arts Center - Cantor Arts Center at Stanford University

C a n to r
A rts C e n t e r
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Letter from the Director
Spring quarter is in full swing at the Cantor,
and there is so much to do before commencement. Our curatorial staff is collaborating with
art history professor Richard Vinograd on a
new seminar, “Exhibiting East Asian Art”; we
are preparing to welcome our first-ever team of
summer interns, all Stanford undergraduates;
and for the third quarter in a row, students
enrolled in the art studio course “Introduction
to Photography” are visiting the galleries for
instruction and inspiration.
All this activity builds on our vital role
at the university as a teaching museum. We
must evolve to meet the changing needs of
Stanford’s increasingly diverse faculty and
student body. In fact, many of our exhibitions and programs result directly from
collaborations with other departments,
faculty, and key staff across campus.
This spring we are delighted to present
two such exhibitions: Inside Rodin’s Hands: Art,
Technology, and Surgery and Carleton Watkins: The
Stanford Albums. Only at Stanford would a surgeon look to Auguste Rodin’s sculptures and
high technology to train the next generation.
And only at Stanford would a museum, a
library, a university press, and three research
centers—the Bill Lane Center for the
American West, the Center for Spatial and
Textual Analysis, and the School of Earth
Sciences—connect to produce a multimedia
exhibition and catalogue of work by
Carleton Watkins, America’s greatest 19thcentury landscape photographer. We are
particularly excited to present in-gallery
C A NTO R A RT S C E NTE R
Connie Wolf
John & Jill Freidenrich Director
D irec to r ’ s A dv i s o ry
B oard
digital accompaniments to Watkins’s three
photographic albums: “viewsheds” of
Yosemite; before-and-after visualizations
of the Pacific Coast, including San Francisco;
and a cartographic representation of the
railroad routes Watkins traveled while
exploring Oregon and the Columbia River.
You can expect more only-at-Stanford
moments in the months and years ahead.
In the meantime, don’t miss your chance to
experience Carleton Watkins and Inside Rodin’s
Hands this spring. There is so much to enjoy
at the museum.
CONNIE WOLF (AB ’81)
John & Jill Freidenrich Director
TR A N S FO R M ATI O N S
One Membership—Two Great Stanford Art Institutions
The opening of the Anderson Collection at
Stanford University in September 2014, adjacent
to the Cantor, poses a special opportunity for
our members. We are delighted to announce
that the Cantor Arts Center and the Anderson
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Collection are joining together to offer a new
combined membership. Current members will
now enjoy benefits relating to both institutions.
Please watch for the exciting details about this
new membership in the coming months!
Sue Diekman
Chair
C. Diane Christensen
Doris F. Fisher
Jill Freidenrich
John Freidenrich
Mimi Gardner Gates
Andrea Hennessy
Elizabeth Swindells Hulsey
George H. Hume
Liong Seen Kwee
Daryl Lillie
Burton McMurtry
Deedee McMurtry
J. Sanford Miller
Takeo Obayashi
Barbara Oshman
Frederick P. Rehmus
Victoria Sant
Marilynn Thoma
Michael W. Wilsey
Ex Officio
Roberta Denning
John Hennessy
Lisa Mooring
Richard Saller
Martin Shell
Matthew Tiews
Nancy Troy
M ember s hip E x ecu t i v e
C o uncil
Lisa Mooring
Chair
Cindy Traum
Vice Chair
Nazila Alasti
Mary Anne Nyburg Baker
Barbara Bogomilsky
Suzanne Crocker
Pamela Hornik
Ann Kalar
Mary B. W. Marsh
Deborah Shepherd
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
FRONT Cover Carleton Watkins
(U.S.A., 1829–1916), The Lower
Yosemite Fall, Yosemite, 1865–1866,
from the album Photographs of the
Yosemite Valley. Albumen print. Lent
by Department of Special Collections,
Stanford University Libraries
IN SIDE FRONT Cover Connie Wolf,
John & Jill Freidenrich Director.
Photograph by Linda A. Cicero/Stanford
News Service
Carleton Watkins (U.S.A., 1829–1916),
Pompompasos, the Three Brothers,
Yosemite 4480 ft., 1865–1866, from the
album Photographs of the Yosemite Valley.
Albumen print. Lent by Department of Special
Collections, Stanford University Libraries
C OV E R S TO RY
Carleton Watkins: The Stanford Albums
This exhibition celebrates one of Stanford University’s
most remarkable art treasures: 156 stunning photographs
of the northern Pacific Coast taken by Carleton Watkins
(U.S.A., 1829–1916). Watkins, perhaps America’s greatest
and most influential landscape photographer, generated
more than 7,000 photographs over a 50-year career, documenting the West’s most majestic wilderness sites as well
as the dramatic transformation of isolated territories due
to exploration, settlement, logging, and mining. The nearly
70 pristine photographic prints featured in the exhibition
originally were contained in three albums: Photographs
of the Yosemite Valley (1861, 1865–66), Photographs of the Pacific
Coast (1862–1876), and Photographs of the Columbia River and
Oregon (1867). Now unbound, the pictures reside in Special
Collections at the Stanford University Library. Never
before has this outstanding collection been the subject
of an exhibition.
