…The work is an interesting choice for such a focal point; large in scale, with only three colors of paint (red, black, white) applied thickly with a palette knife. Its jagged forms and bold composition are confrontational and somewhat unsettling. Look to the left, however, and the eye takes in the cheerful swirls and bright pastels that comprise Joan Mitchell’s “Before, Again IV.” Gaze right, and Richard Diebenkorn’s evoc…

…mily.  New to the collection is Bill Jensen’s watercolor and gouache Study for Denial, 1985-86; three sculptural works and eight works on paper ranging from 1958 to 1997 by Manuel Neri; and Mary Weatherford’s black painting, 2017. The new acquisitions are in keeping with the original collection of 121 works of post-World War II modern and contemporary American art by 86 artists given to Stanford by Harry W. “Hunk” and Mary Margaret “Moo” Anderson…

…eeper look (i.e., Diebenkorn). In the case of Guston, where else can you find a 30-year cross-section of amazing works to help contextualize the two permanent collection works (dated 1962 and 1977)?” When asked if he thought it was important for viewers to make a connection between the art on paper and those pieces hung in the permanent galleries, Linetzky responded, “Yes, for example, I hope visitors see the early Rothko drawing and…

…. Jason Linetzky, director of the Anderson Collection, is delighted with the acquisitions and the precedent that it sets for the museum. “I am tremendously appreciative of the outpouring of support from our donors. Each gift is significant and serves to move the Anderson Collection at Stanford University forward in its pursuit to present contemporary artists, share new works and expand the depth of the collection at the highest level. “As the mus…

…on. “Lucifer” holds a central place in the section devoted to so-called New York School painting and its aftermath, but a visitor has to wander the second floor a little to find it. The Anderson Collection’s curatorial staff has sensibly chosen instead to give Still’s painting, a tissue of torn-looking forms in black, brown, yellow and white on bare canvas, pride of place. Still, who taught at the San Francisco Art Institu…