arts Center - Cantor Arts Center at Stanford University

C a n to r
A rts C e n t e r
j a n u a ry– m a r c h
S T A N F O R D
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U N I V E R S I T Y
Letter from the Director
It is my pleasure to introduce you to an incredible year
of exciting new exhibitions, programs, and activities here
at the Cantor.
With the opening of Bing Concert Hall in January, the
new Stanford arts district continues to take shape on campus,
bringing fresh opportunities and change. (Please see below
for much more information on these exciting developments.)
Change is coming to the Cantor as well. I look forward to
welcoming our members and the community to experience our
new Family Programs, launching this February. Our role on
campus is expanding as we create innovative ways to engage
with and inspire our students. We are also developing new
programs to strengthen our connection and commitment to the community at large.
At the start of this new year, let me express my gratitude to the many members, donors,
and friends who are so generous with their ideas and support. Thank you for keeping the
Cantor vibrant and a centerpiece for the arts at Stanford and beyond.
Connie Wolf (AB ’ 81)
John & Ji ll Frei denrich Di rector
TR A N S FO R M ATI O N S
Updates on construction projects
in and around the Cantor
We turn our attention to Stanford’s blossoming “arts
district” as the Cantor finishes two major improvements, restoration of the spectacular skylight in
our historic 1891 lobby and the installation of an
environmentally friendly heating system.
The Cantor, the arts district’s anchor, welcomes
Bing Concert Hall, a new neighbor whose mission, like
the Cantor’s, is to engage both the Bay Area community and Stanford’s students and faculty. Bing begins
its inaugural season of top-tier talent on January 11.
Don’t miss the Community Open House on Saturday,
January 12. Find details at Stanford Live’s Web site,
live.stanford.edu.
The new Bing Concert Hall faces the Cantor on Museum Way, just
across Palm Drive. Design rendering of Bing Concert Hall’s exterior.
© Ennead Architects
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Groundbreaking for the Anderson Collection
building, immediately north of the Cantor, took place
in October. When completed in 2014, visitors will see
one of the world’s most outstanding collections of
20th-century American art: 121 works by 86 artists
including Jackson Pollock, Willem de Kooning, Philip
Guston, and Ellsworth Kelly. The building will complement the Cantor’s architecture—its designers, Ennead
Architects, also devised the Cantor’s new wing and
Bing Concert Hall.
The McMurtry Building, opening on the west
side of the Cantor in 2015, will provide a single home
for Department of Art & Art History programs
currently scattered in several facilities on campus.
The McMurtry Building was designed by Diller
Scofidio + Renfro, a firm much-awarded for its
innovative, arts-centered projects, and will feature
exterior spaces that connect to both the Cantor
and the Anderson.
The idea for an arts district stemmed from
the Stanford Arts Initiative, which has endowed new
arts facilities, faculty positions, graduate fellowships,
and academic and extracurricular programs across
campus—all in the interest of placing the arts at the
heart of a university education. As Jonathan Berger
and Bryan Wolf, the first faculty leaders of the Arts
Initiative, put it, “Imagination, originality, and risktaking should not be byproducts of a university
education. They should be its core.”
C A NTO R A RT S C E NTE R
Connie Wolf
John & Jill Freidenrich Director
D i r e c to r ’ s A dv i s o ry
B OA R D
Susan Diekman
Chair
Diane Christensen
Doris F. Fisher
Jill Freidenrich
John Freidenrich
Mimi Gardner Gates
Andrea Hennessy
Elizabeth Swindells Hulsey
Liong Seen Kwee
William Clark Landreth
Daryl Lillie
Burton McMurtry
Deedee McMurtry
J. Sanford Miller
Frederick P. Rehmus
Marilynn Thoma
Michael W. Wilsey
Ex Officio
John Hennessy
Lisa Mooring
Richard Saller
Martin Shell
Matthew Tiews
Nancy Troy
M e mb e r s h i p E x e c u t i v e
C o u nc i l
Lisa Mooring
Chair
Cindy Traum
Vice Chair
Mary Anne Nyburg Baker
Barbara Bogomilsky
Charles E. Clark, Jr.
Suzanne Crocker
Carol C. Friedman
Mary B. W. Marsh
Pamela Miller-Hornik
William Reller
Irene Yeh
The Cantor Arts Center News is underwritten by the Cantor Arts Center
Membership and produced by the
External Relations Department.
Madeleine Corson Design,
San Francisco
DESIGN:
Richard Misrach
(U.S.A., b. 1949), Swamp and Pipeline,
Geismar, Louisiana, negative 1998,
print 2012. Inkjet print. High Museum
of Art, Atlanta. © 2012 Richard Misrach
FRONT Cover :
Connie Wolf, John & Jill Freidenrich Director.
Photograph by Linda A. Cicero/Stanford
News Service
IN SIDE FRONT Cover :
Richard Misrach (U.S.A., b. 1949),
Night Fishing, Near Bonnet
Carré Spillway, Norco, Louisiana, negative 1998, print 2012.
Inkjet print. High Museum of Art,
Atlanta. © 2012 Richard Misrach
OPENING SOON
Revisiting the South:
Richard Misrach’s Cancer Alley
The Western landscapes for which internationally
acclaimed photographer Richard Misrach is best known
challenge viewers with environmental, political, and social
concerns while engaging them with evocative and lyrically
beautiful large-scale prints. His Desert Cantos offers an
ongoing, multi-faceted study of man’s relationship to
the earth. Other projects include the Golden Gate Bridge,
which examines weather, time, color, and light, and On
the Beach, an aerial view of human interface and isolation.
The latest in Misrach’s profound body of work,
Revisiting the South: Richard Misrach’s Cancer Alley, premiers on
the west coast at the Cantor and marks the culmination
and publication of work originally commissioned in 1998
by the High Museum of Art in Atlanta. The exhibition’s
21 photographs and 14 contact sheets document the farreaching ecological erosion and economic deprivation
of the local, and mostly poor African-American, communities along “Cancer Alley,” the Mississippi River corridor
from Baton Rouge to New Orleans home to 140 industrial
plants. The exquisite, haunting images engage the viewer
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with serene pastoral scenes, meandering watercourses,
and misty marshlands. But the petrochemical industry also
reveals itself as an omnipresent and brazen specter through
the photographs’ rusted pipelines, mammoth tankers, and
tangles of steel, concrete, and smokestacks sending noxious
fumes into the air and water.
Looking through Misrach’s lens, the viewer comes
to realize that Cancer Alley’s industrial corridor—which
produces almost one-third of America’s gasoline, plastics,
and other chemicals—is generating a lethal combination
of pollutants that is quietly deteriorating local communities and watersheds, leaving behind only cryptic relics of
what was once a richly diversified past. In focusing on the
delicate state of the Mississippi River, Misrach signals
not only the environmental challenges facing the South
but also the larger costs of our modern world at the
dawn of the 21st century.
Pigott Family Gallery, March 27–June 16
We gratefully acknowledge support for the exhibition from the Clumeck Fund,
the Contemporary Collectors Circle, and Cantor Arts Center Members.
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N E W O n V i ew
Dotty Attie: Sometimes a Traveler /
There Lived in Egypt
You might know Dotty Attie for her reproductions of popular Old Master paintings paired
with text—pieces that poetically reveal the voyeuristic narratives in Western visual and literary
arts. Attie’s portfolio Sometimes a Traveler/There Lived
in Egypt calls particular attention to the exploitation
of the North African female body and its place
in European Orientalists’ imaginations.
Patricia S. Rebele Gallery, January 23–June 16
North Africa and the Holy Land in
19th-Century Photographs
During the 19th century, photographs served as
surrogate experiences for Americans and Europeans
unable or too daunted to travel. They were also used
as official records of archaeological expeditions
and colonial activity. The demand for images led
local photographers to set up shop and prompted
others—including Englishmen Francis Frith and
Peter Bergheim—to travel eastward. This installation presents approximately 20 vintage photographs
of the kind that appealed to Western audiences
and inspired curiosity about this alluring area of
the world.
The photographs present a range of subjects
including topographical images, picturesque views
of holy sites and ancient architectural wonders,
and studies of people and significant artifacts. All
photographs are drawn from the Cantor’s collection.
