W I N T E R 2 0 1 8
As I’ve settled into my new role, I’ve been gratified by
the outpouring of support and words of encouragement
from all of you. In my first few months as the John and Jill
Freidenrich Director of the Cantor Arts Center, I’ve had
the chance to learn what makes this institution so special.
I’ve seen the wonderful collaboration between staff and
the campus community. I’ve also seen how the
continued generous support of our donors and
members allows us to put on world-class exhi-
bitions and attract visitors from around the Bay
Area and the world.
The staff at the Cantor, working closely
this last year with Matthew Tiews, associate
vice president for the arts at Stanford, has
continued to push the institution in new and
exciting directions. This is evidenced by the
breadth of offerings currently on view, from
the historic reinstallation of our Auguste Rodin
collection, Rodin: The Shock of the Modern Body, to the playful
contemporary exhibition Nina Katchadourian: Curiouser,
which originated at the Blanton Museum of Art in Texas.
I’ve also been inspired by the cross-campus collabo-
rations that make being part of a university museum so
rewarding. The Crown under the Hammer: Russia, Romanovs,
Revolution is a perfect example, spanning two sites and
including artifacts drawn largely from the Hoover
Institution Library & Archives, as well as from Stanford
University Libraries’ Special Collections, the Bowes Art &
Architecture Library, and the Cantor.
Our collaborations are not limited just to our own
campus—they also extend across the bay. The exciting
new exhibition The Matter of Photography in the Americas,
opening in early February, is co-curated by our own
Jodi Roberts, Robert M. and Ruth L. Halperin Curator for
Modern and Contemporary Art, along with Natalia Brizuela,
associate professor of Spanish and Portuguese and of Film
and Media at the University of California, Berkeley.
I hope you’ll get a chance to come in and see the
Cantor’s magnificent recent acquisition, Uwa, by acclaimed
African artist El Anatsui. You will find it on view among
other newly installed works by African artists in the gallery
off the Atrium.
I am looking forward to more opportunities to work
with all of you as we strengthen our collections and
expand our programs. Your support allows us to continue
our role as one of the most visited university museums in
the country.
Thank you for making me feel so welcome,
SUSAN DACKERMANJohn & Jill Freidenrich Director
Dear Cantor Members,
Photograph by Stacy H. Geiken
D I R E C T O R ’ S A D V I S O R Y B O A R D
Sue Diekman Chair
C. Diane Christensen Doris F. FisherAndrea HennessyElizabeth Swindells
Hulsey George H. HumeLiong Seen KweeDaryl LillieBurton McMurtry Deedee McMurtryJ. Sanford Miller Lisa Mooring Barbara OshmanFrederick P. Rehmus Victoria P. Sant
Marilynn ThomaMichael W. Wilsey Debi WischAkiko YamazakiJerry Yang
Ex Officio Roberta DenningHarry J. Elam Jr. Loren GordonRoberta KatzJason LinetzkyAlex NemerovMartin ShellMarc Tessier-LavigneMatthew Tiews
M E M B E R S H I P E X E C U T I V E C O U N C I L
Loren GordonChair
Debbie ShepherdChair-elect
Sara AbbasiNazila AlastiNikki AndrewsSarah BlausteinMartha ChamberlainPamela HornikAmy KacherAnn KalarNicole Rubin
Ex Officio Barbara Bogomilsky
FRONT COVER Fernando Velázquez (Uruguay, b. 1970), #302, from the series Mindscapes, 2014. Photographic print mounted on Plexiglas. Courtesy of the artist
DESIGN Madeleine Corson Design, San Francisco
R E M E M B E R I N G J O H N F R E I D E N R I C H
THE CA NTOR ARTS CENTER and the entire Stanford community lost a valued partner and patron when John Freidenrich passed away in October at the age of 80. John and his beloved wife of 54 years, Jill, were lifelong friends of their alma mater. They met at Stanford while Jill was an undergraduate and John was a law student. John’s commitment to the university spanned four university presidents and more than 40 years of service.
After the Loma Prieta earthquake damaged the Cantor’s building in 1989, John and Jill stepped up to help, contributing funds to rebuild our historic museum and to endow the directorship—a position I am honored to hold.
In 1999, the couple again confirmed their commitment to the museum, gifting the Freidenrich Family Gallery, a 5,300-square-foot gallery dedicated to contemporary art. Over the years, they also have generously contributed significant works of modern and contemporary art to the museum. John served as a member of our Director’s Advisory Board for almost 13 years.
All of us here are grateful to John for his lasting imprint on our facility and our work, for his generosity of time and spirit, and for his continuing to support the arts throughout his life. I will strive to honor John’s legacy as I work to carry on the Cantor’s mission of creating high-quality exhibitions highlighting works from our own collection and beyond that engage and inspire our visitors.
Our hearts go out to Jill and to the entire Freidenrich family. —S.D.
2 M U S E U M . S T A N F O R D . E D U
N E W O N VIE W
The Matter of Photography in the Americas looks at how Latin
American artists are using photography in nontraditional ways.
By casting a critical eye on the medium and its materials, these
artists offer powerful social critiques and encourage the viewer
to consider how photography affects our understanding of both
historical and current events.
José León Cerrillo (Mexico, b. 1976), Untitled, c. 2015. Cyanotype and silkscreen ink on cotton paper. Collection of the artist
CO M E IN SO O N TO S E E
On the 100th anniversary of the Russian Revolution, The Crown under the Hammer:
Russia, Romanovs, Revolution highlights the dramatic shift in aesthetic tastes and
artistic sensibilities ushered in by the fall of the last Russian tsars and the rise of
the first Soviet commissars.
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
L A S T CHAN CE
Come in soon to see Nina Katchadourian: Curiouser. Photography, sound
installations, performance, and sculpture are included in this playful and
perceptive exhibition of work by contemporary artist Katchadourian, who
was born and raised at Stanford.
Nina Katchadourian (U.S.A., b. 1968), Mountain Climbers (Apple), 2011, from “Seat Assignment” project, 2010–ongoing. C-print. Blanton Museum of Art, The University of Texas at Austin; purchase with funds from Judith Willcott and Laurence Miller. Image courtesy of the artist and Catharine Clark Gallery, San Francisco
• Upcoming events, lectures, gallery talks, and film presentations can be found in the THINGS TO DO section on page 14.
• For exciting events and opportunities JUST FOR MEMBERS, please see page 23.
• Our special DONOR RECOGNITION section begins on page 18.
3W I N T E R 2 0 1 8 | C A N T O R A R T S C E N T E R
The Matter of Photography in the Americas
Joiri Minaya (Dominican Republic, b. U.S.A., 1990), #dominicanwomengooglesearch, 2016. Digital print on sintra and fabric collage. Installation view at Wave Hill Sunroom Project Space, 2016. Photo: Stefan Hagen. Collection of the artist
This exhibition highlights groundbreaking works by
artists from Latin America, the Caribbean, and Latino
communities in the United States who cast a critical
eye on photography as both an artistic medium and
a means of communication. Working in the wake of
digital photography and the explosion of images this
new technology has unleashed, the artists ask pointed
questions about how photographs shape our under-
standing of history, current events, and people, both
close to home and far away.
Rather than documenting the world immediately
around them, the artists in the exhibition approach
photography from nontraditional points of view.
February 7–April 30, 2018 P I G OT T FA M I LY G A L L E RY
The works on display—including prints,
drawings, and sound installations—
provide pointed social commentary
and examine not just the technical
development of photography in Latin
America but also the medium’s circu-
lation in the global sphere in the 20th
and 21st centuries.
Survey exhibitions of Latin
American photography have typically
concentrated on the representation of
cultural and geographic differences.
The Matter of Photography, by contrast,
explores the work of artists who under-
mine any notion that photographs are
transparent, “truthful” visual records.
Instead, these artists ask difficult ques-
tions about the medium’s functions
and effects, such as whether the pro-
liferation of photographic images in
our lives has sharpened or dulled
our capacity for empathy and cross-
cultural understanding.
4 M U S E U M . S T A N F O R D . E D U
Working Metal in 20th-Century SculptureJanuary 31–April 30, 2018LY N N K RY W I C K G I B B O N S G A L L E RY
Metal sculpture created directly by the artist’s hand is 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 record-
ings, this exhibition explores modes of working
with metal that depart from more traditional
casting methods.
The Mellon Foundation has awarded a 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.
This exhibition is organized by the Cantor Arts Center. We
gratefully acknowledge support from the Andrew W. Mellon
Foundation.
Ángela Bonadies (Venezuela, b. 1970), Copia original: Diane Arbus + Gordon Matta-Clark + Grete Stern (Original Copy: Diane Arbus + Gordon Matta-Clark + Grete Stern), 2011–14. Digital inkjet print. Courtesy of the artist
Photograph by Isaac James
LEF T Eadweard Muybridge (U.S.A., b. England, 1830–1904), Point Bonita (Entrance to Bay of San Francisco), looking South, c. 1870. Stereograph, albumen prints mounted to card stock. Committee for Art Acquisitions Fund, 1971.14.20
Claudia Joskowicz (Bolivia, b. 1968), Still from Every Building on Avenida Alfonso Ugarte—After Ruscha, 2011. Two-channel digital HD video, 26 min. Courtesy of the artist and LMAKgallery, New York
Organized thematically, the exhibition includes sections
on the news media as a leading purveyor of photographic
imagery; ethnography and the ways in which photographs
have been used to create particular (and often limited)
conceptions of Latin America and its inhabitants; and the
digitization of photography and the new questions this
process raises about the machine-made versus the man-
made, as well as the material nature of the photograph.
