… Anderson Collection at Stanford University, the Faculty Senate gave members the opportunity to visit the newest addition to the university’s growing arts district 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…

…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…

…ch Impressionists. They bought their first works, by Picasso and Matisse, and started building a collection that included American Modernists Georgia O’Keeffe, Marsden Hartley and Arthur Dove. In 1969, they made a switch from the Impressionists and Modernists to postwar American art. The timing was perfect. There wasn’t as much competition to drive up the prices and they went straight for the best in the New York school — Jackson Pollock, Mark Ro…

…s 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 conveying your different messages both historically and politically? KW: When I was an undergrad, I took a class with…

…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 engagement with many forms of creative expression. She addresses the racism, displacement, a…

…le, the Apsáalooke artist depicts her grandmother, her father, herself and her daughter, all around the same age in a piece that weaves their genealogy together. “We, as federally recognized Native people, are the only people in the U.S. that have to carry around cards. How much blood quantum we have. And so I happen to have the right amount of blood, but my child doesn’t.” With this piece, Red Star rages against the fact that, according to…

…the French tradition of color and light – as embodied in the work of Matisse, Bonnard, and Monet – had a lasting influence on his practice. While abroad, he forged a style that was unmistakably his own, as evidenced in Red in Red, and became one of the most well-known American artists of his generation in Western Europe and Japan, where he first traveled in 1957 and would come to spend significant periods of his later life. “The addition of Red i…