Exhibition Schedule


Artist at Work 2017: Hope Gangloff



The Cantor is pleased to announce that artist Hope Gangloff accepted the invitation to be the first Diekman Contemporary Commissions Program artist. For the inaugural presentation of the program—Artist at Work 2017: Hope Gangloff—an installation of paintings by Gangloff are now on view, including a new portrait recently painted in the museum's historic atrium. Learn more IMAGE: Artist Hope Gangloff, Photograph (detail) by Don Stahl, NYC


Object Lessons: Art & Its Histories


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

Spanning the second floor of the museum, MuchaObject 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: Alphonse Mucha (France, b. Czechoslovakia (now Czech Republic), 1860–1939), Job, 1896. Lithograph. Museum Purchase Fund, 1969.222



Environmental Exposure: Photography and Ecology after 1970
Through September 18, 2017

Lynn Krywick Gibbons Gallery
This exhibition of 23 works draws on the Cantor’s collection of photography from the 1970s and early ’80s to explore a transformative moment in the representation of the American lanWestondscape. After the formation of the Environmental Protection Agency in 1970, American photography increasingly recast familiar spaces and themes—the natural world, the city, the home, the automobile—in light of growing anxieties around waste, energy use, pollution, and development. IMAGE: Brett Weston (U.S.A., 1911–1993), Lakescape, 1973. Gelatin silver print on board. Gift of Ronald H. and Fran Cohen, 2013.493.19


Object Lessons: Art & Its Histories

Through September 18, 2017

Madeleine H. Russell Gallery

This installation of work by contemporary ChineHostessse artists addresses issues including urbanization, the environment, identity, and language. Selected by Richard Vinograd, Christensen Fund Professor in Asian Art, these objects complement the undergraduate course From Shanghai Modern to Global Contemporary: Frontiers of Modern Chinese Art, which explores the complexities of Chinese artistic practice from the late 19th century to the present. IMAGE: Cang Xin (China, b. 1967), Hostess, 2002. Chromogenic print. Gift of Mr. & Mrs. L. S. Kwee, in honor of Thomas K. Seligman, 2012.220


Hope Gangloff Curates Portraiture
Through September 24, 2017

Ruth Levison Halperin Gallery

New York-based artist Hope Gangloff has been inviDark_Horse2ted to mine the museum’s permanent collection and select key works to hang alongside her own contemporary paintings. Using the format of artist as curator, this exhibition will create a conversation between past and present, while inviting viewers to experience the Cantor’s rich, historical collection through the eyes of a celebrated artist working today. Learn more IMAGE: Hope Gangloff (U.S.A., b. 1974), Dark Horse (Tim Traynor), 2015. Acrylic and collage on canvas. Collection of Nion McEvoy, Courtesy of the artist and Susan Inglett Gallery, New York, © 2017 Hope Gangloff, Photo © Adam Reich, NYC, L.3.1.2017

Intermezzi: Max Klinger’s Staged Interruptions
Though October 22, 2017

Rowland K. Rebele Gallery
German printmaker and painter Max Klinger was Klingerknown for inventing fantastical narratives. This installation features six prints from Klinger’s 1881 portfolio Intermezzi, Opus IV, in which the artist presents scenes from multiple story lines in thirteen plates. IMAGE: Max Klinger (Germany, 1857–1920), Simplicius' Writing Lesson (Simplici Schreibstube), Plate VII from the portfolio Intermezzi, Opus IV, 1881. Etching. Museum Purchase Fund, 1970.15.7


Modern & Contemporary
Through Novermber 26, 2017
Freidenrich Family Gallery
Bischoff This installation speaks to the materials, ideas, and questions artists are exploring today and presents the collection as a continually evolving entity. Highlights include Duane Hanson's Slab Man, Alexander Calder's Chariot, Richard Diebenkorn's Disintegrating Pig, Sean Scully's Angel, and a never-before-exhibited work from our collection by Jesús Raphael Soto. IMAGE: Elmer Bischoff (U.S.A., 1916–1991), Interior with Cityscape, 1969. Oil on canvas. Gift of Mr. and Mrs. John Freidenrich, 2006.37