An exhibition catalogue will be available at the front
desk in the museum’s main lobby throughout the run of
the exhibition. Members receive a discount.
Curators: Jodi Roberts, Robert M. and Ruth L. Halperin Curator for Modern
and Contemporary Art at the Cantor, and Natalia Brizuela, associate
professor of Spanish and Portuguese and of Film and Media at the University
of California, Berkeley.
This exhibition is organized by the Cantor Arts Center. We gratefully acknowl-
edge support from the Elizabeth K. Raymond Fund for Photography, the Bill
and Jean Lane Fund, the Mark and Betsy Gates Fund for Photography, the Special
Exhibitions Fund, and museum members.
The accompanying catalogue is made possible by the Mariposa Fund and the
CAC Exhibitions, Loans, and Publications Fund.
Please see page 12 for Curator’s Corner, a behind-the-scenes
look at a current exhibition. This issue features an interview
with The Matter of Photography in the Americas co-curator
Jodi Roberts, Robert M. and Ruth L. Halperin Curator for
Modern and Contemporary Art at the Cantor.
Framing in Time: Photographs from the Cantor Arts Center ReimaginedJanuary 24–May 6, 2018PAT R I C I A S . R E B E L E G A L L E RY
Each of the short, student-
made films in this exhibition
appropriates and reimag-
ines a photograph from the
Cantor’s collection. Striving
to shed new light on the origi-
nal context of the photographs,
the films are 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.
This exhibition is organized by the Cantor Arts Center in collaboration
with faculty from the Department of Art & Art History, Stanford
University. We gratefully acknowledge support from the Barbara and
M. Kenneth Oshman Fund.
ABOVE Artist unknown (U.S.A., active 19th century), Untitled (Indian woman and a boy on a train platform), 1880–89. Postcard, albumen print on card stock. Gift of Mr. and Mrs. Roderick R. Dunphy, 1978.229.1
5W I N T E R 2 0 1 8 | C A N T O R A R T S C E N T E R
Anderson Collection at Stanford University
Manuel Neri: Assertion of the FigureThrough February 12, 2018W I S C H FA M I LY G A L L E RY
Manuel Neri, a California native, has spent a lifetime accentuating
the gesture, surface, and materiality of the figure. He renders his
work in several different media, including plaster, marble, bronze,
and paper. This exhibition, drawn from and celebrating gifts
donated to the museum by The Manuel Neri Trust, provides a
glimpse into the artist’s creative process and his
quest to define the figure on his own terms.
Curators: Jason Linetzky, director, Anderson Collection at Stanford
University, and Sydney Skelton Simon, PhD candidate in the
Department of Art & Art History.
This exhibition is organized by the Anderson Collection at
Stanford University in celebration of a gift from The Manuel
Neri Trust. Additional works on loan come from the Collection
of Harry W. and Mary Margaret Anderson, The Manuel Neri
Trust, and Hackett Mill, San Francisco. The Anderson
Collection gratefully acknowledges support of this exhibition
from museum members and support of the accompanying
publication from The Manuel Neri Trust.
Nina Katchadourian: CuriouserThrough January 7, 2018P I G OT T FA M I LY G A L L E RY
Laugh-out-loud moments, sounds of popping corn, and deep
reflections on everyday life are all part of the interdisciplinary
exhibition Nina Katchadourian: Curiouser. Featuring 10 major
bodies of work, Curiouser has inspired visitors to find the creative
potential in their daily surroundings. The exhibition showcases
work in diverse media, including video, photography, sound
installation, and sculpture, by celebrated artist Katchadourian,
who was born and raised at Stanford.
This exhibition is organized by the Blanton Museum of Art.
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 pro-
vided 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.
The Cantor Arts Center gratefully acknowledges sup-
port of this presentation from the Elizabeth Swindells
Hulsey Exhibitions Fund, the Special Exhibitions Fund,
The Clumeck Endowment Fund, the Kazak Acquisi-
tions and Exhibitions Fund, and the Contemporary
Collectors Circle.
Nina Katchadourian, artist; Veronica Roberts, curator of Modern and Contemporary Art at the Blanton Museum of Art; and Jennifer Carty, former Cantor assistant curator, at the opening of Katchadourian’s exhibition, Curiouser. Photograph by Steve Castillo
LEF T Manuel Neri (U.S.A., b. 1930), Joan Brown Seated, 1959. Cast 1963, re-patina applied 2016. Anderson Collection at Stanford University, gift of The Manuel Neri Trust, 2017.2.01
Nina Katchadourian (U.S.A., b. 1968), Sugar Fox, 2011, from “Seat Assignment” project, 2010–ongoing. C-print. Blanton Museum of Art, The University of Texas at Austin; gift of the artist and Catharine Clark Gallery, San Francisco. Image courtesy of the artist and Catharine Clark Gallery, San Francisco
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
Manuel Neri & the Assertion of Modern Figurative Sculpture Representing the breadth of the artist’s
work, this publication offers insights into
the development of Neri’s sculpture and
a fresh perspective on his contributions
to contemporary art. It includes an intro-
duction by Alexander Nemerov, the Carl
and Marilynn Thoma Provostial Professor
in the Arts and Humanities, and chair,
Department of Art & Art History. With
approximately 400 color images, and
essays by noted scholar Bruce Nixon, the
book is a copublication of the Stanford
University Press and the Anderson
Collection at Stanford University.
6 M U S E U M . S T A N F O R D . E D U
Montage FeverThrough January 21, 2018LY N N K RY W I C K G I B B O N S G A L L E RY
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.
This 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.
We gratefully acknowledge support from the Lynn Krywick Gibbons Gallery Exhibitions Fund.
Alexander Petrowitsch Apsit (b. Latvia, 1880–1944, active Germany), One year of the proletarian dictatorship: October 1917–October 1918 (God proletarskoi diktatury. Oktiabr’ 1917–Oktiabr’ 1918), 1918. Lithograph. Poster Collection RU/SU 801, Hoover Institution Archives
The Crown under the Hammer: Russia, Romanovs, RevolutionThrough March 4, 2018R U T H L E V I S O N H A L P E R I N G A L L E RY, H E R B E R T H O O V E R M E M O R I A L E X H I B I T PAV I L I O N
The dramatic transformation of Russian society and culture from
the final decades of the Romanov dynasty to the first years of Soviet
Communism is highlighted in this joint exhibition marking the
centenary of the Russian Revolution. The richly diverse material,
displayed at two sites on campus, is drawn largely from the Hoover
Institution Library & Archives at Stanford, as well as from Stanford
Libraries’ Special Collections, the Bowes Art & Architecture Library,
and the Cantor Arts Center. A model of cross-campus cooperation
and collaborative scholarship, this project spotlights the university
as one of the world’s richest repositories of artwork and documen-
tary material relating to the politics, society, and culture of late
imperial and early Soviet Russia.
At the Cantor, provocative juxtapositions demonstrate the
dramatic cultural shifts that took place in Russia in the first
decades of the 20th century. Works on view range from easel
paintings that reflect the Russian elite’s enormous affluence
and respect for tradition to mass-produced posters and printed
matter that exemplify the Soviet regime’s forward-looking perspec-
tive and revolutionary agenda. The Soviet-era works also testify
to the revolution’s enduring impact on artists around the world.
For a brief period after the revolution, the Soviet state supported
remarkable avant-garde artists who worked in a variety of media.
The combination of progressive aesthetics and radical politics that
flourished in the early revolutionary years continues to inspire
creative thinkers today.
An exhibition catalogue is available at the front desk in the
museum’s main lobby. Members receive a discount.
Curators: Jodi Roberts, Robert M. and Ruth L. Halperin Curator for Modern and Contem-
porary Art, and Bertrand M. Patenaude, research fellow at the Hoover Institution Library &
Archives and lecturer in international relations at Stanford.
This exhibition and accompanying catalogue are co-organized by the Cantor Arts Center
and the Hoover Institution Library & Archives. We gratefully acknowledge support from the
Hoover Board of Overseers, the Halperin Exhibitions Fund, the Mary Lois and Jack Wheatley
Fund, Mary Anne Nyburg Baker and G. Leonard Baker Jr., and Roger and Martha Mertz.
Boris Mikhaylovich Kustodiev (Russia, 1878–1927), The Bolshevik (Bol’shevik), 1920. Lithograph. Poster Collection RU/SU 781, Hoover Institution Archives
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Earthly HollowsThrough March 18, 2018MADELEINE H. RUSSELL GALLERY
Drawn from the Cantor’s collection of
Chinese, Japanese, and Korean art, this
exhibition looks at the transformative power
of earthly hollows—specifically, caves
and kilns—and how they can function
as links between the everyday and
more mystical realms.
Curator: Ellen C. Huang, curatorial fellow
for Asian art.
This exhibition is organized by the Cantor Arts
Center. We gratefully acknowledge support
from the Khoan and Michael Sullivan Fund.
The Buddha’s Word @ StanfordThrough March 18, 2018MADELEINE H. RUSSELL GALLERY
Exploring the long and prolific relationship between Buddhism and
the printed word, this exhibition showcases Buddhist manuscripts
and prints from the Cantor and Stanford libraries. Ranging in age
from around the early 11th century to the early 20th century and
coming from various parts of the Buddhist world, the works high-
light the written word not just as the visual counterpart to speech
but as a thing of beauty and sacredness in and of itself.
