winter 2018look at a current exhibition. this issue features an interview with the matter of...

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.


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


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.


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


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.


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.


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


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


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.


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


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

7 8

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


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


Beverly and Stephen Docter

William Eddelman

Alexander Fetter


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◊


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


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


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


Karen Christensen

Lois Clumeck



Robert and Ruth Halperin

Foundation

Ruth and Robert Halperin

Marilyn Hohbach


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


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


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


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


Jennifer DiNapoli

Barbara Edwards

Norma Egan

Gilbert Ellenberger

Mary Elmore

Valerie Evans

Jeanne and Frank Fischer

Doris Fisher

Ellen Flamen



Judy and Kent Frewing


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


Mona and John Duggan

Loren and Michael Gordon

Leslie and George Hume


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


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


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


Beverly and Peter Lipman

Gayla Lothridge


Leanne MacDougall

Katherine Maxfield

James McLaughlin

Ellen McLennan

Cathryn 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


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


Judith and Michael Gaulke

Alison Geballe

Frances and Theodore Geballe


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


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


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.


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


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

winter 2018look at a current exhibition. this issue features an interview with the matter of...

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