…t densities of steel mesh. They explored how surface deformation (through warping, bending or folding) increased the strength of this everyday material.  Layering the material enabled longer span arches, while creating a complex visual experience from within. Students drew inspiration from the Anderson Collection’s temporary exhibit, “Constructive Interference”, exploring how mesh and colored ribbon could create a layered filter to the site.  The…

…rings together a group of female artists working in the public realm. Believing not all public art is monumental and not all monumental art is truly impactful,Public Works focuses on temporary interventions online and in the urban environment. The list of participating artists — too lengthy to mention here — is an impressive one, including off-site commissions by Constance Hockaday and Jenifer K. Wofford. The exhibition spans media and generation…

…ts the visual vocabulary of science, which results in work placed in vitrines or squares. That resonated with me and helped me realize that I don’t want to reproduce the visual language of science and containment in my own work. This well-known critic made this observation, and, without disagreeing with it, I felt clear that it wasn’t the thing I was going to do. A set of human hands inserts a mud hand into plastic wrapping. Kiyan Williams on sit…

…ly,” said Stanford President Emeritus John Hennessy. “He just lit up whenever he described what each work meant, and how it inspired creativity. It was this shared passion that bonded us, as we met through our mutual interest in visual arts. Hunk’s insistence that the family’s remarkable collection go to a place that would curate it in perpetuity, so that it could be used, shared and seen, reflected his philosophy that art can and should inspire…

…in late November. The university has been circumspect about personnel matters, but did issue a press release at the time indicating that a transition team “will work closely with stakeholders from across the campus and community to situate the museum for ongoing success.” Mitchell and Brezinski discussed their new roles and goals in recent email interviews with this news organization. When asked if the Cantor is emulating the adminis…

…ause I was used to seeing art in generously sized museums—and still am—the intimate, close-quarters abundance of the Andersons’ home struck me then as a higher-end form of pack-rattery. Ever since, I’ve wondered what it would be like to live day in, day out with a Rothko. I still do; really, I can’t imagine a more sublime aesthetic experience. (If anyone reading this has ever owned a Rothko and gotten sick of it, please don’t tell me.) The new tw…

…is held away from the wall by a hidden post — the work rewards viewers with a transcendent experience once they quiet their minds and sit for a while. In 1970, Irwin took the next step in his artistic journey when he abandoned his studio to develop an unorthodox way of working, and began creating mostly site-specific, or what he calls “conditional,” pieces. His works in this category include the flowing, cascading, ever-changing…

…of that. It was sort of normalized.” Now, in a different academic setting, at Stanford University, Red Star has the opportunity to analyze the painting anew, by reimaging every part of it. The result is her solo exhibition at the school’s Anderson Collection, “Wendy Red Star: American Progress,” which includes several new, site-specific works, some of which were created together with students. Red Star turned American Progress into a paint-by-nu…