Robert Mondavi Family Gallery, January 23–June 2
Buying and Selling: Early Modern
Economies of Labor, Merchandise,
Services, and Shopping
Seventeenth- and 18th-century European artists took
great interest in exploring the details of modern life,
including those arising from a thriving commerce
in Europe and a rapidly expanding market of
material goods. The prints and drawings in this
small exhibition showcase a range of workers at
their tasks, from the idealized shepherd and elegant
artist to the lowly butcher and rat catcher. These
images feature the tools of many trades as well as
products and services, and they offer views of the
public or private spaces in which people shopped,
consumed, and socialized. They also speak to
broader issues of class identity, urbanization,
and gender divisions within the workforce.
Featured artists include Paul Sandby, William
Hogarth, Rembrandt Harmensz van Rijn, and
Jean-Antoine Watteau.
Gallery for Early European Art, January 23–June 2
Dotty Attie (U.S.A., b. 1938), Sometimes a Traveler/There Lived in
Egypt, 1995. Lithographs. By exchange with the Jane Voorhees Zimmerli Art
Museum, Rutgers University, for a gift from David Gilhooly, 1998.455.2–20
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Francis Frith (England, 1822–1898), Mosque of
the Emeer Akhor, c. 1856–60. Albumen print.
Committee for Art Acquisitions Fund, 1986.112
Artist Unknown (Austria, 18th century), Coffee
Vendor, 18th century. Pen and ink with watercolor
on paper. Museum Purchase Fund, 1969.200
Border Crossings:
From Imperial to
Popular Life
How are the boundaries between social classes and
identities challenged and then transcended? The
more than 40 works in this exhibition explore that
question. Two sets of 18th-century Chinese paintings
on view for the first time—Ten Beauties and The Life
and Miracles of Mazu, Guardian Angel of Seafarers—demonstrate how workshop artists outside palace walls
reproduced the subjects and styles of imperial court
paintings so as to fulfill commissions by patrons of
a rising social class. The rich material world depicted
in the paintings is brought to life by a complementary presentation of furniture, bronze and ceramic
vessels, and decorative arts from the late Qing period.
Japanese woodblock prints, meanwhile, show
cross-dressing actors in Kabuki theater who became
trendsetters for the world off-stage; the behavior,
dress, and self-representation of actors came to
dictate the taste and fashion of women during the
Edo period.
Because other forms of border crossing persist
today, the exhibition also features work from the
Identity Exchange series by Chinese contemporary
artist Cang Xin wherein the artist poses in his own
photographs, stepping into different professions
and identities.
Madeleine H. Russell Gallery, January 30–August 4
Spotlight on Art lecture.
(See Things to Do, p. 22.)
RELATED EVENT
Attributed to Lu Can (China, late 18th century), The Life and
Miracles of Tianho, the Empress of Heaven, c. 1780. Ink and color on paper.
Gift of Samuel J. Stegman, 1988.140.1–12
Above
Attributed to Qiu Ying (China, c. 1494–c. 1552), Ten Beauties,
18th century, TP.399
right
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More Than Fifteen Minutes:
Andy Warhol and Celebrity
As a Pop artist trained in advertising, Andy Warhol
was obsessed with fame and the media. His portraits
were often of actors, politicians, athletes, rock stars,
and others made popular from film, newspapers,
history, and legend. And through a variety of
techniques and processes such as appropriation,
repetition, and mass production, Warhol’s art
popularized the cult of celebrity. What’s more, his
idea that “in the future, everyone will be worldfamous for 15 minutes”—printed in a 1968 catalogue
published by the Modern Museet in Stockholm—
foreshadowed the fleeting fame characteristic of
many Internet-age celebrities. It was Warhol who
suggested that in the future, no subject would be
unworthy of attention.
This exhibition, featuring prints, drawings, and
Polaroid photographs of Marilyn Monroe, Mao Tse
Tung, Mick Jagger, and other contemporary icons,
explores ideas about fame, ephemerality, and the
legacy of Andy Warhol. Works are drawn from
the Marmor Collection and private collections.
Freidenrich Family Gallery, February 20–June 30
Faculty Focus: Where Is Chopin?
By Jaroslaw Kapuscinski
For Stanford music professor Jaroslaw Kapuscinski,
undertaking a project about Polish composer
Frédéric Chopin was inevitable. He grew up
steeped in Chopin’s music, training as a classical
pianist and composer at the Chopin Academy
of Music in Warsaw, a city where “it was easy to
encounter Chopin’s music,” he remembers. “He is
clearly the most treasured composer in Poland.”
Andy Warhol (U.S.A., 1928–1987), Liz, 1964. Offset lithograph. Lent by The
Marmor Foundation. © 2012 The Andy Warhol Foundation for the Visual Arts,
Inc./Artists Rights Society (ARS), New York
Kapuscinski also considers Chopin’s music “the
vehicle to transmit what ultimate art and beauty are.”
Kapuscinski’s project, Where Is Chopin?, consists of
a 31-minute, three-channel visual projection showing
various people’s reactions to the 24 Preludes Op. 28.
(His re-compositions of these preludes emit from a
grand Disklavier piano near the screens.) Kapuscinski
collected the images in 12 cities around the world,
holding listening sessions of his performances and
documenting volunteers’ reactions in hi-resolution
video. “The project studies the psychological,
perceptual, and cognitive processes of music,” he
says. “It shows how emotions emerge from music,
how musical structures are interpreted, and what
they mean to different people.”
Pigott Family Gallery, February 20–March 3
Jaroslaw Kapuscinski lecture.
(See Things to Do, p. 23.)
RELATED EVENT
A Tokyo audience listens to Jaroslaw Kapuscinski’s performance of Chopin’s Preludes Op. 28. Photograph by Bruce Osborn
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Hauntings: American Photographs,
1845–1970
Photography and ghosts go together: people and
places from other times come to us now, a collision
of our moment and theirs. Some photographs allude
to this ghostliness: figures dissolve and blur, lost in
smoke and shadow. Other photographs focus on
a present moment so clearly that bygone people
appear frozen in time, like insects in amber.
In the photographs selected for this installation,
time rolls in rear-view mirrors and ocean waves, or
across the sky in a passing phenomenon, a dirigible
floating in the clouds. People walk away, buildings crumble, and technologies become obsolete.
Photography has its own history.
Hauntings: American Photographs, 1845–1970,
held in conjunction with Professor Alexander
Nemerov’s course on American photographs,
draws on the Cantor Arts Center’s collection.
Marie Stauffer Sigall Gallery, March 6–July 7
Lee Friedlander: The Cray Photographs
In 1986 the Cray Company, then the world’s
top supercomputer producer, invited American
photographer Lee Friedlander to visit its worksite
in Chippewa Falls, Wisconsin and take photographs
for a book marking Cray’s 15th anniversary. This
Alfred Stieglitz (U.S.A., 1864–1946), A Dirigible, 1910. Photogravure from Camera Work, no. 36
(October 1911). Gift of Graham Nash, 1978.234.35
exhibition features all 79 gelatin silver prints in
the resulting set, Cray at Chippewa Falls, Wis., which
is the partial and promised gift of Michael J.
Levinthal (BS ’76, MS ’77, MBA ’81).
Building on past projects—people hard at
work on assembly lines and in data-entry centers—
Friedlander focused on women performing finemotor tasks such as installing the complex wiring
inside a massive supercomputer. Interestingly,
Lee Friedlander (U.S.A., b. 1934), Cray at Chippewa
Falls, Wis., 1986. Gelatin silver print. Gift of Michael
J. Levinthal, 2012.224.2. © Lee Friedlander, courtesy
Fraenkel Gallery, San Francisco
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(Cont.)
Cray founder Seymour Cray selected these women
for their dexterity and talent in weaving and other
fabric crafts. Friedlander also documented the local
land­scape and town. As a whole the photographs
offer a complex portrait of the human, artificial,
and environmental components that made the Cray
Company what it was in 1986.
Ruth Levison Halperin Gallery, March 27–June 16
A Royal Renaissance: School of
Fontainebleau Prints from the Kirk
Edward Long Collection
Having suffered military defeat and imprisonment
at the hands of the Holy Roman Emperor Charles V,
King François I of France returned to his realm in
1526, determined to triumph in matters of culture.
To achieve this, he invited Rosso Fiorentino,
Francesco Primaticcio, and other esteemed Italian
artists to his court. Their primary task—and
the keystone to his cultural initiative—involved
transforming his medieval hunting lodge at
Fontainebleau into a showcase royal residence.
