2014-15 COVER IMAGE: JACKSON POLLOCK, LUCIFER (1947) IN THE ANDERSON COLLECTION AT

Arts District Presenters 2-5 Moving In Arts Connections Across Campus 6-11 Departmental Highlights 12-15

Student Initiative 16-17 Stanford’s art and art history faculty and staff spent the summer moving to the arts district. The Campus Impact 18-19

McMurtry Building, the new home for the Depart- Academic Arts Departments & Programs 20-21 ment of Art & Art History, welcomed students the Arts Centers, Institutes & Resources 22-23 first day of the fall term in 2015. Curricular Innovation 23

Designed by Diller Scofidio + Renfro, along with Student Arts Groups 24-25 the executive architect Boora Architects, the Reflections | Stephen Hinton 26 100,000-square-foot space unites the making and Looking Ahead 28-29 studying of art under one roof with a bold archi- tectural gesture: the “making strand” (in zinc) Support for Stanford Arts 30-31 2014-2015 started with a bang! On September 21, 2014, the Anderson Collection at Stanford University opened its doors and one of the finest private collections of postwar to contemporary wrapping around the “studying strand” (in stucco) Arts District 32-33 art in the country found a new home on Stanford’s campus—in a beautiful new building designed in an interlocking embrace. The building’s inno- by Ennead Architects. vative spaces present multiple opportunities for exhibitions, performance and programs. The Stanford Arts Initiative, launched in 2006, marked a commitment to making the arts fun- damental to a Stanford education and to the university’s offerings for our community. Thanks The building allows the department to increase to this commitment, we have added new faculty positions, new fellowship opportunities for graduate students, and new arts programs for every Stanford student, including a general course offerings in art practice by 35 percent over education breadth requirement in “Creative Expression.” the next two years, responding to student de- mand. Studios and classrooms are outfitted with The new facilities in our arts district work to further this mission. (2013), the new equipment, including high-end digital pro- Anderson Collection at Stanford University (2014) and the McMurtry Building for the Department jectors, 3-D scanners and printers, laser-cutting of Art & Art History (fall 2015) all connect our campus and community around the arts, further technology, a CNC router, and digital printmaking research and teaching, and contribute to the creative vitality of the university. They join the increasingly dynamic , our active arts departments and programs, and numer- technology. ous other campus partners in creating a new era in the arts for Stanford. The pages that follow offer a few highlights. I invite you to discover more at http://arts.stanford.edu.

With all best wishes,

“ “IF YOU WANT A QUICK SEMINAR ON THE STATE OF ARCHITECTURAL ART, AND DON’T FEEL LIKE Matthew Tiews HOPPING ON A PLANE TO NEW YORK OR LOS ANGELES, THE MCMURTRY IS CLOSE AT HAND. Associate Dean for the Advancement of the Arts WHAT’S MORE IMPORTANT IS THAT WHEN DESIGN TRENDS MOVE ON, STANFORD ART STU- 1 DENTS WILL STILL BE WELL SERVED.” – JOHN KING | SAN FRANCISCO CHRONICLE “I DON’T THINK IT’S MY IMAGINATION THAT THE WORKS HERE PLAY OFF OF ONE ANOTHER IN LIVELIER, SOMETIMES WITTIER WAYS THAN MUSEUM WORKS OFTEN DO; IT FEELS LIKE THERE’S Anderson Collection in Action A SYNERGY TO THE ENTIRE COLLECTION, WHICH IS MAYBE ANOTHER WAY OF SAYING THE COLLECTORS HAVE AN EYE. THE ANDERSONS HAVE GIVEN THE The Anderson Collection at Stanford University opened in September 2014. This was a major milestone for the arts at Stanford: one of the finest collections PUBLIC A GREAT GIFT.” of modern and contemporary American art was on the university’s campus, – BRUCE HANDY | VANITY FAIR opening up amazing opportunities for teaching, research, and engagement MOHR VISITING ARTIST BASIL TWIST PERFORMS with the community. The quality and span of the collection make it a masterful IN THE ANDERSON COLLECTION. HE TAUGHT THE resource for American art history. Stanford faculty members use the collection THEATER & PERFORMANCE STUDIES COURSE “PUPPETRY WITH A TWIST.” to teach classes formerly taught through books and slides. It is also an incred- ible offering to the community: programs around the collection in its first year here include student-generated events, as well as films, panel discussions, art- ist talks, and in-gallery conversations.

Highlights from the collection’s first year included painter Wayne Thiebaud’s par- ticipation as the inaugural Burt and Deedee McMurtry Lecturer; a screening and panel discussion of !Women Art Revolution by the prominent artist and filmmak- er Lynn Hershman Leeson; and a gallery performance and talk by internation- ally recognized puppeteer Basil Twist, this year’s Mohr Visiting Artist, who was named a MacArthur Fellow in 2015.