Curator: Ellen C. Huang, curatorial fellow for Asian art.
This exhibition is organized by the Cantor Arts Center in collaboration with faculty from the
Department of Religious Studies, Stanford University. We gratefully acknowledge support
from the Darle and Patrick Maveety Fund for Asian Art.
Barbara Morgan (U.S.A., 1900–1992), Nancy Newhall, 1942. Gelatin silver print. Gift from the Alinder Collection. Courtesy Bruce Silverstein Gallery, New York. © Barbara Morgan Archive, 1984.279
RIGHT Vase (Chinese, Qing dynasty), 17th–18th century. Porcelain with peach bloom glaze. Bequest of Mr. and Mrs. Stewart M. Marshall, 1970.179
About Face: Intimacy and Abstraction in Photographic PortraitsThrough March 4, 2018ROWL AND K . REBELE GALLERY
This exhibition considers the voyeuristic intimacy of the close-up
portrait in 13 photographs by celebrated photographers, including
Ansel Adams (U.S.A., 1902−1984) and Imogen Cunningham
(U.S.A., 1893−1976). Dating from the 1920s to the early ’40s, each
black-and-white portrait, taken in close proximity or cropped in
the darkroom, presents the subject in great detail. At the same
time, an element of abstraction emerges from the clean geometry
of facial features, clothing, and the empty spaces around them.
Curator: Elizabeth Kathleen Mitchell, Burton and Deedee McMurtry Curator and director
of the Curatorial Fellowship Program.
This exhibition is organized by the Cantor Arts Center. We gratefully acknowledge support
from the Mark and Betsy Gates Fund for Photography.
8 M U S E U M . S T A N F O R D . E D U
Rodin: The Shock of the Modern BodyOngoingTHE SUSAN AND JOHN DIEKMAN ROTUNDA ,
EUGÉNIE B. TAYLOR GALLERY, RODIN GALLERY
If ingenuity is the lifeblood of the Silicon Valley, then it’s entirely
fitting that Auguste Rodin is so closely associated with the Cantor.
Much like today’s innovators, Rodin challenged himself, the aca-
demic system, his critics, and the public. He did so by redefining
the expressive capacity of the human form, making figurative
sculpture modern. Rodin: The Shock of the Modern Body spans three
galleries and features nearly 100 Rodin sculptures essential to
telling the artist’s story and representing his groundbreaking
engagement with the body. Drawn from the extensive holdings
of the Cantor, the largest collection of bronzes by Rodin in an
American museum, the exhibition also
presents comparative works by
his rivals, mentors, admirers,
and imitators.
Curators: Elizabeth Kathleen Mitchell,
Burton and Deedee McMurtry Curator
and director of the Curatorial Fellowship
Program, and Melissa A. Yuen, curatorial
fellow for American and European art to 1900.
This exhibition is organized by the Cantor Arts
Center. We gratefully acknowledge support
from the Robert Mondavi Fund, The Clumeck
Endowment Fund, and museum members.
In Dialogue: African ArtsOngoingTHOMAS K . SELIGMAN GALLERY
This vibrant reinstallation of the Cantor’s African collection
explores the dynamic arts of the continent and its diasporas.
Focusing on the migration not only of people but of arts and ideas,
this installation includes works drawn from the entire
continent, including Egypt and North Africa, and
highlights the many diverse influences evident
in African style.
Curator: Amanda M. Maples, curatorial fellow for African
and Indigenous American art.
This exhibition is organized by the Cantor Arts Center.
We gratefully acknowledge support from the C. Diane
Christensen Fund for African Art and the Phyllis
Wattis Program Fund.
LEF T Auguste Rodin (France, 1840–1917), Despair (L’Désespoir), 1887−90. Bronze. Gift of the Iris and B. Gerald Cantor Foundation, 1974.62
RIGHT Kamba artist (Kenya), Beaded gourd, 1880−1971. Gourd, leather, glass beads, and fiber. Museum purchase made possible by the Phyllis Wattis Program Fund, 2012.284
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
Modern and ContemporaryOngoingFREIDENRICH FAMILY GALLERY
The Cantor continues to highlight exquisite
works from its growing collection of modern
and contemporary 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.
Curator: Jodi Roberts, Robert M. and Ruth L. Halperin Curator for
Modern and Contemporary Art.
This exhibition is organized by the Cantor Arts Center. We gratefully
acknowledge support from The Clumeck Endowment Fund.
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Irene Zhou (China, 1924–2011), Untitled, 1995. Ink on paper. Collection of Akiko Yamazaki and Jerry Yang
Ink Worlds: Contemporary Chinese Painting from the Yamazaki/ Yang Collection May 23–September 3, 2018 P I G OT T FA M I LY G A L L E RY
This first-of-its-kind exhibition offers a rare opportunity for the
public and scholars to view what is widely regarded as one of the
most important private collections of contemporary Chinese ink
paintings in the world. Select works from the personal collection
of philanthropists and Stanford alumni Akiko Yamazaki and Jerry
Yang have enhanced landmark shows around the country, includ-
ing those organized by the Metropolitan Museum of Art and the
Museum of Fine Arts, Boston.
This spring, the Cantor’s unique presentation of a majority of
the works in the collection will allow viewers to see the capacity
of ink arts to address contemporary concerns while referencing
deeply historical materials, themes, and techniques. Ink, prepared
from pine or oil soot, has been a primary vehicle of artistic and
written expression in China for more than two millennia. Due to
its ties to elite culture, ink art has experienced periods of rejection
and neglect in the 20th century. Rather than disappearing, however,
ink painting is currently undergoing a prolonged resurgence that
highlights its contribution not only to history but also to a global
contemporary world.
The exhibition looks at modern uses of ink including photogra-
phy and film, as well as works in which the very definition of ink is
being expanded—such as a work created with ink made from coffee.
From pioneers of ink abstraction in the late 1960s to visionaries in
the current decade, Ink Worlds documents how two dozen artists,
based variously in China, Taiwan, Hong Kong, and the United States
Betray the Secret: Humanity in the Age of FrankensteinApril 4–August 5, 2018R U T H L E V I S O N H A L P E R I N G A L L E RY
Marking the 200th anniversary of the publication of Mary Shelley’s
novel Frankenstein, or The Modern Prometheus, Stanford University is
organizing Frankenstein@200. This yearlong series of courses, lec-
tures, conferences, and a film festival will highlight the relevance
of Shelley’s text today, as artificial intelligence and advances in
engineering and medicine increasingly blur the divide between man
and machine. An associated exhibition drawn from the Cantor’s per-
manent collection will explore the idea of what defines humanity in
the age of Frankenstein.
have made ink work modern. Also on view will be works from
the collections of Peter and Colette Rothschild, the Cantor Arts
Center, and the Anderson Collection at Stanford University.
Curators: Ellen C. Huang, curatorial fellow for Asian art, and Richard Vinograd, the
Christensen Fund Professor in Asian art, Department of Art & Art History.
Curators: Elizabeth Kathleen Mitchell, Burton and Deedee
McMurtry Curator and director of the Curatorial Fellowship
Program, and Alexander Nemerov, the Carl and Marilynn
Thoma Provostial Professor in the Arts and Humanities, and chair,
Department of Art & Art History.
This exhibition is organized by the Cantor Arts Center in conjunction with the project
Frankenstein@200 at Stanford University. We gratefully acknowledge support of this
presentation from the Halperin Exhibitions Fund.
1 0 M U S E U M . S T A N F O R D . E D U
Building Bridges: Art+Science Learning Lab Susan Roberts-Manganelli, director
It may not be surprising that Stanford—where an investment in
the arts has been underway for years now—is home to a lab whose
purpose is to make deep connections between Stanford’s scientific
and arts communities. But the wide range of undergraduate
projects in the lab is definitely surprising and has broadened the
scope of material usually considered for advanced research.
Director Susan Roberts-Manganelli describes the Art+Science
Learning Lab as the place where scientists can use their analytical
skills in new ways. “Scientists who have never been in an art museum
lab before are examining objects such as Greek vases, using their
materials science or chemistry knowledge to learn from ancient
firing technologies,” she said. Students in the lab might learn that the
degradation of microelectronic chips is similar to the damage that
can be seen on a contemporary work of art made or preserved with
synthetic resins. Such realizations can be a bridge to exploring and
developing new materials for use in both technology and art conser-
vation. The lab also acts as a “hospital”—providing a place where
art objects can be preserved, restored, and conserved.
The lab invites student fellows to study art objects from an
interdisciplinary perspective. Project ideas are posted each winter,
and student-generated ideas are also considered. Students can
then share their research in small exhibitions, published papers,
and presentations.
Roberts-Manganelli, a painting conservator, has served as lab
director since its inception and also oversees the conservation and
care of the museum’s collection, including the outdoor art objects,
together with objects conservator Samantha Li.
Diebenkorn Detective Work
Katherine Van Kirk, ’19, had always dreamed of finding an under-
painting—a revelatory work hidden beneath a finished work of art.
So, when the Cantor’s Art+Science Learning Lab put out a call for
project proposals, she applied. For the engineering physics major
whose family has always embraced the arts, the lab provided a
unique opportunity to combine her passions.