Refining the mannerist idiom they brought
from Italy, these artists evolved the “School of
Fontainebleau” style in which elegance, eroticism,
classical erudition, and the grotesque are fused
in a richly ornamental amalgam.
As part of the king’s cultural policy, Antonio
Fantuzzi, René Boyvin, Domenico del Barbiere, Léon
Davent, and others made engravings and etchings
that recorded the multimedia ensembles embellishing the palace and related designs. Disseminated
internationally, their prints publicized the cultural
efflorescence François I had fostered. More than 30
examples have been selected from the collection of
Kirk Edward Long to illustrate the sophistication
and extravagance of this courtly style.
In celebration of French art, A Royal Renaissance
ends on Bastille Day. The exhibition was developed
by Sarah Grandin during her senior year at Stanford
with the supervision of Bernard Barryte, curator of
European art.
Lynn Krywick Gibbons Gallery, March 27–July 14
René Boyvin (France, c. 1525–c. 1625), Enlightenment of François I, 1550–55. Engraving. Lent by Kirk Edward Long
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CO NTI N U I N G O n V i e w
Guardians: Photographs
by Andy Freeberg, an
Exhibition in Three Parts
San Francisco-based photographer Andy Freeberg’s poignant
portraits of the women who
watch over the paintings and
sculptures in Moscow and
St. Petersburg museums. New
photographs by Andy Freeberg
of the Cantor guards, and a
student-produced documentary
film about these guards.
Gallery for Early European Art,
the Robert Mondavi Family Gallery,
and the Patricia S. Rebele Gallery,
through January 6
Adventures in the Human
Virosphere: The Use of
Three-Dimensional Models
to Understand Human
Viral Infections
Models of human viruses demonstrating the beauty of the molecular world and the creativity of
their makers—Stanford students.
Rowland K. Rebele Gallery,
through January 6
Divided Visions: Reportage
from the Sino-Japanese Wars
Key episodes in the two SinoJapanese wars as interpreted by
master sensationalist Kiyochika
Kobayashi, cartoonist Zhang
Wenyuan, and photojournalist
John Gutmann.
Madeleine H. Russell Gallery,
through January 13
Ink Performances
Contemporary ink work from
Chinese and Japanese artists
Qiu Zhijie, Ushio Shinohara,
Gu Wenda, Xu Bing, and
Wu Guanzhong. Madeleine H. Russell Gallery,
through January 13
Zhang Wenyuan (China, 1900–1992), Scene of Kunming, China
During the “Sino-Japanese War” (World War II), c. 1940–45.
Ink and color on paper. Gift of Else Cabos Forster in memory of
Paul Quentin Forster, 1992.134.8
Christian Marclay’s
Video Quartet
Drawings from Los Angeles
in the 1960s and 1970s:
The Marmor Collection
A delightful variety of artistic
approaches, from the illusionistic
drawings of Ed Ruscha to the
zany musings of John Altoon.
World-renowned artist Christian Marclay’s
critically acclaimed video collage; orchestrates
more than 700 film fragments on four screens.
Pigott Family Gallery, through February 10
Freidenrich Family Gallery,
through February 3
WHAT I LOV E
Our curators reveal which artworks in the
Cantor Collections move them the most
“Rodin’s Bellona, a ferocious goddess of war, brilliantly demonstrates the artist’s mastery of expressive physiognomy. Rodin
took her vehement expression from life: according to an early
biographer, Bellona’s scowling visage was inspired by Rodin’s
mistress, Rose Beuret, during ‘one of the tirades that [she]
lavished upon him.’ The dynamic turn of the head and the
intense play of light from the declivities and protuberances
of fabric, hair, and helmet animate the bust. Also note Bellona’s
crisp surface definition, a result of the lost-wax process, and
its subtly colored patination.”
Bernard Barryte
Curator of European Art
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Auguste Rodin (France, 1840–1917), Bellona, 1878. Bronze,
cast 1893. Gift of the Iris and B. Gerald Cantor Foundation,
1974.63. On view in the Gallery for the Art of Rodin.
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(Cont.)
A War on Modern Art:
The 75th Anniversary of the
Degenerate Art Exhibition
The Jameel Prize:
Art Inspired by Islamic
Tradition
Modernist work from German
artists whom Adolf Hitler
deemed “degenerate” and threatening to Third Reich ideals.
Innovative, contemporary work
by 10 culturally diverse artists
who draw from their own local
materials and iconography while
referencing traditional Islamic art.
Marie Stauffer Sigall Gallery,
through February 24
Panel discussion:
“Controlling Culture.” (See Things
to Do, p. 23.)
RELATED EVENT
Ruth Levison Halperin Gallery,
the Lynn Krywick Gibbons Gallery,
and the Geballe Family Balcony,
through March 10
Lecture by
Jameel Prize winner Rachid
Koraïchi, roundtable discussion
on contemporary Islamic art,
and Spotlight on Art lectures.
(See Things to Do, p. 22 and 23.)
RELATED EVENTS
The exhibition is organized by the Victoria
and Albert Museum London (V&A) in
partnership with the Abdul Latif Jameel
Community Initiatives.
We also gratefully acknowledge the support of
Cantor Arts Center Members and the Sohaib
and Sara Abbasi Program in Islamic Studies at
Stanford University, which has made possible
the exhibition’s presentation at Stanford.
Max Beckmann (Germany, 1884–1950), The Madhouse, 1918.
Drypoint. Palmer Gross Ducommun Fund, 2007.20 © 2012 Artists
Rights Society (ARS), New York/VG Bild-Kunst, Bonn
The Cantor Collections:
A Journey Around the World
From Africa to the Americas to Asia, from classical to contemporary—there is so
much to discover at the Cantor. Selections from the collections and long-term loans
are on view in many of the Cantor’s 24 galleries, sculpture gardens, and terraces on
an ongoing basis. A sampling:
• Rodin! The Complete Stanford Collection
• Expanding Views of Africa
• The Cantor Arts Center’s Contemporary Collection
• Living Traditions: Arts of the Americas
• The Robert Mondavi Family Gallery of
19th-Century Art of Europe and America
• The Life and Legacy of the Stanford Family
• Stone River by Andy Goldsworthy (outdoors)
mus e um . sta n f o r d . e d u
Selection from the Salish
Weave Collection Box Set 1
Silkscreen prints by leading
Coast Salish artists Susan Point,
lessLIE, and Chris Paul. From
Salish Weave Collection Box Set I, a
portfolio given to the Cantor by
Canadian collectors George and
Christiane Smyth.
Rehmus Family Gallery of Native
American Art, through May
Wood, Metal, Paint: Sculpture
from the Fisher Collection
Important works by contemporary artists Carl Andre, John
Chamberlain, Sol LeWitt, Claes
Oldenburg, and Martin Puryear.
Oshman Family Gallery, through August
Richard Serra: Sequence
Richard Serra’s 200-ton sculpture
experienced in the open air, as he
intended.
Ongoing
Artist unknown, China, Horse, 7th–8th century.
Glazed earthenware. Gift of Richard B. Gump in
memory of Lloyd Dinkelspiel, Sr., 1980.176
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lessLIE (Coast Salish peoples, British Columbia,
Canada, b. 1973), Sun, Salmon, Frogs, and Ravens,
2007. Screenprint. Gift of George and Christiane
Smyth, 2011.97.6. © lessLIE
CAMPUS
CONNECTIONS
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5
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3
The Cantor collaborates with Stanford students in many creative ways.
Here’s what happened most recently.
1 Sydney
Simon, PhD candidate in contemporary art, discusses
Martin Puryear’s Malediction in the Oshman Family Gallery.
2 PhD candidate in art and art history Yu-chuan (“Phoenix”) Chen was
awarded the 2012 Cantor Graduate Fellowship and spent the summer
researching objects in the museum’s Asian collection. In early September
he presented a summary of his work on a set of 12 paintings by the
late-18th century painter Zan Lu to museum staff and guests.
3 Graduate students in the Department of Art & Art History meet with
curators during their orientation.
4 Stanford
students in Kaorihiva, a dance group that specializes in Polynesian
dance, perform at the Cantor’s 14th annual Party on the Edge. The October
event introduced more than 1,800 Stanford students to the museum’s
galleries and grounds. Photograph by Steve Castillo
5 Party on the Edge guests cheer a rap performance by Stanford student
Krimzon. The robust crowd enjoyed 22 Stanford-student acts in all, as
well as a scavenger hunt through the galleries and churros. Photograph by
Steve Castillo
Asia Chiao Student Voices
Asia Chiao (’15) recounts her experience in the Stanford fall class “Student Guides at the
Cantor Arts Center,” which is taught by Patience Young, curator for education, and Kristen
Olson-Franklin, academic and educational technology liaison.
