…distinctive approach to puppetry, which features the manipulation of everyday objects, prompts us to view these items in ways we usually do not. One of Twist’s most acclaimed works, “Symphonie Fantastique,” is performed underwater in an aquarium. The piece intends to create a dynamic show of swirling color and form using materials like feathers, glitter, plastics, vinyl and mirrors. In his rendition of “The Rite of Spring,” commemorating the 100…

Anderson Collection September 9, 2015 – March 21, 2016 \Stanford has not one but four — count ’em — four exhibitions opening on Sept. 9. Among them are a collection of Richard Diebenkorn’s sketchbooks, a newly-acquired Edward Hopper painting and artwork that “demystifies” the artistic process. The Anderson Collection turns its focus to living artists with Constructive Interference: Tauba Auerbach and Mark Fox, presenting the work of two…

…ht up memories and assigned new meaning,” he recalls. “They make us look, examine, question what we are seeing.” In September, the Anderson Collection opened an exhibition, N ic k Cave, that includes eight “Soundsuits.” The life-size sculptures can be worn as costumes and performed in, and are comprised of a melange of objects—from buttons and beaded baskets to sequins and sock monkeys—that elicit a range of reactions as viewers draw on their own…

…d half a dozen new museums and arts centres are opening on campuses across the country, from Columbia University in New York to Rice University in Texas. They come on the heels of recently completed projects at Stanford in California, Harvard in Massachusetts and Yale in Connecticut. This multi-million-dollar investment in culture is fuelled by several factors: administrators’ recognition that the arts can promote nimble thinking, student demand…

…in Music and Acoustics (CCRMA) community and the St. Lawrence String Quartet, Stanford’s ensemble-in-residence. In a similar way, having students visit from all disciplines across campus, and visitors with various interests from across the community, allows for cross-pollination of ideas, scholarship and discussion. Bringing together those ideas through encounters with arts is one of the most important roles a university art museum can play. At…

…of opportunity to share the trajectory of the two artists’ careers,” adding that the gift “really marks the way in which we see this collection growing.” Totem Lesson 1, which Pollock created before adopting his famed drip technique, will be the earliest piece in the museum’s collection, which already owns one early-career painting by the Abstract Expressionist. Gansevoort Street is the third de Kooning to enter the Anderson Collection’s holding…

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…

…be a destination for discourse around modern and contemporary art by raising voices that offer diverse lenses on its history and how our collection can play a role in understanding the course of American art,” said Jason Linetzky, director of the Anderson Collection. “As a painter, Eamon Ore-Giron combines architectural shapes—circles, triangles, arches, rectangles—in bold colors and interlocking compositions. His approach is also one of intersec…

By Robin Wander Wendy Red Star: American Progress on view at the Anderson Collection at Stanford University 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…

…yled to highlight popular fantasies associated with “ethnic” patterning and costume. The double-take required to comprehend the history and the commentary is where a perspective shift takes place. Stephanie Syjuco, “Cargo Cults: Head Bundle (Small),” 2016. Pigmented inkjet print. Edition of 15 + 2AP; 21 x 16 inches framed. (Image credit: Courtesy of the artist, Catharine Clark Gallery, San Francisco, and RYAN LEE Gallery, New York) For Linetzky…

…Historical Society looking for photographs of the Philippine 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 co…

…exoticized or ethnicized.” Far from a reflection of how she sees herself as a Filipino, Syjuco says Cargo Cults is instead a commentary on a specific style of ethnographic photography that she believes blurs together for the general public. “The photographs become markers of a ‘different culture’ to gaze at, a curious or beautiful ‘other’—but positioned against a modern Western norm.” One of her reference points is Guillermo Gómez-Peña and Coco…