Soon, with an infrared camera in hand, she went into the
Cantor’s galleries, unsure what she would find. But when she
pointed the camera at Richard Diebenkorn’s Window—only the
second painting she tested—she was amazed to see something
revealed under the surface. What makes this particular find so
exciting is that Van Kirk discovered figurative images under an
abstract painting, executed just as Diebenkorn transitioned from
his identification as a founder of the Bay Area Figurative move-
ment to pursuing more abstract work.
A grant awarded by the Bank of America 2016 Art Conservation
Project (ACP) allowed the Art+Science Lab to purchase a special
infrared reflectography camera, which is capable of more penetrat-
ing imaging, said Susan Roberts-Manganelli, director of the lab. In
late spring, the painting, the images of the underpainting, and Van
Kirk’s conclusions about what she discovered will be on display at
the Cantor. Stop by to see what happens when old-fashioned detec-
tive work and modern technology are applied to the world of art.
Student Katherine Van Kirk in the Art+Science Learning Lab examining Richard Diebenkorn’s Window. Photograph by Aaron Kehoe. Richard Diebenkorn (U.S.A., 1922–1993), Window, 1967. Oil on canvas. Gift of Mr. and Mrs. Richard Diebenkorn and anonymous donors, 1969.125
Susan Roberts-Manganelli in the Art+Science Learning Lab.
1 1W I N T E R 2 0 1 8 | C A N T O R A R T S C E N T E R
How do the artists in this exhibition refocus our attention?
They refocus our attention by changing the way we think about and
view photographs. For decades, the Colombian artist Oscar Muñoz,
for example, has been interested in photography’s limitations as
a means of memorializing individuals and their lives, particularly
when we are exposed to an overabundance of photographic images.
In various types of works, Muñoz subjects his own photographs, as
well as those made by others, to ingenious printing methods that
undo the basic goal of photography—to permanently fix an image
made of light onto a stable surface. In one work, he prints images on
the surface of water in a sink using charcoal powder. When the sink
is slowly drained, the images distort and eventually disappear. The
viewer’s attention becomes more focused, because the permanence
of the image can no longer be taken for granted. Photographs have
traditionally been a memory aid, but if their permanence is no
longer a given, then we as viewers are forced to look at them and
the people represented in them more closely and perhaps treasure
them in a different way.
What are you most excited to share?
I really love the variety of ways photographs and the materials of
photography are presented in this exhibition. Along with traditional
types of photographs, like gelatin silver prints, it includes prints,
drawings, and sound installations—a wide variety of art forms that
are all used to create powerful critiques of the medium. The exhibi-
tion opens up a new—and much needed—conversation about what
constitutes photography from and about Latin America.
How did this exhibition come about?
It came out of a series of conversations with
Natalia [Brizuela], my co-curator from the
University of California, Berkeley. We’ve known
one another for quite a while, and we kept
returning to the topic of how Latino and Latin
American photography is presented in museum
exhibitions. We noted that in survey shows
and texts, scholars tend to gravitate toward
Latino and Latin American photographers who focus on picturing
geographic and ethnographic difference—which is to say, cultural
and/or physical markers that denote a particular place or people.
But what this approach leaves out are a whole lot of artists who
are asking different questions about the technical development of
photography, its social uses, and its public circulation. The Matter
of Photography in the Americas is not a show about documentary
photographs of far-off sites and figures. It focuses on artists who
explore photography from a conceptual point of view rather than
as a means of recording one’s immediate surroundings.
What are some of the questions the exhibition explores?
The questions it explores are varied, including how the social and
aesthetic uses of photography have changed over the past century,
as well as the materials we use to make photographs. One major
issue that many of the artists in the exhibition are working through
is how we’ve become numb to photographs because they’re now
everywhere in our daily lives. In the digital era, anyone can make
a photograph anytime, and these images fly through the digital
sphere at remarkable speeds. It’s difficult to grasp the meaning of
any single photograph when we are consistently awash in images.
Jodi Roberts Robert M. and Ruth L. Halperin Curator for Modern and Contemporary Art
The Matter of Photography in the Americas
Miguel Calderón (Mexico, b. 1971), Serie Museo de Historia Natural #3 (Museum of Natural History series #3), 1995. Digital print. Courtesy of the artist and kurimanzutto, Mexico City
Oscar Muñoz (Colombia, b. 1951), Biografías (Mujer adulta) (Biographies [adult woman]), 2002. Nine chromogenic prints made from film stills. Courtesy of the artist and Sicardi Gallery, Houston
Photograph by Stacy H. Geiken
1 2 M U S E U M . S T A N F O R D . E D U
Photographs by Harrison Truong
Cantor Guides
In the fall, our Cantor Guides—Stanford students who train as tour
guides—prepared to give public tours at the Anderson Collection
for the first time. They were “beyond excited” to do a deep dive into
the collection and are eager to share the Anderson family’s gems
with the Stanford community and the general public. Their tours
of the Anderson Collection begin winter quarter.
Block Party on the Edge
More than 2,500 students enjoyed music, magic, and mingling at
Block Party on the Edge in October. Expanded this year to include
the Arts District, the party took over Lomita Drive from Roth
Way to Campus Drive with food trucks, art-making stations, singers,
and dancers. The street was packed as students enjoyed a perfor-
mance from singer Xavier Omär, and the galleries of the Cantor
were filled with students roaming through exhibitions, taking in
all the museum has to offer. The successful Block Party on the
Edge was a production of the Cantor, Stanford Live, the Anderson
Collection, the Institute for Diversity in the Arts, and the Office
of the Vice President for the Arts.
This event is organized by the Cantor Arts Center, the Anderson Collection at Stanford
University, Stanford Live, the Office of the Vice President for the Arts, and the Institute
for Diversity in the Arts. We gratefully acknowledge generous support from the Joan and
John Jay Corley Fund for Performance, the Kenneth D. Brenner Family Fund for Student
Stanford student museum guides discuss Robert Arneson’s Hommage to Philip Guston at the Anderson Collection. From left to right: Lina Wang, Tabitha Walker, Samantha Wassmer, Amelia Leland, Hannah Shor, and Feddi Roth.
Outreach, the Mike and Bobbie Wilsey Fund for Education, the Drs. Ben and A. Jess Shenson
Funds, and the Barbara and M. Kenneth Oshman Fund. Support is also provided by Stanford
Live, the Office of the Vice Provost for Undergraduate Education, the Anderson Collection
at Stanford University, and the Office of the Vice President for the Arts.
1 3
Film SeriesCLASSICS OF SOVIET CINEMA , 1927−1938J A N U A RY 2 5 − F E B R U A RY 1 5 • C A N TO R A U D I TO R I U M
The Cantor Arts Center and the Hoover Institution Library &
Archives at Stanford University present this four-part film series in
conjunction with the exhibition. Before each screening, the speaker
will introduce the film. After the screening, the speaker will invite
and answer questions from the audience. All screenings are free
and open to the public. Tickets and registration are not required.
October (Ten Days that Shook the World)Introduction by Karla Oeler, associate professor, Film and Media Studies, Department of Art & Art History
T H U R S D AY, J A N U A RY 2 5 , 6 P M
The Fall of the Romanov DynastyIntroduction by Srdan Keca, assistant professor, Documentary Film and
Video Program, Department of Art & Art History T H U R S D AY, F E B R U A RY 1 , 6 P M
Man with a Movie CameraIntroduction by Usha Iyer, assistant professor, Film and Media Studies, Department of Art & Art History
T H U R S D AY, F E B R U A RY 8 , 6 P M
Lenin in OctoberIntroduction by Bertrand Patenaude, research fellow, Hoover Institution Library & Archives
T H U R S D AY, F E B R U A RY 1 5 , 6 P M
Film ScreeningRevolution: New Art for a New WorldF R I D AY, J A N U A RY 19, 1 P M • C A N TO R A U D I TO R I U M
Directed by acclaimed filmmaker Margy Kinmonth, this bold and
exciting feature documentary encapsulates a momentous period
in the history of Russia and the Russian avant-garde. The film
brings the artists of the Russian
avant-garde to life by drawing on
the collections of major Russian
institutions; contributions from
contemporary artists, curators,
and performers; and personal
testimony from the descendants
of those involved.
Gallery TalksThese lively talks in the exhibition galleries given by curators,
artists, scholars, and others are free and open to the public.
Advance registration is not required.
TALKING ABOUT A REVOLUTIONR U T H L E V I S O N H A L P E R I N G A L L E RY
Russia’s Crown ReprisedEdward Kasinec, visiting fellow, Hoover Institution Library & Archives
S AT U R D AY, J A N U A RY 1 3 , 1 2 :3 0 P M
Lascelle Meserve and Nicolas de Basily collected and cherished
old Russia and its art. This gallery talk highlights their gifts to the
Hoover Institution Library & Archives, which make up part of
the institution’s impressive holdings on the Russian Revolution
and Imperial Russia.
Love & RevolutionSamira Bozorgi, assistant archivist for
exhibitions, Hoover Institution Library & Archives
W E D N E S D AY, F E B R U A RY 14 ,
N O O N
This Valentine’s Day talk will focus
on some of the couples who appear
in the exhibition, including Catherine the Great and Peter III;
Lascelle Meserve and Nicolas de Basily; and the Soviet avant-garde
artist couple Valentina Kulagina and Gustav Klutsis.
The Brave New World of Soviet Political PostersBertrand Patenaude, research fellow, Hoover Institution Library & Archives
S AT U R D AY, F E B R U A RY 24 , 2 P M
This talk highlights how the new Soviet regime pioneered the
political propaganda poster and examines recurring themes,
symbols, and messages.