Carleton Watkins: The Stanford Albums coincides with the
150th anniversary of the Yosemite Grant and celebrates
Watkins’s awe-inspiring images of Yosemite Valley—
printed from the 18 x 22-inch glass negatives called
“mammoth” plates. These photographs were instrumental
in convincing President Abraham Lincoln and the 38th
US Congress to pass the Yosemite Grant of 1864, the first
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official step toward preserving the Sierra Nevada
Mountains for public use and establishing the National
Park System. At the heart of this exhibition are Watkins’s
iconic Yosemite images of Mirror Lake, Yosemite Falls,
El Capitan, and North Dome; other noteworthy subjects
include breathtaking views of the Farallon Islands, San
Francisco, and the wild landscapes of Oregon and
Washington Territory.
An accompanying catalogue fully illustrates the albums
and includes contributions from 15 Stanford-affiliated
scholars representing a range of interdisciplinary perspectives. Elizabeth Kathleen Mitchell, the Burton and Deedee
McMurtry Curator of Prints, Drawings, and Photographs,
and George Philip LeBourdais, Ph.D. candidate in
Stanford’s Department of Art and Art History, co-curated
the exhibition.
Pigott Family Gallery, April 23–August 17
Exhibition tours: Thursdays at 12:15 pm,
Saturdays and Sundays at 2 pm; plus panel discussion,
demonstrations, and arbor tour (see Things to Do, p. 15).
REL ATED EVENTS
We gratefully acknowledge the Elizabeth Swindells Hulsey Exhibitions Fund,
the Clumeck Fund, and Cantor Members for support of the exhibition, and
the Hohbach Family Fund for making possible the accompanying catalogue.
Cantor Arts Center N e w s
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N E W O n V i ew
Inside Rodin’s Hands: Art, Technology,
and Surgery
Auguste Rodin appreciated hands as an especially
expressive part of the human body. He modeled
many, trying them out on various figures, juxtaposing
them to create new compositions, and exhibiting
them as self-sufficient partial figures. He chose his
models for their expressive potential; yet the appearance of some of Rodin’s sculptures suggests that
what Rodin perceived as an intensely evocative
gesture was in fact the consequence of a specific
medical condition. The hands featured in this
exhibition reveal that Rodin’s models were likely
afflicted by Dupuytrens contracture, Apert syndrome, Charcot-Marie-Tooth, fracture, stiff joint,
and other problems.
The unflinching naturalism of Rodin’s hands
fascinated Dr. James Chang, hand surgeon and
professor of plastic surgery at the Stanford School
of Medicine. Chang knew Rodin’s hands from the
Thursday-night visits he made to the Cantor with
his wife and daughters during his time training in
hand surgery. When he was given the opportunity
to teach six years ago, he created a sophomore seminar featuring the sculptures he had “diagnosed,”
hoping that by pairing art and science he could
round out Stanford students’ education: he could
offer humanities students entre into anatomy, and
also interest premeds in the arts and the Cantor,
an “incredible resource right across the street.” He
asked Dr. Paul Brown, associate professor of surgery, as well as Brown’s colleagues in the Division
Plate 6 from Engravings of the Bones, Muscles, and Tendons (London, 1810).
Engraving by John Bell. Lent by Lane Medical Library, Stanford University
School of Medicine
of Clinical Anatomy, to apply computer-generated
augmented reality and other sophisticated imaging
techniques to the hands, to further their educational
potential. The engagement of Chang and these other
doctors with Rodin’s hands inspired this exhibition.
Visitors first encounter the particular Rodin
hands that fascinated Chang accompanied by
diagnostic evaluations written by Chang and his students. Graphic photos of real patients’ hands with
the same conditions, taken pre- or post-surgery,
illustrate how surgeons perform “reconstruction”:
plates and screws realign fingers, a severed thumb’s
blood vessels, nerves, bones, and tendons are
reattached, and a ganglion cyst is removed with
painstaking surgery.
