…and the importance of Park, former curatorial intern Sydney Simon, PhD ’18, wrote, “In the 1950s, a small group of artists in San Francisco took a surprising turn away from Abstract Expressionism, which dominated progressive art in New York and California, by reintroducing recognizable subject matter into their painting…David Park, who was teaching at the California School of Fine Arts (now the San Francisco Arts Institute), initiated this embra…

…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…

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…

…gh an invitation-only competition among some of the nation’s leading art museums, the Andy Warhol Foundation for the Visual Arts selected the Cantor Arts Center as the permanent home of Warhol’s archive of contact sheets and negatives. They’ll all be digitized, too.   Read much more background and about the plans for these three collections here.  All I can say is that this is a wonderful confluence of gifts and events and I wish I had plans to…

…d that Putter slept beneath the last Jackson Pollock drip painting in private hands. “We’re taking 60 works from the house and about 60 works from Quadrus,” Anderson says, raising the question of whether Quadrus will now be closed and the walls of his home will now be bare. “Even now, with the gift, we still have 700 works left,” he says. “But they’re not the irreplaceables. The irreplaceables are here (at Stanford).” The irreplaceables The irrep…

…wo Lobdell abstractions, 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 a…

…is experience becomes a joyful and subversive wake of silent, but collective, sharing. Art enthusiasts will have the opportunity to experience this wearable art in person. A collection of Cave’s evocative Soundsuits will be on exhibit at the Anderson Collection at Stanford University through Aug. 14, 2017, on loan from the Anderson family, the San Francisco Museum of Modern Art and private collectors. Cave, who now the director of the gradu…

…oined donors and friends in doing so. Totem Lesson 1 and Gansevoort Street were unveiled alongside new endowment and naming opportunities to support the museum’s exhibitions, public programs, directorship and architectural spaces. As momentum toward the fundraising target grows, a sense remains that some gifts to the museum are priceless. “It’s hard to find a better example of a work by either of these artists that’s not already in a museum’s col…

…s a painter, Eamon Ore-Giron combines architectural shapes—circles, triangles, arches, rectangles—in bold colors and interlocking compositions. His approach is also one of intersections: across media, cultures, identities, generations and geographies. We are delighted to collaborate with the Institute for Diversity in the Arts to bring this dynamic artist and thinker to our gallery spaces and classrooms.” Ore-Giron’s work draws on motifs from ind…

…s will be turned off. About Nick Cave’s Soundsuits Cave’s first Soundsuit (1992) was built in reaction to the beating of Rodney King by Los Angeles police officers and the riots that followed the officers’ acquittal in 1992. Though it was not built as a wearable object, Cave donned his creation. Within it he found sanctuary, a new identity, and was surprised and inspired by the sound the twigs made when he moved. And so he named this sculp…

…w) 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, and culture surr…

…celestial cloud formation. “It simplified it in interesting ways,” Red Star said. “The [Gast] painting is so cut and clear, you see all the fine details, and then everything gets muddled and mushed together in this paint-by-number.” The end result was digitized and enlarged into a mural-sized print, now installed in a gallery coated with Red Star’s signature astroturf. An important component to Red Star’s exhibition is how Stanford is a product o…

…exhibition opened on Sept. 18 and will be on view through March 5, 2023. The Anderson Collection is always free and open to the public. “Presenting Stephanie’s work at the Anderson Collection is important for us because she is deeply committed to uncovering and re-presenting histories and making them more visible in relation to people of color,” said Jason Linetzky, director of the Anderson Collection. “She is also not afraid to provoke viewers…