New to the Cantor: Spencer Finch


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


Highlights from the Marmor Collection

Freidenrich Family Gallery
Drawn from the Marmor Collection, whose paintingsSneaker Lace, sculptures, and works on paper greatly enhance the museum’s ability to present the development of Western art from the 1950s to the present, the works featured in this exhibition are by pioneering artists such as Roy Lichtenstein, Jasper Johns, and Claes Oldenburg, among others. IMAGE: Claes Oldenburg (U.S.A., b. Sweden, 1929), Sneaker Lace in Landscape—Blue, 1990. Lithograph. Given in honor of Gerhard Casper, President, Stanford University 1992–2000, by the Marmor Foundation, 2000.107. © Claes Oldenburg


Rodin: The Shock of the Modern Body
Opens September 15 Age_of_Bronze
The Susan and John Diekman Rotunda, Eugénie B. Taylor Gallery, Rodin Gallery
This exhibition celebrates Auguste Rodin’s relentless pursuit to convey complex emotions, diverse psychological states, and pure sensuality through the nude. A century after his death, Auguste Rodin continues to be recognized for making figurative sculpture modern by redefining the expressive capacity of the human form. Learn more IMAGE: Auguste Rodin (France, 1840–1917), The Age of Bronze (L’âge d’airain), 1875-1876. Bronze, cast c. 1920. Gift of the B. Gerald Cantor Collection, 1983.300


Nina Katchadourian: Curiouser

September 15, 2017–January 7, 2018Nina_12
Pigott Family Gallery
This mid-career survey of artist Nina Katchadourian — who is based in Brooklyn but was raised on the Stanford campus — explores several major bodies of her work including video, photography, sculpture, and sound art. Using ingenuity and humor, Katchadourian’s art encourages us to reinvigorate our own sense of curiosity and creativity and to see our everyday surroundings as sites for discovery. Learn more This exhibition is organized by the Blanton Museum of Art. IMAGE: Nina Katchadourian (U.S.A., b. 1968), Lavatory Self-Portrait in the Flemish Style #12. From "Seat Assignment" project, 2010-ongoing. C-print. Collection of Nion McEvoy, San Francisco. Image courtesy of the artist and Catharine Clark Gallery, San Francisco, L.23.119.2017 • Generous support for the exhibition is provided by Suzanne Deal Booth; Eric Herschmann, Orly Genger, and family; and Jeanne and Michael Klein, with additional gifts from George and Nicole Jeffords, the Alice Kleberg Reynolds Foundation, Jenny and Trey Laird, Kathleen Irvin Loughlin and Christopher Loughlin, and Chris Mattsson and John McHale.  Support also is provided by Lawrence Banka and Judith Gordon, Nick Debs, Deborah Green, Pamela and David Hornik, Martin Z. Margulies, Karen and Chip Oswalt, and the West Collection, Philadelphia. • The accompanying catalogue is made possible by Nion McEvoy, with additional gifts from the Elizabeth Firestone Graham Foundation, Furthermore: a program of the J. M. Kaplan Fund, the Leanne Raesener Charitable Fund, and Judith Willcott and Laurence Miller and their families.


In Dialogue: African Arts
Opens September 30
Beginning in the Thomas K. Seligman Gallery
In Dialogue represents the vibrant and dynamic arts oMaskf the continent and its diasporas. Drawing primarily from the Cantor’s own collection, it considers the arts of Africa to be rooted in a deep and rich history that is locally, as much as globally, connected. The exhibition will prompt the viewer, both new to and familiar with African arts, to wonder — who, where, when, why and even what is African Art. IMAGE: Yaka artist (Democratic Republic of the Congo), Initiation Mask with Two Figures, 20th century. Fiber, wood, canvas, and pigment. Gift of the Christensen Fund, 2001.68