Next comes an interactive portion of the exhibition: visitors move an iPad in an arc around Rodin
bronze hands and watch computer-generated graphics of the bones, nerves, and muscles that might be
A scan of Auguste Rodin’s Study for Left
Hand of Eustache de St. Pierre (left) was
the basis for an “augmented reality” view
inside the hand (right) that visitors see on
an iPad. As visitors move the iPad in an arc
around the actual bronze sculpture, virtual
bones, nerves, and blood vessels change
appearance accordingly. Images courtesy
of the Division of Clinical Anatomy, Stanford
School of Medicine
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The Inside Rodin’s Hands team: (top row, from left)
Colleen Stockmann, Assistant Curator for Special
Projects; Michael Bartalos, MFA candidate in art
practice; Joe Lang, Programmer, Division of Clinical
Anatomy; Holly Gore, Preparator; Sara Kabot, Head
of Exhibitions; Arhana Chattopadhyay, Stanford
medical student; Dr. Paul Brown, Associate Professor
of Surgery; Alexandra Bourdillon, student at Sacred
Heart Preparatory, Atherton; (bottom row, from
left) Dr. James Chang, Professor of Plastic Surgery;
Bernard Barryte, Curator, European Art; Matthew
Hasel, Production Manager, Division of Clinical
Anatomy; and Sarah Hegmann, Biomedical Artist.
Not pictured: Susan Roberts-Manganelli, Director,
Art + Science Learning Lab, Cantor Arts Center
seen within actual hands. Technology like this is a
huge boon to the teaching of surgery, Chang says,
since three-dimensional views give students a sense
of depth—as does working on cadavers. That the
famous sculptures are involved has made learning
anatomy more interesting and memorable for students, Chang reports.
Two-dimensional textbook illustrations—until
now medical students’ primary portal into the
human body—are displayed in the exhibition’s final
portion. The exquisitely rendered plates, taken from
eight influential books published between the 16th
and 19th centuries, demonstrate an increasingly
sophisticated understanding of the hand’s anatomy
and make available to the public treasured works
borrowed from Stanford’s Special Collections and
Lane Medical Library.
The exhibition also includes a video documenting
the development of this collaborative project.
Ruth Levison Halperin Gallery, April 9–August 3
Lecture by Dr. James Chang.
(See Things to Do, p. 14.)
REL ATED EVENT
We gratefully acknowledge support from the Drs. A. Jess and Ben
Shenson Fund, the Halperin Exhibitions Fund, Lubert and Andrea Stryer,
and Ellen Uhrbrock.
Emergency surgery leads to work on exhibition
Student Voices
In early 2013, while working on an
art project, my hand glanced off a
milling machine’s spinning endmill,
sending me to the ER with a nearly
severed finger. Fortunately, the
finger was saved—thanks to a
microsurgical procedure led by Dr.
James Chang, Chief of the Division
of Plastic and Reconstructive
Surgery at Stanford.
Successful limb reattachment,
I learned, is a complex and meticulous operation. In his line of work
Dr. Chang routinely sutures blood vessels the diameter of mechanical pencil lead and performs cross-transfers; he replaces lost
thumbs with healthy toes, for instance. This intrigued me immensely,
as I regularly draw on science themes for my art practice.
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Chatting with Dr. Chang after the surgery, I also learned that
he was helping to organize an exhibition at the Cantor around a
course he teaches at Stanford. Dazzled by the project, I offered
my services to the exhibition team and was invited to write gallery
text about the historical anatomical books on display. I also designed
the show’s graphics; everything from signage to color scheme.
Ultimately, my injury led to a most remarkable year. I could
research areas I found especially exciting. I broadened my art
history knowledge and gained interdisciplinary experience. I met
an inspiring team of people and contributed to an important
exhibition. Most fortuitously, I kept my finger, which continues
to regain mobility by the week. By the time Inside Rodin’s Hands
opens, I will have much to celebrate.
Michael Bartalos
(’14, MFA Art Practice)
Cantor Arts Center N e w s
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o pen i ng i n m ay
Night, Smoke, and Shadows:
The Presence of Atmosphere
in the 19th Century
The 18 prints, drawings, and photographs selected
for this exhibition are the work of avant-garde artists
who deliberately exaggerated the appearance of intangible atmosphere. They did this to emphasize how
darkness, misty shadows, and air pollution can shape
the look and emotional content of an image; indeed,
familiar objects and places seem strange when cloaked
in mysterious, even sinister, haze.
These artists experimented extensively with
art-making processes and materials so as to control
and manipulate the powerful contrast between richly
dark pigment and pale paper. Dramatic compositions and luxuriously rendered surfaces are essential
characteristics of works by artists such as James
McNeill Whistler (U.S.A., 1834–1903), Max Klinger
(Germany, 1857–1920), Félicien Rops (Belgium,
1833–1898), and Alvin Langdon Coburn (U.S.A.,
1882–1966).
Robert Mondavi Family Gallery, May 14–October 6
Works in this exhibition are drawn from the Cantor Arts Center
Collections.
Paul Sandby (England, 1725–1809), Trees in Windsor Great Park, c. 1790.
Watercolor and graphite with pen and ink on paper. Committee for Art
Acquisitions Fund, 1984.307
Artists Observe Nature, 1600–1800
After 1600, European draftsmen and printmakers
increasingly ventured out of their studios to study
nature directly and eschewed copying from illustrated
books or other works of art. This way of working
rapidly altered the activity of both professional
artists and amateurs. It involved the close looking
inspired by the microscope’s invention at the end
of the 16th century and by a growing interest in the
systematic classification of organic things.