Hidden in Plain SightMarissa Schleicher Rhee, project archivist for exhibitions, Hoover
Institution Library & Archives
S AT U R D AY, M A R C H 3 , N O O N
Learn behind-the-scenes stories of some of the objects on view
in the exhibition.
• The Flipside of Vladimirov: Discover the artist’s endeavors to portray himself as the faithful patriot while also depicting the realities that came with the revolution and Soviet rule.
• The Red Army ABCs: View pages from this colorful book and explore the symbolism in the images and the lessons they were intended to teach.
• Russian Girl Power on Display: Discuss the limited role of women in the exhibition, their role in the revolution, and the irony that more powerful women are displayed from imperial times.
The Crown under the Hammer: Russia, Romanovs, Revolution
ABOVE RIGHT Dmitrii Stakhievich Moor (Russia, 1883–1946), Deserter—I Extend My Hand to you. You are as Much A destroyer of the Workers-Peasant State as I, a Capitalist! . . . Now only you are my Hope (Ruku, dezertir. Ty takoi zhe razrushitel’ raboche-krest’ianskogo gosudarstva, kak i ia, kapitalist! . . . Tol’ko na tebia teper’ moia nadezhda), 1920. Lithograph. Poster Collection RU/SU 1314, Hoover Institution Archives
1 4 M U S E U M . S T A N F O R D . E D U
IntersectionsRecent Works to Date, Pope.LT H U R S D AY, J A N U A RY 1 8 , 5 :3 0 P M • O S H M A N H A L L ,
MC M U R T RY B U I L D I N G
The visual artist and educator Pope.L creates works in various
formats, including writing, painting, performance, installation,
video, and sculpture. Building upon his long history of enacting
provocative performances in public spaces, Pope.L applies some
of the same performative strategies to his interests in language,
gender, race, and community.
Intersections is a speaker series presented by the Cantor, the
Anderson Collection, and the Department of Art & Art History.
Free and open to the public. Tickets and registration are
not required.
Talk Yve-Alain Bois on Ellsworth KellyT H U R S D AY, M A R C H 1 , 6 P M • C A N TO R
A U D I TO R I U M
Introduction by Nancy Troy, Victoria and Roger Sant Professor in Art, Department of Art & Art History
Yve-Alain Bois, professor of art history at the Institute for Advanced
Study in Princeton, New Jersey, and a specialist in 20th-century
European and American art, is recognized as an expert on Ellsworth
Kelly. He is currently working on the second of five volumes in a
catalogue raisonné of Kelly’s paintings and sculptures.
Art Practice TalksJoin artists as they talk about their work and studio practices.
Jonathan Calm African-American Automobility: The Dangerous Freedom of the Open RoadT H U R S D AY, M A R C H 8 , 6 P M • C A N TO R
A U D I TO R I U M
Jonathan Calm, assistant professor of photogra-
phy, Department of Art & Art History, is a visual
artist whose interests include urban architecture
and housing. Currently, he is developing new work around the
representation of African-American automobility, featuring
performance, reenactment, and portraiture to evoke the tension
between moving and still images and bodies.
Terry Berlier Cruising Desire LinesT H U R S D AY, A P R I L 5 , 6 P M • C A N TO R A U D I TO R I U M
Terry Berlier, associate professor, Art & Art
History, is an interdisciplinary artist who investi-
gates the evolution of human interaction with
the natural world, queerness, and ecologies. This
results in sculptures that are kinetic and sound
based, and multimedia installations.
Panel DiscussionThe Matter of Photography in the AmericasT H U R S D AY, A P R I L 1 2 , 6 P M • C A N T O R A U D I T O R I U M
Moderator
Natalia Brizuela, associate professor, departments of Spanish and
Portuguese and Film and Media, University of California, Berkeley
Panelists Peggy Phalen, Ann O’Day Maples Chair in the Arts and professor of Theater & Performance Studies and English, Stanford University
Lotty Rosenfeld, Santiago, Chile–based interdisciplinary artist
Monica Mayer, Mexican artist, activist, and art critic
Gallery TalksRODIN: SHOCK OF THE MODERN BODYMelissa A. Yuen, curatorial fellow for American and European art to 1900
S U S A N A N D J O H N D I E K M A N G A L L E RY
The Monuments: The Burghers of Calais and Monument to Balzac T H U R S D AY, J A N U A RY 1 8 , N O O N
The Monuments: The Gates of HellW E D N E S D AY, F E B R U A RY 14 , 2 P M
IN DIALOGUE: AFRICAN ARTSAmanda M. Maples, curatorial fellow for African and
Indigenous American art
THOMAS K. SELIGMAN GALLERY
Fantasy Coffin in the Shape of a Jack Daniel’s Whiskey Bottle by artist Theophilus Nii Anum SowahW E D N E S D AY, J A N U A RY 31 , 1 P M
For Families and Visitors of All AgesLook at the art on view in new ways. Curiosity encouraged!
Art Packs are available in the Susan and John Diekman Gallery
at the Cantor and at the Anderson Collection’s welcome desk.
S E C O N D S U N DAY JANUARY 14, FEBRUARY 11, MARCH 11, APRIL 8
Join us for free, family-focused days of art talks, hands-on
art-making, and gallery adventures. Visitors can tailor their
experiences to their schedules and interests. Registration is not
required. Please ask for a Sunday Schedule at the front desks of
both museums for locations of activities and programs.
Other Exhibition-Related Programs
General Programs
For the most up-to-date information on programs and registration, please visit museum.stanford.edu.
Second Sunday at the
Cantor Arts Center is made
possible by the generosity
of the Hohbach Family Fund.
1 5W I N T E R 2 0 1 8 | C A N T O R A R T S C E N T E R
Rodin by Moonlight
On the beautiful, warm, fall evening of September 23, the Rodin
Sculpture Garden became a sparkling setting for the Cantor’s
signature gala. This year we were honored to have Deedee and
Burt McMurtry as our Honorary Chairs and Over the Moon
Benefactors. As volunteers, donors, and founding members of
the Director’s Advisory Board here at the Cantor, the McMurtrys
have been instrumental in transforming the arts at Stanford.
Funds raised through Rodin by Moonlight are essential to the
Cantor’s ability to provide the campus and broader community
with vibrant exhibitions and educational programs.
1. Harry J. Elam Jr., Matthew Tiews, Deedee McMurtry, Susan Dackerman, Burt McMurtry
2. Rob and Katie Wallace3. Susan and John Diekman with Deedee McMurtry 4. Rich and Catherine Marken Boyle5. Loren and Mike Gordon6. Fairfax Dorn, Marc Glimcher, Christy MacLear
Photographs by Drew Altizer
1
2
4 5
3
6
1 6 M U S E U M . S T A N F O R D . E D U
7. Gisel and Omid Kordestani with Ayesha Thapar 8. Katie and Colin Anderson 9. Debbie and Michael Shepherd 10. Sara Abbasi and Komal Shah 11. Missy and Steve Reller with Bill Reller and Kris Klint 12. Nikki and John Andrews 13. Sarah and Peter Blaustein 14. Rodin by Moonlight Committee 15. Deedee and Burt McMurtry (Honorary Chairs) 16. Helmy and Carson Eltoukhy 17. Chefs Staffan Terje and Daniel Capra 18. Charlotte Shultz and Cynthia Fry Gunn 19. Pamela and David Hornik 20. Paula and Bandel Carano
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9 10
11 12 13
14
15 16 17
18 19 20
1 7
U p t o $ 9 9 9Eduardo Ajuria
Scott Atthowe
Laura Bailey
Benevity Social Ventures Inc.
Justin Donnelly
Sally and Noel Fenton
Daniel Hill
John Hunter Jr.
Eleonore and Stephen Johnson
Wing Ko
Thu and Troy Koelling
Siobhan and Joshua Korman
Susan Martin
MasterCard Worldwide
McKinney Family Charitable Fund
Dennis Minev
Charles Munger Jr.
New York Life Foundation
Margaret Pringle
Cynthia Querio
Fran Schulman
Mary Ann St. Peter
Derrick Staten
John Steinfirst
Harriet Stern
Kathleen Stueck
Susan Swezey
Leigh Tanner
Jan Thomas and Roy Levin
Louise Waters
Benjamin Yen
Jason Zhang
$ 1 0 , 0 0 0 t o $ 2 4 , 9 9 9Sara and Sohaib Abbasi
Cantor Art Trips Committee
Katharine and William Duhamel
Joseph and Meri Ehrlich Estate
Jill and John Freidenrich
Betsy and Mark Gates Jr.
Loren and Michael Gordon
Michaela and Jay Hoag
Elizabeth and Zachary Hulsey
Michele and Steven Kirsch
Pamela and Charles Koob
Caroline Crawford Labe
Jane and Michael Marmor
Sheila Nilsson
Ruth and Mark Pearson
Mark Peek
Carrie and Gregory Penner
William Reller
Mindy and Jesse Rogers
Sotheby’s
Sarasina and Mike Tuchen
Katie and Rob Wallace
Kathryn and Thomas Wiggans II
$ 1 , 0 0 0 , 0 0 0 +Martha J. Campbell Estate
$ 1 0 0 , 0 0 0 t o $ 9 9 9, 9 9 9Anonymous
Bank of America Corporation
C. Diane Christensen
Ducommun & Gross Family
Foundation
Lynn and Robert Ducommun
Electra de Peyster
Cynthia and John Gunn
Barbara Oshman
Treasure Market
$ 5 0 , 0 0 0 t o $ 9 9, 9 9 9Marilyn Hohbach
Deedee and Burton McMurtry
$ 2 5 , 0 0 0 t o $ 4 9, 9 9 9Mary Anne Nyburg Baker and
G. Leonard Baker Jr.
Bank of the West
Paula and Bandel Carano
Eric Chen
Roberta and Steven Denning
Susan and John Diekman
Google Inc.