As an incoming freshman last fall, I enrolled in the Student Guides class at the Cantor
out of an interest in getting to know Stanford’s art collection. The class exposed me to the
day-to-day running of the museum and allowed me to deepen my knowledge of art history;
but it also taught me not to fear works I don’t understand, and to approach them through
open discussion. For me, conversations about art were always difficult and vague, simply
because viewing art is so often an introspective process.
When I give tours on Saturday afternoons, I sometimes see apprehension on people’s
faces when I introduce an unfamiliar work. Yet inevitably, by asking the same kinds of questions
I was asked in class, silence is always replaced by nods, smiles, and exclamations of discovery.
I’ve often told people that the Student Guides class is one of the best on campus: by
knowing how to share art with others, you make the art world a less intimidating place,
one painting at a time.
REL ATED EVENTS
Asia Chiao
Student-guide discussions. (See Things to Do, p. 22.)
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Cantor Arts Center N e w s 11
For th e love of art: Giving to th
Leaving a Legacy to the Cantor
The museum has benefited greatly throughout its history from bequest donors, starting
with the legacy of Leland and Jane Stanford.
Today, the Museum Legacy Circle—friends
who have named the museum in their estate
plans—is 112 members strong and growing.
(See the full list on page 20.)
Recent new bequest intentions from
museum members, volunteers, alumni, and
faculty include promised gifts for student
internships, works of art, funds to acquire
art related to the theater and music, and
unrestricted support.
In the last two years alone, the Cantor has
received bequest distributions amounting to
almost $1 million as well as a large number of
important artworks. This enduring, visionary
support benefits our objectives and gives
donors special recognition in perpetuity.
Steven Sorman (U.S.A., b. 1948), Oh, I’m (IV), 1999. Monotype. Estate of Rex Vaughan, 2011.93
Renew Your
Membership Online
W e lco m e to Ou r N e w M e m b e r s
Did you know that you can renew
your membership online? Click on the
“Join Now” button on the museum’s
homepage or membership pages.
MUSEUM.STANFORD.EDU
Connoisseurs’ Circle
F a m i ly / D u a l
Friend
Faye Russell
Annie & James Barnett
Cynthia & Reginald Ford
Anil Gangolli
Janet & Wylie Greig
Laurie Hallwyler & Jose Guadian
Patricia Johnson
Mark Justman
Denise & Van Kouzoujian
Sophia & Wei Li
Jayne & Anthony Ralston
Zoila & Guillermo Rivas
Hasmig Seropian
Elizabeth & George Still
Helen Zha & Hai Tang
Marilyn & Murry Waldman
Lynda Weiser
Leyla Abazari
Linda Bennett
Junjun Cao
Diana DeFrenza
Dan Fourier
Sharon Kasser
Josephine Killen
Susan McKenzie
Janet Newman
Betty Noguchi
Yvonne Rand-Sterling
Paul Robinson
Nancy Seeger
Ginger Summit
Lu Zhang
For information regarding gifts
or estate plans, please contact
Associate Director Mona Duggan
by phone at 650-725-4240, or
email [email protected].
12
m u se u m . stanford . ed u
Bene fac tor
Katharina Zellweger
Sponsor
Angie & Benjamin Ball
Barbara & Michael Collins
Marilyn Lavezzo
Dana Lowy
Alison Roth
Daniel Rowen & Stuart Sproule
( may – A u g u st 2 0 1 2 )
e cantor
Save the Date!
Rodin by Moonlight 2013
The Cantor’s acclaimed signature black-tie event, Rodin By
Moonlight—featuring a celebrity guest chef, an unrivaled
elegant atmosphere, and dancing until midnight—will take
place Saturday, September 28, 2013. Honorary Chairs
this year will be long-time Cantor friends Susan and John
Diekman. Please save the date and plan to join us!
For further information or to receive a formal
invitation by mail in August, please call 650-736-1667.
Honorary Chairs John and Susan Diekman
Rodin By Moonlight 2011
Treasure Market 2014: The Tradition Continues
The Cantor’s next Treasure Market is scheduled for Saturday, March 29
and Sunday, March 30, 2014. Mary Anne Nyburg Baker is the event’s
Honorary Chair. Volunteers are busy at the warehouse receiving and
cataloging donations. Please consider supporting Treasure Market
through gifts of fine art and antiques, jewelry, fine linens and crystal,
and other high-quality items. For information on donating sale items,
please call 650-326-4533.
Looking for a special gift opportunity? The Cantor is seeking
Treasure Market sponsors as well as a special donor who will match
the event’s proceeds.
Treasure market proceeds make possible acquisitions for the
Cantor’s collections.
j a n ua ry– m a rc h 2 013
Honorary Chair Mary Anne Nyburg Baker
Cantor Arts Center N e w s 13
d o n o r r ecog n iti o n
September 1, 2011–August 31, 2012
We are grateful to the Cantor Arts Center’s donors who made gifts of funds, new
pledges, and gifts of art this last fiscal year, and are deeply touched by the generosity
and loyalty of our friends whose bequest distributions will impact the museum in
perpetuity. With a total of more than $8 million, every aspect of the Cantor was
impacted, through gifts for collections and exhibitions, community outreach and
education, and unrestricted support. We thank every donor and annual member who
contributed to this total. Space allows us to recognize here those gifts of $500 and
above. Names marked with an asterisk (*) indicate gifts of art.
$ 1, 0 0 0 , 0 0 0 a n d u p
Robert & Ruth Halperin
Foundation
Maurine & Philip Halperin
$ 10 0 , 0 0 0 – $ 9 9 9,9 9 9
Anonymous Donor
Susan & John Diekman
E. Rhodes & Leona B. Carpenter
Foundation
Estate of Joseph & Meri Ehrlich
Marilyn Hohbach
Daryl & John Lillie*
Marmor Foundation*
Jane & Michael Marmor*
Darle & Patrick Maveety*
Vinie & J. Sanford Miller
Roslyn & Mervin Morris*
Valerie & David Rucker*
Chiara Santagostino
& Dean Sussman*
Nancy & Eric Sussman*
Elizabeth & Herbert Sussman*
Stephen Sussman & Kelly Watson*
Barbara & Michael Wilsey
$ 5 0 , 0 0 0 – $ 9 9,9 9 9
Anonymous Donor
Iris Cantor
Iris & B. Gerald Cantor Foundation
Koret Foundation
William Reller
The San Francisco Foundation
Gwynn & Howard Swigart
Manuel Neri (U.S.A., b. 1930), Gustavo Series No. 1, c. 1985.
Mixed media. Gift of Mr. and Mrs. Gerald D. Kohs, 2011.87
14
m u se u m . stanford . ed u
$ 2 5 , 0 0 0 – $ 4 9,9 9 9
Cantor Arts Center Art Trips
& Art Focus Lectures Committees
Jennifer Chrisman
Electra de Peyster
Lynn & Robert Ducommun
The Ducommun and Gross
Foundation
Nancy Harris*
Elizabeth Swindells Hulsey
Rhoda Levinthal
Schwab Fund for Charitable Giving
Tad & Dianne Taube
Diane & Ernie Wolfe*
$ 10 , 0 0 0 – $ 2 4 ,9 9 9
AARP
Melissa & James Badger
Mary Anne Nyburg Baker
& Leonard Baker
Kit & Peter Bedford*
Bella Enterprises, Ltd.