This exhibition features approximately 16 prints
and drawings that reveal the empiricist’s impulse to
clearly see, understand, and respond to the natural
world with all its variety, fine detail, and fleeting
light effects. Featured artists include Paul Sandby
(England, 1725–1809), William Gilpin (England,
1724–1804), and Wenceslaus Hollar (Bohemia [now
Czech Republic], 1607–1677).
Gallery for Early European Art, May 14–October 6
Works in this exhibition are drawn from the Cantor Arts Center
Collections.
From Night, Smoke, and Shadows:
Max Klinger (Germany, 1857–1920), Night (Nacht), 1889. Etching and aquatint.
Palmer Gross Ducommun Fund, 1994.33.1
above
right Alvin Langdon Coburn (Wales, b. U.S.A., 1882–1966), St. Paul’s from Ludgate
Circus, c. 1905. Photogravure. Museum Purchase Fund, 1973.91
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CO NTI N U I N G O n V i e w
Jim Dine and Claes Oldenburg:
Transformations of the Ordinary
Dine and Oldenburg, known internationally for their
transformations of household items into lifelike
objects with monumental qualities, wittily give life
to the inanimate in this focused selection of prints.
Freidenrich Family Gallery, through April 27
The Honest Landscape: Photographs
by Peter Henry Emerson
The photography pioneer’s lushly beautiful, late19th-century platinum prints and photogravures
of man and nature harmoniously coexisting in the
English and Irish countryside.
Robert Mondavi Family Gallery, through May 4
Claes Oldenburg (U.S.A., b. Sweden, 1929), Notes Portfolio (Body Buildings), 1970. Lithograph.
Lent by the Marmor Foundation. © Claes Oldenburg
Conversation Pieces
Peter Henry Emerson (England, b. Cuba, 1856–1936), Sunrise at Sea, 1887.
Photogravure. Gift of William Rubel, 1994.174.1
The Royal Image: Portraits, Satires,
and Life at Court
Fifteenth- through 18th-century prints and drawings
that fed the public’s longstanding fascination with
royal life.
Gallery for Early European Art, through May 4
Pairings of works on paper—human figures,
botanical still lifes, nature studies, and artists’
portraits—that reveal formal and conceptual
similarities as well as differences in technique,
mood, and context.
Rowland K. Rebele Gallery, through May 11
American Photographs:
A Cultural History
An exhibition organized by Professor Alexander
Nemerov that illuminates his concurrent course on
American photographs; includes works by Marion
Post Wolcott, Robert Frank, Garry Winogrand,
and Diane Arbus.
Lynn Krywick Gibbons Gallery, through July 6
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conti nu i ng O n V i ew
(Cont.)
Within and Without: Transformations
in Chinese Landscapes
Landscapes in a variety of media by contemporary
artists who use the genre to explore cultural heritage
and to represent current transformations of China’s
landscapes, cityscapes, society, and culture.
Madeleine H. Russell Gallery, through January 12, 2015
Lecture by artist Gu Wenda.
(See Things to Do, p. 14.)
REL ATED EVENT
Utagawa Hiroshige (Japan, 1797–1858), Ryogoku Bridge and the Great Riverbank, 1857. From
One Hundred Famous Views of Edo series. Woodblock print. Gift of Martin S. Mitau, 1967.70.6
Mapping Edo: The Social and Political
Geography of Early Modern Japan
Edo-period (1615–1868) maps, prints, and paintings
that explore how the ruling shogunate and commercial
enterprises visualized and presented early modern
Japan after the country unified.
Madeleine H. Russell Gallery, through July 20
Li Huayi (China, b. 1948), Water Wrestling with Stone, 2003. Ink and color
on paper. Lent by Li Huayi
Richard Serra: Sequence
From distinguished American artist Richard Serra,
a 200-ton steel sculpture considered one of his
greatest achievements. On loan from the Doris and
Don Fisher Collection.
Ongoing
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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 for
19th-Century Art of Europe and America
• The Life and Legacy of the Stanford Family
• Stone River by Andy Goldsworthy
(outdoors)
Wilhelm Trübner (Germany, 1851–1917), Road Through the Forest, 1909. Oil on canvas.
Anonymous gift, 1980.45
Use groundbreaking technology to browse the Cantor’s collection via
the Google Art Project: www.google.com/artproject.
W H AT I LOV E
Our staff members reveal which artworks in
the Cantor Collections move them the most
In my new role at the Cantor, I have the pleasure of uncovering hidden wonders from the Cantor’s stored collection and
presenting them to Stanford classes from across the disciplines. At any given time, 90 percent of our art works sit in
storage, nestled safely in archival boxes, tucked away in cabinets, or suspended from screens.
