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• Future Exhibitions
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Exhibition Schedule

NOW ON VIEW
Border Crossings: From Imperial to Popular Life
Through August 4, 2013
Madeleine H. Russell Gallery
How are the boundaries between social classes and identities challenged and transcended? This exhibition explores that question by considering art production in China and Japan during the last three hundred years. After recent research and reevaluation, two sets of 18th century Chinese paintings from the collection have been rescued from obscurity and are now on view here for the first time. These works demonstrate how artisans outside palace walls reproduced the subjects and styles of imperial paintings in order to satisfy the demands of a rising social class. In addition, the exhibition features Japanese woodblock prints of civil life, urban scenes and coveted fashions of the “floating world”—images that existed despite the ruling shogunate’s regimentation. Forty-fhree works on display. IMAGE: Artist unknown (China, Qing Dynasty 1644-1912) Ten Beauties (detail), late 18th century. Ink and color on silk. Stanford Museum Collections, 2012.581.

A Royal Renaissance: School of Fontainebleau Prints from the Kirk Edward Long Collection
Through July 14, 2013
Lynn Krywick Gibbons Gallery
After suffering military defeat at the hands of the Holy Roman Emperor Charles V, King Francois I of France returned to his realm in 1526, determined to triumph in matters of culture. He began by commissioning esteemed Italian artists to transform his medieval hunting lodge at Fontainebleau into a showcase royal residence; and Antonio Fantuzzi, René Boyvin, Domenico del Barbiere, Léon Davent and others made engravings and etchings that recorded the multimedia ensembles reflecting the new "Fontainebleau" style. More than 30 of these works have been selected from the collection of Kirk Edward Long to illustrate the sophistication and extravagance of this courtly style. Learn more IMAGE: Léon Davent, Alexander Mastering Bucephalus, c. 1546. Etching. Cantor Arts Center, Lent by Kirk Edward Long.

Hauntings: American Photographs, 1845–1970
Through July 7, 2013
Marie Stauffer Sigall Gallery
The 24 spellbinding photographs selected for this installation allude to the ghostly quality and ephemeral nature of photography; in them, time rolls in rear-view mirrors and ocean waves or across the sky in a passing phenomenon, a dirigible floating in the clouds. IMAGE: Alfred Stieglitz, A Dirigible, 1910. Photogravure from Camera Work, no. 36 (October 1911). Gift of Graham Nash 1978.234.35.

More Than Fifteen Minutes: Andy Warhol and Celebrity
Through June 30, 2013
Freidenrich Family Gallery
This exhibition, featuring prints, drawings, and Polaroid photographs of Mao Tse Tung, Mick Jagger, and other contemporary icons, explores ideas about fame, ephemerality, and the legacy of Pop artist Andy Warhol. Warhol's art popularized the cult of celebrity through a variety of techniques and processes such as appropriation, repetition, and mass production. The 24 works are drawn from the Marmor Collection and additional sources. IMAGE: Andy Warhol, Liz, 1964. Offset lithograph. Lent by The Marmor Foundation. © 2012 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York.

Revisiting the South: Richard Misrach’s Cancer Alley
Through June 16, 2013
Pigott Family Gallery
The photographs in Richard Misrach's profound body of work document the far-reaching ecological erosion and economic deprivation of the local communities along "Cancer Alley," the Mississippi River corridor running from Baton Rouge to New Orleans. The exhibition's 19 large-scale images engage the viewer with serene pastoral scenes, meandering watercourses, and misty bayous; but the petrochemical industry is omnipresent in the rusted pipelines, contaminated water, mammoth tankers, expanses of concrete, and towering smokestacks. The exhibition is organized by the High Museum of Art, Atlanta. Learn more. IMAGE: Richard Misrach, Swamp and Pipeline, Geismar, Louisiana, negative 1998, print 2012. Inkjet print. High Museum of Art, Atlanta © 2012 Richard Misrach.

Lee Friedlander: The Cray Photographs
Through June 16, 2013
Ruth Levison Halperin Gallery
In 1986, Cray Research, Inc., then the world's leading supercomputer producer, commissioned influential American photographer Lee Friedlander to undertake a project featuring its factory in Chippewa Falls, Wisconsin. This exhibition features the 79 resulting vintage gelatin silver prints. Images include landscapes, architectural studies, and fascinating close-up shots of the factory workers as they focused on intricate and complex tasks. Learn more
IMAGE: Lee Friedlander, Cray at Chippewa Falls, Wisconsin, 1986. Gelatin silver print. Gift of Michael J. Levinthal, Cantor Arts Center, 2012.224.1. © Lee Friedlander, courtesy of Fraenkel Gallery, San Francisco.