2 3 The Cantor Celebrates a Gift The Demo

CANTOR ARTS CENTER Logotype, Final October 2, 2012

“THE DAWN OF THE DIGITAL AGE, IN MUSIC AND WORDS” One of the largest collections of work by Ameri- litical conditions of the historical era in which he can artist Jacob Lawrence (1917–2000) in any produced this important work,” said Connie Wolf, – JOHN MARKOFF | museum belongs to the Cantor Arts Center, and it the John and Jill Freidenrich Director of the Cantor. NEW YORK TIMES went on view for the first time in 2014. Lawrence is an acclaimed figurative painter of the 20th cen- One of the primary reasons that the Kaydens’ tury and a leading voice in the artistic portrayal of Lawrence collection ended up at the Cantor is be- the African American experience. The exhibition, cause Stanford is a teaching institution. “That was THE DEMO, A MULTIMEDIA EXTRAVAGAN- Promised Land: Jacob Lawrence at the Cantor, A hugely important to my father because both he ZA BASED ON DOUGLAS ENGELBART’S Gift from the Kayden Family, gave the collection and my mother were university professors in addi- HISTORIC 1968 DEMONSTRATION OF EARLY new life through scholarship, teaching, and pub- tion to being physicians,” said Joelle Kayden, MBA COMPUTER TECHNOLOGY, PREMIERED AT lication. ’81. “He felt that Jake wasn’t as celebrated and STANFORD’S BING CONCERT HALL. recognized as befitted the quality of his work and The collection of 56 works (five paintings, 11 his importance as an African American artist. Giv- drawings, 39 prints and 1 illustrated book) was ing the collection to Stanford means it will live on.” Stanford Live’s world premiere of The Demo at Bing unique hybrid of music, media, and performance. ried performances of chamber, choral and orchestral given in 2014 by Dr. Herbert Kayden and his Concert Hall took as its starting point a pivotal mo- music with an international conference on the cul- daughter, Joelle, in memory of Dr. Gabrielle H. Honoring the Kaydens’ entwined commitments to ment in ’s history: Douglas Engelbart’s The project was part of Stanford Live’s new “Live tural history of 18th-century artistic patronage, and Reem, the donors’ wife and mother, respective- both art and education, the exhibition planning in- 1968 demonstration of pioneering technology for Context” series, which connects world-class perfor- The Nile Project, a performance by musicians from KEMI LIJADU, ’17, (LEFT), AND ly. Herbert Kayden died in August 2014. cluded a course for undergraduate students taught personal computing. Engelbart’s egalitarian vision mances to the deep intellectual and artistic resources eight Nile River Basin nations that was paired with TEBELLO QHOTSOKOANE, ’16, by Elizabeth Kathleen Mitchell, the Cantor’s Burton for how technology could expand human intelligence of the university. Other Live Context projects included conversations about geography, sustainability, and VIEW THE EXHIBITION PROMISED LAND: The collection, exhibition, and accompanying and Deedee McMurtry Curator of Prints, Drawings, was reimagined as a technology-rich stage work: a “Haydn: Patronage and Enlightenment,” which mar- international politics. JACOB LAWRENCE AT THE CANTOR DURING STUDENT NIGHT. scholarly publication with essays by Stanford fac- and Photographs. This intensive introduction to ulty, researches and curators make Stanford and Lawrence’s career and curatorial and art historical the Cantor “a leading resource for students and practices enabled 12 students to design the gallery scholars to study Lawrence and the social and po- layout and write exhibition texts. 4 5 INTERDISCIPLINARY INSTALLATION ARTIST MATTHEW RITCHIE DELIVERS A PUBLIC LECTURE AS PART OF IMAGINING THE UNIVERSE: COSMOLOGY IN ART AND SCIENCE. In 2014 Stanford acquired the Denis Condon Col- lection of Reproducing Pianos and Rolls, a pri- vate collection of more than 7,500 rolls and 10 The Player Piano Project player pianos — among the most important of its kind. Player pianos — those self-playing pia- nos popular in the early 20th - century — have an important role in music history. Rolls in the Con- don Collection include major composers playing their own music — Saint Saëns, Busoni, Bartók, Mahler, Prokofiev, Rachmaninoff, Debussy, Ravel, Scriabin, Stravinsky, Gershwin, and Joplin. “Imagining the Universe: Cosmology in Art and Science” brought together scientists, artists, and In the wake of the Condon Collection acquisition, humanists to explore the nature of the universe. THE PLAYER PIANO PROJECT BRINGS Stanford also received two other collections of Organized by an interdisciplinary consortium TOGETHER A WIDE ARRAY OF SPECIAL- pianos and rolls. Jerry McBride, Stanford’s head drawing on departments and programs from ISTS, FROM PNEUMATIC TECHNICIANS music librarian, said that these acquisitions across the university, the series reflected Stan- TO PAPER PRESERVATIONISTS TO mark the beginning of an initiative at Stanford, ford’s commitment to campus-wide connec- PERFORMANCE HISTORIANS. the Player Piano Project. With these collections, tions among the sciences and arts. Goals include Stanford is poised to become among the most deepening our understanding and appreciation important places worldwide for research on this for the richness of the universe, and appreciating intriguing musical technology and its impact. what can be learned about ourselves from the way we depict the cosmos. The yearlong series of events included speakers, performances and an exhibition at the Cantor.

