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…

…he preferred working with it.. “It’s a blah material,” he philosophized, “a dumb material. It doesn’t dictate to you at all. You can do anything you want to with it, practically, from a polished, glass-like finish to a rough, broken surface.” At $3 per bag, which Neri could only sometimes afford, plaster was also a forgiving material that allowed mistakes and improvisation: a poor man’s marble that could be hacked into submission. There is a cert…

…came West to establish Saga in Menlo Park, a national company distributing dorm food to college campuses across the United States. Museums far and wide courted the Andersons, but, logically, the art collection paid for by college cafeteria food belongs on a college campus. The deal, struck in 2011, was that Stanford would supply a new building, at a cost of $36 million, to be run independently of the neighboring Cantor Arts Center. The Andersons…

…ns. Each item he finds holds a story — the energetic imprint from every previous owner, which he assembles into his Soundsuits. In that way, it can be said that Soundsuits are formed from memories. The Chicago artist’s creations are part sculpture and ornament, armor and instrument and are often worn as costumes and performed in. The energetic vibration of each single, insignificant article is magnified by how Cave chooses to bind the…

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…

…bed and a couch facing across the space to the only light source: a door, stage right, cracked open just a hair. In the corner of the gallery is Manuel Neri’s “Untitled Standing Figure” (1982), a white plaster sculpture of a female half-swathed in marine blue, as if it had been transported out of the studio before it was ready. On the opposite side of the gallery, a pair of large and loud Lobdell canvases vies for attention; lik…

…n Pollock’s Lucifer and Willem de Kooning’s Woman Standing – Pink, among others, is that one could enjoy a feast in the room without ever having a meal, thanks to the rich visual display. The feast proved moveable and equally rich when the paintings were relocated to the campus over the summer and served to the Stanford community and the public in a series of courses over the last week. Opening week of the Anderson Collection at Stanford Universi…

…keep on giving. Students for generations will take advantage of this assemblage of iconic modern pieces. Again, the open-air, naturally-lit environs drive home the idea, at least for me, that this is a collection accessible to anyone. There are no crazy, over-the-top experimental pieces. You don’t need to be schooled in stuffy academic artspeak. You can be as Luciferian as you want. And it’s free. Just bring money for parking. With R…

…or candy store. Through his brushwork, Thiebaud conveys the tactile duality of his subject. He virtually frosts the surface of the canvas with paint to suggest the rippling of fudge or the shiny stickiness of caramel. Isolated in a cold, ambiguous environment, the various sweets become a means for formal exploration and finally works of art in themselves, displayed in a glass case. Explore Candy Counter, part of the Anderson Collection at Stanf…

…vived by his wife, Mary Margaret “Moo” Anderson; daughter, Mary Patricia “Putter” Anderson Pence, an art advisor in Los Angeles; and granddaughter Devin Pence, a first-year student at Stanford Graduate School of Business. The family plans to have a private burial but looks forward to hosting a celebration of Hunk’s life in the spring. In lieu of flowers, please make a donation to the Anderson Collection at Stanford University online. Checks can a…

…nd names of the 50s, 60s, and 70s, felt almost wedged into the house, with masterpieces seemingly elbow to elbow in big rooms, and large canvases lining the hallways. As a teenager, Putter had a Pollock drip painting in her bedroom; any slumber-party guests must have been very careful with their Cokes and Cheetos. (The San Francisco Chronicle estimates the painting, Lucifer, might fetch as much as $100 million at auction.) Maybe because I was…

…forefront once again.” pollock ©2014 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York The Andersons purchased Lucifer in 1970. Former collection intern Neal Benezra, MA ’81, PhD ’83, director of the San Francisco Museum of Modern Art, told the L.A. Times: “What is most extraordinary in the collection is the representation of Abstract Expressionist works at a time when a museum can only dream of acquiri…

…perceived pollutant that well-ordered galleries and institutions assiduously scrub out of sight. Williams’s work instead moves toward the mess—toward the displaced, discarded, or conveniently forgotten—taking up the burden, as well as the opportunity, of reparative care. —Louis Bury Louis Bury Can you talk about your background in performance? Kiyan Williams When I was an undergraduate at Stanford, my performance studies classes introduced me to…

…Area Figuration. Works by Jensen and Neri were part of the original Anderson Collection gift. Weatherford brings the number of artists in the Anderson Collection at Stanford University to 87. Mary C. Downe’s gift of Study for Denial by Jensen is a preparatory painting for Denial, 1983-86, included in the original Anderson Collection together with two other Jensen works. Denial is a theme Jensen considered and worked with across media over several…

…Area Figuration. Works by Jensen and Neri were part of the original Anderson Collection gift. Weatherford brings the number of artists in the Anderson Collection at Stanford University to 87. Mary C. Downe’s gift of Study for Denial by Jensen is a preparatory painting for Denial, 1983-86, included in the original Anderson Collection together with two other Jensen works. Denial is a theme Jensen considered and worked with across media over several…

…American painter and, like Pollock, a contributor to the abstract expressionist movement, Mark Rothko is one of the most celebrated artists of the postwar era. Painted in his signature style — featuring the motif of rectangular forms floating in a field of color — Rothko’s “Pink and White over Red” consists of a white, rectangular spot of paint overlaid on an expansive red background. The piece’s unconventional composition attests to Rothko’s me…

…on as a lab for her winter quarter students to test and examine different approaches to 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 l…