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U N I V E R S I T Y
C A NTO R A RT S C E NTE R
Connie Wolf
John & Jill Freidenrich Director
Letter from the Director
Spring is in bloom here at the
Cantor Arts Center, and we
are excited for yet another
season of extraordinary exhibitions, dynamic learning
opportunities for students,
and engaging events for audiences of all ages. Our mission
to provide all students with
new opportunities for experiencing art and
relating it to their own lives is a driving force
in our sponsorship of student research projects, internships, and social events, as well as
in our strategic partnerships with Stanford
faculty members.
This spring we are especially looking
forward to four new exhibitions that demonstrate our commitment to engaging Stanford
faculty, students, and alumni. Promised Land:
Jacob Lawrence at the Cantor/A Gift from the
Kayden Family features 56 works by the 20thcentury American artist that were recently
given to the museum by Dr. Herbert J.
Kayden and his family, with particular support from Dr. Kayden’s daughter, Joelle
Kayden (MBA ’81). The exhibition and its
accompanying catalogue both celebrate this
generous gift and offer new insights and perspectives on Lawrence’s work. We have also
recently opened Imagining the Oceans, an exhibition that connects directly to graduate
and undergraduate seminars being taught
this spring by Professor Margaret Cohen,
Andrew B. Hammond Professor of French
Language, Literature, and Civilization. This
interdisciplinary project allows for new and
exciting interpretations of the museum’s
collection. In addition, we are pleased to
present an exhibition that reflects a deepening of our connections with Stanford’s
Department of Art & Art History. Curated
by PhD student George Philip LeBourdais,
who was awarded a Mellon Curatorial
Research Assistantship in support of the
project, Arboreal Architecture: A Visual History of
Trees features works from the Cantor’s collection and offers a promising graduate student
the chance to gain invaluable curatorial
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experience. Our presentation of
500 Years of Italian Master Drawings
from the Princeton University Art
Museum, a special exhibition
featuring more than 100 dazzling
and rarely seen drawings, is
another highlight of the season.
The museum offers courses
to students throughout the year.
This spring I am honored to be co-teaching a
new course for art history graduate students
with Professor Richard Meyer, providing the
students with the opportunity to curate their
own exhibition. Unlike previous museumbased courses, this offering will continue over
the summer and into the fall, concluding
with their exhibition, which will open in
November 2015. Stay tuned for details.
In addition to the exhibitions, there is so
much happening. Our family programs on
Sundays continue to draw record numbers,
and our public programs engage audiences
of all ages and backgrounds. Our decision
to open to the public on Mondays has
proven to be a grand success, quickly resulting
in growing attendance, especially on national
holidays. And behind the scenes we are
completing a multi-year initiative to digitize
images of the museum’s entire collection.
So far more than 30,000 objects have been
documented and are available online. To
accommodate this wonderful new resource
we are redesigning our Web site; the new
interface is set to launch later this year.
Looking ahead, mark your calendars for
a festive Member Appreciation Day on July 12
(invitation to follow) and for the legendary
fundraising gala Rodin by Moonlight on
September 19.
All of this great work is made possible
through the continued support of our members, donors, volunteers, and friends. We are
so grateful for your generosity and commitment to the arts here at Stanford. I hope to
see you at the Cantor this spring!
CONNIE WOLF (AB ’81)
John & Jill Freidenrich Director
D i r e c to r ’ s A dv i s o ry
B oa r d
Sue Diekman
Chair
C. Diane Christensen
Doris F. Fisher
Jill Freidenrich
John Freidenrich
Andrea Hennessy
Elizabeth Swindells Hulsey
George H. Hume
Liong Seen Kwee
Daryl Lillie
Burton McMurtry
Deedee McMurtry
J. Sanford Miller
Takeo Obayashi
Barbara Oshman
Frederick P. Rehmus
Victoria Sant
Marilynn Thoma
Michael W. Wilsey
Ex Officio
Roberta Denning
John Hennessy
Roberta Katz
Lisa Mooring
Richard Saller
Martin Shell
Matthew Tiews
Nancy Troy
Membership Executive
Council
Lisa Mooring
Chair
Cindy Traum
Vice Chair
Nazila Alasti
Mary Anne Nyburg Baker
Barbara Bogomilsky
Suzanne Crocker
Loren Gordon
Pamela Hornik
Ann Kalar
Nicole Rubin
Deborah Shepherd
Irene Yeh
The Cantor Arts Center newsletter
is underwritten by the Cantor
Arts Center Membership and
produced by the External Relations
Department.
Madeleine Corson Design,
San Francisco
DESIGN
FRONT COVER Jacob Lawrence
(U.S.A., 1917–2000), At Times It
Is Hard to Get a Table in a Pool
Room, 1943. Gouache and graphite
on paper. Gift of Dr. Herbert J. Kayden
and Family in memory of Dr. Gabrielle
H. Reem, 2013.92. © 2015 The Jacob
and Gwendolyn Lawrence Foundation,
Seattle/Artists Rights Society (ARS),
New York
Connie Wolf,
John & Jill Freidenrich Director.
Photograph by Linda A. Cicero/Stanford
News Service
INSIDE FRONT COVER
C OV E R S TO RY
Promised Land: Jacob Lawrence at the Cantor
A Gift from the Kayden Family
Promised Land presents the Cantor’s collection of 56 works by Jacob Lawrence
(1917–2000), a modern art master who
painted the African American experience
in the bold colors and shapes of his
“dynamic cubism.” The outstanding
works, which date from 1943 to 1998, came
to the museum in two gifts given by cardiologist Herbert J. Kayden and his family.
Kayden and Lawrence met in a New York
City art gallery and remained friends for
half a century. The works comprise one
of the largest collections of Lawrence’s art
held by a single museum—five paintings,
11 drawings, 39 prints, and one illustrated
book—and this exhibition displays them
together for the very first time.
The installation originated from the
Department of Art & Art History seminar “Anatomy of An Exhibition: Focus
on Jacob Lawrence” taught by Elizabeth
Kathleen Mitchell, the Cantor’s Burton
and Deedee McMurtry Curator of
Prints, Drawings, and Photographs. This
intensive introduction to Lawrence’s
career and to key aspects of curatorial
and art historical practices enabled 15
above Jacob Lawrence (U.S.A., 1917–2000),
Ordeal of Alice, 1963. Egg tempera on hardboard.
