Standing Figure II

Manuel Neri, 1982, pigment on plaster, 69 1/4 x 17 7/8 x 19 1/2 in.
Standing Figure II, 1982

…hen wet and carved when dry. Every inch of the sculpture’s surface has been handled; scratched, gouged, dimpled, and scraped, it is alive with the artist’s presence. The vagueness of the figure’s head and face pushes our gaze to the subtle yet dynamic thrust of her body: thighs flexed, hips pushed slightly forward, arms pulled back. These gestures are highlighted by expressive strokes of paint in moody blues and grays. Modeling the plaster from l…

Hunk, Moo Anderson give modern art masterpieces to Stanford

09/09/14|SF Gate, Kenneth Baker (reprinted with permission from the San Francisco Chronicle)

…been a part of it?’ ” said Harry “Hunk” Anderson. The museum excursion lasted only half a day, but it turned into a lifetime of collecting art. Fifty years and about 2,000 acquisitions later, “Hunk” and “Moo” Anderson – who made their fortune in the food service business – enjoy the sort of monosyllabic recognition in the American art scene that Sting, Cher and Prince command in pop cul…

Stanford’s art explosion in heart of Silicon Valley

05/12/14|SFGate, Sam Whiting (reprinted with permission from the San Francisco Chronicle)

…ors one last chance. “The university, from the president all the way down to the faculty and the students, is committed to delivering a broad education, and they believe that the arts are an essential component,” says Stephen Hinton, a professor of music history and the faculty director of the Arts Institute. “Student interest is enormous.” Coming soon If Neil weren’t graduating this year, he’d be around for th…

Barrier

Vija Celmins, 1985-1986, oil and wax on linen, 70 x 72 in.
Barrier, 1985-1986

  Up Close: One Painting Tours With Artists Barrier Hosted by art historian and the associate director of ITALIC at Stanford, Kim Beil, the micro-video series focuses on a single object in the Anderson Collection, sparking dialogue with a guest artist. Kim spoke with artist Davina Semo about Vija Celmins’ Barrier. Explore the Up Close Series   “The images are not from observations of nature, but are ’found images’ fr…

Gansevoort Street

Willem de Kooning, c. 1949, Oil on cardboard, 30 x 40 in.
Gansevoort Street, c. 1949

…ring the mid- to late forties, do Kooning produced a group of paintings, many in black and white, that, although they contain definite references to the human body, are extremely complex combinations of biomorphic forms and paraphrased landscape details. The artist’s gestural use of line, executed rapidly yet confidently, resulted in ambiguous shapes that appear both partially representational and wholly abstract. Gansevoort Street is one o…

Marble Relief Maquette, No. 3

Manuel Neri, 1983, Bronze with Alborada patina; oil-based pigments with yellow glaze. Cast 2013, patina 2016, ed. 1/4., 27 1/2 x 9 3/4 x 4 in.
Marble Relief Maquette, No. 3, 1983

Maquettes for Marble Reliefs Neri created these nine maquettes, with [Mary Julia] Klimenko as his model, as scale models for a series of life-size relief sculptures to be carved later of marble in his studio in Carrara, Italy. The projected works were part of a series entitled Mujer Pegada, which translates from Spanish as “glued” or “attached woman.” In each composition, the female form is only partially articulated from the vertical surface in…

Before, Again IV

Joan Mitchell, 1985, oil on canvas, 110 x 78 3/4 in.
Before, Again IV, 1985

…t Lake Michigan, or water, or field…it’s more like a poem…and that’s what I want to paint,” Mitchell said. The periods of Mitchell’s work were catalyzed by life events, relationships, and experiences. Before, Again IV comes from the late part of Mitchell’s career, after she was diagnosed with cancer. During this period, she made some of her most experimental work. Mitchell thought of painting as a form of transcendence and nurturing, and as…

Sky Garden

Louise Nevelson, 1959-1964, enamel on wood, 99 5/8 x 61 x 17 1/2 in.
Sky Garden, 1959-1964