During a recent search through 19th-century prints
and drawings, I came across a political cartoon by
Francesco Santo Vallardi that transported me to another
place and time. In the print, Vallardi lampoons the forced
exile of Napoleon along with 48 of his closest advisors,
cleverly casting his subjects in the roles of the damned
from Michelangelo’s “Last Judgment.” Napoleon’s favorite painter, Jacques-Louis David, crouches in the center,
palette at the ready. Vallardi was inspired by a royal ordinance passed three months earlier by the newly restored
king of France, Louis XVIII, in which
Napoleon and those who served him were
named for prosecution.
I like to imagine myself in Paris in
October, 1815, buying a copy of the Journal
des Arts in my local bookshop and opening
it to this image. Would I laugh out loud at
Vallardi’s bold and wicked satire? Or, fatigued
after 25 years of political upheavals, would I
merely shake my head and turn the page?
ISSA LAMPE, PhD
Assistant Curator for Collections Engagement
Francesco Santo Vallardi (France, b. Italy, active 1801–1843), after
Michelangelo Buonarroti (Italy, 1475–1564), Caricature of “The
Last Judgment” (Jugement Dernier), 1815. Etching and aquatint.
Mortimer C. Leventritt Fund, 1977.173
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Cantor Arts Center N e w s
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C A MP U S
CONNECTIONS
Alluding to Auguste Carolus-Duran’s portrait of Leland Stanford, Jr., student dancers perform a tableau in the Cantor’s Meier Family Galleria.
Photograph by Stanford history professor Clayborne Carson
The Cantor collaborates with Stanford students in many creative ways.
“Being Scene”
Despite local gridlock from the Pac-12 football game
between Stanford Cardinal and the Oregon Ducks, a huge
audience showed up for Being Scene, a one-night performance
wherein student dancers used the museum’s galleries both
as stages and inspiration. Aleta Hayes, lecturer in dance,
developed the experimental work from her fall course
“Dance 67,” a workshop wherein students explored themes
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from the exhibition Carrie Mae Weems: Three Decades of
Photography and Video (then on view) and from the museum’s
own works. Hayes’ intention was “to interact and enliven
the artwork as well as question the meaning of our
presence as actors, dancers, and spectators in the museum
space,” she says. Visual artist Lava Thomas created the
dancers’ striking costumes.
Introducing the Cantor’s Student
Advisory Board
Kim Mansfield, Coordinator of Student Engagement (left) with the Student Advisory Board:
(left to right) Nathalie Weiss (’16, BA art history); Nicole Nomany (’15, BA archaeology);
Sophia Villarreal-Licona (’14, BA art history); Jichan Park (’15, BS computer science);
Michelle Kwon (’16 BA art history); Michael Fischer (’08, BS computer science, PhD
candidate in computer science); Oliver Wang (’16, undeclared). Not pictured: Mary Kate
Anselmini (’15, BA art history) and Connor Kelley (’15, BA art history)
The newly formed Student Advisory Board—comprising
nine Stanford undergraduate and graduate students from
a variety of disciplines—immediately set two goals:
encourage students to visit the museum often, and inspire
those students to think critically about the art they see.
With these goals in mind, the board members are planning
exciting programs and events for their Stanford peers. In
February they spearheaded programming for Parents’ Night
during Stanford’s annual Parents’ Weekend, booking student
artists and performers. In March they planned a monthlong museum scavenger hunt wherein participants used
social media and won prizes. A formal event will be held
in April, and a movie screening is slotted for May.
The Board is now brainstorming about other ways to
reach out to the general campus, how to enhance the existing engagement between the Cantor and Stanford students,
and the benefits of student membership.
Sophia Villarreal-Licona (’14, BA Art History)
Student Voices
I first became involved in the Cantor through the “Student Guides”
class; both as a student my freshman year and as a teacher’s assistant
my sophomore year. Through this course I designed two discussionbased tours, one about how art can relay a sense of place and another
about religious works. Student Guides was a wonderful way to meet the
people working at the museum and to feel like I was contributing something by interacting with visitors.
Over the past two years I have remained involved in the museum as
the assistant for student programming. My two favorite aspects of the
job are curating “The Wall” at the Cool Café—a student exhibition
space—and bringing performance groups to the museum. Last year
our spring event, “Museum Snapshot,” brought together student photographs and established artists as well as performances by Stanford
Wushu, Kaorihiva Polynesian Dance, and Leilan Fusion Bellydance.
This year I’m excited to work with the new Student Advisory Board
(see story above) to expand student programming. I’m also working with
curator Elizabeth Mitchell as Student Assistant in the Department of
Prints, Drawings, and Photographs. My first project is cataloguing a recent
gift of 369 prints by 19th-century French caricaturist Honoré Daumier.