“The idea for the collaboration came from Peter Michelson, chair of the Department of Physics, who was present at the premiere of Cosmic Re- flection, a symphonic composition by Stanford alumnus Nolan Gasser [PhD ’01], accompanied by a video created in collaboration with NASA Goddard Space Flight Center,” said Matthew “What makes this so valuable to researchers now is to Tiews, associate dean for the advancement of the be able to hear how pianists of that time played, many arts. “Peter’s idea of bringing that piece to Stanford of whom were students of the great pianists of the 19th sparked a wide-ranging conversation about art, century. Not only does it tell us about piano perfor- science, how we seek to understand our cosmos, Imagining the Universe: and what that tells us about being human. This mance, but about music performance traditions of that collaboration reflects contributions from numer- time in general.” – Jerry McBride, head music librarian ous individuals and at least a dozen departments Cosmology in Art and Science and programs from across campus.”

6 7 Two science-based courses in 2015 intersected skills to real patients. with the world of art to develop improved appli- cations in health care and nature study. Natural Perspectives: Geology, Environment, and Science Art was an undergraduate course in the School The Art of Observation: Enhancing Clinical Skills of Earth, Energy & Environmental Sciences. and through Visual Analysis was a medical school Taught by Richard Nevle, deputy director of course supported by the Bioethics and Medical the Earth Systems Program, and Sara Cina, un- Humanities Scholarly Concentration. The prac- dergraduate program director for the School of Aesthetic tice of close observation was the primary goal Earth, Energy, and Environmental Sciences, the of the course, which was developed by an inter- course was a multiday field trip that used guid- disciplinary team: Genna Braverman, a medical ed drawing exercises led by artist/illustrator Intersection student; Yinshi Lerman-Tan, a graduate student Mattias Lanas to augment the exploration of the in art history; Audrey Shafer, MD, a professor of regional geology, ecology, and environmental anesthesiology, perioperative and pain medicine history of the Eastern Sierra and Owens Valley. and director of the Medicine and the Muse Pro- Students visited several sites of geologic and gram in medical humanities; Sam Rodriguez, MD, environmental interest, discussed the formation a clinical instructor in anesthesiology, periopera- and significance of these sites, and used drawing tive and pain medicine; and Issa Lampe, curator as tool for close observation, recording their re- of education at the Cantor Arts Center. flections in field journals.

The course involved Stanford medical faculty The objectives of the course were to gener- members participating in gallery sessions in the ate an understanding of the natural processes Cantor and the Anderson Collection and apply- shaping Eastern , foster new skills and ing the lessons learned to the clinical setting. techniques for artistic expression, and spark an Each of the students also had the opportunity to appreciation for how scientific and aesthetic go on rounds in a hospital ward with one of the perspectives complement and enhance one an- participating physicians to apply observation other in the study of natural history.

“IN THE PROCESS OF DRAWING, STUDENTS RECORD THEIR OBSERVATIONS, GENERATE QUESTIONS AND INSIGHTS, AND REKINDLE A JOYFUL SENSE OF WONDER ABOUT THE NATURAL WORLD,” RICHARD NEVLE, DEPUTY DIRECTOR OF THE EARTH SYSTEMS PROGRAM

8 9 FINAL PROJECT FOR CEE 32H: TRANSPARENT STRUCTURES: DESIGN-BUILD SEMINAR TAUGHT BY INSTRUCTOR BEVERLY CHOE, WITH JAPANESE STRUCTURAL ENGINEER, JUN SATO, AS AN INVITED TEACHER AND CRITIC

Architectural Design - CEE 32H: The Architectural Design Program is host to a culminated in a full-scale installation of the variety of collaborative and experiential stu- developed design on campus. The experi- Transparent Structures: dios. Students involved in this design-build ential objectives of the seminar draw upon JAKE FRIEDLER, ’15, ADAPTER AND DRAMATURGE, AND seminar investigated the use of glass as a Colin Rowe’s definition of phenomenal trans- LAURA PETREE, ’15, DIRECTOR, STAGED THE BACCHAE, AN IMMERSIVE, Design-Build Seminar structural system and spatial medium. Ex- parency as a unique spatial order, in which MODERN-DAY ADAPTATION OF THE GREEK TRAGEDY amining the physical and visual properties the perception of space is fluctuating and in AS PART OF THEIR HONORS IN THE ARTS JOINT PROJECT. of engineered high-strength glass, students constant activity. The installation will act as a PICTURED: STUDENT PERFORMERS FOLLOWED BY AUDIENCE MEMBERS. developed structural systems and spatial filter through which the surrounding context configurations that expanded an under- will be redefined, resulting in a complex spa- standing of what glass can do. The seminar tial experience.

10 11 FILMMAKER, INSTRUCTOR AND ALUM J. CHRISTIAN JENSEN SHOOTING HIS ACADEMY AWARD–NOMINATED DOCUMENTARY SHORT FILM danceroom Spectroscopy WHITE EARTH IN NORTH DAKOTA. Making and Teaching

In 2015 Stanford lecturer and alum J. Christian Jensen, MFA ’13, received an Oscar nomination in the documentary short category for his film White Earth, a winter portrait of North Dakota’s oil boom. In 2014 he won a silver medal from the Academy of Motion Picture Arts and Sciences Student Academy Awards for the same film.