Gift of Dr. Herbert J. Kayden and Family in memory of Dr. Gabrielle H. Reem, 2013.98. © 2015
The Jacob and Gwendolyn Lawrence Foundation,
Seattle/Artists Rights Society (ARS), New York
Right Jacob Lawrence (U.S.A., 1917–2000),
The Last Journey from the series Harriet
and the Promised Land, 1967. Gouache, tempera, and graphite on paper. Gift of Dr. Herbert
J. Kayden and Family in memory of Dr. Gabrielle
H. Reem, 2013.100. © 2015 The Jacob and
Gwendolyn Lawrence Foundation, Seattle/Artists
Rights Society (ARS), New York
a p r i l • m ay • j u n e 2 015
Cantor Arts Center
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(Cont.)
students to design the gallery layout and write exhibition texts. (See story on p. 13.)
The resulting exhibition charts the evolution of
Lawrence’s distinctive and dynamic visual style over
six decades, and images represent the themes he
most often explored: the struggle against slavery, the
rise of Harlem as a center of black culture, the
contributions that African American builders made
to the transformation of America’s cities in the first
half of the 20th century, and meditations on the
artist’s creative journey.
Standout works include the searing Civil Rights
era canvas Ordeal of Alice (1963) and the early gouacheon-paper At Times It Is Hard to Get a Table in a Pool Room
(1943), both of which exemplify Lawrence’s bold,
abstract, yet figurative style—a hybrid European
Cubism and early 20th-century Social Realism.
Other highlights are the complete set of his first
print portfolio, The Legend of John Brown (1978), and
an artist’s proof edition of Eight Studies for “The Book
of Genesis” (1989–1990). The exhibition also features
a painting by Lawrence’s wife, Gwendolyn Knight
Lawrence (part of the Kayden family gift) and
portraits of Lawrence and Knight by acclaimed
photographer Arnold Newman.
Promised Land is accompanied by a fully illustrated
catalogue featuring essays by eight Stanford faculty
members, researchers, and curators. The contributors examine major works from the Kayden gifts,
illuminate the social and political contexts for their
iconography, and explore the artist’s significance in
American art.
Ruth Levison Halperin Gallery, April 1–August 3
We gratefully acknowledge support for the exhibition from the Halperin
Exhibitions Fund, the Hohbach Family Fund, and the Terra Foundation of
American Art through a grant designated by Stanford President Emeritus
Gerhard Casper. The Hohbach Family Fund also underwrote the catalogue.
REL ATED EVENTS :
Lecture and Faculty Panel (see
Things to Do, p. 15).
Purchase the Promised Land exhibition
catalogue at the main-lobby desk or
through stanfordbookstore.com.
Jacob Lawrence (U.S.A., 1917–2000), Builders No. 3, 1973. Gouache, tempera, and graphite on
paper. Gift of Dr. Herbert J. Kayden and Family in memory of Dr. Gabrielle H. Reem, 2013.103. ©
2015 The Jacob and Gwendolyn Lawrence Foundation, Seattle/Artists Rights Society (ARS), New York
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NEW ON ViEW
500 Years of Italian Master Drawings from
the Princeton University Art Museum
Nearly 100 dazzling and rarely seen drawings dating
from the 15th through the 20th centuries, accompanied by new research and fresh insights, are on view
in this major exhibition. Beyond demonstrating the
chronological and stylistic sweep of the history of
Italian drawings, this thematically organized installation examines the pivotal role played by drawing,
or “disegno,” in the Italian design process, and
emphasizes the ways in which Italian draftsmen
understood and used drawings. They considered
drawing a process that encompasses both the artist’s
mental formulation of an idea and the physical act of
creation. The exhibition also investigates the complex
nature of the drawn object—simultaneously a brainstorming exercise and an autonomous work of art.
The gestural sketches, compelling caricatures,
and elaborate presentation drawings on display
demonstrate the importance of the human figure
to the Italian drawing tradition, while landscapes
Carlo Dolci (Florence 1616–1686), Study for Saint John the Evangelist, 1671. Black and red chalk
on light tan laid paper. Princeton University Art Museum. Bequest of Dan Fellows Platt, Class of 1895
and genre scenes express a tension between fantasy
and truth to nature. These superb drawings from
Princeton’s distinguished collection have been
illuminated by recent research and many new attributions. Artists represented include a range of
distinguished draftsmen, from Renaissance masters
to leading 20th-century Modernists such as
Michelangelo (1475–1564), Parmigianino (1503–
1540), Gian Lorenzo Bernini (1598–1680), Giovanni
Battista Tiepolo (1696–1770) and Domenico
Tiepolo (1727–1804), Salvator Rosa (1615–1673),
Giacomo Balla (1871 or 1874–1958), and Amedeo
Modigliani (1884–1920).
Pigott Family Gallery, May 22–August 24
Exhibition tours: Thursdays at 12:15 pm, Saturdays
and Sundays at 2 pm.
We gratefully acknowledge support for the exhibition from the Susan
and John Diekman Director’s Discretionary Fund and the Elizabeth
Hulsey Exhibitions Fund.
This exhibition was organized by the Princeton University Art Museum,
with major support from the Getty Foundation.
Gian Lorenzo Bernini (Naples, 1598–1680), Seated Male Nude, c.
1618–24. Red chalk heightened with white chalk on buff laid paper.
Princeton University Art Museum, Museum purchase, Laura P. Hall
Memorial Fund and Fowler McCormick, Class of 1921, Fund
A P r i l • M Ay • J U N E 2 015
CANToR ARTS CENTER
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The Cantor has been awarded a Mellon Foundation grant designed to
enhance the training of PhD students in Stanford’s Department of Art &
Art History. As part of this training, students curate exhibitions of Cantor
Collection works. Here are the two latest Mellon-grant-supported shows.
Arboreal Architecture:
A Visual History of Trees
By exploring the representation of trees across time,
this exhibition reveals important cultural differences
in how trees are depicted while also celebrating
similarities. Works, mostly on paper, range from the
renowned tree diagram in a first edition of Charles
Darwin’s Origin of Species to Ansel Adams’s 20thcentury photographs of California forests. Viewed
together, the artworks reveal how prevalent trees are
in human thought and speech and how easily and
powerfully they represent our emotions.
