Exhibition Schedule

Announcement: Gallery Reinstallation
August 1–September 14, 2016
On August 8, 2016, several of the second floor galleries of the Cantor Arts Center will close and a major reinstallation will begin. This is the most significant reimagining of the museum’s permanent collection galleries in many years. The exhibition Object Lessons: Art & Its Histories, opening September 15, 2016, marks an exciting evolution in the life of the museum. Organized around the Stanford art history curriculum, the exhibition reflects the museum’s deepening commitment to academic engagement, teaching through works of art, and belief in the power of close looking.


California: The Art of Water
Through November 28, 2016
Pigott Family Gallery
California: The Art of Water examines the way artists and photographers have portrayed one of California's mKeithost precious resources over the last two centuries.  The exhibition features over 50 works of water subjects by eminent artists, including Ansel Adams, Albert Bierstadt, David Hockney, Richard Misrach, Carleton Watkins, and others. Learn more IMAGE: William Keith (U.S.A., b. Scotland, 1838–1911), Headwaters of the Merced, 1876. Oil on canvas. Cantor Arts Center collection, Stanford Family Collections.  Conservation supported by the Lois Clumeck Fund, JLS.12057


Soulmaker: The Times of Lewis Hine
Through October 31, 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. Learn more 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



Multiplicity: Portraiture in the Cantor's Photography Collection

Through September 25, 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 25, 2016

Freidenrich Family Gallery

Drawn from the museum’s permanent collection of mWonnerodern and contemporary art, the two part installation reflects the great story of the split between figuration and abstraction that began in the early 1900s and grew over the course of the twentieth century. Each installation is dedicated to highlighting the development of one of these two modes of art-making. 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

Art++ Technology and Art Lab
Through September 26, 2016

Lynn Krywick Gibbons Gallery

Art++ is a new augmented reality (AR) application thaAlhambrat enlivens museum visitors’ in-gallery experience. Developed by Stanford graduate students and Cantor Arts Center staff, with support from the Brown Institute for Media Innovation, Art++ immerses visitors in the history, context, and importance of selected artworks by overlaying relevant content on a tablet viewfinder. With overlay features such as explorable historic photos and 3Dpanoramas, the learning experience becomes interactive and self-guided, encouraging visitors to look at art in new and exciting ways. Learn more IMAGE: John Varley, the Younger (England, 1850–1933), Entrance to the Brown_logoHall of the Two Sisters, Alhambra, Granada, 1880-1895. Oil on canvas. Gift of Thomas Welton Stanford, JLS.11806

Showing Off: Identity and Display in Asian Costume
Through October 10, 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


Word: Power and Protection in North Africa
Through January 9, 2017

In North Africa, Islamized peoples wear, encase, inscribe, and drink the Qur’anic word as a means to access its theraboardpeutic and protective powers. Devotees of Islam consider the Word of God “the greatest of forces” and the Qur’an,which contains these divine words, the most revered and powerful entity.

This exhibition explores four key ways artists and their communities have engaged with Arabic script in North Africa and its neighboring regions during the 20th and early 21st centuries. Featured here are Qur’anic boards that transform writing into medicine, a hunter’s shirt that shields its wearer from harm, Tuareg amulets that solicit God’s assistance for their host, and a photograph by Lalla Essaydi that gives power to nonreligious texts. IMAGE: Artist unknown (Hausa peoples, Nigeria), Qur’anic Writing Board, c. 1975. Wood, ink, and leather. Cantor Arts Center collection, Gift of Thomas K. Seligman and Rita Barela, 2011.56

Golden State Stories: Documentaries by Stanford Students
Through January 9, 2017
Patricia S. Rebele Gallery

California, the Golden State, is home to approximately 39 million people. These short documentary films offer an intimate glimpse into the lives of just a few, including residents of a houseboat community threatened with eviction, a 99-year-old woman who moved from Louisiana to San Francisco during the Great Migration in the 1930s, and people driving for Uber late at night as a second job. The Cantor is pleased to present these powerful and engaging documentaries by first- and second-year MFA students in Stanford’s Documentary Film and Video program.

African Artists as Innovators

Thomas K. Seligman Gallery
This student-curated exhibition explores the ways artists of African descent have developed new methods, fresh ideas, Marshalland inventive art forms throughout history. By juxtaposing works made as early as 4500 BCE and as recently as 2012--from across the continent as well as its Diasporas--the exhibition highlights the rich history of innovation in African art. IMAGE: Frank Marshall, South Africa, b. 1985. Dead Demon Rider 1, 2010. Archival digital print, 7/8. Museum purchase made possible by the Phyllis Wattis Program Fund, 2012.14



Object Lessons: Art & Its Histories

September 15–ongoing

Gallery for Early European Art, Robert Mondavi Family Gallery, Marie Stauffer Sigall Gallery, Oshman Family Gallery