Jensen began his career in nonfiction television — working with National Geographic, PBS Front- line and regional PBS programs. Having lived in both Brazil and China, he is particularly interest- ed in films about newly industrialized nations. His directing debut, Sou da Bahia (I’m from Bahia), about art and Afro-Brazilian identity, premiered in 2009 throughout the and Latin “It’s a huge honor to be able to translate the theoretical principles and practical experi- America. danceroom Spectroscopy (dS) is the world’s first fessor of art and art history, and composer and ence I gained making White Earth and other films as a graduate student at Stanford into Jensen has been sharing his talents with stu- large-scale, interactive molecular physics experi- sound engineer Michael St. Clair, a lecturer in the a course designed to introduce undergraduates to filmmaking and storytelling princi- ence, and it was created by scholar, scientist and Department of Theater & Performance Studies. dents across the campus, teaching introductory artist David Glowacki, a Royal Society research ples. I feel incredibly lucky to have had the teaching opportunity fall on the heels of White film production courses in the new “Creative Ex- fellow at the University of Bristol, currently in resi- Visitors to the Stanford Art Gallery installation Earth’s success, and it has really helped me better mentor the students in my course — pression” university breadth requirement. dence at Stanford. Glowacki found two collabora- used the dS set-up to create real-time projec- many of whom have ambitious film projects of their own that they are pursuing outside tors on campus to engineer an interactive version tions on the surrounding walls of their “energy of class.” – J. Christian Jensen, lecturer and documentary filmmaker of dS in the Stanford Art Gallery and a multimedia avatars” and manipulate a simultaneous atom- dS TECHNOLOGY WORKS BY USING A SET OF 3-D IMAGING performance at the Cowell Theater in San Fran- ic physics simulation, generating both graphics CAMERAS THAT COMMUNICATE WITH A CUSTOM-BUILT cisco: artist Camille Utterback, an assistant pro- and sound. HIGH-PERFORMANCE COMPUTER TO INTERPRET PEOPLE AS ENERGY FIELDS ON A SCREEN.

12 13 Evita ford) sourced LEDs from China to create a video Eva Perón was reimagined on the Stanford stage wall that functioned as the changing set. The Marvelous Musical Theater in the spring musical Evita. The production, by floor-to-ceiling, wing-to-wing wall of lights was the Department of Theater & Performance Stud- programmed to represent, among other sets, the ies, included the book and songs from the An- Baltimore skyline, the candy-colored set of the drew Lloyd Webber and Tim Rice original, but Corny Collins Show and a starry night (see photo also drew on conflicting historical depictions to page 25). provide new perspectives on the familiar story. There was a breakout “We created a version of Evita in which Eva basi- Mirror Image cally gets to tell her own story,” director Sammi Mirror Image, an original student-written musical, of marvelous musical Cannold, ’15, said. premiered at Stanford in the spring as Louis Laga- lante’s senior capstone project in music composi- theater in 2014-15. During the run of the production, artifacts from the tion. The opening number, titled “Move On,” was Highlights included ’s Juan Domingo Perón papers, featured at the New York Musical Theater Festival Eva memorabilia and contemporary video inter- in the Student Leadership Project Concert in the Evita, Hairspray, views of Argentines were featured in a companion summer of 2015. exhibition in the Memorial Auditorium lobby. Mirror Image and the 72-hour Musical Theater Contest 72-hour Musical Hairspray The 72-Hour Musical Theater Contest was the first Stanford’s oldest and largest theatrical organiza- in Stanford history, and possibly in anyone’s his- Theater Contest. tion, the Ram’s Head Theatrical Society, drew par- tory. In one whirlwind weekend, small teams were allels between civil rights movements in the 1960s given the challenge of creating a musical theater and today in their spring production of Hairspray. piece (one song, one scene, and one dance) — in James Sherwood, ’17, produced one of the larg- only 72 hours. est shows ever at Stanford in terms of the size of the cast and crew, but what excited him the most Three days of intense creative endeavor cul- was that this production of Hairspray set up a civil minated in a live, cabaret-style performance in rights dialogue for students and the audience. which teams presented the results of their hard work before a panel of experts. The prize — which It did so in the context of theatrical innova- went to a work called “Gravity,” with a quirky take tion. Matt Lathrop, ’16; Stephen Hitchcock, ’18; on the history of science — was $5,000 for the cre- Sherwood, and the student group LITES (Lighting ation of a workshop performance of a new theat- Innovation and Technology Education at Stan- rical work inspired by the contest.

AMY DUBOSE , ’15, PLAYS EVA PERÓN IN THE TAPS PRESENTATION OF EVITA ON THE MEMORIAL AUDITORIUM MAIN STAGE.