This exhibition was curated by George Philip
LeBourdais, PhD candidate, Department of Art
& Art History (see “Student Voices” on p. 14).
Lynn Krywick Gibbons Gallery, April 15–July 20
Jan Georg van Vliet (the Netherlands, c. 1610–c. 1635), Saint Jerome
Reading under a Tree, c. 1631. Etching. Robert M. Loeser Collection,
1944.2.42
Astley D. M. Cooper and
Mrs. Stanford’s Jewels
Astley Cooper (U.S.A., 1856–1924), Mrs. Stanford's Jewel Collection, 1898. Oil on canvas.
Cantor Arts Center collection, Stanford Family Collections, JLS.16294
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Nationally recognized during his time but largely
forgotten in our own, painter Astley D. M. Cooper
(1856–1924) used a faux Egyptian temple as a studio,
paid off bar debts with paintings, and threw the
wildest parties that San Jose, California had ever
seen. With their luscious colors and trompe l’oeil
trickery, his landscapes, portraits, and wild western
scenes aimed to both please and astonish. This
exhibition, curated by Annie Ronan, PhD candidate,
Department of Art & Art History, explores Cooper’s
life as well as the Bay Area bohemia out of which he
first emerged.
Lynn Krywick Gibbons Gallery, August 5–November 16
Plus One: Pop Duplications
In the early 1960s, American artists increasingly
looked to popular imagery, commercial signage,
and product design as source material and creative
inspiration. Their work, soon coined Pop Art, often
mimicked the means of mechanical reproduction
associated with mass culture. This exhibition focuses
on duplications in the art of Jasper Johns, Roy
Lichtenstein, Claes Oldenburg, Robert Rauschenberg,
Wayne Thiebaud, and Andy Warhol. It includes
works produced in multiple, such as Warhol’s Mao
Tse-Tung series, as well as single compositions
featuring duplicate visual elements. The exhibition
accompanies Professor Richard Meyer’s Spring 2015
advanced undergraduate course on Pop Art.
Rowland K. Rebele Gallery, April 8–August 3
Andy Warhol (U.S.A., 1928–1987), Mao Tse-Tung, 1972. Screenprint. Gift of the Marmor Foundation
(Drs. Michael and Jane Marmor) from the collection of Drs. Judd and Katherine Marmor, 2009.94.5.
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York
O’Keeffe, Stieglitz, Toomer,
and Modernism
The aesthetic and romantic relationship between
Georgia O’Keeffe and Alfred Stieglitz has been
widely studied, but less is known about O’Keeffe’s
intense connection with Harlem Renaissance writer
Jean Toomer. This focused exhibition, co-curated
by 2015 Cantor Scholar Alex Torres (’17, English
Literature), will explore the relationship of these
three artists as seen through the lens of about six
works from the Cantor’s collection along with
correspondence among the artists. Works include
O’Keeffe’s gem-like painting Seaweed, photographs
by Stieglitz, and Toomer’s modernist novel, Cane.
Patricia S. Rebele Gallery, May 6–September 21
Georgia O'Keeffe (U.S.A., 1887–1986), Seaweed, 1927. Oil on canvas. Gift of
The Georgia O'Keeffe Foundation, an anonymous donor, and the Committee for
Art Acquisitions Fund, 1997.96. © 2015 Georgia O'Keeffe Museum/Artists Rights
Society (ARS), New York
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She Who Tells a Story: Women Photographers
from Iran and the Arab World
This major exhibition presents the powerful work of 12
leading women photographers from Iran and the Arab
world. The artists explore identity, narrative, representation, and war in daily life, providing insights into the
complex political and social landscapes of their home
regions. Their provocative works—79 photographs and
one video—range from fine art to photojournalism,
and were created almost entirely within the last decade.
A fully illustrated exhibition catalogue, She Who Tells
a Story, is available at the main-lobby desk.
REL ATED EVENTs Faculty panel and multimedia presentation (see Things to Do, p. 15).
Pigott Family Gallery, through May 4
Josef Albers (U.S.A., b. Germany, 1888–1976), Day + Night VII, 1963 from Day and
Night: Homage to the Square. Lithograph. Lent by Collection of Michael and Jane
Marmor. © 2015 The Josef and Anni Albers Foundation/Artists Rights Society (ARS),
New York
Interaction of Color: Josef Albers—
Highlights from the Marmor Collection
Boushra Almutawakel
(Yemen, b. 1969), Mother,
Daughter, Doll from
The Hijab Series, 2010.
Series of nine pigment
prints. Museum of Fine
Arts, Boston, Museum purchase with funds donated
by Richard and Lucille
Spagnuolo. Photography
© 2014 MFA, Boston
Enjoy prints by abstract painter and theorist Josef Albers
that have rarely been seen as a set. The works derive from
Albers’s pivotal series Homage to the Square, and mark a
singular moment in 20th-century art-making, when artists
used the language of abstraction to examine our understanding of vision and perception. Albers famously
blended scientific and art-historical tactics to transform
the way we discern color.
Freidenrich Family Gallery, through June 15
This exhibition
was organized by
the Museum of
Fine Arts, Boston.
Drawn Together: A Selection
of Recent Documentaries by
Stanford Students
Bay Area and Beyond:
Selections from the
Museum’s Collection
Five short documentaries by firstand second-year MFA film students
explore the theme of community.
Learn about works from the 1950s
to the present by celebrated Bay
Area artists.
Patricia S. Rebele Gallery, through April 27
Freidenrich Family Gallery,
through June 15
A still from
Edgar and the
Joyous Life
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Theophilus Brown (U.S.A., 1919–2012),
Swimmers at Dawn, 1964. Oil on canvas.
Gift of the artist, 1969.232
Shifting Currents: Highlights
from the 20th-Century Chinese
Collection
James Gilbert Alinder (U.S.A., b. 1941), Pacific Storm, Sunset, the Sea Ranch, CA, 1993. Gelatin silver print. Gift of
Susan and John Diekman, 2008.256
Imagining the Oceans
Ocean environments have nourished
the imagination of visual artists
across history and cultures, yielding
a dramatic spectrum of influential
works such as those in this exhibition.