Dotty Attie: Sometimes a Traveler/There Lived in Egypt
Through June 16, 2013
Patricia Rebele Gallery
Dotty Attie is known for her reproductions of European Old Master paintings paired with text—pieces that poetically reveal the voyeuristic narratives in Western visual and literary arts. Her portfolio Sometimes a Traveler/There Lived in Egypt calls particular attention to the exploitation of the North African female body and its place in European Orientalists' imaginations. Sixteen works on display. IMAGE: Dotty Attie, Sometimes a Traveler/There Lived in Egypt, 1995, Lithograph. By exchange with the Jane Voorhees Zimmerli Art Museum, Rutgers University, for a gift from David Gilhooly. 1998.455.1.

North Africa and the Holy Land in 19th-Century Photographs
Through June 2, 2013
Robert Mondavi Family Gallery
During the 19th century, photographs served as surrogate experiences for Americans and Europeans unable or too daunted to travel. Scholars also used photographs as official records of archaeological expeditions, and they guided the devout who explored the places mentioned in the Bible. This installation presents 16 vintage photographs from the Cantor's collection, offering a range of subjects including city views, picturesque views of holy sites, ancient architectural wonders, and studies of significant artifacts. IMAGE: Francis Frith, Mosque of the Emeer Akhor, c. 1857, albumen print. Committee for Art Acquisitions Fund, 1986.112.

Buying and Selling: Early Modern Economies of Labor, Merchandise, Services, and Shopping
Through June 2, 2013
Early European Gallery
European artists of the 17th and 18th centuries took great interest in depicting the details of modern life, including commercial exchange and a rapidlyexpanding market of material goods. The 17 prints and drawings in this exhibition offer views of different types of workplaces and showcase a range of workers at their tasks, from the skilled goldsmith to the lowly butcher and rat catcher. IMAGE: Artist Unknown, Coffee Vendor, 18th century, pen and ink with watercolor on paper. Museum Purchase Fund, 1969.200.

Buying and Selling: Stanford Student Filmmakers on Bay Area Economies
Through June 2, 2013
Patricia S. Rebele Gallery
Students in Stanford's graduate program in documentary film find, record, and present unheralded true stories in short films and videos. These films focus on "Buying and Selling" — of people, resources, and circumstances that may otherwise go unnoticed in the world of commerce. Selected from many dozens of documentaries produced over the past decade by Stanford M.F.A. and M.A. students, these shorts provide a contemporary counterpart to the themes illustrated in the focused exhibition Buying and Selling in the adjacent European gallery. Two installments, seven films each. IMAGE: John Rory Fraser (Stanford M.F.A. Class of 2011), We Continue in the Old Style (still), 2009.

Sculpture From the Collection
Through August 18, 2013
Kwee Galleria

Wood, Metal, Paint: Sculpture from the Fisher Collection
Through August
Oshman Family Gallery
Over the past decade, the Fisher family has been exceedingly generous in lending works of art from their unrivaled collection. This new long-term installation, selected in consultation with contemporary art professor Pamela Lee, includes pieces by John Chamberlain, Jenny Holzer, Sol LeWitt, and Claes Oldenburg, together with Carl Andre’s Copper-Zinc Plain, a floor piece comprised of 36 tiles, and John Chamberlain’s Bijou, a large early work made of crushed automobiles and paint. The works on display are especially significant because they are examples of the innovations that established the reputations of these artists. Learn more IMAGE: John Chamberlain, Bijou, 1961. Painted and chromium- plated steel. Loan courtesy of the Fisher Family. © 2012 John Chamberlain/Artists Rights Society (ARS), New York

FUTURE EXHIBITIONS

Faith Embodied: Saints from the Renaissance to the Enlightenment
June 12–November 17, 2013
Gallery for Early European Art
The 16 prints in this exhibition explore the different strategies artists employed to represent the deeds, miraculous visions, and martyrdoms of the Christian saints. The works also demonstrate how the depiction of saints varied, from images focused closely on the body to others that tell an engrossing story, as art and daily life became increasingly secular. The works included in this installation range from a rough woodcut published in the late 15th century to the delicate and visually complex etchings characteristic of the 17th and 18th centuries.
IMAGE: Giovanni Domenico Tiepolo, St. Patrick Curing a Cripple (detail), after 1746. Etching. Mortimer C. Leventritt Fund, 1969.4.

