…#8217;s most precious works, and standing between Pollock’s Lucifer and Mark Rothko’s Pink and White Over Red is pretty cool, but what I came to see were the Bay Area paintings. A painter friend who doesn’t quite share my taste once called me “one of those David Park people,” and frankly I took that as a compliment. I think that one of the most valuable things that the Anderson Collection is going to do over time is…

…rks of art by 86 artists, a gift to the university from the Andersons (affectionately known as Hunk and Moo) and their daughter, Mary Patricia Anderson Pence. The history of their collecting is by now the stuff of legend: After a trip to Europe in the 1960s, Hunk and Moo decided to educate themselves about art in order to build a collection. They sought out the best examples by the most noteworthy artists available, and had the good fortune &#821…

“I am interested in change of scale: how the observer affects the object of observation; space as a void; non-space existing in time. By altering the scale and context of the grid (as a scientific tool of measurement), the grid becomes an artistic tool of perception.” — Lita Albuquerque The most unprecedented, remote and isolated locations were used to host a global project, made an unconventional space for art installations in the t…

…as “a gift that keeps giving”. There is beauty and generosity in this dedication. May it offer many the joy of having an “art moment”. The Anderson Collection is special for many reasons. The collection is deeply personal. It was assembled by a family, not a museum curator or art consultant. It represents the personal choices and tastes of a family, and a love relationship that spanned over 50 years. They cherished every…

…davinasemo.net. You can also follow her on Instagram. Artist Erica Deeman explores Jennifer Bartlett’s At The Lake, Morning Erica Deeman is a visual artist living and working in San Francisco, CA. Originally from the U.K., she has lived in the States for just over 8 years. Deeman’s work explores portraiture and its traditions through the intersections of gender, race, and ethnic identities. Her work has been exhibited nationally and inte…

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…

…re on par with the objects at other great museums, but the intimacy here is fairly unique,” he says. Anh-Minh Le is a Portola Valley freelancer. E-mail: travel@sfchronicle.com Museum highlights Jason Linetzky, the Anderson Collection’s founding director, recommends allotting about 90 minutes for a visit. Here are just a handful of the museum’s highlights: “Jackson Pollock’s ‘Lucifer’ is something that people come to see. It previously hung over P…

…oom is a new theme, including California Light and Space, Funk, Hard-Edge Painting and Post-Minimalism. You pity the tourists, who come with cameras and visit only once. They are overwhelmed (delightfully so), scrambling to decode every movement, to mingle with every painting. As a student, though, you start with small talk but look for something more. You have a chance at romance. Your dry spell is over — prospects are everywhere! In one room, t…

…dent collaborations, large-scale installations, and images of sovereignty, Red Star asks viewers to grapple with the layered complexity of American history. On view on the first floor of the museum through Aug. 28, the exhibition is informed by Red Star’s cultural heritage and engagement with many forms of creative expression. She addresses the racism, displacement, and culture surrounding the United States’ westward expansion in the 19th century…

…t rejected abstract expressionism — a movement that went back to drawing figures instead of abstract patterns in the 1950s. I left the Anderson Collection with a new perspective of looking at modern art. I felt vibrant, calm and fresh. I felt as though I had found the repurposing balance I was looking for. Lara Selin Seyahi is a junior from Istanbul, Turkey. She enjoys exploring art museums, reading novels, and discussing ideas in psychology, n…

…e opportunity to interface with a variety of departments, many of which are not art-oriented. Several years ago, The Center for Computer Research in Music and Acoustics took over the entire museum, creating “soundscapes” that visitors could enjoy while viewing the art. “One of the exciting things we have as a museum here is to collaborate with partners on campus — other departments, students and faculty,” Linetzky sa…

Stepping into the Wisch Family Gallery at the Anderson Collection at Stanford University evokes a polar desert’s quiet and dangerous beauty. Centered amidst  large-scale photographs of a pristine white, icy environment, an otherworldly ultramarine-blue sphere measuring slightly over 3 feet in diameter rests on a bed of what appears to be snow. The sphere, representing Rigil Kentaurus, the third-brightest star in the night sky, is a key element o…

The Cantor and Anderson Collection offer free membership to Class of 2020…

From ancient pottery and medicinal clay to 3D-printed joints and pajamas that restore athletes’ muscles, the use of ceramics for objects rooted in decoration, ritual and utility is as old as it is expansive. The practices of four living artists whose exploration of the medium provides commentary on its past and insight for the future are presented in Formed & Fired: Contemporary American Ceramics at the Anderson Collection at Stanford Univer…