…painting style of the post-World War II era that deviated from realism and gravitated towards the representation of objects as simple shapes and lines. Like many of his contemporaries, San Francis practiced loose, gestural mark-making, which can be seen in the multicolored drips and splatters that are strewn across “The Beaubourg.” It is interesting to note the contrast between these seemingly formless paint splatters and the geometric forms that…

Getting it down on paper A different aspect of the Anderson Collection on view by Sheryl Nonnenberg / Palo Alto Weekly Philip Guston’s untitled ink-on-paper work is featured at Anderson Collection’s latest exhibition. Image courtesy of Anderson Collection. Visitors to the Anderson Collection at Stanford University can experience a wide range of art movements (virtually every major development after 1945) and media. The museum…

…settlers to go West and develop supposedly untouched lands. “The whole chasing the dark away, and all the people of color basically falling off the edge of the painting was shocking,” Red Star, who is of Apsáalooke (Crow) descent and uses historic materials to create multimedia works reasserting her tribe’s experience, described in a recent interview. Her professor discussed American Progress in strictly formal terms, ignoring any conversation ab…

…in conversation with Stanford art historian Kim Biel at the Anderson Collection White Balance/Color Cast delves into the history of photography by challenging the idea of correct and incorrect color. “It turns out that early film was not good at capturing dark skin tones,” Syjuco says. “This actually affected how photography has represented racialized people.” When she uses the color bar in her work, it becomes a “weird interruption into what yo…

…16 \Stanford has not one but four — count ’em — four exhibitions opening on Sept. 9. Among them are a collection of Richard Diebenkorn’s sketchbooks, a newly-acquired Edward Hopper painting and artwork that “demystifies” the artistic process. The Anderson Collection turns its focus to living artists with Constructive Interference: Tauba Auerbach and Mark Fox, presenting the work of two Stanford alums playing with material choices and optical effe…

…17;s mutability is a key into the psychology of collecting as the Anderson family has pursued it. At many points in the galleries, along sightlines that stretch across the central staircase through well-ordered gaps in interior vertical walls, artworks transmit echoes of homage or other aesthetic kinship. Stand behind David Smith‘s silver sculpture “Timeless Clock” (1957) – not that it really has a back side – and on…

…s. The central volume, a neutral tan box, is cantilevered over a glazed ground level and topped with a small row of clerestory windows. “The massing is sympathetic to the site, and the larger second-story volume creates a covered walkway that is a modern interpretation of the campus’ traditional pedestrian arcade,” says Olcott. In plan, the building has a subtle bow-tie shape. The cladding kicks the impact of the unassuming form up a notch….

…presenting objects. With the exhibition, Pentcheva explores the questions, what happens when we see works or art in a culturally and aesthetically sympathetic environment? And how does the flicker of light or sound or smell enhance a viewing experience? Sunday, Jan. 4, is your last chance to walk through Richard Serra’s Sequence on Cantor’s north lawn. Arriving in the summer of 2011 as a loan from the Doris and Donald Fisher Collectio…

By Anna Koster For The Daily News Pushing boundaries has been the life work of Robert Irwin. His six-decade exploration of perception as the fundamental issue of art has expanded ideas of what art can be and can do. Irwin will speak about his work on March 10 at Stanford’s Cemex Auditorium. Irwin, born in 1928, in Long Beach, started as a painter in the 1950s with an abstract expressionist style, but quickly began removing all that was not…

…h Alborada patina; oil-based pigments with yellow glaze, cast 1963, re-patina applied 2016, 30 1⁄4 x 12 1⁄2 x 27 inches; pedestal: 30 x 19 x 27 inches (all photos courtesy of the Anderson Collection unless otherwise noted) STANFORD, Calif. — Manuel Neri: Assertion of the Figure, on view at the Anderson Collection at Stanford University through February 12, 2018, offers up a choice selection of sculptures in plaster, marble, and bronze, and also w…

…in 2014. Neither Anderson ever attended Stanford. “He was gracious and giving and charming, and steadfast in everything he did,” said Jason Linetzky, director of the Anderson Collection. According to gallery owner John Berggruen, Anderson was the most important art collector in the Bay Area until Donald and Doris Fisher started collecting. The son of Northern European immigrants, Anderson knew most of the major American artists of the sec…

…uki, The Chronicle 2014 Mary Margaret “Moo” Anderson who, with her late husband Harry “Hunk” Anderson, built one of the most important collections of American modern and contemporary art in private hands, died Tuesday, Oct. 22, at her home on the Peninsula. Her death was confirmed Thursday, Oct. 24, by the Anderson Collection at Stanford University, a museum showing the core of their collection. No cause was given. She was 92. The Andersons liked…