…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 canvases and colors, t…

…-effacing addition to the neighboring Cantor Arts Center, a heavy Greek Revival building. Just 40 feet away from the Cantor and its imposing Ionic columns, the Anderson Collection, by comparison, keeps a low profile. The building appears as three simple horizontal bars. 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 t…

…tractions, terrific paintings by Christopher Brown and Squeak Carnwath and you will have some idea of how strong the presence of California painting is at the Anderson Collection. The reputation of California art is going to be lifted up by this great public display. There is so much to be said about what the gift of this collection will mean for Stanford, for California art and for the public, but I am going to keep it brief here and make just o…

…wned collection of post-World War II American art gifted by the late Harry W. Anderson, his wife, Mary Margaret, and daughter, Mary Patricia Anderson Pence. Over 50,000 people have visited the museum each year since its opening, drawn in by the Ennead Architects-designed building and the opportunity to see top-tier examples of art by luminaries such as Jackson Pollock, Mark Rothko, Wayne Thiebaud and Richard Diebenkorn. The challenge to this and…

…nce to introduce yourself. Approach her hat in hand, ready to be vulnerable first. Court her. Set a regular date and return, over and over. If things get serious, plan to visit the family that lives next door: At Cantor Arts Center, you can un-dust her ancestors. They will tell you stories about how she was possible. All of this will take time and attention, but the rewards are life-long. You, too, can have a home in the Anderson Collection….

…ly,” said Stanford President Emeritus John Hennessy. “He just lit up whenever he described what each work meant, and how it inspired creativity. It was this shared passion that bonded us, as we met through our mutual interest in visual arts. Hunk’s insistence that the family’s remarkable collection go to a place that would curate it in perpetuity, so that it could be used, shared and seen, reflected his philosophy that art can and should inspire…

…e Village at the 1904 World’s Fair. Block Out the Sun is set apart from the main show, down a short hallway, but the click that punctuates each new photograph in the video sounds throughout the gallery. (An earlier version of this piece featured photographs in a vitrine, but here it takes the form of a slideshow.) This is an invitation to come see, but an ambivalent one. Syjuco’s hands cover the faces of the men and women brought to St. Louis as…

…in late November. The university has been circumspect about personnel matters, but did issue a press release at the time indicating that a transition team “will work closely with stakeholders from across the campus and community to situate the museum for ongoing success.” Mitchell and Brezinski discussed their new roles and goals in recent email interviews with this news organization. When asked if the Cantor is emulating the adminis…

…nderson Collection at Stanford University miss seeing you. We are eager to welcome you back to campus, share art and connect over ideas. Now through August 31, 2020, we are offering all Stanford graduates in the class of 2020 one year of free Ambassador membership ($100 value*) to both museums. Each membership covers up to two adults and children within a single household. To get your FREE membership, fill out the form available via this link….

…Kahlil Robert Irving’s work resonates with me right now in a very contemporary way. He looks at what’s discarded and hand crafts it, with great care, into a beautiful object that’s given a different life,” said Aimee Shapiro, director of programming and engagement at the Anderson Collection. “He’s a young artist whose work addresses issues of police brutality and racism – issues that have existed for a long time and came to the forefront this yea…

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…

…$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 certain implied violence present in the many nicks, scrapes, and gouges that mark Neri’s plaster figures. They are evidence of the artist’s intensity and physical struggle while in the throes of his process. Joan Brown, who Neri met in a CSFA class…

March 23, 2020 Click here for the latest changes to Stanford Art Museums programming. Please check back frequently for updates….

…great way to relax and enjoy select virtual tours, engaging lectures and artist talks, fun art-making projects, and many more activities we’ve chosen for you. We know that there is no substitute to experiencing art in person, and we are eager to welcome you again in the museums. In the meantime, we invite you to watch, explore, listen and read the highlights of what has made it possible for us to stay connected in this “new normal.” Please share…

…points out that Asian American artists like Ruth Asawa, Martin Wong, Chiura Obata, Carlos Villa, Al-An deSouza, and so many others should not be seen as “accessories to the American project.” She asserts, “We inhabit its centers, and we have always been here.” The first work that visitors encounter from the exhibition is The Color Shift (Correctional Overlay) (2022), a site-specific installation in the museum’s front window made with color-print…