Welcome to the Anderson Collection
Stanford University's free museum of modern and contemporary American art
…surrounded by large canvases of colors. One of them, covering almost the entire wall, was simply a large pattern of burgundy, black and white. However, there was something very calming about looking at it. I used to criticize such artworks a lot, not understanding the value placed on artists like Rothko. But seeing such pieces in a museum in front of you feels very different than looking at images online after Googling the artist. These large can…
…ating ceiling: “The gentle slope of the ceiling and the continuous translucent clerestory at the perimeter of the building bring diffused natural light into the galleries from above. A grand, shallow central staircase will serve as an extension of the gallery walls, allowing visitors to view art as they gradually ascend from the lobby to the main galleries above.” The 33,327-square-foot building has been carefully sited in order to co…
…nd Frank Stella to the San Francisco Museum of Modern Art. The family’s ranch house will be a little less full of art, although a Calder mobile and others still take up residence there. And Hunk Anderson’s Cliff May-designed office complex will now be missing major artworks, but the Andersons are pleased their collection will be on public display in a dedicated building on the Stanford campus. “I think in order to enjoy art, you hav…
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…
…g the material enabled longer span arches, while creating a complex visual experience from within. Students drew inspiration from the Anderson Collection’s temporary exhibit, “Constructive Interference”, exploring how mesh and colored ribbon could create a layered filter to the site. The ribbon, woven into the mesh, establishes a separate yet interdependent order while providing an additional layer of enclosure. The colors fade from muted to br…
…r the restaurant — Chinese takeout, Italian, French — they all had Latino chefs and dishwashers working the back of the house. (She sings the song on her new album Black Terry Cat and during the NPR Tiny Desk Concert above). The social critique is wrapped in a tight, funky arrangement, summing up the appeal of this Cuba Rican singer: she writes danceable tunes that make you think. Made to order for a KQED Arts audience. Details of her Saturday sh…
Meet Manuel Neri’s Muses ‘Assertion of the Figure’ highlights the models behind the sculpture September 27, 2017 Jeffrey Edalatpour A subject study, ‘Joan Brown with Neri Sculpture I,’ one of the Manuel Neri sketches on display at Stanford’s Anderson Collection. Manuel Neri’s muses are equal partners in Assertion of the Figure, an exhibit of the Bay Area artist’s work at Stanford’s Anders…
