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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
Kahlil Joseph: BLKNWS
Through June 16, 2019

Kahlil Joseph, a visiting artist in the new Presidential Residencies on the Future of the Arts program, presents BLKNWS, a two-channel video projection that is displayed at the Cantor, the dining hall in Lagunita and, Harmony House. The broadcast project blurs the lines between art, journalism, entrepreneurship, and cultural critique.

This exhibition is organized by the Cantor Arts Center. The residency is hosted in collaboration with the Institute for Diversity in the Arts. We gratefully acknowledge support from the Office of the President, Stanford University.

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.

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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