A P R I L • M AY • J U N E 2 014
Sophia Villarreal-Licona
Cantor Arts Center N e w s 11
For t h e love o f art : G i v i ng to t h
Those Who Give and Give Again
The Cantor Arts Center is so fortunate to have a constituency of donors and members
who have supported the museum for many, many years. Their ongoing dedication and
engagement have been crucial to the museum’s accomplishments and success. We are
delighted to report on several splendid major commitments from longtime donors.
This enduring generosity is a
hallmark of our museum, and
the staff is deeply grateful to
these special friends!
Rex and Melitta Vaughan
Elizabeth Swindells Hulsey
The Vaughans were exemplary museum volunteers for more
than 20 years. Rex, a member of the docent class in session
at the time of the 1989 earthquake, was elated to be able
to tour the renovated and expanded museum at its grand
reopening in 1999. He also served on the Membership
Executive Council for six years while Melitta oversaw the
volunteer office. The final distribution of their estate
directed $1,200,000 to the museum for an endowed fund
to be used at the director’s discretion.
Through this endowment, the Vaughans’ love for this
museum endures in perpetuity.
Libby (’84) has been engaged with the museum as a volunteer, member, and annual donor for many years. She served
on the Membership Executive Council for six years and is
a founding (and continuing) member of the Director’s
Advisory Board. In December of 2013 she made a major
gift that established the Elizabeth
Swindells Hulsey Fund to support
our special exhibitions program.
The museum presents some 25
exhibitions each year, and this
generous fund will give us a great
deal of flexibility in planning our
program for the next few years.
Zach and Elizabeth Hulsey
Barbara Oshman
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Melitta and Rex Vaughan in the Rodin sculpture garden
Barbara, with her late husband, Ken, named the Oshman
Family Gallery in 1998 to support the museum’s rebuilding.
When we established the Director’s Circle membership
level, they were the first to commit. And now Barbara has
made a significant pledge for the Cantor and the McMurtry
Building (future home of the Department of Art & Art
History) with the goal of encouraging collaboration between
the two institutions. The gift to the museum has established
the endowed Kenneth
and Barbara Oshman
Fund for student engagement. Barbara also
recently assumed a volunteer leadership role
at the museum, having
joined the Director’s
Advisory Board.
Barbara and Ken Oshman
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e cantor
For information regarding gifts or estate
plans, please contact Deputy Director
Mona Duggan by phone at 650-725-4240,
or email mduggan @ stanford.edu.
Jean Haber Greene
Jean became a member of the museum in 1976. She was
a generous donor to the museum’s rebuilding fund in the
1990s and one of the first donors to commit to the launch
of the campaign. Her brother, Charles Haber, joined her
in supporting the fund. Jean passed away last year, and we
recently learned that in addition to her generosity during
her lifetime, she included the museum in her estate plans.
A distribution of $166,000 establishes an unrestricted
expendable fund that will make possible a special project
of the director’s choosing.
W e lco m e to Ou r N e w M e m b e r s
F a m i ly / D u a l
Roberta and Steven Denning
Mimi Gardner Gates
Victoria and Roger Sant
Edward Storm
Rafat Alvi
Colleen Backstrand
Anupa and Raminder Bajwa
Catherine Warner and
Luiz Barroso
Michelle and Douglas Bercow
Susan Berry
Gail Blumberg
Sabrina Braham
Diana Chen
Esther Chen
Judith Frydman
Ritu and Mandeep Ghumman
Heather Macbeath and
Paul Glendenning
Elaine Moise and Robert Grodsky
Mary Anne Hanson
Helen Chen and John Higgins
Nan Kim and Wei-Yin Hu
Caryn Nadelberg and
Matthew Jacob
Janine and Grant Jacobson
Ms. Katherine C. James
Lynnee Jimenez
James Keene
Carole Kushnir
Diana and Lewis Laurent
Joohee and David Lee
YungGyo Lee
Professor Emeritus Ronald
J. P. Lyon
Takeo Obayashi
Artists’ Ci rcl e
Mary Jane Elmore
B e n e fa c t o r
Lava Thomas and Peter Danzig
Lois and Douglas Garland
Allison Rose
P at r o n
Suzzanna Cousin and
Sherine Kazim
Sp o n s o r
Kathryn and Farokh Deboo
Susi and Michael Housman
Stanley Kim
Joji Koshimura and
Michael Kronstadt
Marjorie Martin
Tammy Okuda
Mrs. John Rado
Barbara Ross
Lorinda and Harry Silverstein
A P R I L • M AY • J U N E 2 014
There are three ways to join:
• online with the “Join Now” button;
• visit the museum and pick up a membership
brochure at one of the lobby desks;
• call the membership office at 650-723-3482.
( J u n e – d e c e m b e r 2 013 )
Dir ec tor’ s Circl e
N e w F o u nd e r s ’ C i r c l e
Pass along membership
information to a friend.