Mildred & Paul Berg
Paula & Bandel Carano
Caroline Crawford
Suzanne & Bruce Crocker
Susan Ford Dorsey
& Michael Dorsey
Sylvia Elsesser
Fidelity Charitable Gift Fund
Doris Fisher
Freidenrich Family Foundation
Jill & John Freidenrich
Andrea & John Hennessy
Nan & Orion Hoch
Julie Terrell Hooper
& William Hooper
Lynn Gretkowski & Mary Jacobson
Jacque & John Jarve
Paula Kirkeby*
Liong Seen Kwee
Jillian Manus-Salzman
& Alan Salzman
Shirley & Duncan Matteson
Deedee & Burton McMurtry
Janice & Stephen Meisel
Lisa & David Mooring
Neiman Marcus
Barbara Oshman
Pacific Peninsula Group
Peter & Kirsten Bedford Foundation
Marcia & Fred Rehmus
Marlene & Garth Saloner
Sand Hill Foundation
Bella Schneider
Rita Barela & Thomas K. Seligman*
Charlotte & George P. Shultz
Silicon Valley Community
Foundation
Stanford Hospital and Clinics
The Oshman Family Foundation
Marilynn & Carl Thoma
TriplePoint Capital
Wells Fargo Bank
Mr. & Mrs. Jack R. Wheatley
$ 5 , 0 0 0 – $ 9,9 9 9
Barbara & Charles Arledge
Letitia & James Callinan
Noreen Carruthers
Charlene Cogan
Edwards Foundation
Barbara & William Edwards
Pamela Miller-Hornik
& David Hornik
Joelle Kayden
L. S. F. (foundation)
Emily Leisy
McMurtry Family Foundation
Cathy McMurtry
Betsy & Bill Meehan
MSSB Gift Fund
Sharon Nieh
Mindy & Jesse Rogers
Christiane & George Smyth*
Elizabeth Rubinfien
& Daniel Sneider*
Laurence Spitters
Madeline & Isaac Stein
Ali Walecka
$ 2 , 5 0 0 – $ 4 ,9 9 9
Lysbeth Anderson
Dr. & Mrs. Peter Bing
Karen & David Dee
Ann Griffiths
Lucky & Walter Harrison
Grace & Laurance Hoagland
J/J Petricciani Foundation
P. L. Loughlin
Mary & R. Bruce Marsh
Marjorie & Marc McMorris
Teresa & Mark Medearis
Linda & Anthony Meier
Juliana Petricciani
Raymond Family Foundation
Elizabeth Raymond
Faye Russell
The Cantor received more than 2,600 gifts.
$ 2 , 5 0 0 – $ 4 ,9 9 9 ( C o n t . )
Catarina & Andrew Schwab
Deborah & Michael Shepherd
Mary & Mark Stevens
Christine Suppes
Patrick Suppes
Preetha & Immanuel Thangaraj
Jeanne Vander Ploeg
Vanguard Charitable
Endowment Program
Rex Vaughan
Jacqueline & Eric Weiss
Sheila Duignan & Michael Wilkins
Judith & Peter Wolken
Wendy & David Wright
$ 1, 0 0 0 – $ 2 , 4 9 9
Anita & Marc Abramowitz
Maya Adam & Lawrence Seeff
Anne & Gerald Down
Charitable Fund
Marianne Arnstein
Carissa Ashman
Mrs. Burt Avery
Helena & Richard Babb
Alison & James Barta
Nancy & Clayton Bavor
Stefanie & Gregory Beasley
Joanne Blokker
David Breckenridge
Marilyn & Allan Brown
Mr. & Mrs. C. Preston Butcher
Shauna Mika & Rick Callison
Martha & Paul Chamberlain
Karen Christensen
Lynda & Charlie Clark
Fannie Allen & George Cogan
Diane Copeland
Joan Corley
Ann & E. David Crockett
Bridget & Charles Davis
Ann Baskins & Thomas DeFilipps
Mr. & Mrs. Roy Demmon
Susan & Harry Dennis
Hayley Ditzler
Anne & Jerry Down
Dupont Consulting
Linda & Mike Edwards
Mr. & Mrs. Albert Eisenstat
Sally Randel & Paul Fearer
Fenton Family Foundation
Mr. and Mrs. Noel Fenton
Cynthia Floyd
Doris-Jane Fondahl
Cathleen & Michael Foster
Amy & Eric Freidenrich
Carol C. & Joel P. Friedman
Louise Frye
Betsy & Robert Gamburd
Judith & Michael Gaulke
Alison Geballe
Prof. Emeritus & Mrs. Theodore
Geballe
Lynn & James Gibbons
Robert Gold
Marcia & John Goldman
Anne & Lawrence Hambly
Jennifer Min & Steve Harrick
Lisa Friedman & James Harris
Merrilee & William Harris
Frank Lobdell (U.S.A., b. 1921), Fall 1980, 1980. Oil on canvas. Gift of
Susan Parrish Land, 2011.126
j a n ua ry– m a rc h 2 013
Dale Chihuly(U.S.A., b. 1941), Red Sunset Basket Set, 2002. Glass. Gift of
Chihuly Studio, 2011.157 a-f. © Dale Chihuly
Heather & Bill Hilliard
Karen & William Jason
The Jason Family Foundation
Lucie Jay
Jewish Community Federation
Jewish Community Foundation
Karen & Ron Johnson
Annette & David Jorgensen
John Jorgenson
Betty & Robert Joss
Elaine Baskin & Kenneth Krechmer
Linda & James Landau
Joan Lane
Jane & Drew Lanza
Bren & Lawrence Leisure
Leland & Kathleen Kaiser
Foundation
Nancy Livingston & Fred Levin
Susan & Richard Levy
Beverly & Peter Lipman
Sandy Littlefield
Jessica & Frank Lonergan
Elizabeth & Joseph Mandato
Sally Marshall
Katherine & Robert Maxfield
Christie & James McCoy
Merle Hilliard Charitable Trust
Martha & Roger Mertz
Michael & Paula Rantz Foundation
Shana & David Middler
Constance Miller
Nancy Montgomery
Mrs. Albert Moorman
Estate of Richard L. Narver
Anne Casey & David Neuman
Sue & Robert O’Donnell
Lynne & Perry Olson
P. H. Smith Westwood Properties II
Pacific Life Foundation
Carrie & Gregory Penner
Paula & Michael Rantz
Patricia & Rowland Rebele
Judith & John Renard
Sally & John Robinson
Wendy & Jeffrey Rohn
Michelle & Ray Rothrock
Amy & William Salisbury
Frances Codispoti
& Kenneth Schroeder
Alan Gerald Sieroty
Barbara & Arnold Silverman
Jacqueline & Pieter Smith
Eta & Sass Somekh
The Somekh Family Foundation
Srinija Srinivasan
Stanford Federal Credit Union
Mr. & Mrs. Hugh Taylor
Cindy & Jeff Traum
Ellen Uhrbrock
The Walton Family Foundation
Wendy Warren
Carolee White
Quin & Douglas Whitman
David Wollenberg
Gayla Lorthridge & Walter Wood
$ 500 – $ 999
Michael Adler
Nicole & Joseph Akerman
Katherine & George Alexander
Paul Althouse
Veronica Arthur
ArtNow International
Terrye & Robert Bellas
Gifts of more than $8.1 million
benefited the Cantor’s artistic program.
Cantor Arts Center N e w s 15
d o n o r r ecog n iti o n
$ 50 0 – $ 999 (Cont.)
Meg Lacy & Jeff Berkes
Recia & Mark Blumenkranz
Suzanne Boutin
Lorie & Thomas Boyd
Gayle & J. Stephen Brugler
Mary & Luca Cafiero
Chris Carlton
C. Diane Christensen
Rosa & Werner Cohn
Margaret & Yogen Dalal
Kathleen Davis
Joan Hong & Roger Day
Janet & Guy DiJulio
Mr. & Mrs. J. Philip DiNapoli
Peggy & Stephen Dow
Janet & William Eaglestein
David Elliott
Suzanne & Allan Epstein
Nancy & John Etchemendy
Lynn Bunim & Alexander Fetter
Fidelity Charitable Gift Fund
Fidelity Investments
Jeanne & Frank Fischer
Ann & Robert Fletcher
Marc Franklin
Nancy & Charles Geschke
Mrs. Jonathan B. Gifford
Mary & Clinton Gilliland
Mr. & Mrs. Robert Glockner
Cheryl Goodrich
Susan & William Gould
Irene Wapnir & Ralph Greco
Wendy & Leonard Gumport
Carol & Dexter Hake
Celeste Baranski & Paul Hammel
Patricia Huggins
Leslie & George Hume
Lori & Deke Hunter
Beth & Luther Izmirian
Betty Johnson
Alyce & Steven Kaplan
Jill & Donald Knuth
Iris & Harold Korol
Grayson & David Lane
Elise & George Liddle
(Cont.)