Kohlberg Kravis & Roberts
Company
David & Lucile Packard Foundation
Sally Randel and Paul Fearer
Richard Attias & Associates LLC
$ 5 , 0 0 0 t o $ 9, 9 9 9Nikki and Jon Andrews
Thomas Byers
Martha and Paul Chamberlain
Carson and Helmy Eltoukhy
Drs. Lynn Gretkowski and
Mary T. Jacobson
Jacque and John Jarve
Ann and Duane Kalar
Gisel and Omid Kordestani
Anne and Kenneth Lawler
Lawrence Leisure
Dean Morton
PACE Gallery Palo Alto
Shannon and Dennis Wong
Walter Wood
$ 1 , 0 0 0 t o $ 4 , 9 9 9Donna Blank Estate
Sarah and Peter Blaustein
Louise and John Bryson
Karen Christensen
Frederick De Grosz
Cynthia and Bill Floyd
Sheridan and David Foster
Karen Francis and Rick DeGolia
Diane and Wesley Gardiner
Patricia Hoehl and Richard Fagin
Emily Hsi
Leslie and George Hume
Barbara and Carl Jacobson
William Jason
Joan Lane
Shana and David Middler
Deborah and Michael Shepherd
Judith and Walter Sleeth
Ellen Uhrbrock
Sharon and Robert Yoerg
T H E C A N T O R A R T S C E N T E R continues to benefit greatly from the support of our donors. These gifts have impacted
every area of our work, establishing new programs for students, enriching the collections, strengthening the exhibition
programs, and underwriting the educational program for visitors of all ages. Donors also strongly supported Rodin by
Moonlight and the final Treasure Market. The Cantor received extraordinarily generous estate gifts from loyal friends as
well. Our deepest gratitude goes to all donors for their encouragement, loyalty, and support.
D O N O R S O F M O N E TA R Y G I F T S September 1, 2016–August 31, 2017
Almost 300 volunteers provided
23,806 hours of service, the
equivalent of 12 additional full-time
staff members, in fiscal year 2017.
Artist Unknown (Greece), Siana cup, 6th century BCE. Black-figure terra-cotta. Gift of Harold C. Hohbach, 2016.25
1 8 M U S E U M . S T A N F O R D . E D U
In Honor of Marilyn AbramsEdward Abrams
In Honor of Denny BryanMarilyn Abrams
In Honor of Jane ChaiCupertino High School
In Honor of Mary Miller ChaiElizabeth Rochin
In Honor of Suzanne CottleRichard Cottle
In Honor of Suzanne CrockerJane Stocklin
In Honor of Susan and John DiekmanCarol and James Pearce
In Honor of John FreidenrichCatherine and James Koshland
In Honor of Carol FriedmanJudith and Harry Cohn
In Memory of Darle and Patrick J. J. MaveetyNancy and Clayton Bavor
In Honor of Deedee and Burton McMurtryJoan Hong and Roger Day
Angela Nomellini and
Kenneth Olivier
Judith and Peter Wolken
In Honor of Jayne and Anthony RalstonAndrea and Geoffrey Ralston
In Honor of Norma SchlossmanDavid Schlossman
In Honor of Lori and Thomas StroudLisa Blum
M E M O R I A L A N D H O N O R A R Y G I F T S September 1, 2016−August 31, 2017
Peter Bing
Norah and Graeme Bretall
Cornelius Callahan
Robert Enteen
Merel and Daniel Glaubiger
Christine Guth
Robert Halperin Estate
Paul Harrison
Harold C. Hohbach
Evelyn and David Lasry
Jamie Lunder
G I F T S O F A R T September 1, 2016–August 31, 2017
Susan and Peter MacGill
Marmor Foundation
Jeanne McKee-Rothe and
Andrea Rothe
Deborah Port and
Michael Heymann
Helen and Charles Schwab
William P. Scott III
Bonnie and Lee Stone
Ertan Yenicay
Dorothy and George◊ Saxe
Donna and John Shoemaker
Alan Sieroty
Elizabeth Silver and Robert Cullen
Gaither Hatcher Smith◊ and
W. Byron Smith
Peter Stansky
Marilyn Symmes
Eugenie and Hugh◊ Taylor
Anna Teeples
Ellen Uhrbrock
B E Q U E S T D I S T R I B U T I O N S
* denotes recent distributions
Anonymous*
Elizabeth Adams
Glen Alps
Pauline and Arthur Bakalar
Ruth Bernhard
Archibald Bianchi
Donna Blank*
Robert Bothwell
Theodore Bravos
John Brown
Pauline Brown
Alice Meyer Buck
Frank Buck
Hans J. & Thordis W. Burkhardt
Foundation
Douglas Campbell
Martha and William Campbell*
Jennie Stanford Catherwood
Betty and George Cilker
Marion Sarah Cilker
Kathryn Cutler
Pedro Delemos
Dagmar Dern
Joanna Despres
Carol Doyle
Meri and Joseph Ehrlich*
Samuel Ellenberg
Albert Elsen
Anne Fisher
Oliver Frieseke Jr.
Russell Geiger
M. Richard Giffra
Barbara Goldenberg
Frank Golder
Barbara Gray
Jean Haber Green
Reba Grosse
Musa Guston
Robert Halperin Estate
Ruth and Robert Halperin
Anna Lathrop Hewes
Mildred Hollingsworth
Timothy Hopkins
Jane and Howard Hubbard
Kennell Jackson Jr.
B E Q U E S T I N T E N T I O N S
* denotes new bequests ◊ denotes deceased
Anonymous (2)
Mildred and Paul Berg
Elaine and Eric Berson
Horace Brock
Gayle Brugler
Betye Burton
Bliss Carnochan
Virginia and William Carpenter◊
Susan and Robert Christiansen
Betty and Albert Cohen
Sharon Collins and John Steinfirst
Margaret Crary
Anne Dauer
Shirley Ross Davis
Susan and John Diekman
Beverly and Stephen Docter
William Eddelman
Alexander Fetter
Betsy and Mark Gates Jr.
Lynn and James Gibbons
Gerry Gilchrist
Nancy Harris
Priscilla and George◊ Hexter
Todd Hochstatter
Robert Hockwald
Marilyn Hohbach
Virginia and Benjamin Holt◊
Janet Kreager Huston
Phoebe Korn
Jean Lane
Barbara and John Larson
William Leben
Daryl and John Lillie
Kirk Edward Long
Carol and Hal Louchheim
P. L. Loughlin
Darle and Patrick J. J. Maveety◊
Deedee and Burton McMurtry
Lynn McRae*
J. Sanford Miller
Lynn and Lewis Mingori
Carolyn and David Mitchell
Myrna Mitchner
Ellen Narver
Alicia and Merrill Newman
Takeshi Omura◊
Barbara and Warren Poole
Deborah Port and
Michael Heymann
Martha Puff
Michael Puff
Karen Purtich
Sally Randel and Paul Fearer
Marcia and Frederick Rehmus
Julian Robertson
Nancy Weeks Rossen
M U S E U M L E G A C Y C I R C L E
The following donors have included the Cantor Arts Center in their estate plans for gifts of art or funds.
Ellsworth Kelly (U.S.A., 1923–2015), Untitled (Rocker), 1997. Weathering Cor-Ten steel. Gift of Helen and Charles Schwab, 2016.26
1 9W I N T E R 2 0 1 8 | C A N T O R A R T S C E N T E R
Patricia Geary Johnson
Vincent Klevesahl
Ambassador Bill Lane
Martha Faul Lane
Connie Lembark
Mortimer Leventritt
Marjorie Lewisohn
Leon Liebes
Ruth Lillenthal
Frederica and Henry Lindgren
H. F. Lynn
Frank Marcus
Stewart Marshall
Anna Mautz
Joseph McCrindle
Roberta McKee
Mabel Means
Jane Miller
Josephine Morris
Carroll Cambron Morrison and the
Francis Alward Eames Fund
Richard Narver
Elizabeth and Leonard Offield
Linda Olson
Alice Rawlins Pemberton
Marion Pierstorff
Viola Quillen
Eri Richardson
Harry Robinson
Robert Scal
Irma Scheier
D I S T I N G U I S H E D D O N O R S
Anonymous (4)
Martha and William Campbell
Christensen Fund
C. Diane Christensen
Karen Christensen
Lois Clumeck
Susan and John Diekman
Jill and John Freidenrich
Robert and Ruth Halperin
Foundation
Ruth and Robert Halperin
Marilyn Hohbach
Deedee and Burton McMurtry
Robert Mondavi Family
Melitta and Rex Vaughan
Phyllis Wattis
Bobbie and Mike Wilsey
J A N E S T A N F O R D C I R C L E
Anonymous (3)
Anonymous, in memory of
Ruth Franklin
Baker Street Foundation
Kenneth Brenner Family
Alice Meyer Buck
Joan and John Jay Corley
Charles Ducommun, in memory of
Palmer Gross Ducommun
Charles and Palmer Gross
Ducommun, in memory of
Mary and Robert Gross
Meri and Joseph Ehrlich
Connie and Albert Eisenstat
Frederick Frane
Frances and Theodore Geballe
Lynn and James Gibbons
Barbara Gray
Liong Seen Kwee
Ambassador Bill and Jean Lane
Ellen and Stewart Marshall
Darle and Patrick J. J. Maveety
Constance Corcoran Miller
Vinie and J. Sanford Miller
Leonard and Elizabeth Offield Trust
Barbara and M. Kenneth Oshman
Sally Randel and Paul Fearer
Elizabeth Raymond
Marcia and Frederick Rehmus
William Reller Family
Pauline and Robert Sears
Donors of Gifts in honor of
Thomas Seligman
A. Jess Shenson
Ben Shenson
Barbara and Arnold Silverman
Khoan and Michael Sullivan
Mary and Charles Tanenbaum
Eugenie and Hugh Taylor
Mary Lois and Jack Wheatley
Florence Williams
G O L D S P I K E C I R C L E
Jean Haber Green
Robert K. F. Scal
G I F T S F O R E N D O W M E N T
Endowment gifts are enduring commitments, ensuring the Cantor’s excellence into the future. The following recognizes endowment gifts of $50,000 and above, made throughout the institution’s history.