View coastal scenes by Willem
van de Velde (Netherlands, 1611–1693)
and other marine genre painters; a
romantic fantasy by Charles Méryon
(France, 1821–1868); depictions of
modern beach culture by Willem
de Kooning (b. Netherlands, 1904–
1997); and more.
The exhibition complements
an eponymous course by Margaret
Cohen, Andrew B. Hammond
Professor of French Language,
Literature, and Civilization. Cohen’s
course surveys the impact of global
ocean transport on Western literatures and cultures.
From the ink paintings of Shanghai
modernists to the conceptual interventions of contemporary artists
working globally, this exhibition
highlights the diversity of Chinese
art over the past 100 years.
Madeleine H. Russell Gallery, through July 13
Marie Stauffer Sigall Gallery,
through June 29
Drama of Heaven and Earth:
The Theatrical Traditions of Japan
Enjoy masks, prints, ceramics, and
other visual materials associated with
the Japanese dramatic arts of Noh,
kabuki, Kyogen, bugaku, and kagura.
Madeleine H. Russell Gallery,
through July 13
George Barnard (U.S.A., 1819–1902), Destruction
of Hood’s Ordinance Train, 1866. Albumen print.
Museum Purchase Fund, 1984.222
American Battleground:
Photographs of the Civil War,
1861–1865
See photographs that gave the
American public detailed
information about the Civil War’s
far-flung battlefields, weaponry,
and transportation systems.
Deme Mitsuyoshi (Japan, active mid-19th century),
Kyogen fox mask (kitsune), 19th century. Painted
cypress wood. Gift of Edmund M. and Jeannie
Kaufman, 2013.46
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Robert Mondavi Family Gallery,
through August 17
Wu Fuzhi (China, 1900–1977), Parrots and
Loquats, 1948. Ink and color on silk. Lent by
the Chang Family Collection
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(Cont.)
Pop Art from the Anderson
Collection at SFMOMA
Showcased in this exhibition are
iconic works by Pop Art legends Jim
Dine, Robert Indiana, Jasper Johns,
Roy Lichtenstein, Claes Oldenburg,
Robert Rauschenberg, James
Rosenquist, and Andy Warhol.
Robert Arneson (U.S.A., 1930–1992), Flip and Flop,
1978. Polychrome glazed earthenware. Lent by Collection
of Paula and Ross Turk. © Estate of Robert Arneson/
Licensed by VAGA, New York, NY
James Gillray (England, 1757–1815), Shakespeare
Sacrificed, 1789. Color etching and aquatint. Cantor Arts
Center collection, Museum Purchase Fund, 1976.15
Bravo!: Music and Theater
in Enlightenment Europe
Prints and drawings explore the
realms of music and drama during
the 18th century, including performance venues where people of all
classes gathered to see and be seen.
Freidenrich Family Gallery,
through October 26
Fatal Laughs: The Art of
Robert Arneson
Through these contemporary sculptural works, Arneson revolutionized
the medium of clay and explored
sexual, scatological, and political
subject matter.
Oshman Family Gallery,
through September 28
Jim Dine (U.S.A., b. 1935), Blue Clamp, 1981. Acrylic on
canvas with English C-clamp. Collection SFMOMA, gift
of Harry W. and Mary Margaret Anderson. © 2014 Jim
Dine/Artists Rights Society (ARS), New York
Gallery for Early European Art,
through August 17
WHAT I LOVE
Our staff members reveal which artworks in the Cantor Collections
move them the most
Gaston Lachaise
(France, 1886–
1935), Torso of
Elevation, 1912–
1927. Bronze.
Committee for Art
Acquisitions Fund,
1968.81. On view in
the Marie Stauffer
Sigall Gallery
The first time I walked through the Cantor galleries, I paused
the longest in front of Torso of Elevation. This is not an ascetic
female torso by Rodin with only a hint of the female form;
Lachaise’s torso is undeniably female. And yet to me, it would
never be described as “feminine,” a word that connotes delicacy.
This bronze shows a powerful, mature woman with muscles and
curves, unapologetic in her nakedness.
Along with most of the sculptor’s works, Torso of Elevation is
modeled on a single woman, Isabel Dutaud Nagle, who eventually
left her first husband to become Lachaise’s wife. Lachaise wrote
to her, “You are the Goddess I am seeking to express in all things.”
It may well be the goddess within this adult woman that draws
me back again and again. In an age when advertisements show
extremely young models reshaped and slimmed by computers,
this sculpture strikingly depicts a woman who is powerful, strong,
sensual, and curvaceous all at the same time.
Allison Akbay
Associate Registrar for Digital Asset and Rights Management
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Co m i n g th i s s u m m e r
Piranesi’s Paestum:
Master Drawings Uncovered
This major traveling exhibition presents the last master
drawings by celebrated Italian artist Giovanni Battista
Piranesi (1720–1778). These large-scale renderings of three
ancient Greek temples in Paestum, southern Italy, proved
highly influential to 18th- and 19th-century architectural
taste. They also constitute Piranesi’s most extensive body
of work devoted to a single topographical site.
In 1777, Piranesi journeyed to Paestum to produce
a suite of drawings that he intended to translate into
etchings. He never created the etchings due to his
untimely death the following year. Piranesi’s son,
Francesco, published them in 1778–79 in the book
Différentes Vues…de Pesto.
The drawings were acquired in 1810 by British architect and collector John Soane (1753–1837) and are still
held in the collection of his museum in London. They
have never before been the subject of a
focused exhibition. At the Cantor—the
exhibition’s only West-Coast venue—they
will be supplemented with prints, books,
and other objects.
Ruth Levison Halperin Gallery,
August 19, 2015–January 4, 2016
This exhibition was organized by Sir John Soane’s
Museum, London.
We gratefully acknowledge support for the exhibition
from Cynthia Fry and John A. Gunn, Frances and Theodore
Geballe’s Pre-19th-Century European Art Fund, and Mary
Anne Nyburg Baker and G. Leonard Baker, Jr.
Giovanni Battista Piranesi (Italy, 1720–1778), Paestum, Italy,
Interior of the Basilica, from the West, 1777. Pencil, brown
and grey washes, pen and ink. Sir John Soane’s Museum
Into the Forest: Landscape as
Subject and Studio in 19th–
Century France
Warriors, Courtiers, and Saints:
The Etchings of Jacques Callot
Learn how French artists depicted
the landscape in the modern age and
approached making art “en plein-air”
(in the open air).