14 15 , a Stanford Treasure Art Gallery

Founded at Stanford University in 1989, Talisman is Over the years Talisman has performed at sev- Breaks a an a cappella group dedicated to the sharing of sto- eral Bay Area schools, and in communities in ries through song. Originally created to sing music California, on the East Coast, and in the South- from the anti-apartheid movement in South Africa, ern United States and embarked on five tours in Record Talisman has since expanded to include music from South Africa, where the group cultivated lasting cultural traditions from all around the world. relationships with communities and organiza- During the fall quarter of 2014, the Stanford Art tions such as the Amy Biehl Foundation. It also Gallery welcomed a record-breaking 10,303 visi- For its 25th anniversary concert in February 2015 conducted workshops with The Soweto Gospel tors — more than doubling the attendance for any at Bing Concert Hall, Talisman welcomed back Choir and Johannesburg’s legendary Imilonji previous exhibition. alumni from the past 25 years to perform the mu- Kantu Choral Society. In April 2015 the group sic that has brought so many people together. The traveled to Atlanta to perform with the Immac- The attraction was an exhibition called All Tomor- concert featured performances from the South ulate Conception’s Homeward Choir, a group of row’s Parties, which marked the first time that African touring company of MADIBANESS, led by singers who are homeless. undergraduate students were offered the oppor- Sipho Mnyakeni, and featuring Anele and Neliswa tunity to install their work in the historic space. A Mxakaza from Idols South Africa. jury comprising representatives from the Art & Art History Department, the Cantor Arts Center and the San Francisco Museum of Modern Art selected “Talisman was created to explore and perform substan- work by 23 students — in the end, 18 different ma- tive, cultural music. This has become our mantra as we jors were represented, showcasing the breadth of strive to give voice to the vast collection of human stories talent across the university. told through rich and vibrant song.” – excerpt from the Talisman mission statement The exhibition’s success led the department of Art & Art History to repeat the exercise. The second annual undergraduate exhibition moved to the McMurtry Building and was the inaugural exhibi- tion in the Penny & Jim Coulter Gallery in fall 2015.

RETURNING STUDENT GRAHAM ROTH, ’13 AND MFA ’14, IN THE STANFORD ART GALLERY 16 TALISMAN ALUMNI PERFORMING IN BING CONCERT HALL. 17 GRAMMY NOMINEE KASKADE (RIGHT), FRESH FROM A RECORD-BREAKING MAIN- STAGE SET AT COACHELLA, AND CAMERON STRANG (LEFT), CHAIRMAN AND CEO OF Creative WARNER BROS. RECORDS AND WARNER/ CHAPPELL MUSIC, DISCUSS THE PRES- SURES AND POTENTIALS OF THE MUSIC Inspiring Careers INDUSTRY IN THE 21ST CENTURY. Guest Artists

Art is My Occupation (AiMO) is an interdepart- The goal of the Stanford/Warner Music Group Stanford offers numerous professional mental collaborative program that empowers Leadership Initiative is to identify and devel- development opportunities for students students to explore their personal and artis- op a new generation of Stanford students from tic identities, connects them to professional across various educational disciplines for lead- who want to explore a career in the arts. In creatives, and provides career guidance and ership roles in the ever-changing music busi- OPRAH WINFREY DELIVERS THE ANNUAL resources. Over the last three years, AiMO has ness. Technology is reshaping the future, and “HARRY’S LAST LECTURE ON A MEANINGFUL LIFE” addition to a wide variety of Stanford-spon- served more than 800 students through its pro- Stanford students have the opportunity to be AS THE RATHBUN VISITING FELLOW IN THE OFFICE grams, events and classes. The organizing team in the middle of the music industry’s evolution. sored summer arts internships and satellite OF RELIGIOUS LIFE. includes representatives from the Institute for “This innovative new collaboration brings to- campuses in Washington, D.C., and New Diversity in the Arts, the Department of Art & Art gether the extraordinary creativity and entrepre- STANFORD HOSTS NUMEROUS GUEST ARTISTS History, the Department of Music, the Depart- neurial vision of leaders in music, tech, business ACROSS MULTIPLE DISCIPLINES EVERY YEAR, York that offer art courses and internships, ment of Theater & Performance Studies, Stan- and education to inspire and educate the mu- PROVIDING STUDENTS WITH A WITNESS TO THE two signature Stanford programs stand out: ford Arts, Stanford Career Education, Stanford sic industry’s next generation of leaders,” said ARTIST’S LIFE. Live, and the Cantor Arts Center. Cameron Strang, CEO and chairman of Warner Bros. Records and Warner/Chappell Music. 18 19 Architectural Design Program Academic Arts explore their historical development, their roles The Architectural Design Program seeks to in- in society, and their relationship to other artistic tegrate engineering and architecture in ways disciplines. that blend innovative architectural design with Departments & Programs cutting-edge engineering technologies. In addi- Department of Music tion to preparing students for advanced studies The Department of Music has been a pillar of the in architecture and construction management, Stanford community since its founding and for- the program’s strong math and science require- malization as a department in 1947. It promotes ments prepare students well for graduate work the practice, understanding and enjoyment of in other fields, such as civil and environmental music in the university, offering a broad array of engineering, and business. educational opportunities with specialization in composition, performance, musicology, ethno- musicology, and music technology. Creative Writing Program Established at Stanford in 1946 by Wallace Steg- Department of Theater ner, the Creative Writing Program has expanded & Performance Studies (TAPS) over the years into a vibrant graduate and under- Theater & Performance Studies integrates theory, graduate community that offers a unique interac- criticism and performance. The interdisciplinary tion between even the newest students and the department welcomes students from across the talented pool of Stegner Fellows and lecturers, all university who want to be involved in intensive, of whom are working writers with a passion for innovative and intellectual work and fosters good writing and a real ability to teach it. student engagement with performance in mul- tiple modes. They learn analytic skills through Dance Division research-based scholarship. In concert with its The Dance Division, part of the Department of academic mission, the department produces Theater & Performance Studies, offers a range of numerous events through its creative program. classes that approach dance as a performing art, Workshops and artistic productions include ca- cultural practice, political act, or embodiment nonical plays, commissioned dance works, ex- of ideology and beliefs. All of the dimensions perimental projects and works by visiting artists. through which one comes to experience dance — from studying a range of dance techniques, Design Program within the Mechanical choreographing and performing, to viewing and Engineering Design Group critically and historically assessing dance — are The Design Program (formerly the Product Design represented in the course offerings. Program) is offered jointly with the Department of Art & Art History and concerns itself with conceiv- Department of Art & Art History ing and designing products for the benefit of soci- The Department of Art & Art History is an inter- ety. This process requires resolution of constraints disciplinary department offering undergraduate arising from technical, aesthetic, human, and and graduate degrees in art history, art practice, TAPS UNDERGRADUATE STUDENTS PERFORM business interests. The Design Group’s philosophy design, documentary filmmaking, and film stud- ROSENCRANTZ + GUILDENSTERN ARE DEAD, DIRECTED combines an emphasis on creativity, technology, ies. Courses offer myriad opportunities to engage BY STANFORD ARTIST-IN-RESIDENCE AND PULITZER and design methodology with consideration for PRIZE—NOMINATED PLAYWRIGHT AMY FREED. with form and meaning in the visual arts, and to human values and the needs of society.

