…een to wake up to the colors and the lines of “Lucifer” everyday. There was a piece that looked like a Rorschach inkblot, a large chaotic dark shape on a white background. Like Rorshcach, who asked people to tell him what they were seeing in his famous inkblots, I questioned how to interpret this painting and thought about what was going on in the artist’s mind. Was he going through a chaotic period in his life? Is it fear he is trying to draw? A…

…ith re-creations of key rooms like the dining room, where Jackson Pollock’s “Lucifer” hung over a sideboard, and in the living room where “Red in Red” by Sam Francis was installed over the fireplace (a mock version here). A small room called the Gallery is replicated with paneling, brick walls and a large Persian carpet. This was how the Andersons melded their art collection with the other elements of their life; their expansive art library and M…

…A Renoir was moved from Putter’s room to make way for the Pollock. In the living room, Sam Francis’s 1955 Red in Red has pride of place above the fireplace; over the sofa isNumber  64, a 1958 work by Morris Louis, whose 1954Pendu lum painting hangs in the hallway just outside the dining room—where you’ll find Luciferalong with Still’s 1947 1947-Yand de Kooning’s 1954–55 Woman Standing– Pink—in a space that is also filled, like much of the hous…

…nd Elizabeth Murray, to name a few, to Stanford on the condition that it build galleries to house them. Stanford is offering timed tickets, starting in mid-August — but they are free.   But Stanford will be the place to be soon for more reasons than the Anderson collection. Next door to the Anderson Collection building is the Cantor Arts Center. Last week, the Cantor announced three pretty interesting gifts: Richard Diebenkorn’s sketchbooks, don…

…Woman Standing – Pink” (1954-55), a lush, pastel-toned oil of a voluptuous nude who looks like she’s in the clutches of a garbage compactor. The art is organized loosely into about a dozen sections, such as Dumb Objects, California Funk, Geometric Abstraction, (the distinctly L.A.) Light & Space/Finish Fetish and The Shaped Canvas. The latter is where Frank Stella’s elephantine “Zeltweg” (1981) doesn’t so m…

…3,500-square-foot building to house the Anderson Collection, 121 contemporary artworks donated by the Andersons, including major artwork by Jackson Pollock, Richard Diebenkorn and Ellsworth Kelly, among others. The couple married in 1950. During an around-the-world trip in 1964, they were overwhelmed by the Impressionist art on view in Paris. “On the way home, we may have had a glass of wine too much, but we decided to put together a great…

…istrict and to take guided tours of the galleries. “I hope one thing that gets accomplished this afternoon is that you have the chance to see – for those of you who don’t spend time in this area – just how much the arts district is blossoming,” said Richard Saller, dean of the School of Humanities and Sciences. “The outcome of the last campaign, in terms of new programs, new facilities and, in some areas, new faculty, has…

…he course. The clinical portion of the course drew Cartmell, but so too did the opportunity to see the treasures in the Cantor Center and the Anderson Collection. Two of those treasures, Lucifer (1947), by Jackson Pollock, and Red in Red (1955), by Sam Francis, in the Anderson collection, made Cartmell see how works of art “can be made up of numerous small elements, coming together to form a larger image, much like cells coming together to form a…

…t bug. “The Andersons didn’t study art history, and they’re not classically trained as art historians or experts in the arts,” says Jason Linetzky, the Anderson Collection’s founding director. He began working with the family around 2001, providing exhibition assistance as well as installation and curatorial support. “They just started looking and collecting, without much direction, until they met two people on (the Stanford) campus: Al Elsen and…

…three shows of the Anderson art over the years, and along the way 55 of their works have been donated to SFMOMA, including paintings by Lichtenstein, Johns, Stella, Warhol and Rauschenberg. “Hunk and Moo have been two of the most important donors to the collection in our museum’s long history,” said Neal Benezra, director of the San Francisco Museum of Modern Art. “The museum collection would simply not be what it is without their profound genero…

…onfederate criminals throughout the United States, and so there was a public conversation happening about, “what is the role of public art,” “what is the role of monuments to white male war criminals.” Given all of that, I was inspired to create a public artwork, a monument rooted in a different aesthetic and conceptual framework. TSD: Could you go more into depth about why you choose to use soil in so much of your artwork, and especially in conv…

…is a solo exhibition of works by the artist Wendy Red Star, who was raised on the Apsáalooke (Crow) reservation in Montana. With historical research, Stanford student 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 engagemen…

…hat interested Red Star. Whose land? And so she used “their land” to name the piece. I told Red Star how impressed I was about the high concentration of flags especially in the Western states. “It’s Manifest Destiny,” she replied. Red Star later told me instead that she had been “pleasantly surprised in a horrible way” when she first realized how many tribes existed in the East. Ultimately, that is what T…

…multifaceted connection to the Palo Alto community and the Anderson family. On view through March 3, 2024, this intimate presentation of works in the Wisch Family Gallery is anchored by two large-scale paintings from the museum’s permanent collection, Red in Red (1955), an early work created while Francis lived in Paris, and The Beaubourg (1977), made after his return to California. The balance of the works on view is devoted to unique works on…

…ricans and contemporary Black artists. Kara Walker: Harper’s Pictorial History of the Civil War (Annotated) will include 15 large-scale prints (September 28 through December 29), while Seeking for the Lost presents portraits painted by Christopher Harrison, imagining what formerly enslaved people “lost” after the Civil War looked like (now through February 16, 2025). 2. Sidney and Losi Eskenazi Museum of Art, Indiana University How to visit:…