Manet and the Graphic Arts in France, 1860–1880
June 12–November 17, 2013
Robert Mondavi Family Gallery
The death and destruction that occurred in the streets of Paris during the Commune of 1871 affected artists of the generation who lived through it or even fought in it, as did Edouard Manet (1832-1883). This exhibition examines how printmakers, draftsmen, and photographers depicted the factors that led to this traumatic event as well as the conflict itself and the changes it brought to Paris. The central image, Manet's powerful lithograph Civil War, is shown with 13 works on paper by Felix Bracquemond (1833-1914), Maximilien Luce (1858-1941), Charles Marville (1813-1979), Félix Buhot (1847-1898), and others. IMAGE: Félix Hilaire Buhot, Winter, Paris (detail), 1879. Etching and aquatint. Gift of Mr. and Mrs. Burton Richter, 1984.436.

Storied Past: Four Centuries of French Drawings from the Blanton Museum of Art
July 3–September 22, 2013
Pigott Family Gallery
This exhibition, organized by the Blanton Museum at the University of Texas at Austin, presents 55 exemplary French drawings that chronicle the development of the medium from the Renaissance to the opening of the 20th century. It is especially strong in 17th- and 18th-century drawings that were highly influenced by the curriculum the prestigious Royal Academy of Painting and Sculpture in Paris. Alsonoteworthy are 19th- and 20th-century works by draftsmen reacting against the academic tradition; these artists deliberately took a more realist approach to examine the social, economic, and political changes transforming modern France. An installation of French works on paper from the Cantor's collection complements Storied Past. Storied Past is accompanied by a fully illustrated catalogue. First docent-led tour is Saturday, July 6. Learn more IMAGE: Alexandre-Louis Leloir, Moroccan Girl, Playing a Stringed Instrument (detail), 1875. Watercolor, gouache and graphite on ivory wove paper. Gift of the Wunsch Foundation, Inc., 1983.

Inspired by Temptation: Odilon Redon and Saint Anthony
July 3–October 20, 2013
Ruth Levison Halperin Gallery
The great French symbolist artist Odilon Redon (1840–1916) often paired his art with literature to create an art of the imagination. Three of Redon’s most famous lithographic albums were inspired by Gustave Flaubert’s novel The Temptation of Saint Anthony (1874). Based on the legend of a third century monk who retreated to the desert to contemplate God, Flaubert’s story describes the fantastical events that transpire over the course of one night in which Anthony is assaulted by erotic visions and demonic apparitions. This exhibition presents all three of Redon’s albums, two from the Cantor’s collection and the third on loan—a total of 42 lithographs. Learn more IMAGE: Odilon Redon, Here is the Good Goddess, the Idaean mother of the mountains, (detail). Plate 15 of The Temptation of Saint Anthony, 1896. Lithograph. The Kirk Edward Long Collection, 2010.60.15.

Drawn to the Body: French Figure Drawings from the Cantor Arts Center Collection
July 3–September 22, 2013
Pigott Family Gallery
Since the Renaissance, the most important skill for a draftsman to master was the ability to draw the human body. The body was the basic element from which artists built most images, from complex narrative compositions to refined portraits. This exhibition showcases a selection of 17th- to 19th-century French drawings from the Cantor’s collection to explore approaches to depicting the human form taken by artists such as Jean-Honoré Fragonard (1732-1806), François-André Vincent (1746-1816), and Pierre Puvis de Chevannes (1824-1898). IMAGE: François-André Vincent, Portrait of Marie-Gabrielle Capet, c. 1782. Black and white chalk on paper. Purchased with funds given by Ann Bancroft Dickinson, 1982.137.

Shifting Sands: The Beach and the Desert in 20th-Century Photographs
July 17–October 13, 2013
Marie Stauffer Sigall Gallery
Many American and European modernists chose to photograph beaches and deserts as an antidote to urban or industrialized landscapes. Artists Manuel Alvarez Bravo (1902-2002) and Edward Weston (1886-1958), among others, approached these different and yet strangely similar landscapes in many ways: they could be evocative settings with distinct historic and symbolic associations, or backdrops defined by their pure and stark visual textures. Approximately 20 photographs on display. IMAGE: Edward S. Curtis, Canyon de Chelly, 1904. Orotone. Gift of David B. Geeting, ’62, ’64 and Barbara A. Wright, 2012.598.1.

Matisse Jazz
July 31–October 20, 2013
Lynn Krywick Gibbons Gallery
In 1943, French artist Henri Matisse was more than 70 years old and bedridden when he began the portfolio that eventually became Jazz. Limited in his mobility, Matisse cut out forms from colored papers that he arranged as collages. His assistants then prepared the collages—most of which were based on circus or theater themes— for printing in the pochoir screenprint process. This exhibition features all 20 prints from the edition of the portfolio held in the Gunst Collection in Special Collections at the Stanford University Library. Learn more

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