Discover prints that demonstrate
Callot’s remarkable range of subjects—from the horrors of war to
whimsical landscapes, formal courtly
scenes, and somber religious subjects.
Robert Mondavi Family Gallery,
August 26–January 4, 2016
Gallery for Early European Art,
August 26, 2015–January 4, 2016
Lucas Vosterman (the Netherlands, 1595–1675), Portrait
of Jacques Callot, c. 1645. Etching and engraving. Robert
M. Loeser Collection, 1944.2.60
Jean-Baptiste Camille Corot (1796–1875), Souvenir of
Ostia, 1855. Cliché-verre. Committee for Art Acquisitions
Fund, 1987.34
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Cantor Arts Center 11
CAMPUS
CONNECTIONS
The Cantor collaborates with Stanford students in many creative ways.
Art++
IVMS group. This step also allows
The Cantor recently incorporated
the group to compare a query against
cutting-edge technology into two
tens of thousand of images within
of its exhibitions: Inside Rodin’s Hands:
one or two seconds. Once the image
Art, Technology, and Surgery and Carleton
is recognized, it must be tracked in
Watkins: The Stanford Albums. The
real time, so that IVMS can update
museum’s latest pairing of art and
the position of the overlays accordtechnology is Art++, a research
ingly. Finally, once the position of
collaboration between the Cantor
the object on the viewfinder is
At an event organized by Stanford’s Brown Institute for Media
and Professor Bernd Girod’s Image, Innovation, Jean-Baptiste Boin (right) guides Columbia University known, the textures, text labels, or
journalism students Alfred Miller (left) and Joan Barsulai through
Video, and Multimedia Systems
other information can be rendered
a demonstration of the Art++ mobile application. The app offers
(IVMS) Group in the Department supplemental information about art works in the Cantor collection. and overlaid on the artwork.
of Electrical Engineering. The project aims to build an
Art++ would also give visitors other supplemental
augmented reality mobile application that will allow visiinformation that could appear as a sort of halo around the
tors to access information about the artworks.
image on visitors’ smartphones, says Colleen Stockmann,
“Visitors could point their mobile devices at paintings
the Cantor’s assistant curator for special projects and
and see an X-rayed version on the screen overlaid on the
Boin’s collaborator. For instance, visitors could click on
real painting,” says Jean-Baptiste Boin, PhD candidate in
audio clips that would offer commentaries by Cantor curaelectrical engineering. “They could then swipe the screen
tors on the work, or information about the literature and
to peel off this layer, or compare some detail of the paint- music of the artist’s time.
ing with different ‘filters.’”
Boin reports that the biggest challenge stems from
More specifically: The camera image is matched with a
mobile devices’ lack of “considerable” computing power.
library of images in the database—a step that builds on fast “Because of that we have to make our algorithms as
and efficient image retrieval algorithms developed in the
efficient as possible,” he says. “But it’s exciting to have the
opportunity to tackle these questions with a real application in mind—and to work with the Cantor to enhance
the visitor experience.”
Student Voices
This project is supported by a Magic Grant from the
Kia Watson (’16, BA English)
Brown Institute for Media Innovation, a bi-coastal collaboraLast summer I seized an opportunity
tion between Columbia University and Stanford University.
to intern at the Cantor. I had become
enamored with the museum early on
in my Stanford career, but like many
students, I let the pressures of schoolwork lead me away from what I
consider to be Stanford’s hidden gem.
As the Visitor Experience Intern,
I reviewed cultural data to get a
sense of what different age groups
sought out in their museum experience, and I spent many hours viewing
the Cantor and its lovely art collection
through the eyes of a first-time visitor. I observed that the museum
had a low social media presence, and resolved to extend that by
continuing my work this year as the Social Media Intern.
I now contribute posts to the Cantor’s Facebook page and am
in the process of setting up Tumblr and Twitter pages for the
museum. I am excited to find out what kind of posts and social
media outlets our visitors, new or regular, respond to the most!
12
m u s e u m . s ta n f o r d . e d u
Students enrolled in the winter-quarter class “Student Guides at the Cantor Arts
Center” discuss 19th-century paintings in the Robert Mondavi Family Gallery, in
preparation for giving tours of the Cantor’s collection. The students also learned
about the museum’s operations through behind-the-scenes tours and meetings
with various staff members.
Stanford Courses at the Cantor
Students enrolled in the seminar “Anatomy of an Exhibition” directly studied works by
Jacob Lawrence (displayed on back wall) and used a gallery model to plan the placement
of works. Back row, left to right: Mary Kate Anselmini, Ivanna Pearlstein, Isabella Robbins,
Ari Echt-Wilson, Gabby Moreno, Maya Israni, Katherine Evers, Caroline Hernandez, and
Brianne Huntsman. Seated, left to right: Juliet Charnas, Emma Collins, and Michelle Pan.
Medical student Sasidhar Madugula (second from left) examines a contact sheet of
photographic portraits by Andy Warhol during the course “The Art of Observation:
Enhancing Clinical Skills Through Visual Analysis.” The students’ goal was to aptly
read body language and social cues.
Art Enhances Medical Students’
Diagnostic Skills
During the winter quarter, the Cantor galleries doubled
as classrooms for a new Stanford course: “The Art of
Observation: Enhancing Clinical Skills Through Visual
Analysis.” Through the course, first- and second-year medical
students used art to enhance their future diagnostic and
observational skills.
Students first engaged in interactive discussions about
various artworks led by eight graduate student facilitators
from the Department of Art & Art History: Yinshi
Lerman-Tan, George Philip LeBourdais, Annie Ronan, Lexi
Johnson, Sarah Naftalis, John Blakinger and Joseph Larnerd.
Dr. Audrey Schafer and Dr. Sam Rodriquez, from the
Stanford School of Medicine, then lectured and led discussions about clinical correlates to the art-viewing exercises.
The course arose out of conversations between alumni
of Yale and Harvard: Sam Rodriguez (Harvard Medical
School), Clinical Instructor in Anesthesia at the Stanford
School of Medicine; Genna Braverman (Yale), second-year
medical student, Stanford University School of Medicine;
and Yinshi Lerman-Tan (Yale), PhD candidate in Stanford’s
Department of Art & Art History. The course is loosely
modeled on precedents at those schools.
