Exhibition Schedule


The Crown under the Hammer: Russia, Romanovs, Revolution
Through 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 culturCrown2al 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. Learn more IMAGE: Nikolai Mikhailovich Kochergin (1897–1974), 1 Maia 1920 goda. Cherez oblomki kapitalizma k vsemirnomu bratstvu trudiashchikhsia! [May 1, 1920. Through the ruins of capitalism to the universal brotherhood of workers!], 1920. Lithograph. Poster Collection RU/SU 2087, Hoover Institution Archives


Nina Katchadourian: Curiouser

Pigott Family Gallery
This mid-career survey of artist Nina Katchadourian — who is based in Brooklyn but was raised on the Stanford campus — Flemish12explores several major bodies of her work including video, photography, sculpture, and sound installations. 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.


Artist at Work 2017: Hope Gangloff


Through February 12, 2018

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



Rodin: The Shock of the Modern Body
Ongoing Age_of_Bronze
Susan and John Diekman Gallery, 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


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


Please, Please, Pleased to Meet'chabird2

In the oak tree grove in front of the Anderson Collection
Part of the exhibition Nina Katchadourian: Curiouser, this outdoor installation investigates the difficulty in translating the elusive sounds created by birds. In sound systems installed in six trees, visitors can hear audio recordings of United Nations translators attempting to vocalize the sounds of six different birds, without having previous familiarity of the bird and only relying on the materials found in birding guidebooks.

Montage Fever

Through January 21, 2018

Lynn Krywick Gibbons Gallery
Montage Fever concerns the centrality of the process of montage, or editing, in the cinema—a topic of utmost importance to many Soviet filmmakers of the revolutionary era. Made a century after the October Revolution, Montage Fever consists of scenes and sequences from a variety of Soviet films. The presentation is organized by the Cantor Arts Center in collaboration with faculty and students from Stanford’s Center for Russian, Eastern European, and Eurasian Studies, and from the Department of Art & Art History.


About Face: Intimacy and Abstraction in Photographic Portraits
Through 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


Earthly Hollows: Cave and Kiln Transformations
Through 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
Through 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 (India, 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


In Dialogue: African Arts
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


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


Modern and Contemporary
Opens December 20, 2017
Friedenrich Family Gallery
The Cantor continues to highlight exquisite  works from its growing collection of modern and contempScullyorary art. Works on view include objects from the permanent collection, special loans, and recent acquisitions that demonstrate a range of media, scale, and geographic origins. IMAGE: Sean Scully (U.S.A., b. Ireland, 1945), Angel, 1983. Oil on canvas. Given in gratitude for Tom Seligman’s leadership, vision, and friendship, by Jill & John Freidenrich and the Robert and Ruth Halperin Foundation, 2004.8.a−b


Framing in Time: Photographs from the Cantor Arts Center Reimagined

January 24–May 6, 2018

Patricia S. Rebele GalleryChinese_Boy
Each of the short, student-made films in this exhibition will appropriate and reimagine a photograph from the Cantor’s collection. Striving to shed new light on the original context of the photographs, the films will be shown alongside the Cantor photographs that served as their inspiration. The short films were made by Stanford students in Assistant Professor of Art Srdan Keca’s “Archival Cinema” class during fall quarter 2017.

IMAGE: Andrew Barnaby McKinne (U.S.A., 1881–1966), Chinese Boy, San Francisco, 1906. Gelatin silver print with hand-coloring. Gift of Joseph Folberg, 1994.68.99


Working Metal in 20th-Century Sculpture
January 31–April 30, 2018

Lynn Krywick Gibbons Gallery
Metal sculpture created directly by the artist’s hand Tsutakawais the focus of a new exhibition by Sydney Skelton Simon, a PhD candidate in the Department of Art & Art History, whose proposal was selected in the fall. Featuring small-scale sculptures, photographs, and sound recordings, this exhibition explores modes of working with metal that depart from more traditional casting methods. IMAGE: George Tsutakawa (U.S.A., 1910–1997), Three Sided World, 1962. Welded bronze. Given in memory of Pamela Djerassi, Class of 1971, by her parents, 1978.128


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 toVelazques photography 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: Fernando Velázquez (Uruguay, b. 1970), #302 from the series Mindscapes, 2014. Photographic print mounted on Plexiglas. Courtesy of the artist

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