Carol & Hal Louchheim
Linda Lynch
Joanne & Robert Mann
Sonia Dhillon-Marty &
Hugo-Lancelot Marty
Alex Matson
Brian McCune
Phyllis Moldaw
Charlotte Lowell &
Charles Munger
Antje & Paul Newhagen
Peter Nosler
Peggy & J. Boyce Nute
Mary O’Rourke
Susan & Franklin Orr
Gretchen & Robert Ostenberg
Blair & Kevin Paige
Margaret Baxter-Pearson
& Eric Pearson
We acquired 406 artworks through
purchases made possible by gift funds.
Frank Marshall (South Africa, b. 1985), Dead Demon Rider 1, 2010. Archival digital print. Museum purchase made
possible by the Phyllis Wattis Program Fund, 2012.14
16
m u se u m . stanford . ed u
Artist unknown (Fang peoples, Gabon),
Four-faced Headdress, 1850–1950. Wood
and pigment. Given in honor of Thomas K.
Seligman by the Halperin Family, 2011.125
Ann & John Perez
Barbara & Warren Poole
Paula & William Powar
Laurose & Burton Richter
Adolph Rosekrans
Jane Vaden & Norman Roth
Theresa & Mark Rowland
Norma & Charles Schlossman
Pamela & Lawrence Schwab
William P. Scott III
Seeblick Properties
Phyllis & Kenneth Sletten
Martha Stillman
Robert Strohecker
Susan & James Sweeney
Betty & Charles Swezey
Berl Jean Symmes
Clare & Christopher Tayback
Mrs. William P. Thomas
Janet Brownstone
& Andrew Verhalen
Gail & Robert Walker
Katherine & Stephen Wurzburg
Katharina Zellweger
C ONTEMPO R ARY
C OLLECTOR S C IR C L E
Margaret Anderson
Nancy Bavor
Foster & Myron Beigler
Judith & Henry Blommer
Barbara Bogomilsky
Ann Bowers
Polly & Thomas Bredt
Tecoah & Thomas Bruce
Casey Carsten
Joyce Castellino
Lynda & Charlie Clark
Suzanne & Bruce Crocker
Ann & E. David Crockett
Susan Dennis
Susan & John Diekman
Jennifer DiNapoli
Barbara & William Edwards
Norma Egan
Jo-Anne Beardsley
& Gilbert Ellenberger
Valerie Evans
Jeanne & Frank Fischer
Doris Fisher
Cynthia & Bill Floyd
Jill & John Freidenrich
Marilee Gardner
Lynn & James Gibbons
Nancy Gonzalez
Ann Griffiths
Susan & Harry Hartzell
Lucie Jay
Annette Jorgensen
Betty & Robert Joss
Jeanne Kennedy
Iris & Harold Korol
Elaine Baskin
& Kenneth Krechmer
Diane La Franci
Kathryn Ladra
Gloria Levy
Daryl & John Lillie
Beverly & Peter Lipman
Gayla Lorthridge
Carol & Hal Louchheim
Linda Lynch
Suzanne & Stanley Mantell
Katherine & Robert Maxfield
Jane McInnis
Sonia & Edgar McLellan
Deedee & Burton McMurtry
Cathy McMurtry
Linda Meier
Martha Mertz
Pamela Miller-Hornik
Roslyn Morris
Carol Nie
Peter Nosler
Barbara Oshman
Gretchen & Robert Ostenberg
Jane Otto
Helen & Joseph Pickering
Barbara & Warren Poole
Barbara Preuss
Judith & Walter Robinson
Ruth Seiler
Barbara Silverman
Bonnie Silverman
Judith Sleeth
Julie Veitch
Nancy Veitch
Judith Wolken
Jennifer Yelland
Sara Zumwalt
John Livingston (Kwakwaka’wakw, Canada, b. 1951), Transformation Mask, 2011.
Wood, paint, rope, metal, and electronic equipment. Given in honor of Thomas K.
Seligman for the transformation of the museum during his 20-year directorship by
Marcia and Fred Rehmus, 2011.71
H O N O R A RY &
MEMORIAL GIFTS
In Honor of Carol C. Friedman
Judith Cohn
In Honor of Janet Winnick
& Dennis Arriola
Imelda Young & David Tupper
In Memory of William Jason
Robert Mertz
In Honor of Bernard Barryte
Ed Sugar
In Honor of Katherine Clifford
Gene & Robert Clifford
In Memory of Doris-Jane Fondahl
Jean Colby
Leonie Batkin
Phyllis Willits
In Honor of Jill & John Freidenrich
Frances Codispoti
& Kenneth Schroeder
In Honor of Shirley & Duncan Matteson
Barbara & Arnold Silverman
In Honor of Janet Murphy
Jennifer Schatz
In Honor of Norma Schlossman
David Schlossman
In Memory of Bobbie Stewart
Barbara Jamison
In Honor of Cindy Traum
Lisa Voge-Levin & Peter Levin
Our exemplary volunteer corps gave
22,500 hours of service.
Barbara Hepworth (England, 1903–1975),
Single Form (Aloe), 1969. Bronze. Given
in honor of Thomas K. Seligman by Peter
and Kirsten Bedford, 2011.106
j a n ua ry– m a rc h 2 013
Cantor Arts Center N e w s 17
d o n o r r ecog n iti o n
IN HONOR O F
THOMAS K. S E LIGM A N
The gifts were made between
September 1, 2010 and August
31, 2012. Names marked with an
asterisk (*) indicate gifts of art.
Marian & James Adams
Katherine Adams
Judith Amsbaugh
Anne & Gerald Down
Charitable Fund
Anonymous Donor*
Barbara & Charles Arledge
Marilyn Austin
Mrs. Burt Avery
Mary Anne Nyburg Baker
& George Baker
Heidi & Jost Baum
Nancy & Clayton Bavor
Kit & Peter Bedford*
Mildred & Paul Berg*
(promised gift)
Shirley Biggerstaff
Mrs. Peter S. Bing
Donna Blank
Joanne Blokker
Judith & Henry Blommer
Barbara Bogomilsky
Eleanor & Harlan Bortner
Pauline Brown
Margaret Burgett
Patricia & Richard Calfee
Cantor Arts Center commission
from the Susan & John Diekman
Fund*
Iris Cantor
Paula & Bandel Carano
Chris Carlton
Regina & Gerhard Casper*
Jane Chai
Carolyn Chappell
Kristine Ching
Susan & Robert Christiansen
Lynda & Charlie Clark
Betty & Albert Cohen
Diane Copeland
Suzanne & Bruce Crocker
Dee Cunningham
Anne Dauer
Joan Hong & Roger Day
Lena De Kesel-Lams
Ingrid Deiwiks
Susan Dennis
Susan & John Diekman*
Beverly Docter
Anne & Jerry Down
The Ducommun and Gross
Foundation
Lynn & Robert Ducommun
Mona & John Duggan
Gary & Jeffrey Dunker
Ann & Ronald Edwards
Sylvia Elliott
Frances Escherich
Nancy & William Farrar
Anita & Solomon Feferman
Fenton Family Foundation
Mr. & Mrs. Noel Fenton
Lynn Bunim & Alexander Fetter
Susan & Philip Fialer
Fidelity Charitable Gift Fund
Nancy & Thomas Fiene
Elizabeth & James Fisher
(Cont.)
John Singer Sargent (U.S.A., 1856–1925), Portrait of Sally Fairchild, 1884–87.
Oil on canvas. Gift of Dr. Herbert and Elizabeth Sussman, David and Valerie Rucker,
Dr. Stephen Sussman and Kelly Watson, Eric and Nancy Sussman, and Dean and
Chiara Sussman, 2012.1
Doris-Jane Fondahl
Dianne & Charles Frankel*
Marc Franklin*
John & Jill Freidenrich*
(promised gifts)
Carol C. & Joel P. Friedman
Karen Fung
Mimi Gardner Gates
Barbara & Albert Gelpi
Lynn & James Gibbons
Eith Glazener
Mr. & Mrs. Robert Glockner
Richard Gonzalez
Irene Wapnir & Ralph Greco
The Halperin Family*
Susan Harby
Carole Harlow
Jane Harris
Judith & Jerrol Harris
Lucky Harrison
Susan & Harry Hartzell
Faith & Allen Hastings
Jean Heaton
Deborah Port
& Michael Heymann*
Robnett Hill
Marilyn Hohbach
Brenda Holston
Laurie Holyoake
Patricia & Robert Huggins
Elizabeth Hulsey
Josephine & John Hunter
Joan & John Inglis
Iris & B. Gerald Cantor Foundation
Kiyo Iwahashi
Karen & David Jessen
Jewish Community Foundation
Barbara Johnson
Many donors made gifts of funds
and art in honor of Thomas K. Seligman
upon his retirement.