“We thought it would be incredible to bring a similar
program to Stanford’s medical school,” says Braverman.
“Observing and communicating what has been observed
are critical skills in medicine, and we thought that an art
observation elective for first- and second-year students
would be an exciting and creative way to develop those
abilities. It has been so exciting to work with an incredibly
supportive and creative interdisciplinary team drawn from
museum staff, medical school faculty, Art & Art History
faculty, and graduate students!”
a p r i l • m ay • j u n e 2 015
Students Co-Curate Promised Land
The exhibition Promised Land: Jacob Lawrence at the Cantor/A Gift
from the Kayden Family grew out of the winter undergraduate
seminar, “Anatomy of an Exhibition: Focus on Jacob
Lawrence.” Taught by Elizabeth Kathleen Mitchell, the
Burton and Deedee McMurtry Curator of Prints, Drawings,
and Photographs, the course offered an intensive introduction to Lawrence’s work to 12 Stanford students.
During each class, the students directly studied a rotating
selection of objects from the Kayden family gift, which
includes 57 stunning works: 56 paintings, drawings, and
prints by Lawrence and one painting by his wife, Gwendolyn
Knight Lawrence, all dating from 1943 to 1998. By closely
examining the art, the students traced the arc of Lawrence’s
artistic development across his long career. This inspired
focused conversations about Lawrence’s powerful visual style
and the narrative strategies he used to depict the black experience in America. Guest speakers from different museum
departments also visited the class, providing the students
with insight into all aspects of creating a museum exhibition.
Ultimately, the students wrote all of the object labels and
collaborated on designing a gallery layout that highlights
recurring themes and outstanding works in the Kayden gift.
Art History PhD Candidates Create
Their Own Exhibitions
Thanks to a grant from the Mellon Foundation, art history
PhD candidates are curating several exhibitions at the
Cantor—see page 6 for descriptions of the latest Mellongrant-supported shows. The grant is also funding a
two-quarter course currently in session, taught by Cantor
Director Connie Wolf and art history professor Richard
Meyer, designed to give students the opportunity to collectively curate an exhibition scheduled to open in November.
Cantor Arts Center 13
CAMPUS
CONNECTIONS
(Cont.)
Student Advisory Board Update
In its second year, the Student Advisory Board doubled in
size from 9 to 18 members and used its increased power
to expand outreach to Stanford students. Also, the board
elected a chair for the first time, junior Nathalie Weiss (’16,
Art History). In the fall, members self-selected into subcommittees and planned events for winter and spring,
including a students-only reception for She Who Tells a Story:
Women Photographers from Iran and the Arab World and the annual
Parents’ Weekend event, “Night at the Museums.”
Cantor Alums
Catching up with Sophia Villarreal Licona
After graduating last year with a BA in art history and a minor in comparative studies in race and ethnicity, I spent the summer interning in
the Department of Painting and Sculpture at MoMA in New York City.
My experience at the Cantor—as a student tour guide, assistant for
student programming, and both a curatorial assistant in the department of prints, drawings, and photographs and a member of the Student
Advisory Board—prepared me well for navigating the ins and outs of
a much larger department at MoMA.
I am now working as the Arts in Student Life Coordinator for the
Stanford Arts institute, where I promote engagement with the arts on
PhD students enrolled in the Mellon-grant-funded winter seminar “Problems in
the History of Collecting, Circulation, and Display” traveled to New York with
their professor, Art & Art History Department Chair Nancy Troy, as well as
Cantor Director Connie Wolf, to visit with directors and curators at the Solomon
R. Guggenheim Museum, the New Museum, the Whitney Museum of American
Art, the Metropolitan Museum of Art, and the Studio Museum in Harlem. The
group also visited the Robert Rauschenberg Foundation. Back row, left to right:
Sabrina Papazian, Nancy Troy, Whitney Director Adam Weinberg, Connie Wolf,
Lora Webb, Kyle Stephan, Sydney Simon, Lexi Johnson, and Whitney Curator
Elizabeth Sussman. Front row, left to right: Caroline Culp and Sean O’Hanlan.
Stanford’s campus through student outreach
and programming. One of my favorite
Institute programs is Your Art Here (YAH).
As YAH’s manager, I help undergraduates
curate student art displays in several gallery
spaces around campus. In this position, I use the skills and insights I
learned while working at the Cantor, and I also share my passion for
the visual arts and for curating with students beginning their own
exploration of these worlds.
Next year, I hope to begin a PhD program in art history with the
goal of becoming a curator of contemporary art or works on paper.
Curating brings together my love of art and scholarly research with my
desire to share what I love with a broader audience.
Student Voices
Curating Arboreal Architecture: A Visual History of Trees
(See p. 6 for exhibition description.)
At Stanford we see the tree as a mascot, but what if
we saw saplings as siblings? They were for Anne Brigman
(U.S.A., 1869–1950), a pictorialist photographer from
Oakland who left behind her husband and her clothes to
pose nude among cedars in the High Sierra. Exhibited by
Alfred Stieglitz in New York, her photogravure Dying Cedar
shows her wish to become a kind of tree herself, a dryad,
Daphne, a sister nymph of nature.
This photograph was one of the many objects in the Cantor’s collection that inspired me to propose an exhibition on the visual history of
trees. Also intriguing was the long history of trees as symbols in art within
many cultures. In fact, a great challenge in curating this exhibition was
editing down the number of artworks suited to it. The most exciting part
was discovering how far the visual structures of trees goes: trees are as
important to art history, where they serve as hieroglyphs for human life, as
they are to computer science, where flow charts follow their formal logic.
George Philip Lebourdais
(PhD candidate, Department of Art & Art History)
14
m u s e u m . s ta n f o r d . e d u
Anne W. Brigman
(U.S.A., 1869–1950),
Dying Cedar, 1909
from Camera Work:
A Photographic Journal,
No. 25, January 1909.
Platinum print. Gift of
Dr. and Mrs. Richard W.
Lyman, 1981.321.8.1
Th i n g s to do
O P E N TO A L L V I S I TO R S
All events on this page are free unless otherwise noted.