The Crown under the Hammer: Russia, Romanovs, Revolution
October 18, 2017–March 4, 2018
Ruth Levison Halperin Gallery, Lynn Krywick Gibbons Gallery, and Herbert Hoover Memorial Exhibit Pavilion
Marking the centenary of the Russian Revolution of 1917 this exhibition examines the political, social, and culturGleboval upheavals that transformed Russia in the final decades of the Romanov dynasty and the first years of Soviet Communism. Jointly organized by the Hoover Institution Library & Archives and the Cantor Arts Center, this dual-site exhibition features a wide variety of art objects and documentary material. Paintings and posters, photographs and films, rare books and decorative art objects alternately evoke the lost world of Russia’s old regime and hint at the utopian future imagined by the nation’s revolutionaries. IMAGE: Nikolai Nikolaevich Glebov-Putilovskii (1883–1948), Foto-ocherk po istorii Velikoi Oktiabr’skoi revoliutsii (1917–1920 g.g.) [A Photographic Essay on the History of the Great October Revolution, 1917–1920], Peterburg: Gos. Tip. 1920, Hoover Institution Library


Earthly Hollows: Cave and Kiln Transformations
October 18, 2017–March 18, 2018
Madeleine H. Russell GalleryVase
This exhibition presents a focused look at caves and kilns, aka “earthly hollows,” as symbolic and physical passages of transformation. Drawing from Cantor’s rich collection of Chinese, Japanese, and Korean art, Earthly Hollows: Cave and Kiln Transformations examines the dynamic ways in which caves, be they mountain grottoes or kilns, tunnel-like chambers made of earth and clay, interface mundane and mystical realms. IMAGE: Vase with peach-bloom glaze, ca. Kangxi period (first quarter of the 18th c.) and after, porcelain with copper effects glaze, Cantor Arts Center, 1970.179


The Buddha’s Word @ Stanford
October 18, 2017–March 18, 2018
Madeleine H. Russell Gallery
This exhibition showcases Buddhist manuscripts and prints held at the Cantor and in Stanford libraries, rangiSutrang in dates from around the 11th century to the early 20th century, and coming from various parts of the traditional Buddhist world, from Sri Lanka to Japan. The Buddha’s Word highlights the written word not simply as the visual counterpart to speech but as a thing of beauty and sacredness in and of itself. IMAGE: Artist unknown (Nepal, 12th C.), Pages from a Manuscript of the Perfection of Wisdom Sutra (Prajnaparamita), detail, 12th century. Ink and color on palm leaf. Museum Purchase Fund, 1964.115.a


About Face: Intimacy and Abstraction in Photographic Portraits
November 1, 2017–March 4, 2018
Rowland K. Rebele Gallery
This exhibition considers the voyeuristic intimacy of the close-up portrait in thirteen photographs by celebrated photographers Ansel Adams, Imogen CunningMeridaham, John Gutmann, Barbara Morgan, and Edward Weston. Dating from the 1920s to the early 1940s, each striking photograph captures a likeness and the mood set by the subject’s personality. Taken in close proximity or cropped in the darkroom, they present their subjects in great detail but also allow passages of abstraction to emerge from the clean geometry of the compositions. IMAGE: Edward Weston (U.S.A., 1886–1958), Carlos Merida, 1934. Gelatin silver print. Lent by the Capital Group Foundation, © 1981 Center for Creative Photography, Arizona Board of Regents, L.81.113.2002


The Matter of Photography in the Americas
February 7, 2018–April 30, 2018
Pigott Family Gallery
Featuring artists from twelve different countries, this exhibition presents a wide range of creative responses to photography Balteo-Yazbeck as an artistic medium and a communicative tool uniquely suited to modern media landscapes and globalized economies. The artists in this exhibition resist the impulse to “document” or “photograph anew” the world immediately around them. Instead, they employ a wide range of materials — from prints and drawings to photocopies and audio installations — to highlight the ways in which photography shapes our understanding of history as well as current events. IMAGE: Alessandro Balteo-Yazbeck (Venezuela, b. 1972), Corrupted file from page 14, 2006−2008. From the series La Vega, Plan Caracas No. 1, 1974-1976. Courtesy of Galeria Luisa Strina, São Paulo and Henrique Faria, New York

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