Zhan Wang (China, b. 1962), Flowers in the Mirror (Golden Gate Bridge),
2005. Digital chromogenic color print. Gift of Mr. & Mrs. L. S. Kwee, in honor
of Thomas K. Seligman, 2012.215
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m u se u m . stanf o rd . ed u
Betty Johnson
Helen Jones
Dr. & Mrs. Ronald Kaye
Mia Ringbom & Mark Keavney
Paula Kirkeby
Anna Koster & William Kirkpatrick
Michele & Steve Kirsch
Phoebe Korn
Liong Seen Kwee
Amy Ladd
Landreth Family Foundation
William Landreth
Mrs. L. William Lane, Jr.
Jane & Drew Lanza
Marie Larabie
Elise Liddle
Daryl & John Lillie*
Mrs. Charles Lobel
Kirk Edward Long*
Carol & Hal Louchheim
Hazel Louie
Mandy MacCalla
Joanne & Robert Mann
Marmor Foundation*
Jane & Michael Marmor*
Sally Marshall
Ann Mason
Darle & Patrick Maveety*
Merele McClure
Janet McGary
Shirley McKelvey
Deedee & Burt McMurtry*
(promised gift)
Linda & Anthony Meier
Karen Mela
Martha & Roger Mertz
Christina & Michael Meyer
Penelope Midlock
Brenda Miller
Vinie & J. Sanford Miller*
Patricia Miller
Lisa & David Mooring
Jennifer & John Muhlner
Holde & George Muller
Carole Mullowney
Manuel Neri*
Alicia & Merrill Newman
Ellen & Walter Newman
Peter Nosler
Patricia O’Keefe
Gretchen Ostenberg
Judith Ousterhout
Sandra Patterson
Helen & Joseph Pickering
Norma Pollock
Barbara & Warren Poole*
Paula & William Powar
Barbara Preuss
Artist unknown (Gurage peoples, Ethiopia), Neckrest,
1950–1978. Wood. Museum purchase made possible by
the Halperin Acquisition Fund, 2012.55
Mary Radin
Patricia & Rowland Rebele
Marcia & Fred Rehmus*
(commission)
Barbara Reis
William Reller
Marlyn Richards
Barbara Riper
Frank Roberts
Adolph Rosenkrans
Nancy & Norman Rossen
Howard Rubin
Shulamith Rubinfien
Mrs. George B. Saxe
Nancy & Alan Schatzberg
Norma & Charles Schlossman
Seeblick Properties
Deborah & Michael Shepherd
Sandra & David Siegmund
Alan Sieroty
Silicon Valley Community
Foundation
Marion & Kendric Smith
Kim Sommer
Judithe Speidel
Alfred P. Spivack, MD Family Ethnic
Art Collection*
Peter Stansky
Mrs. Stewart Steere
Michael Sullivan
Ann Tanenbaum
Marilyn Taubman
Marilynn & Carl Thoma
Carol Toppel
Cindy & Jeff Traum
Patricia Vadopalas
Julie Veitch
Marie Vought
Gail & Robert Walker
Julia & Ian Wall
Molly & Stephen Westrate
Barbara Whitman
Kathryn & Thomas Wiggans
Melanie & Ronald Wilensky
Phyllis Willits
Diane & Ernie Wolfe*
Miriam Wolff
Judith Wolken
John Working
Sirina Yap
Thorisa Yap
Irene Yeh
Jennifer Yelland
Arnold Zwicky
The collections were enriched by
229 gifts of art.
Hendrick Goltzius (Netherlands, 1558–1617), Christ, 1589. Engraving. Gift of
Joseph and Deborah Goldyne, 2011.100.1
jan u ary – march 2 0 1 3
Cantor Arts Center N e w s 19
d o n o r r ecog n iti o n
(Cont.)
MUSEUM LEGAC Y
C IRC LE
The following donors have included the
Cantor in their estate plans for gifts of
art or funds. Names marked with an
asterisk (*) indicate that the bequest
has been distributed.
Paul & Mildred Berg
Eric & Elaine Berson
Theodore Bravos*
Horace W. Brock
Pauline Brown
Gayle Brugler
Alice Meyer Buck*
Betye Burton
Mr. & Mrs. William A. Campbell
Bliss Carnochan
Virginia & William Carpenter
Betty & George Cilker
Nancy Patricia Coe
Betty & Albert Cohen
John Steinfirst & Sharon Collins
Margaret H. Crary
Anne Dauer
Shirley Ross Davis
Joanna Despres*
Dagmar Dern*
Susan & John Diekman
Beverly & Stephen Docter
Professor William Eddelman
Meri & Joseph Ehrlich*
Professor Alexander Fetter
M. Richard Giffra*
Gerry Gilchrist
Barbara Goldenberg*
Barbara Gray*
Frank Stella (U.S.A., b. 1936), Fortín de las Flores (First Version), 1967. Screenprint with hand-penciling on graph
paper. Bequest of Connie Lembark, 2012.12. © Frank Stella/Artist Rights Society (ARS), New York
Ruth Halperin*
Nancy Harris
Priscilla & George Hexter
Todd Hochstatter
Robert S. Hockwald
Marilyn Hohbach
Virginia & Benjamin Holt
Mr. & Mrs. Howard Hubbard
Janet Kreager Huston
Benjamin Moore (U.S.A., b. 1952), Yellow and Ferrari Red Palla,
2000. Blown glass. Given in honor of Thomas K. Seligman by Susan and
John Diekman, 2011.74
20
museum . stanford . edu
Professor Kennell Jackson, Jr.*
Patricia Geary Johnson (’51)
& George Robert Johnson
Phoebe Korn
Ambassador Bill Lane*
Jean Lane
William Leben
Connie Lembark*
Mortimer C. Levintritt*
Marjorie Lewisohn*
Daryl & John Lillie
Kirk Edward Long
P. L. Loughlin
Stewart Marshall
Darle & Patrick J. J. Maveety
Joseph McCrindle*
Roberta McKee*
Burton & Deedee McMurtry
Jane B. Miller*
Samuel C. Miller
J. Sanford Miller
Myrna Mitchner
Richard Narver*
Pauline Newcomer
Alicia & Merrill Newman
Leonard & Elizabeth Offield*
Marion B. Pierstorff*
Barbara & Warren Poole
Michael Heymann
& Deborah Port
Marcia & Fred Rehmus
Nancy Weeks Rossen
Dorothy & George Saxe
Laurel Schumann
Robert & Pauline Sears*
Dr. A. Jess Shenson*
Dr. Ben Shenson*
Alan Sieroty
Gaither Hatcher Smith
& W. Byron Smith
Professor Peter Stansky
Jean Steiner*
Mary Tanenbaum ’36
Eugenie & Hugh Taylor
Harold C. Torbert*
Ellen Uhrbrock
Beth Van Hoesen*
Melitta & Rex Vaughan
Florence Williams*
Connie Wolf
Eight donors established new bequest
intentions for the Cantor.
N E W ACQ U I S ITI O N S
Like all our curators, Elizabeth Mitchell, the museum’s Burton and
Deedee McMurtry Curator of Prints, Drawings, and Photographs,
is always alert to opportunities to augment the collections. The
Elizabeth K. Raymond Fund and the Robert E. and Mary B. P.
Gross Fund, respectively, provided support for the following
two works of art. Having these sources of funding available
is crucial to building an extraordinary collection.
AUGUSTE SALZMANN PHOTOGRAPH
Salzmann’s photographs are great achievements in the history of photography, and
this print counts among the museum’s
earliest French photographs. The necklace,
spurs, sword, and scabbard belonged to
Godfrey of Bouillon (France or Belgium,
c. 1060–1100), the first ruler of the Kingdom
of Jerusalem. Salzmann exposed the paper
negative in Jerusalem. He then took it back
to France to be printed in Lille by one of
the great printers of the 1850s, Louis Désiré
Blanquart-Evrard (France, 1802–1872),
whose technical knowledge and skill made
possible the print’s rich brown tones and
remarkable textures.