Elliot Schieffelin
Victoria Schuck
Laurel Schumann
Pauline and Robert Sears
A. Jess Shenson
Ben Shenson
Edgar Sinton
Margaret Sowers
Judithe Douglas Speidel
Carl Sprinchorn
James King Steele
Jean Steiner
Ettie Stettheimer
John Plummer Steward
Charles Tanenbaum
Mary Tanenbaum
Frances and Harold Torbert
Mary Curry Tresidder
Vida French Ure
Beth Van Hoesen
Melitta and Rex Vaughan
John Watrous
Ida Wehner
Virgil Whitaker
Norman Whyte
Dore Williams
Florence Williams
Graham Williams
Carolyn Kizer Woodbridge and
John Woodbridge
From September 1, 2016, to August 31, 2017,
207 new gifts of art joined the collections,
and the Cantor Arts Center purchased
an additional nine works from gift funds.
Over the last year, the
Cantor Arts Center welcomed
250,000 visitors.James Peale Sr. (U.S.A., 1749–1831), Portrait of a Maria Claypoole Peale, 18th century. Oil on canvas laid down on panel. Gift of Christine Guth, in memory of Jay Fliegelman, 2017.24
2 0 M U S E U M . S T A N F O R D . E D U
Katherine Adams
Lois and David Anderson
Margaret Anderson
Elaine Baskin and
Kenneth Krechmer
Kay and William Bates
Nancy Bavor
Jo-Anne Beardsley
Susan Benton
Sarah Blaustein
Judith Blommer
Barbara Bogomilsky
Ann Bowers
Polly and Thomas Bredt
Carolyn Brennan
Chris and Jeffrey Carlton
Casey and Jack Carsten
Joyce Castellino
Lynda and Charlie Clark Jr.
Susan Coan
Diane Copeland
Suzanne Crocker
Ann and David Crockett
Susan Dennis
Susan and John Diekman
Jennifer DiNapoli
Barbara Edwards
Norma Egan
Gilbert Ellenberger
Mary Elmore
Valerie Evans
Jeanne and Frank Fischer
Doris Fisher
Ellen Flamen
Cynthia and Bill Floyd
Jill and John Freidenrich
Judy and Kent Frewing
Lynn and James Gibbons
Betsy Gifford
D I R E C T O R S G O L D C I R C L E
Sara and Sohaib Abbasi
Mary Anne Nyburg Baker and
G. Leonard Baker Jr.
Helen and Peter Bing
Roberta and Steven Denning
Susan and John Diekman
Mona and John Duggan
Loren and Michael Gordon
Leslie and George Hume
Deedee and Burton McMurtry
William Reller
Mindy and Jesse Rogers
Marilynn and Carl Thoma
Akiko Yamazaki and Jerry Yang
D I R E C T O R S C I R C L E
Rita Barela and Thomas Seligman
Paula and Bandel Carano
Regina and Gerhard Casper
C. Diane Christensen
Elizabeth and Bruce Dunlevie
Doris Fisher
Andrea and John Hennessy
Marilyn and Harold Hohbach
Pamela and David Hornik
Elizabeth and Zachary Hulsey
Suzanne and Kurt Jaggers
Catherine and Franklin Johnson
Wai and Liong Seen Kwee
Jean Lane
Daryl and John Lillie
Jane and Michael Marmor
Vinie and J. Sanford Miller
Lisa and David Mooring
Barbara Oshman
Marcia and Fred Rehmus
Anne and Craig Taylor
Debra and Steven Wisch
N E W F O U N D E R S C I R C L E
Nicole and Jon Andrews
Susan Benton
Carolyn and C. Preston Butcher
Martha and Paul Chamberlain
Suzanne and Bruce Crocker
Ann and David Crockett
Susan Ford Dorsey
Christine and Reece Duca
Mary Elmore
Jean Frailong and Richard Halton
Ann Griffiths
Loren Gordon
Ann Griffiths
Pamela Hornik
Annette and David Jorgensen
Betty and Robert Joss
Jeanne Kennedy
Iris and Harold Korol
Kathryn Ladra
Gloria Levy
Daryl and John Lillie
Beverly and Peter Lipman
Gayla Lothridge
Carol and Hal Louchheim
Leanne MacDougall
Katherine Maxfield
James McLaughlin
Ellen McLennan
Cathryn McMurtry
Deedee and Burton McMurtry
Linda Meier
Martha and Roger Mertz
Penelope Midlock
Shauna Mika and Rick Callison
Lisa Mooring
Megan O’Reilly-Lewis
Barbara Oshman
Gretchen and Robert Ostenberg
Jane Otto
Maro Parmacek
Barbara Randall Preuss
Judy and Walter Robinson
Ruth F. Seiler
Barbara Silverman
Bonnie Silverman
Julie Vietch and Peter Nosler
Judith Wolken
Walter Wood
Ann and Duane Kalar
Jeanne and William Landreth
Joan Lane
Emily Leisy
Beverly and Peter Lipman
Gayla Lothridge and Walter Wood
Cathryn McMurtry and
James Mclaughlin
Christina and Hamid Moghadam
Wendy Munger and
Leonard Gumport
Paula and William Powar
Nicole and Amir Rubin
Victoria and Roger Sant
Deborah and Michael Shepherd
Suzanne and Laurence Spitters
Madeline and Isaac Stein
Kathryn and Thomas Wiggans II
Judith and Peter Wolken
C O N N O I S S E U R S C I R C L E
Nancy and Clayton Bavor
Recia and Mark Blumenkranz
Louise and John Bryson
Katherine and T. Robert Burke
Chris and Jeffrey Carlton
Jennifer and Bard Chrisman
Diane and Stephen Ciesinski
Frances Codispoti
Anne and Jerry Down
Barbara Edwards
Francoise Fleishhacker
Phyllis Friedman
Betsy Fryberger
Diane and Harry Greenberg
Jeanne Gressens
Stephanie and Fred Harman
Lucille and Walter Harrison
Amy and Glen Kacher
Catherine and Eric Lamb
P. L. Loughlin
Agatha and Stephen Luczo
Phyllis Moldaw
Laura Nagle
Ellanor Notides
Carrie and Gregory Penner
Juliana Petricciani
Ruth F. Seiler
Edward Storm
Charles Swezey
Allison Whiting
C O N T E M P O R A R Y C O L L E C T O R S C I R C L E September 1, 2016−August 31, 2017
C A N T O R A R T S C E N T E R /A N D E R S O N C O L L E C T I O N AT S TA N F O R D U N I V E R S I T Y M E M B E R S H I P S U P P O R T
We are grateful for every member’s support, which continues to significantly impact what we are able to accomplish and helps keep both museums free to all. Here we recognize members in the categories of Benefactor through Directors Gold Circle.
Artist Unknown (Flanders), Scenes from the Life of Christ (diptych), early 15th century. Ivory. Gift of Peter S. Bing, 2017.8
2 1W I N T E R 2 0 1 8 | C A N T O R A R T S C E N T E R
A R T I S T S C I R C L E
Margaret and Gibson Anderson Jr.
Marianne Arnstein
Marion Avery
Ariel Balter and Roger Roberts
Alison and James Barta
Elaine Baskin and
Kenneth Krechmer
Ann Baskins and Thomas DeFilipps
Margaret Baxter-Pearson and
Eric Pearson
Kirsten and Peter Bedford
Mildred and Paul Berg
Sandy Berrey
Joanne Blokker
Polly and Thomas Bredt
Marilyn and Allan Brown
Letetia and James Callinan
Casey and Jack Carsten
Joyce Castellino
Anne Champlin
Wayee Chu and Ethan Beard
Lynda and Charlie Clark Jr.
Margaret and Yogen Dalal
Cristina and Jonathan Davidson
Kathleen Davis
Sallie De Golia-Jorgenson and
John Jorgenson
Susan and Harry Dennis
Jill and Augustus DuPont
Linda and Michael Edwards
Lorre Erlick
Joan and Clarence Ferrari
Wendy and Brett Fisher
Cathleen and Michael Foster
Carol and Joel Friedman
Betsy and Mark Gates Jr.