…tal scale, like Sky Garden, or grow into environments, taking over full rooms. Nevelson spent much of her career in New York City, but she shares a sense of isolation with the artists in this gallery. She preferred to work on her sculptures in solitude. Sky Garden gives the impression of entering Nevelson’s private world—a twilight space of the artist’s own making. As Nevelson once said of her work: “My total conscious search in life has been for…

Lucifer

Jackson Pollock, 1947, oil and enamel on canvas, 41 3/16 X 105 1/2 in.
Lucifer, 1947

In a 1951 radio interview Pollock proclaimed: “It seems to me that the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or any other past culture. Each age finds its own technique.” Lucifer is among the earliest examples of Pollock’s own groundbreaking approach, which involved dripping, pouring, and splattering paint directly onto a canvas that had been tacked to the floor. The p…

Window

Mark Tobey, 1953, casein on board on masonite, 44 3/8 x 28 1/2 in.
Window, 1953

…red a leader of the Northwest School, a group of artists working in the Seattle area who were influenced by both the nature of the Pacific Northwest and East Asian philosophy. In his late twenties, Tobey became fascinated by haiku, Japanese and Chinese calligraphy, and mysticism, and he subsequently converted to the Baha’i World Faith. He believed that there could be no break between nature, art, science, religion, and one’s personal life. The un…

Joan Brown Seated

Manuel Neri, 1959, Aluminum with Alborada patina; oil-based pigments with yellow glaze. Cast 1963, re-patina applied 2016., 30 1/4 x 12 1/2 x 27 in.
Joan Brown Seated, 1959

By 1959 Neri and [Joan] Brown were sharing a large studio on Mission Street near the Embarcadero in San Francisco, where Neri began making life-size sculptures like Joan Brown Seated. Neri shaped the original sculpture in plaster, an inexpensive material he liked for the speed and ease with which it could be worked and reworked. The surface of the figure is rich with the marks of the artist’s hand and tools. Here, coated in Neri’s signature whit…

Makida III

Manuel Neri, 1997, Marble and oil-based enamel., 24 x 16 x 22 in.
Makida III, 1997

…modernists Alberto Giacometti and Marino Marini. In Carrara Neri also met the artist Makiko Nakamura, who would inspire a rich series of work. Nakamura posed for Neri wearing traditional Japanese clothing and hairstyles. As in his works modeled after Joan Brown and Mary Julia Klimenko, Neri’s Makiko series emphasizes his interest in the anonymity of the body as form, as opposed to the individuality of portraiture, though here the body is imbued…

Marble Relief Maquette No. 1

Manuel Neri, 1983, Bronze with Alborada patina; oil-based pigments with yellow glaze. Cast 2013, patina 2016, ed. 1/4., 27 1/2 x 9 x 3 3/8 in.
Marble Relief Maquette No. 1, 1983

Maquettes for Marble Reliefs Neri created these nine maquettes, with [Mary Julia] Klimenko as his model, as scale models for a series of life-size relief sculptures to be carved later of marble in his studio in Carrara, Italy. The projected works were part of a series entitled Mujer Pegada, which translates from Spanish as “glued” or “attached woman.” In each composition, the female form is only partially articulated from the vertical surface in…

Marble Relief Maquette No. 2

Manuel Neri, 1983, Bronze with Alborada patina; oil-based pigments with yellow glaze. Cast 2013, patina 2016, ed. 1/4., 21 1/2 x 7 x 2 1/2 in.
Marble Relief Maquette No. 2, 1983

Maquettes for Marble Reliefs Neri created these nine maquettes, with [Mary Julia] Klimenko as his model, as scale models for a series of life-size relief sculptures to be carved later of marble in his studio in Carrara, Italy. The projected works were part of a series entitled Mujer Pegada, which translates from Spanish as “glued” or “attached woman.” In each composition, the female form is only partially articulated from the vertical surface in…