Larisa Kunda and Slava Mazin
Kathleen and J. Casey McGlynn
Catherine Medin
Dr. and Mrs. James Missett
Christine Moon
Dorothy Moore
Irum and Bilal Musharraf
Avantika and Rajneesh Nash
Tracy Oghalai
Marianina and Douglas Olcott
Cipriana Petre
Jianghong Rao
Anandi Krishnan and
Dhurjati Ravi
Eva and James Reedy
Susanne and Stephen Shepard
Lily Soni
Jenny and Thomas Stone
Carol Reno and William Stump
Ian Tien
Sandra Urabe
Yuko Watanabe
Tibby Storey and Sue Wilson
F r i e nd
Rokko Aoyama
Linda Ara
Aarthi Belani
Lindsey Bogott
Lisa Breakey
Maude Brezinski
Kathleen Christman
Janet Condino
Linh Dang
Karalena Davis
Linda Drew
Korie Edises
Emily Fayet
Danita Fleck
Fran Fuller
Jennifer Hammer
Jorgen Henriksen
Caitlin Hertzig
Diane Holaday
Frances Jaekle
Gail Justman
Hannah Knowles
Suzanne Koona
Joan Leblanc
Rolland Luo
John MacMorris
Robert McGinn
Katherine Nelson
Markelle Palombo
Peggy Poindexter
Carol Rivers
Morton Rivo
Janice Rossi
Isabella Schreiber
RoseAnne Simon-Manning
Sally Small
Joyce Tam
Angela Tsai
Fred Zemke
Cantor Arts Center N e w s 13
Th i n g s to do
Talks
Voices in the Gallery
Art Focus lectures
Expand your art knowledge through these lectures
by faculty, curators, and other art experts.
Thursday, April 24, 7 pm
National Treasure: History and Collections
of the National Gallery of Art
Denise Erickson
Thursdays, April 3, 10, and 17
Beautiful Gardens Then and Now
Betsy G. Fryberger
Thursdays, April 24 and May 1
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. Drop-ins will be accommodated
if space is available. See your Art Focus Lectures
brochure or the Cantor Web site for full descriptions, registration information, and fees.
Spotlight on Art
Graduate students in the Department of Art & Art
History give free gallery talks on the second Friday
of most months at 2 pm during the academic year.
April 11: Sydney Simon discusses John McCracken’s
Red Block in the Freidenrich Family Gallery.
May 9: Oliver Shultz (topic to be determined)
Member Appreciation Day
Sunday, July 13, 2014
10 am–3 pm
This year’s Member Appreciation Day takes inspiration from the
exhibition Carleton Watkins: The Stanford Albums. Celebrate the great
outdoors through special storytelling, art making, tours, musical
performances, and
refreshments throughout
the day. Look for your
invitation in June.
Carleton Watkins (U.S.A., 1829–
1916), The Yosemite Valley
from the “Best General View”
1866, from Photographs of
the Yosemite Valley. Albumen
print. Lent by Department of
Special Collections, Stanford
University Libraries
m u se u m . sta n f o r d . ed u
The J. Sanford and Vinie Miller
Distinguished Lecture in Asian Art
Thursday, May 1, 7 pm
Cantor auditorium, free
Leading Chinese conceptual artist Gu Wenda uses
his art and experiences to discuss developments
in contemporary Chinese art.
Artist Lecture: Andrea Fraser
Art, Equity, and Inequity
Thursday, May 8, 5:30 pm
Annenberg Auditorium, free
Noted performance artist Andrea Fraser explores the
motivations that drive artists, collectors, art dealers,
and corporate sponsors. Shannon Jackson, professor
of rhetoric and of theater, dance, and performance
studies at the University of California, Berkeley,
joins Fraser in conversation.
From the “Ethics of Wealth” lecture series; co-sponsored by the Department of Art & Art History and presented by the Center for Ethics in Society.
Faculty Lecture: Dr. James Chang
Thursday, May 29, 6:30 pm
Cantor auditorium, free
Dr. Chang, hand surgeon and professor of plastic
surgery at the Stanford School of Medicine, discusses
the fascinating collaboration between four Stanford
groups that resulted in the unique Cantor exhibition
Inside Rodin’s Hands: Art, Technology, and Surgery.
Save the Date
14
Student finalists for the 2014 Geballe Prize for Writing
read excerpts of their entries. Pick up a schedule with
locations at a lobby information desk that evening.
Art Trips
Through Their Eyes: Georgia O’Keeffe
and Local Artists
Wednesday, April 23
Stanford Homes: Renovated and Restored
Thursday, May 22
Local Treasures: Secrets and Surprises—a Feast
for the Senses
Thursday, June 5
Excursions are offered as a benefit to members. See
your Art Trips brochure or the Cantor Web site for
full descriptions, registration information, and fees.
Make a
Day of It!