Judith and Michael Gaulke
Alison Geballe
Frances and Theodore Geballe
Lynn and James Gibbons
Karen and Edward Gilhuly
Marcia and John Goldman
Maren Grainger-Monsen and
Jeffry Grainger
Sarah Herrick
Brenda and James Herrington
Karen Hohner and Randall Keith
Patricia and Robert Huggins
Lori and Deke Hunter
Su Hwang and Matthew Glickman
Annette and David Jorgensen
Betty and Robert Joss
Roberta and Charles Katz
Joyce and Kenneth Kaufman
Lauren and Brad Koenig
Diane Koin and William Vermeere
Donna Krupp
Amy Ladd
Myrna and Thomas Lantzsch
Jane and Drew Lanza
Anne and Kenneth Lawler
Bren and Lawrence Leisure
Debra and Mark Leslie
Susan and Richard Levy
Cynthia and Richard Livermore
Carol and Hal Louchheim
Elizabeth and Joseph Mandato
Mary Marsh
Katherine and Robert Maxfield
Susan and J. Patterson McBaine
Christie and James McCoy
Celeste and Anthony Meier Jr.
Linda and Anthony Meier
Victoria and James Merchant
Martha and Roger Mertz
Shana and David Middler
Shauna Mika and Rick Callison
Constance Miller
Nancy and Lawrence Mohr Jr.
Dean Morton
Sue and Robert O’Donnell
Gretchen and Robert Ostenberg
Tricia and Jeff Raikes
Patricia and Rowland Reeble
Debbie and Stuart Rosenberg
Condoleeza Rice
Debbie and Stuart Rosenberg
Lee Ann and Martin Shell
Barbara and Arnold Silverman
Eila Skinner and Tom Sadler
Trine Sorensen and
Michael Jacobson
Srinija Srinivasan
Harise Stein and Peter Staple
Christine Suppes
Laura Sweeney
Eugenie B. Taylor
Terri Tienken
Cindy and Jeff Traum
Julie Veitch and Peter Nosler
Irene Wapnir and Ralph Grecco
David Wollenberg
Madelene Wong and
John Schwabacher
B E N E F A C T O R
Paul Althouse
Lois and David Anderson
Kaaren and John Antoun
Kay and William Bates
Susan Berman
Jennifer Biederbeck
Sarah and Peter Blaustein
Suzanne and Peter Boutin
Bonnie Brae
Lynn Bunim and Alexander Fetter
Mary and Luca Cafiero
Lucia and Jim Calve
Betsy Clifford
Susan and Ralph Coan Jr.
Carroll and Peter Davis
Janet and Guy DiJulio
Peggy and Stephen Dow
Gary and Jeffrey Dunker
Sherrie Epstein
Nancy and John Etchemendy
Jeanne and Frank Fischer
Ellen Flamen
Cynthia and Bill Floyd
Nancy and Mark Franich
Judy and Kent Frewing
Betsy and Mark Friebel
Betsy and Robert Gamburd
Marilee Gardner
Nancy and Charles Geschke
Mary and Clinton Gilliland
Lucille Glassman and Philip Harter
E. Ronnie Goldfield
Marsha Guggenheim
Carol and Dexter Hake
Tricia and Jack Herrick
Heather and Bill Hilliard
Joan Hong and Roger Day
Jonna Hunter and Joshua Becker
Beth and Luther Izmirian
Alice and Steven Kaplan
Wendy and Howard Kleckner
Barbara Klein and Stanley Schrier
K. Knox
Iris and Harold Korol
Gloria and Kenneth Levy
Elise and George Liddle
Hazel Louie
Mandy MacCalla
Shirley Matteson
Bruce McCaul
Suzanne and James McElwee
Sonia McLellan
Ellen and William McLennan
Christine and Michael Meyer
Penelope Midlock
Megan O’Reilly-Lewis
Blair and Kevin Paige
Ann and John Perez
Barbara and Warren Poole
Barbara and Charles Preuss
Sarah and Douglas Rivers
Judy and Walter Robinson
Amy Rosenberg and John Slafsky
Elizabeth Ross
Barbara and Gregory Rosston
Amy and William Salisbury
Lisa and Steven Schatz
Norma and Charles Schlossman
Pamela and Lawrence Schwab
Eta and Sass Somekh
David Soward
Diane and Hal Steuber
Jan and Robert Strohecker
Nancy Thomas
Sarasina and Mike Tuchen
Katherine Valentine
Walter Iooss Jr. (U.S.A., b. 1943), Michael Jordan–Chicago, Ill. 1998, captured 1998, printed 2014. Archival pigment print. Gift of Ertan Yenicay, 2016.55
The Cantor Arts Center
exhibited more than 20
special exhibitions.
2 2 M U S E U M . S T A N F O R D . E D U
W E LCO M E TO O U R N E W M E M B E R S ( J U LY– S E P T E M B E R 2 0 1 7 )
C O N N O I S S E U R S C I R C L E
Katherine and T. Robert Burke
A R T I S T S C I R C L E
Megan and Jonathan Davidson
B E N E FA C T O R
Jane and Owen Frost
Susan Jenks
S P O N S O R
Mary Borak
Bijal Vakil
FA M I LY/ D U A L
Alicia and David Abell
Christa and Marc Berg
Cecile and Victor Compere-Morel
Ann and Charles Ehrlich
Gabriela and Peter Herbert
Angela and Stephen Leung
Natalie and Peter Panfili
Desiree Rodgers
Joong-Seop Sok
Zayra Yves-Galpine and
Eric Galpine
F R I E N D
Benjamin Blay
Noreen Chen
Ivana Colendich
Rana Davis
Nancy Hay
Carol Leadenham
Susan Martin
Anne Ritchie
Sonya Ruehl
Marcia Ruotolo
Art Trips Art Trips are unique tours to museums, private collections, and
special art locations in the Bay Area and beyond. Excursions are
offered as a benefit to members. See your Art Trips flyer and the
Cantor website for further details. Fee and preregistration
required; for availability, call 650-723-3482.
Rediscovering Klimt and Rodin: Colors, Forms, and TexturesW E D N E S D AY, J A N U A RY 17
Exploring Local Art TreasuresT U E S D AY, F E B R U A RY 2 7
New Orleans Joie de Vivre Art, Cuisine, and All that JazzS U N D AY, M A R C H 1 8 −S AT U R D AY, M A R C H 24
Palo Alto Studio VisitsS AT U R D AY, A P R I L 21
Art Focus Lectures Art Focus Lectures offer opportunities for members to expand
their knowledge of art through lectures with faculty, curators,
art experts, and artists.
All lectures take place from 4:15 to 6:15 PM in the Cantor Arts Center Auditorium. Art Focus Lectures are offered at member and nonmember prices and require preregistration. Please see the Art Focus Lectures bro-chure or the Cantor website for full descriptions, speaker information, registration, and fees.
This year’s topics include:
• House of the Muse: Stanford Collections
• Intimacy and the Art of Visual Storytelling
• The Art of Oriental Rugs and Their Representation in Western Art
• The Art of Dante’s Divine Comedy
• From Judy Chicago to Cindy Sherman and Beyond: Transformation in Art and Feminism from the ’70s to Now
• The Advantages of Obscurity: San Francisco Women Abstract Expressionists
• Joan Mitchell: Painting as Cathedral
• Enraptured by the Light: Turner, Monet, and Sargent in Venice
• The Art of Making Space Public
Members ReceptionThe Matter of Photography in the AmericasT U E S D AY, F E B R U A RY 6
Artists Circle and above members.
See pages 4 and 5 for exhibition details.
Every gift of membership directly supports free
admission, major exhibitions, collection preservation,
public lectures, and educational programs that
benefit Stanford students and local schools.
T H A N K Y O U !
Not a member? Join the fun! twomuseums.stanford.edu
Upcoming Programs for Members
2 3W I N T E R 2 0 1 8 | C A N T O R A R T S C E N T E R
S TA N F O R D U N I V E R S I T Y
C A N T O R A R T S C E N T E R
3 2 8 LO M I TA D R I V E
S TA N F O R D, C A 9 4 3 0 5 - 5 0 6 0
N O N P R O F I T
O R G A N I Z A T I O N
U . S . P O S T A G E
P A I D
P A L O A L T O C A
P E R M I T N O . 2 8
OPEN WED–MON, 11 AM–5 PM
THURS, 11 AM–8 PM
CLOSED TUESDAYS
A LWAY S F R E E
C O M E I N T O D AYL O C A T I O N & P A R K I N 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 weekends.
The Cantor is fully accessible to people with disabilities.
I N F O R M A T I O N
650-723-4177 museum.stanford.edu
F R E E D O C E N T - L E D A R T T O U R S
650-723-3469
C O O L C A F É
WED–SUN, 11 AM–5 PMTHURS, 11 AM–8 PM
S I G N U P F O R E - N E W S
Get free email notices about programs and exhibitions at the Cantor. Click “E-NEWS” at the bottom of museum.stanford.edu.
H O L I D A Y H O U R S
Thanksgiving Eve (WED): 11 AM–3 PM Thanksgiving Day: Closed
Christmas Eve (SUN): 11 AM–3 PM Christmas Day: Closed
New Year’s Eve (SUN): 11 AM–3 PM New Year’s Day: 11 AM–5 PM
Visit us online! museum.stanford.edu
Wishing you a 2018 filled with
art, inspiration, and light.
IMAGE Marion Post Wolcott (U.S.A., 1910–1990), Center of Town on a Snowy Night. Woodstock, Vermont, 1940. Selenium-tinted gelatin silver print. Gift of Michael and Sheila Wolcott, 2000.135