…umanities and so forth. To be a part of that is really a great thing. – Harry ‘Hunk’ Anderson It goes on and on, through the library, kitchen and three bedrooms. This September, however, 121 works by 86 artists, half from the house and half from Quadrus, a Cliff May-designed complex where Hunk Anderson maintains an office, will be moved to an elegant new museum on the campus of Stanford University called the Anderson Collection…

…ifornia, from the Broad and Marciano in Los Angeles to the Anderson at Stanford. Each of these museums varies in its ability to provide a meaningful encounter with the art it presents. Which is why The Anderson as successful it is in the experience it provides is worth a visit. In the Anderson Collection at Stanford University, one still has the opportunity to commune with Hunk, Moo and Putter’s treasures and see, taste and feel how Art rocks you…

…or accurate representation of, for example, skin, land, and sky. Syjuco uses terms such as “neutral” to question how photography reflects deep-seated biases that position whiteness at its center. “This is political and activist work, because representation matters.” —Stephanie Syjuco “My work is about the slippery spaces between visibility and invisibility, made from the perspective of an American artist who was born in the Philippines, grew u…

…ever found one we wanted that we could afford, and when we finally found one we wanted, we couldn’t afford it.” The Andersons’ gift to Stanford of a mere 121 works may not sound like much, but museum directors around the region and the nation have long salivated at the prospect of receiving even a fraction of what the Andersons call their “core collection.” It includes not merely good, but supreme, canonical works by…

…té about the challenge of building a top-notch art collection played in their favor. “We didn’t know it couldn’t be done,” Harry admits, “so we just went ahead and did it.” The new museum puts Stanford in the front ranks among elite university museums (especially as it complements the school’s Cantor Art Center, founded in 1891), but it’s got a laid-back, West-coast vibe. Visiting is like dropping i…

…s revolt? There are certain “fan favorites” that are included in our reinstalled permanent collection, including works by Richard Diebenkorn, Joan Mitchell, Jackson Pollock and Wayne Thiebaud. The Anderson Collection has become home to these and many other remarkable works and it’s our goal to ensure the entire community has an opportunity to continue living with and taking inspiration from them, while also offering programming that helps us thin…

…the opportunity to experience three steps of his career,” he continued. “These additions create new context for how we understand each artist’s practice – and how they pushed one another as rivals and friends. Both felt they were inventing something new, and these works help us think about what it means to approach something like no one has done it before.” The newest acquisitions are now on view and are accessible to the public for the first ti…

…promptu and exuberant. Amy Balkin, ‘Public Smog,’ ongoing. (Photo courtesy of Mills College Art Museum) Public Works: Artists’ Interventions 1970s – Now Mills College Art Museum Sept. 16 – Dec. 13, 2015 A collaboration between the Mills College Art Museum and San Francisco nonprofit Southern Exposure that was curated by Christian L. Frock and Tanya Zimbardo, Public Works: Artists’ Interventions 1970s – Now brings together a group of female art…

…erenely perfect. The Anderson Collection building is spacious, elegant and perfectly in tune with the collection it houses. One of the effects of the flowing “open room” gallery layout is that it creates a sense of egalitarianism that encourages each visitor to experience both individual works and groupings in their own way. In other words, the Andersons may have collected and donated the art, but each visitor is made to feel like the…

Not to be missed at the Anderson Collection (in no particular order): 1. Richard Diebenkorn: “Berkeley No. 26,” 1954. 2. Frank Stella: “Zeltweg,” 1981. 3. Ellsworth Kelly: “Black Ripe,” 1955. 4. David Park: “Four Women,” 1959 (on the cover). 5. Jackson Pollock: “Lucifer,” 1947. 6. Morris Louis: “Number 64,” 1958. 7. Wayne Thiebaud: “Candy Counter,” 1962. 8. Mark Rothko: “Pink and White Over Red,” 1957. 9. Vija Celmins: “Barrier,” 1986. 10. Phili…

…ift were prints and a stunning marble bust, “Makida III” by Manuel Neri. These and more contemporary works like Mary Weatherford’s 2017 “Black Painting,” which has a swath of neon tubing across the surface of the canvas, assure that the museum remains a dynamic learning experience, no matter how often one visits. While it’s always interesting to see the new, it is also fun to see familiar works in new places. T…

…y through February 12, 2018, offers up a choice selection of sculptures in plaster, marble, and bronze, and also works on paper by Manuel Neri, the 87 year-old dean of Bay Area figurative sculptors. Inspired by a gift from the Manuel Neri Trust to the Anderson Collection of three sculptural works and eight works on paper and supplemented by loans and a work already in the Anderson Collection, the exhibition demonstrates how the artist has engaged…

…ng this weekend at a new $36 million museum at Stanford University in California. For Stanford, which first made its reputation as an engineering school, the building is the second of three projects to create an arts district around its flagship museum, the Cantor Center. The nearby $112 million Bing Concert Hall opened in 2013, and next year will see the completion of the $85 million McMurtry Building to house the Art and Art History Department,…