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Cantor Arts Center at Stanford University

Cantor Arts Center at Stanford University
Stanford, CA

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Cantor Arts Center at Stanford University
328 Lomita Drive at Museum Way
Stanford, CA 94305-5060
Telephone 650-723-4177
Fax 650-725-0464
Map


museum.stanford.edu/index.html
Alphabété: The World Through the Eyes of Frédéric Bruly Bouabré
June 20, 2018–February 25, 2019
Patricia S. Rebele Gallery

Amongst the first generation in his native Ivory Coast to be formally taught how to write, Frédéric Bruly Bouabré was inspired to translate the Bété oral language into written form. This artist, poet, researcher, and inventor created an original pictographic alphabet as a way to borrow from, yet subvert, the medium of his French colonizers. From the 1970s until his death in 2014, he also created hundreds of brightly colored postcard-size illustrations that incorporate African writing systems, popular culture, scientific theories, and tongue-in-cheek humor.
We gratefully acknowledge support from the Phyllis Wattis Program Fund and The Barbara and M. Kenneth Oshman Fund.

墨境 Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang
May 23, 2018–September 3, 2018

Ink Worlds considers ink painting from the 1960s through the present, examining salient visual features and international connections, as well as the ongoing impact of historical techniques, materials, and themes. In so doing, the exhibition addresses not only the capacity of ink painting to evolve but also the contemporary nature of ink painting as a distinct genre whose achievements can already be documented.

Catalogue Available $55.00 / $50.00 members

Do Ho Suh: The Spaces in Between
Through February 25, 2019
photo

In this exhibition, artist Do Ho Suh uses a chandelier, wallpaper, and a decorative screen to focus attention on issues of migration and transnational identity. Using repetition, uniformity, and shifts in scale, Suh questions cultural and aesthetic differences between his native Korea and his adopted homes in the United States and Europe. The wallpaper Who Am We? (Multi) (2000) is made up of miniaturized yearbook portraits of the artist’s high school classmates, a nostalgic gesture that points both to the social connections of childhood and an immigrant’s estrangement from peers. While screens often decorate and divide Korean interiors, the many small figures that comprise Screen (2005) are used to examine opacity and transparency, division and connection, privacy and togetherness. The chandelier Cause and Effect (2007), composed of many figures appearing to rise from the shoulders of the single figure at bottom, playfully suggests that no matter where we travel, we carry the weight of our pasts on our shoulders.

Through Diebenkorn’s "Window": Transitions in Time
April 18, 2018–August 12, 2018

Several hidden compositions lie below the surface of Window by painter and Stanford graduate Richard Diebenkorn, BA ’49. These compositions were unknown to the art community except as barely visible reworkings until brought to light by Stanford student Katherine Van Kirk, ’19, during her Chen-Yang fellowship in the Cantor’s Art+Science Lab. This installation shows the multiple layers uncovered through infrared reflectography as evidence—in a single painting—of the transition Diebenkorn was making in his art from the mid-1950s to the '60s. Viewers will have a chance to discover the hidden works themselves using interactive digital media and in early drawings in the artist’s sketchbooks and other works in the Cantor's collection.

This exhibition is organized by the Cantor Arts Center. We gratefully acknowledge support from the Bank of America Art Conservation Project.

The Dancing Sowei: Performing Beauty in Sierra Leone
Through December 21, 2018
Rowland K. Rebele Gallery

This exhibition focuses on one spectacular work in the Cantor’s collection—a sowei mask, used by the women-only Sande Society that is unique to Sierra Leone. Used in dance by senior women of the society, the sowei mask symbolizes knowledge of feminine grace and is part of a young girl’s initiation into adulthood. Thus, for many women of the region, beauty is literally performed into existence through ndoli jowei (the dancing sowei or the sowei mask in performance). Take an in-depth look at a sowei’s aesthetic expressions of elegance, from its serene gaze of inner spirituality to the corpulent neck rolls that signify health and wealth—a beauty as defined and danced by women.
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.

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