 11, 2016
Gallery for Early European Art

While the Dutch Republic experienced unprecedented economic prosperity in the 17th century, printmakers were Baenexceptionally sensitive—and sometimes obsessive—when rendering the details of everyday life. Their style introduced visual realism to the dramatic and dynamic compositions characteristic of the Baroque. A hallmark of Dutch prints created during this Golden Age is their depiction of the grit, dark corners, and textures present in the mundane objects featured in domestic scenes, landscapes, portraits, and even compositions interpreting literature or religious texts. IMAGE: Jan de Baen (the Netherlands, 1633– 1702). The Burning of the Town Hall in Amsterdam, 1652. Etching. Cantor Arts Center Collection, Alice Meyer Buck Fund, 1983.100

Who We Be
March 30 – August 29, 2016

Freidenrich Family 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 reflect 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.


Blood in the Sugar Bowl
April 6–July 4, 2016
Lynn Krywick Gibbons Gallery
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, Hsugar_bowlenry Corbould’s illustration Fashionable Women Pouring Tea, James Gillray’s caricature The Anti-Saccharites, several volumes from Stanford University Libraries Special Collections including James Hakewill’s beautiful plantation views from his 1821 Picturesque Tour of the Island of Jamaica and William Blake’s depictions of slave torture in his 1777 Narrative, of a five years’ expedition, against the revolted Negroes of Surinam. Personalizing the slave narrative are Benjamin M’Mahon’s Jamaica Plantership and other audio excerpts of texts written by slaves and sugar plantation employees. D. R. Wakefield’s 2004 series Resistance Is Useless: Portraits of Slaves from the British West Indies is also on display. 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

Intimate Frontiers: The Male Gaze in Fin-de-Siècle Vienna
April 13–August 8, 2016
Patricia S. Rebele Gallery
Using the Cantor’s extensive collection of photographs, sketches, and decorative objects from fin-de-siècle KuhnVienna, this exhibition explores how male artists manipulated images of women in an attempt to control and define women’s roles and status. During this time, norms about women’s intimate relationships with lovers and friends and the structure of the interior, domestic sphere were greatly shifting. The exhibition presents photographic prints by Heinrich Kühn, numerous sketches by Oskar Kokoschka, decorative works from 1883 Austria, works by Max Kurzwell, and more. 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
April 13–August 8, 2016flask
Rowland K. Rebele Gallery
This exhibition showcases 4th-century mosaics, beads, flasks, and other glass objects created during the Roman occupation of Syria and Egypt. Displayed in a space that replicates the desert’s dunes and wide expanses, each object serves as a kind of tiny experiential oasis what with light boxes amplifying the works’ sparkle and transparency. The show also incorporates themes from classical Arabic poetry. 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

Soulmaker: The Times of Lewis Hine
May 21–September 26, 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 among 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.

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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