If you love how blossoming
Events Related to Carleton
Watkins: The Stanford Albums
Demonstration: Wet-Plate
Photography Process
Saturday, April 26
Moorman studio, free*
Create a photograph using the wet-plate
photography process mastered by Carleton Watkins.
Panel Discussion
Photography, Yosemite, and Stanford:
The Legacy of Carleton Watkins
Thursday, May 15, 5:30 pm
Cantor auditorium, free
Distinguished Stanford faculty, curators, and
scholars discuss the enduring impact of Carleton
Watkins’s photographs.
Demonstration:
Exhibition Technology
Thursday, May 22, 5:30 pm
Cantor auditorium, free
Stanford students present the
technology they created that
lets visitors better understand
the geography and history
behind Carleton Watkins’s
landscapes.
Walking Tour of
Stanford Trees
stone-fruit trees are perfuming Palo Alto, follow Stanford’s
new Arts Map and delight in
what blooms next: wildflowers
by Andy Goldsworthy’s Stone
River; white Chinese fringe
trees near Auguste Rodin’s
Burghers of Calais; flowering
crabapple trees, like bursts
of pink fireworks, circling
J. B. Blunk’s Group of Six;
and more. Pick up the map
in the main lobby or find it at
arts.stanford.edu/map.
Saturday, July 26, 10 and 11:30 am
registration required, free*
Join an arborist and a historian
on a tour of Stanford’s Arboretum and discuss the
local trees in terms of Carleton Watkins’s images.
* For time and/or registration information, visit museum.stanford.edu.
Family Programs at
the Cantor
Free. Ages 5 and above. Space is limited and preregistration is required. To register, visit museum.
stanford.edu/family or call 650-723-3482.
For Members at the Family/Dual
Level and Above
Free Family Programs for the Public
Make Your Mark!
Saturday, May 31, Two sessions: 9:30 and 10:30 am
Tour the Cantor’s collection of contemporary and
traditional Chinese landscape paintings and then
create sumi ink paintings of your own, guided
by a professional art educator. Authentic bamboo
brushes enable you to explore mark-making in both
classic and innovative ways.
Film Screening: Laura’s Star
Sunday, April 20, Noon, 1:30, and 3 pm
Cantor auditorium
In this animated 80-minute film from Germany,
seven-year-old Laura moves from the country
to the city and begins a fantastic friendship with
a fallen shooting star.
Sundays:
Docent-led Family Tours at 12:30, 1, 1:30, and 2 pm;
Art-Making in the Studio, 1, 1:30, 2, and 2:30 pm; and
Focused Drawing in the Galleries, 12:30–5 pm. Note:
on April 20 (Easter Sunday) there will be one Family
Tour at 1:30 and no Art-Making in the Studio.
Daily:
Art Packs: Sign out an art pack stocked with
colored pencils and paper, and spend family time
drawing in our galleries.
Family programming at the Cantor is underwritten by the Hohbach Family
Fund and additional contributions from Mary Anne Nyburg Baker and G.
Leonard Baker, Jr., Doris Fisher, and Pamela and David Hornik.
Photograph by Guillermo Rivas
A P R I L • M AY • J U N E 2 014
Cantor Arts Center N e w s 15
Sta n ford U n iv e rs ity
NONPROF I T
C a nto r Arts Ce nte r
OR G AN I Z AT I ON
Me mbe rsh i p O ffice
3 2 8 lom ita d r iv e
Sta n ford, C A 9 4 3 0 5 - 5 0 6 0
U . S .
POSTA G E
PA
PALO
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PERM I T
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2 8
Open Wed–Sun 11 am–5 pm
Thurs 11 am–8 pm
Always free
TER
LOC ATIO N & PA R K I N G
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 R E E DOC E NT TOU R S
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 A R E PH OTOS O F YOU R V I S IT
Join our Flickr Group at www.flickr.com/
groups/CantorArtsCenter.
S IG N U P FO R E - N E WS
NEW ACQUISITION
William Gilpin (England, 1724–1804), Picturesque Landscape, 1789. Wash with brush and ink on paper.
Robert E. and Mary B. P. Gross Fund, 2013.70
Renew Your Membership Online
Did you know that you can renew your membership online?
Click the “Join Now” button on the museum’s homepage or
membership pages. MUSEUM.STANFORD.EDU
I r i s & B . G e r a l d C a n to r C e n t e r f o r V i s ua l A rt s at S ta n f o r d U n iv e r s i t y
Get free email notices every month about
programs and exhibitions at the Cantor.
Click “E-NEWS” at the bottom of our
Web page, museum.stanford.edu.
E XHI BITIO N C ATA LOG U E S
Catalogues of Cantor exhibitions are now
available for purchase from the Stanford
Bookstore. Visit the campus location at
519 Lasuen Mall or purchase titles online
at www.stanfordbookstore.com.
vi s i t m u s e u m . s ta n f o r d. e d u