…nd visitors to the Anderson Collection.  The progression of arches provides a spatial transition from the campus into a more enclosed cocoon-like space that orients towards the sky. The course is a cross-disciplinary collaboration including students from Architecture, Structural Engineering, Product Design, and Civil Engineering.  Students studied the structural capacity of 3 different densities of steel mesh. They explored how surface deformatio…

The Cantor Arts Center and Anderson 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 t…

…atory system of stars, and in Stellar Axis, the planet cradled by both poles. On the ice, the palpability of our interdependence and interconnection is magnified and brings us back to our humanity, to our human life and to the fragility of our human experience. In 2014, the Nevada Museum of Art, Center for Art + Environment, home to Albuquerque’s Stellar Axis archive, organized an exhibition and published a major monograph of the work, available…

…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…

…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…

…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…

…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…

…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…