20 21 Herbert Hoover Memorial Exhibit Pavilion Product Realization Lab Stanford Humanities Center galleries, and concert halls; they see dance rehearsals, Honors in the Arts The Hoover Exhibit Pavilion, located next to the The Product Realization Lab is a multisite teaching The Stanford Humanities Center is a multidisciplinary opera, and string quartets; and they have a chance Interdisciplinary Honors in the Arts provides the op- , was designed by architect Ernest J. facility with roots in the Department of Mechanical research institute dedicated to advancing knowledge to meet with alumni in the arts. In an accompanying portunity to create a capstone project that integrates Arts Kump and built in 1978. It features rotating exhibitions Engineering and deep synergies with the Design about culture, philosophy, history and the arts. The class, students study the history of the arts in the par- a major — in any field — with a chosen arts practice. on a variety of topics highlighting the world-renowned Program and the Hasso Plattner Institute of Design center’s fellowships, research workshops and public ticular city and hone their critical skills for an end-of- The program features two main tracks: interdisciplin- Centers, collections of the Hoover Institution Library and (d.school). is open to Stanford undergraduate, events strengthen the intellectual and creative life of the course symposium presentation. ary honors within the arts for students majoring in a Archives. Materials featured in exhibitions include graduate and professional school students who want university, foster innovative scholarship and teaching, particular arts discipline who wish to incorporate oth- political posters, photographs, letters, diaries, to design and create objects of lasting value. and enrich the understanding of human achievement. Arts Intensive, a September Studies Program er arts disciplines into their work; and interdisciplinary Institutes memorabilia, and rare publications. The Arts Intensive program, led by the Office of the Vice honors for nonarts majors for students majoring in a Residential Arts Program Stanford Storytelling Project Provost for Undergraduate Education, offers students nonarts discipline who complete a capstone project & Resources Institute for Diversity in the Arts + The Residential Arts Program (ResArts) provides The Stanford Storytelling Project is an arts program the opportunity to study intensively with Stanford arts incorporating the arts. Committee on Black Performing Arts opportunities for students to experience and that explores how we live in and through stories faculty and small groups of other Stanford students pas- The Institute for Diversity in the Arts (IDA) + Committee participate in the arts, through both small- and large- and how we can use them to change our lives. Its sionate about art. The program takes place over three ITALIC on Black Performing Arts (CBPA) is an interdisciplinary scale events in the residence halls. It aims to bring arts mission is to promote the transformative nature of weeks in September before the start of fall quarter. ITALIC is the Immersion in the Arts: Living in Culture Arts Program at Stanford Hospital program in the humanities that involves students in to the students and students to the arts — whether by traditional and modern oral storytelling, from Lakota program, a residential learning experience based in The Arts Program provides patients with one-on-one the study of culture, identity and diversity through highlighting the creativity of students or by bringing tales to Radiolab, and empower students to create Creative Expression Burbank House, a freshman dorm in Stern Hall. The art sessions, guided imagery and an audio art tour. artistic expression. Its mission is to create, support and artists into communities to share their process and and perform their own stories. The project sponsors Thinking creatively, giving expressive shape to ideas, yearlong program showcases the arts as an essential Hospital patients and visitors also enjoy more than advance powerful, collaborative and transformative their craft. courses, workshops, live events, and grants. and communicating those ideas imaginatively are part of scholarly and public life, and gives first-year 770 original works of art and 2,600 fine art posters on arts practice and arts leadership. not only indispensable to all artistic endeavors, but students a place to explore the arts practically and an- exhibit throughout the hospital. The Stanford Health Stanford Art Gallery Windhover will enhance traditional academic pursuits, stimulate alytically, regardless of major. Care Art Commission procures and cultivates the vast Libraries The Department of Art & Art History sponsors Windhover, which opened in fall 2014, is a sanctuary effective problem-solving, and foster originality in new art collection in the hospital, which brings together The Stanford University Libraries include more than exhibitions in the Stanford Art