Spanning the second floor of the museum, SargentObject Lessons: Art & its Histories presents the most significant reinstallation of the museum's permanent collection galleries in twenty years. Organized around the curriculum of Art 1, Stanford's introduction to the history of Western Art, the exhibition reflects the museum’s deepened commitment to academic engagement, teaching through objects and belief in the power of close looking. Beloved favorites and never-before-seen works will offer new perspectives on the way art objects help us to understand our various histories, our current moment, and the possible trajectories of the future. Learn more IMAGE: John Singer Sargent (U.S.A., 1856–1925), Portrait of Sally Fairchild, 1884-1887. Oil on canvas. Gift of Dr. Herbert and Elizabeth Sussman, David and Valerie Rucker, Dr. Stephen Sussman and Kelly Watson, Eric and Nancy Sussman, and Dean and Chiara Sussman, 2012.1


New to the Cantor: Spencer Finch

September 15–ongoing

Oshman Family Gallery
Spencer Finch’s artistic practice investigates the intersection between lived visual experience and scientific research. In works like Betelgeuse, he uses a colorimeter—a deFinchvice that measures the intensity of color—to record light seen in the natural world and replicate its hue and luminosity in sculptural form. In doing so, Finch not only examines how we see, but also probes questions surrounding memory, time, and perception. A monumental light sculpture, Betelgeuse's form evokes an explosive celestial object and emits the same light reading as its eponymous star—the second brightest in the Orion constellation. Learn more IMAGE: Spencer Finch (U.S.A., b. 1962), Betelgeuse, 2015.  Powder-coated steel, fluorescent light and colored filters. On loan from the Berggruen Gallery, San Francisco © Spencer Finch. Courtesy James Cohan, New York

Comics in America
October 5, 2016–January 30, 2017
Lynn Krywick Gibbons Gallery
Comics are everywhere these days. Long derided as neither literature nor art, they are increasingly consideTerry2red a unique, sophisticated mode of communication and expression, employing complex juxtapositions of words and images. Artists have been producing remarkable work in a multiplicity of styles and formats, while lavish reprints have introduced readers to some of the finest works in the medium’s history. Drawing primarily from the Cantor’s collection of original comic art and 19th-century satirical prints, this exhibition explores topics such as the panel, sequence, page, and story, as well as comics’ treatment of time, rhythm, and tempo. IMAGE: Milton Caniff (U.S.A., 1907–1988), Terry and the Pirates (detail), 1946. Pencil, pen and ink, and gouache. Gift of Cherie and Ron Petersen, 1998.319. Used by Permission. ©2016 Tribune Content Agency, LLC


Highlights from the Marmor Collection
October 12, 2016–February 13, 2017

Freidenrich Family Gallery
This exhibition will feature groupings of work by La_Sortie2pioneering artists such as Robert Rauschenberg, Ed Kienholz, Bruce Nauman, and Ellsworth Kelly, among others. When juxtaposed, these works highlight new modes of art making that took root after the war and utilized media ranging from photography and print-making to mixed media assemblages. Learn more IMAGE: Roy Lichtenstein (U.S.A., 1923–1997), La Sortie, 1990. Woodcut. Gift of the Marmor Foundation (Drs. Michael and Jane Marmor) from the collection of Drs. Judd and Katherine Marmor, 2006.104. © Estate of Roy Lichtenstein / Gemini G.E.L


New to the Cantor: Dashiell Manley
October 12–ongoing

Freidenrich Family Gallery
For over a century, artists have employed the newspaper as a source of inspiration, communication, and evManleyen as artistic medium. Los Angeles-based artist Dashiell Manley upholds this tradition. This solo exhibition of Manley’s work calls into question the ways in which we experience current events and the value of print journalism in an age increasingly mediated through digital media. Learn more IMAGE: Dashiell Manley (U.S.A., b. 1983), The New York Times, Monday October 6 2014, national edition Southern California (front page), 2014. Watercolor pencil on canvas. Courtesy of Private Collection, San Francisco. Photograph courtesy of the artist and Jessica Silverman Gallery

The Wonder of Everyday Life: Dutch Golden Age Prints
November 16, 2016–March 20, 2017
Ruth Levison Halperin Gallery
While the Dutch Republic experienced unprecedented economic prosperity in the 17th century, printmakers were exceptionally sensitive—and sometimes obsessive—when rendering the details of everyday life. A hallmark of Dutch printsTown_hall 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. The prints in this installation explore how Rembrandt van Rijn and his peers depicted the sensual experience of the material world, contemplated life’s fleeting and constantly changing nature, and navigated spirituality’s role in modern life. 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


The Conjured Life: The Legacy of Surrealism
December 21, 2016–April 3, 2017
Pigott Family Gallery


Creativity on the Line: Design and the Corporate World, 1950–1975
April 26–August 21, 2017
Pigott Family Gallery

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