Talks
Spotlight on Art
Graduate students in the Department of Art & Art
History offer unique perspectives and new research on
individual art works in these noon-time gallery talks.
April 1: Lexi Johnson discusses George Segal’s
outdoor sculpture Gay Liberation. Meet in front of
Memorial Church.
May 6: Caroline Culp talks about Asher B. Durand’s
Summer Landscape in the Robert Mondavi Family
Gallery.
Art Focus Lectures
Sense and Sensibility: The Romantic
Movement in England
Denise Erickson
Thursdays, April 2, 9, and 16, 4:15 pm, auditorium
This course explores the painting, architecture,
country houses, picturesque gardens, and literature
of 18th- and 19th-century England. Lectures are
offered at member and non-member prices and
require pre-registration. Visit museum.stanford.edu
for more information.
Faculty Panel on She Who Tells a Story:
Women Photographers from Iran and
the Arab World
Thursday, April 9, 4:30 pm, Cantor classroom
Leading scholars discuss the intersection of poetry
and photography in the exhibition’s works. The panelists are: Attiya Ahmad, Stanford Humanities Center
Fellow and Assistant Professor of Anthropology
at the George Washington University; Dominic
Brookshaw, Senior Research Fellow in Persian and
Associate Professor of Persian Literature at University
of Oxford; and Nasrin Rahimieh, Professor
of Comparative Literature at the University of
California, Irvine.
Sponsored by the Sohaib & Sara Abbasi Program in Islamic Studies,
Stanford Global Studies, Hamid & Christina Moghadam Program in Iranian
Studies, Clayman Institute for Gender Research, Stanford Humanities
Center, and the Cantor Arts Center.
Faculty Panel on Promised Land:
Jacob Lawrence at the Cantor /A Gift
from the Kayden Family
Thursday, April 23, 5:30 pm, auditorium
Stanford faculty members discuss selected works
from the exhibition, illuminating the social and political contexts for Jacob Lawrence’s iconography and
april • ma y • j u ne 2 0 1 5
exploring the artist’s significance in American art.
The panelists are: Michele Elam, Professor of English
and Olivier Nomellini Family University Fellow in
Undergraduate Education, Department of English;
and James T. Campbell, Edgar E. Robinson Professor
in United States History, Department of History.
Lecture on Promised Land
“Pool Parlors and Beat Cops: The Colorful Noise
of a Jacob Lawrence Street Scene”
Thursday, May 7, 6:30 pm, auditorium
Nate Sloan, Geballe Dissertation Prize Fellow at the
Stanford Humanities Center, connects music of the
Harlem Renaissance with the art of Jacob Lawrence.
Multimedia Presentation
Reframe Iran
Thursday, April 30, 5:30 pm, auditorium
In a unique journalistic approach, 40 Iranian artists
are profiled through text, photographs, and 360˚ video.
Co-sponsored by the Brown Institute for Media Innovation.
For more exhibition-related events, visit
museum.stanford.edu.
Family Programs at the Cantor
For members-only family events, see p. 17.
Film Screening
The Black Stallion
Sunday, April 5, 11 am and 1 pm,
Cantor auditorium
A young boy develops a special
bond with an Arabian stallion
and trains for the most anticipated horse race of the year.
No family tours or studio artmaking on this day.
Family Sundays:
Docent-Led Family Tours at
12:30, 1, 1:30, and 2 pm
Special tours depart from
The Thinker in the Susan & John
Diekman Gallery.
Art-Making in the Studio at
1, 1:30, 2, and 2:30 pm
Ongoing Family
Programs
Experiment with art materials
and new techniques in sessions
taught by professional art teachers. Sign up at the table near the
Cool Café.
Daily:
Art Packs : Sign out colored
Focused Drawing in the Galleries
12:30–5 pm
pencils and paper near the Cool
Café and spend family time in
our galleries drawing.
Family Guides: Using these
printed brochures, children
navigate through our global
collections.
Sign out supplies (colored pencils and paper) near The Thinker.
Family programming at the Cantor is
underwritten by Bank of the West and the
Hohbach Family Fund.
Cantor Arts Center 15
Just for me mbe
m be rs
C A N T O R A RT S C E N T E R
A T
S T A N F O R D
ANDERSON COLLECTION
U N I V E R S I T Y
Enjoy these exciting spring events open only to Cantor/Anderson Collection members.
For a full list of members-only benefits, visit museum.stanford.edu and click the “Join Now” button.
Art Trips
Special Members Morning
Art Trips are unique tours to museums, private
collections, and special art events in the Bay Area
and beyond. Fee, registration required; for availability, call 650-723-3482.
This May and June, join fellow art lovers for:
(all levels)
Saturday, May 30
9:30–11 am
Montalvo and More: Saratoga’s Second Acts
View 500 Years of Italian Master Drawings from the
Princeton University Art Museum, enjoy coffee and
pastries, and socialize with other members.
Monday, May 11
Visit historic Villa Montalvo and tour the
renowned Lucas Artists Residency Program.
Stop for a catered lunch in the artists’ dining
room and then visit two outstanding Saratoga
artists’ studios.
Marin: Touched by the Genius of
Frank Lloyd Wright
Thursday, June 25
Tour Frank Lloyd Wright’s last commission, the
stunning Marin County Civic Center; a home
that reflects Wright’s organic architecture; and
Xanadu Gallery, the Wright-designed building
on Maiden Lane in San Francisco.
For more information about Art Trips, visit
museum.stanford.edu.
Jazz at the Gates
(Artists Circle and above)
Saturday, May 16
Join Cantor director Connie Wolf in the Rodin
Sculpture Garden for cocktails and live jazz during
this exclusive event for our leadership members.
To upgrade your membership or attend the
event, please email [email protected].
Remigio Cantagallina (Borgo San Sepolcro 1582–1656), Scene of a
Village Square in Tuscany, 1633. Pen and brown ink and brush and brown
wash over black chalk and graphite on light tan laid paper. Princeton
University Art Museum, Museum purchase, Laura P. Hall Memorial Fund
Member Appreciation Day
(all levels)
Save the date!
Sunday, July 12
10 am–3 pm
Celebrate the magic of
color as we take inspiration
from the boldly hued works
in the Cantor and Anderson
collections. We’ll treat you
to special tours, musical
performances, art making,
refreshments, and more.