Gallery to engage for quiet contemplation designed around four large areas. Beginning with the class of 2017, all Stanford Stanford in New York | Fall 2015 internationally renowned artists, as well as local and 20 individual libraries across campus, each with a the university and wider community in stimulating abstract paintings inspired by birds in flight — known students must take at least two units in Creative Twenty undergraduates were chosen in the spring to emerging artists. world-class collection of books, journals, films, maps, dialogue facilitated by historical and contemporary as the Windhover series — created by the late Nathan Expression, choosing from hundreds of possible classes. spend fall quarter of the 2015-16 academic year living, databases and more. Libraries supporting the arts are visual language and culture. Annual shows present Oliveira, an internationally acclaimed artist who working and studying in New York City. They will take Center for Computer Research in Music & Acoustics the Archive of Recorded Sound, Art and Architecture works by MFA students in design and art practice, with taught at Stanford for more than three decades. CS + X a full load of required and elective courses, work four The Center for Computer Research in Music and Acoustics Library, Cecil H. Green Library, Music Library, Special additional programming by faculty, alumni, visiting Oliveira dreamed of creating a campus center to house In a new experiment aimed at integrating the human- days a week in internships related to their academic and (CCRMA) is a multidisciplinary facility affiliated with the Collections and University Archives. artists, and undergraduates. the paintings and to provide a quiet place where ities and computer science while providing students career interests, go on field trips, and attend cultural Department of Music where composers and researchers members of the Stanford community could rest in with unique educational experiences, Stanford is events. Under the program, the students will have the work together using computer-based technology both Medicine & the Muse Program Stanford Arts Institute quiet reflection. offering undergraduates the opportunity to pursue opportunity to develop adaptive learning skills — one as an artistic medium and as a research tool. The Medicine & the Muse Program provides The Stanford Arts Institute focuses on promoting cross- “joint majors” in computer science and music, com- of the key aims of a Stanford undergraduate education opportunities for medical students, faculty, staff, disciplinary approaches to the arts — in teaching, puter science and English, and computer science and — by applying lessons learned in the classroom to real- Hasso Plattner Institute of Design and community members to explore the intersection research, and art-making. Drawing on Stanford’s art practice, among other fields. Students who choose world situations. The Hasso Plattner Institute of Design (d.school) is a between creative expression, humanities-based strengths in collaboration and innovation, the Arts the joint major pursue a curriculum integrating course- home for Stanford students from departments across critical inquiry and value-driven social science with Institute exists to integrate the values and skills found Curricular work from both disciplines. Stanford in Washington Arts Track campus to collaborate radically, discover design think- medicine and biosciences. These intersections are in the arts throughout a Stanford education. 2014- The Stanford in Washington Arts Track focuses on vi- ing, and work on real-world projects. The d.school com- collaborative, interdisciplinary nexuses of discovery 15 marked the final year of faculty director Stephen Innovation sual art, arts administration, performance, and theater prises thinkers, learners, doers and teachers defining a and innovation. Hinton’s term (see his retrospective remarks on p. 26). in a dual professional and academic setting. The pro- new kind of organization at the university. It includes re- Beginning in September 2015 the Institute will be led by Arts Immersion gram offers the best of both worlds — an immersive search faculty who love implementation, practitioners Peggy Phelan, Ann O’Day Maples Professor in the Arts Arts Immersion gives Stanford students an insider’s professional experience interning at one of Washing- who are drawn to study new ideas, and experts who and Professor of Theater & Performance Studies and view into cultural capitals. Students travel with Stan- ton, D.C.’s world-class arts institutions and a comfort- take classes from their students and staff members who English, with an enhanced focus on interdisciplinary ford Arts Institute staff for a weeklong engagement ing home base at the Bass Center, where all Stanford in mentor senior faculty. research and curricula. with the arts, meeting institutional leaders, policy- Washington students live and study. makers, and arts practitioners. They visit museums,