Marble Relief Maquette No. 4

Manuel Neri, 1983, Bronze with Alborada patina; oil-based pigments with yellow glaze. Cast 2013, patina 2016, ed. 1/4., 26 3/8 x 9 3/4 x 3 3/8 in.
Marble Relief Maquette No. 4, 1983

Maquettes for Marble Reliefs Neri created these nine maquettes, with [Mary Julia] Klimenko as his model, as scale models for a series of life-size relief sculptures to be carved later of marble in his studio in Carrara, Italy. The projected works were part of a series entitled Mujer Pegada, which translates from Spanish as “glued” or “attached woman.” In each composition, the female form is only partially articulated from the vertical surface in…

Marble Relief Maquette No. 5

Manuel Neri, 1983, Bronze with Alborada patina; oil-based pigments with yellow glaze. Cast 2013, patina 2016, ed. 1/4., 27 1/2 x 9 3/4 x 4 1/8 in.
Marble Relief Maquette No. 5, 1983

Maquettes for Marble Reliefs Neri created these nine maquettes, with [Mary Julia] Klimenko as his model, as scale models for a series of life-size relief sculptures to be carved later of marble in his studio in Carrara, Italy. The projected works were part of a series entitled Mujer Pegada, which translates from Spanish as “glued” or “attached woman.” In each composition, the female form is only partially articulated from the vertical surface in…

The Tale

Philip Guston, 1961, oil on canvas, 68 1/4 x 72 in.
The Tale, 1961

…oving to New York to pursue abstract painting. Like Pollock, Guston was interested in the expressivity of paint, albeit with a much different effect. In The Tale, thick oil paint is layered to form a dense, patchwork-like composition that culminates near the center of the canvas…Fusing abstraction and cartoonish figuration, Guston’s paintings from the late 1960s onward recalled some of the darkest aspects of modern life, including themes of…

Marble Relief Maquette No. 7

Manuel Neri, 1983, Bronze with Alborada patina; oil-based pigments with yellow glaze. Cast 2013, patina 2016, ed. 1/4., 23 3/4 x 7 3/8 x 3 in.
Marble Relief Maquette No. 7, 1983

Maquettes for Marble Reliefs Neri created these nine maquettes, with [Mary Julia] Klimenko as his model, as scale models for a series of life-size relief sculptures to be carved later of marble in his studio in Carrara, Italy. The projected works were part of a series entitled Mujer Pegada, which translates from Spanish as “glued” or “attached woman.” In each composition, the female form is only partially articulated from the vertical surface in…

Marble Relief Maquette No. 8

Manuel Neri, 1983, Bronze with Alborada patina; oil-based pigments with yellow glaze. Cast 2013, patina 2016, ed. 1/4., 27 1/2 x 9 3/4 x 3 7/8 in.
Marble Relief Maquette No. 8, 1983

Maquettes for Marble Reliefs Neri created these nine maquettes, with [Mary Julia] Klimenko as his model, as scale models for a series of life-size relief sculptures to be carved later of marble in his studio in Carrara, Italy. The projected works were part of a series entitled Mujer Pegada, which translates from Spanish as “glued” or “attached woman.” In each composition, the female form is only partially articulated from the vertical surface in…

Marble Relief Maquette No. 9

Manuel Neri, 1983, Bronze with Alborada patina; oil-based pigments with yellow glaze. Cast 2013, patina 2016, ed. 1/4., 21 5/8 x 7 x 2 1/2 in.
Marble Relief Maquette No. 9, 1983

Maquettes for Marble Reliefs Neri created these nine maquettes, with [Mary Julia] Klimenko as his model, as scale models for a series of life-size relief sculptures to be carved later of marble in his studio in Carrara, Italy. The projected works were part of a series entitled Mujer Pegada, which translates from Spanish as “glued” or “attached woman.” In each composition, the female form is only partially articulated from the vertical surface in…