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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
Contact Warhol: Photography Without End
September 29, 2018–January 6, 2019

Photographs by Andy Warhol that have never before been displayed publicly are at the heart of the exhibition Contact Warhol: Photography Without End,which draws on a trove of over 130,000 photographic exposures that the Cantor Arts Center acquired from the Andy Warhol Foundation for the Visual Arts in 2014. The collection of 3,600 contact sheets and corresponding negatives represent the complete range of Warhol’s black-and-white photographic practice from 1976 until his unexpected death in 1987.

The exhibition brings to life Warhol’s many interactions with the social and celebrity elite of his time with portraits of stars such as Michael Jackson, Liza Minnelli, and Dolly Parton; younger sensations in the art world such as Keith Haring and Jean-Michel Basquiat; and political stars, including Nancy Reagan, Maria Shriver, and Arnold Schwarzenegger. Contact Warhol, curated by Stanford Professors Richard Meyer and Peggy Phelan, traces Warhol’s photography from the most fundamental level of the contact sheet to the most fully developed silkscreen paintings.

Launching concurrently with the exhibition is the culmination of a two-and-a-half year digitization project directed by Cantor project archivist Amy DiPasquale that will make the remarkable collection available to the public. The archive of contact sheets will be available through a searchable online database that will be accessed through the Stanford University Libraries, and both the negatives and contact sheets are available on the Cantor’s website.

Curators:
Richard Meyer is the Robert and Ruth Halperin Professor in Art History, where he teaches courses on twentieth-century American art, gender and sexuality studies, arts censorship, and the history of photography.

Peggy Phelan is the Ann O’Day Maples Professor in the Arts, professor of Theater & Performance Studies and English, as well as the Denning Family Director of the Stanford Arts Institute.

The catalogue accompanying the exhibition is copublished by the Cantor and MIT Press. In addition to essays by the curators, the volume includes three other scholarly essays and 65 plates.

Please be advised that this exhibition includes some images that may not be appropriate for young viewers.

Blackboard
September 19, 2018–January 27, 2019
Lynn Krywick Gibbons Gallery

Blackboard brings together works that imitate, resemble, or feature a blackboard, to consider the relationship between art and education. The “blackboards” on view interrogate schooling, authority, literacy, form, and color. Drawing on the Cantor’s permanent collection, the exhibition features work by Raymond Saunders, Jasper Johns, Laura Volkerding, and Enrique Chagoya. Curated by Yinshi Lerman-Tan, PhD candidate in the Stanford Department of Art & Art History, Blackboard will be a part of the 50 State Initiative organized by For Freedoms, a platform for artists and museums to encourage civic engagement.

This exhibition and accompanying publication are organized by the Cantor Arts Center as part of the For Freedoms 50 State Initiative. We gratefully acknowledge support from the Andrew W. Mellon Foundation.

Painting Nature in the American Gilded Age
September 5, 2018–August 25, 2019
Ruth Levison Halperin Gallery

Drawing from the Cantor’s permanent collection, this exhibition considers how nature was depicted by American artists from the 1880s to 1910, an era of unprecedented industrialization and urban development. Through landscapes, portraits, and still lifes, the exhibition highlights the importance of nature for artists and the public, both of whom increasingly were affected by machines, cities, and crowds.

We gratefully acknowledge support from the Halperin Exhibitions Fund.

Alphabété: The World Through the Eyes of Frédéric Bruly Bouabré
Through 03/02/2019
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.

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–January 6, 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 03/02/2019
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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