Charles Arnoldi (U.S.A., b. 1946),
Untitled 1, 1981. Acrylic paint
on tree branches. Gift of Harry
W. and Mary Margaret Anderson,
and Mary Patricia Anderson Pence,
1981.056
All events are free unless otherwise noted.
16
m u se u m . stanfo r d . e d u
Family Program Just for Members
This event is for Family/Dual level members and
above. Space is limited, and pre-registration is
required. To register, visit museum.stanford.edu/
family or call 650-723-3482.
Mother’s Day Tea
Saturday, May 9th
Two sessions: 9:30 and 10:30 am
Celebrate moms! Enjoy tea and treats, and also
learn about Jane Stanford, who together with her
husband, Leland, founded Stanford University as
a memorial to their only child, Leland Jr.
Jane L. Stanford
with Leland Jr., c.
1873. Courtesy of the
Stanford University
Archives, 13824
Welcome to Our New Members
DIR EC TORS CIRCL E
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a p r i l • m ay • j u n e 2 015
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Cantor Arts Center 17
Just for members
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m u se u m . stanfo r d . e d u
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Fo r th e lov e o f a rt: G i v i n g to th e c a nto r
David and Pamela
Hornik supported
the purchase of
works by Carrie
Mae Weems.
A Gift to the Cantor Makes Possible the
Acquisition of Works by Carrie Mae Weems
Pamela Hornik’s dedication to the Cantor never ceases to
amaze us. Her volunteer work includes serving her first
term on the Membership Executive Council, acting as a
member of the Art Focus Lectures Committee, and spending two days a week welcoming and orienting our visitors.
Now, a generous gift from Pamela and her husband,
David, has enabled the museum to acquire two splendid
works by groundbreaking contemporary photographer
and video artist Carrie Mae Weems (U.S.A., b. 1953). The
Cantor’s recent hosting of the critically acclaimed retrospective exhibition, Carrie Mae Weems: Three Decades of Photography
and Video (October 16, 2013–January 5, 2014), inspired the
museum to make these first acquisitions of her work.
Not Manet’s Type (1997), a set of five gelatin-silver prints,
examines the assumptions about race, gender, and sexuality
imbedded in the foundations of modern European and
American art. The images and their accompanying texts
address the status allotted to female artists and models, and
to subjects of color, through history.
The 2014 artist’s proof pair of chromogenic prints
titled You Became Mammie, Mama, Then, Yes, Confidant-Ha and
Descending the Throne You Became Foot Soldier & Cook, originated
from Weems’s landmark 1995–1996 series of 33 photographs,
From Here I Saw What
Happened and I Cried. Here,
Weems appropriated 19thcentury anthropological
photographs of black
Africans. By pairing these
portraits with her own
descriptive texts, Weems
aims to restore humanity
and dignity to men and
women who, historically,
Carrie Mae Weems (U.S.A., b. 1953),
had no control over how
Descending the Throne You Became Foot
Soldier & Cook, 2014. C-print with text
others used them or their
sandblasted on glass. 2014.107.2 © Carrie
likenesses.
Mae Weems. Courtesy of the artist and Jack
Shainman Gallery, New York
Rodin by Moonlight
S E P T E M B E R 1 9, 2 0 1 5
at the
c antor a rts c enter
We are thrilled to announce that Chef Nancy Oakes,
in partnership with Paula LeDuc Fine Catering,
will bring her artistic vision to this year’s gala menu.
Oakes has been named Most Popular Chef by Zagat readers
for seven years in a row and received top awards from the
James Beard Foundation, Food & Wine magazine, and
the San Francisco Chronicle. Meanwhile, her San Francisco
restaurant, Boulevard, has won a coveted Michelin
star every year it has been reviewed.
To attend, contact Sara Larsen at 650-736-1667
or [email protected]. Tables begin at $15,000.
a p r i l • m ay • j u n e 2 015
Our deepest gratitude to Presenting
Sponsors and Honorary Chairs
Cynthia Fry and John A. Gunn
The Cantor programs supported
by this elegant gala provide
extraordinary enrichment to K-12
schools in three counties, to students from Stanford and other
Bay Area institutions, and to the
broader Bay Area community.
Rodin by Moonlight funds also
help maintain free admission to
the Cantor for all!
Cantor Arts Center 19
TER
Sta n ford Un i ve r si ty
NON P ROFIT
C a nto r A rts C e nte r
OR G ANI Z ATION
U . S .
3 2 8 lom i ta d ri ve
P
Sta n ford, C A 9 4 3 0 5 - 5 0 6 0
P O S TA G E
AID
P ALO
ALTO
P ERMIT
NO .
C A
2 8
Open Wed–mon, 11 am–5 pm
Thurs, 11 am–8 pm
Closed Tuesdays
Always free
Th e C a nto r Co llectio n s
From Africa to the Americas to Asia, from classical to contemporary—there is so much to discover at the Cantor. Selections
from the collections and long-term loans are on view in many of
the Cantor’s 24 galleries, sculpture gardens, and terraces on an
ongoing basis.
LOC ATION & PAR K IN G
The Cantor Arts Center is located at Lomita Drive and Museum
Way, off Palm Drive, on the Stanford University campus. Pay
parking is available in front of the Cantor on Lomita Drive.
Parking in most areas is free after 4 pm and on the weekends.
The Cantor is fully accessible to people with disabilities.
IN FOR M ATION
650-723-4177 museum.stanford.edu
F REE DOC ENT- LE D ART TOU RS
650-723-3469
COOL C A F É
650-725-4758
SIG N U P FOR E - NE WS
Get free email notices every month about programs and
exhibitions at the Cantor. Click “E-NEWS” at the bottom
of our Web page, museum.stanford.edu.
Attributed to Feng Zikai (China, 1898–1975),
Only the Mirror Knows the Beauty of a Poor
Girl, c. 1940s. Ink and color on paper. Gift of
Kevin Weis, 1990.59. On view through July 13 in
Shifting Currents: Highlights from the 20thCentury Chinese Collection
I r i s & B . G e r a l d C a n to r C e n t e r f o r V i sua l A rt s at S ta n f o r d U n i v e r s i t y
v i s i t m us e u m . s ta n f o r d. e d u