JOSÉ CLEMENTE OROZCO LITHOGRAPH
In this lithograph, Orozco used his modern, abstract
style to draw attention to the human cost of the Mexican
Revolution. Armed soldiers are followed by soldaderas, the
women who accompanied their men into battle and
performed all the labor necessary to support them.
As extensions of the armies, soldaderas came under fire.
They had to defend themselves, as well as their children.
Orozco draws attention to the presence of two small
children by not shading their figures and allowing the
white paper to show. The woman at center reaches back
to comfort her child by caressing his foot, a gentle
gesture within this powerful image.
Auguste Salzmann (France, 1824–1872), Jerusalem—Sword
of Godefroy de Bouillon (Jerusalem—Épée de Godefroy
de Bouillon), 1854. Salted paper print (calotype). Elizabeth K.
Raymond Fund, 2012.8
José Clemente Orozco (Mexico, 1883–1949), Rear Guard (Retaguardia), 1929.
Lithograph. Robert E. and Mary B. P. Gross Fund, 2012.188. © 2012 Artists
Rights Society (ARS), New York/SOMAAP, Mexico City
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Cantor Arts Center N ews 21
TH I N G S To D O
Spotlight on Art
Graduate students in the
Department of Art & Art History give gallery
talks on the second Friday of each month at
2 pm during the academic year.
Mark your calendars:
Ahoo Najafian, graduate student
in religious studies, discusses a work from
The Jameel Prize: Art Inspired by Islamic Tradition
in the Ruth Levison Halperin Gallery.
January 11:
February 8: Ravinder Binning, PhD candidate
in art and art history, discusses a work from
The Jameel Prize: Art Inspired by Islamic Tradition
in the Ruth Levison Halperin Gallery.
March 8: Yu-chuan “Phoenix” Chen, PhD
candidate in art and art history, discusses
Border Crossings: From Imperial to Popular Life
in the Madeleine H. Russell Gallery.
Health, Hope, and Healing
Thursday, January 17, 5:30 pm
Cantor auditorium, free
Stanford Med Writers Forum (SMWF) presents
readings of original prose and poetry by the
Pegasus Physicians at Stanford. Writers include
Irvin D. Yalom, psychotherapist and professor
emeritus of psychiatry, and psychiatrist Randall
Weingarten. SMWF is supported by the Arts,
Humanities, and Medicine Program of the
Stanford Center for Biomedical Ethics of
the Stanford School of Medicine.
Artist’s Talk: Rachid Koraïchi “Eternity Is the Absence of Time”
Thursday, January 24, 5:30 pm
Cantor auditorium, free
Join us for an evening with Rachid Koraïchi,
recipient of the 2011 Jameel Prize. Against the
backdrop of his award-winning work, The Invisible
Masters, Koraïchi discusses The Path of Roses, a series
of installations that develop over time and in
different locations.
Student-Guide Discussions
Saturdays, January 26–March 16, 3:30 pm
Join lively, informal discussions led by Stanford
students about selected artworks. Topics change
each week. Meet in the main lobby.
Dreaming of Being a Docent?
The Cantor is currently recruiting new docents—
specially trained volunteers who share their
knowledge and enthusiasm about art with museum
visitors. Becoming a docent is a great way to learn
about art and give back to the community. Individuals
must commit to a nine-month training program—
twice a week, 9 am–2 pm from September 24, 2013–
June 10, 2014—followed by a minimum of three
years’ service. Bilingualism is a plus. For more
information, visit museum.stanford.edu.
Cantor docent Carol Toppel nurtures a conversation about contemporary art in the Freidenrich Family
Gallery. Photo by Linda A. Cicero / Stanford News Service
22
m u s e u m . s ta n f o r d . e d u
M a k e a Day of It !
If your New Year’s resolution is to “stop and smell the
roses,” you can spend a whole day at the Cantor, our
Panel on Degenerate Art
“Controlling Culture”
Thursday, January 31, 6:30 pm
Cantor auditorium, free
Panelists discuss issues explored in the Cantor
exhibition A War on Modern Art: the 75th Anniversary of the Degenerate Art Exhibition. Check
the Cantor’s Web site for a list of panelists
(museum.stanford.edu).
Roundtable on Islamic Art
Thursday, February 7, 5:30 pm
Cantor auditorium, free
Listen in as a panel of experts engages in
current scholarly debates about contemporary
Islamic art. This event is co-organized by the
Sohaib and Sara Abbasi Program in Islamic
Studies at Stanford University.
Jazz Talks @ the Cantor: The
Savory Collection
“Side A: The Jam Sessions”
Thursday, February 21, noon
Cantor auditorium, free
Loren Schoenberg, artistic director of the National
Jazz Museum in Harlem, shares treasures from the
Savory Collection, an archive of recently unearthed,
rare recordings made during the swing era. The
Savory Collection contains once-in-a-lifetime
combinations of some of jazz’s greatest musicians:
Benny Goodman, Louis Armstrong, Fats Waller,
Lester Young, Bobby Hackett, and others.
Presented in collaboration with Stanford Live.
Lecture
“Where Is Chopin? ”
Thursday, February 21, 5:30 and 7 pm
Pigott Family Gallery, free
Stanford professor of music Jaroslaw Kapuscinski
shares his experience creating Where Is Chopin?, an
exhibition on view in the Pigott Family Gallery
February 20–March 3.
VISIT MUSEUM.STANFORD.EDU
pleasures are so numerous. See the Rodins or the New
Guinea sculptures on an outdoor tour. Inside, warm up
with a cappuccino and bread pudding in the café, browse
through the museum store, and stroll through the many
new exhibitions. After closing, choose a bench in the
always-lit sculpture garden; in the quiet, gaze up at the
stars and contemplate what awaits you in the year ahead.
Art Trips for Our Members
Extraordinary Exhibitions
Wednesday, February 6
A Lavish Life: Royal Treasures from the
Louvre—Louis XIV to Marie Antoinette
Wednesday, March 6
Members only. See your Art Trips flyer for further
details. Fee, registration required; call 650-725-7939.
Art Focus Lectures
Expand your art knowledge through these
lectures and seminars. This season Art Focus
Lecture speakers include faculty, curators, art
experts, and artists.
Netherlandish and Dutch Masters: 1550–1670
Patrick Hunt
Wednesdays, February 6, 13, and 20
The Art of Glass
Susan J. Longini (moderator), Marvin Lipofsky,
Warren Poole, and Dorothy Saxe
Wednesday, February 27
California Beautiful: Architecture, Design,
and Painting
Denise Erickson
Thursdays, March 7, 14, and 21
Art Loves Technology: When Hollywood
Ran Off with Silicon Valley
Bobby Podesta
Thursday, March 28
All lectures take place from 4:15 to 6:15 pm in the
Cantor auditorium. Art Focus Lectures are offered
at member and non-member prices and require
pre-registration. Please see the Art Focus Lectures
brochure or the Cantor’s Web site for full descriptions, registration information, and fees. Seating
is limited so please arrive early.
Visit our Web site to get the latest information
about programs and events, learn more about
exhibitions, sign up for E-news to stay fully
informed, and renew your membership.
j a n ua ry– m a rc h 2 013
Cantor Arts Center N ews 23
Sta n ford U n i ve r s i ty
NON P ROFIT
Cantor Arts Center
OR G ANI Z ATION
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Me m be rshi p O ffi c e
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P OSTA G E
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Sta n ford, CA 9 4 3 0 5 - 5 0 6 0
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Open Wed–Sun 11 am–5 pm,
Thurs 11 am–8 pm
Always free
TER
The Cantor Arts Center is located at Lomita Drive
and Museum Way, off Palm Drive, on the Stanford
University campus. Pay parking is available in front
of the Cantor on Lomita Drive. Parking in most
areas is free after 4 pm and on the weekends.
The Cantor is fully accessible to people with disabilities. For more information, call 650-723-4177
or visit museum.stanford.edu.
F ree doc ent tours
Explore the museum’s collection through free
guided tours. Discover sculpture on campus,
including the Papua New Guinea Sculpture Garden.
Tour and event information: 650-723-3469
S h are Ph otos of Your Visit
Join our Flickr Group at
www.flickr.com/groups/CantorArtsCenter.
Parking
Garage
Chris Paul (Coast Salish peoples, British Columbia, Canada, b. 1969), Conservation, 2004.
Screenprint. Gift of George and Christiane Smyth, 2011.97.7
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Rodin
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