22 23 25 . THE PRODUCTION . THE PRODUCTION HAIRSPRAY MEMBERS OF RAM’S HEAD THEATRICAL SOCIETY, ONE OF STANFORD’S STANFORD’S ONE OF SOCIETY, HEAD THEATRICAL OF RAM’S MEMBERS PERFORM GROUPS, STUDENT OLDEST BY WALL DESIGNED AND FABRICATED AN ORIGINAL LED FEATURED ON THEATRICAL WITH A FOCUS ORGANIZATION A STUDENT L.I.T.E.S., LIGHTING DESIGN AND TECHNOLOGY.

Stanford Taiko Stanford in the Arts (SASTA) Service for Alliance University Stanford Wind Ensemble Stanford the Arts for Committee Organizing Student Talisman a cappella Testimony Band Marching Junior University Stanford The Leland Volta Mariachi Cardenal de Stanford Mariachi Cardenal Company Mixed Spicmacay Ensemble Baroque Stanford Chamber Chorale Stanford Chamber Music Club Stanford Chinese Music Ensemble Stanford Chinese Sing Stanford Orchestra Collaborative Stanford Network Concert Stanford Singers Street Fleet Stanford Gospel Choir Stanford Hip Hop Society Stanford Hwimor Stanford Jazz Consortium Stanford Jazz Orchestra Stanford Klezmer Band Stanford (SLOrk) Orchestra Laptop Stanford Mendicants Stanford Ensemble Middle East Stanford Company Mixed Stanford (MoPho) Orchestra Mobile Phone Stanford Raagapella Stanford Savoyards Stanford Shakti Stanford in Entertainment Students Stanford Orchestra Symphony Stanford MUSIC Calypso Cardinal COLLO cappella a Counterpoint Everyday People 90.1 Stanford KZSU

Student Organizing Committee for the Arts the for Committee Organizing Student

Stanford University Alliance for Service in the Arts (SASTA) Arts the in Service for Alliance University Stanford

Stanford Storyboard Club Storyboard Stanford

Stanford Photography Club Photography Stanford

Stanford Newtype (Anime Club) Club) (Anime Newtype Stanford

Stanford Fashion Troupe Fashion Stanford

Stanford Design Initiative Design Stanford

Ceramics Club Ceramics

Cardineedle and Hook and Cardineedle

COLLO VISUAL ARTS VISUAL Education at Stanford) Education Stand Up, D Comedy Club Up, Stand Theater Classics in Stanford Improvisors Stanford Savoyards Stanford Company Shakespeare Stanford Collective Word Spoken Stanford Laboratory Theater Stanford in Service for Alliance University Stanford the Arts (SASTA) the Arts for Committee Organizing Student THEATER Project Theater Asian American Theatricals the Fountain At Backstage COLLO and Technology LITES (Lighting, Innovation, Society Theatrical Head Ram’s Comedy Sketch Barons Robber CREATIVE WRITING Stanford Arts Review Stanford Creative Writing Society Stanford Daily Stanford Oceanic Tongues Stanford Poetry Society Student Organizing Committee for the Arts Stanford Sitcom Project Stanford University Alliance for Service in the Arts (SASTA) WikiStage Stanford Stanford Sitcom Project Sitcom Stanford Club Storyboard Stanford for Alliance University Stanford in the Arts (SASTA) Service the Arts for Committee Organizing Student Student Student Arts Groups FILM Film Society Stanford Sunday Flicks Dv8 XTRM COLLO Noopur HD Crew tapTH@T Kaorihiva Afrobeats Afrobeats Jam Pac’d Swingtime Dancebreak Kayumanggi Urban Styles Urban Catch a Fyah Catch Viennese Ball Viennese Basmati Raas Mau Lac Hong DANCE Stanford Tango Stanford Stanford Gloving Stanford Common Origins Akasma Bellydance Akasma Stanford Ceili Dance Stanford Alliance Streetdance Alliance Committee for the Arts for Committee Hindi Film Dance Team Hindi Film Dance Stanford Bhangra Team Bhangra Stanford Stanford Chinese Dance Stanford Los Salseros de Stanford de Salseros Los Cardinal Ballet Company Ballet Cardinal Shifterz Breakdance Crew Breakdance Shifterz Service in the Arts (SASTA) Service Ballet Folklorico de Stanford Folklorico Ballet Bent Spoon Dance Company Bent Spoon Dance Stanford University Alliance for for Alliance University Stanford Stanford Ballroom Dance Team Dance Ballroom Stanford Student Organizing Organizing Student 24 STUDENTS INSPIRED BY THE CANTOR’S SPECIAL EXHIBITION ROBERT FRANK IN AMERICA PERFORM SCENE IN ACTION, THE CULMINATION OF A SUMMER STANFORD ARTS INTENSIVE CHOREOGRAPHIC WORKSHOP

AND PERFORMANCE SEMINAR BY THE SAME NAME, LED BY STANFORD

DANCE INSTRUCTOR ALETA HAYES.

STEPHEN HINTON IS THE AVALON FOUNDATION PROFESSOR IN THE HUMANITIES, PROFESSOR OF MUSIC, AND THE OUTGOING DENNING FAMILY DIRECTOR OF THE STANFORD ARTS INSTITUTE. Reflections

As I finish my four-year term as director of the Arts Institute and welcome my successor, Peggy Phelan, who has a joint appointment in English and Theater & Performance Studies, I should like to take a moment to describe the state of the arts at Stanford. Arts thrive on collaboration, and thanks to the efforts of so many people — from colleagues, students, the university administration, Advisory Council members, and alumni — we are witnessing a remarkable collective commitment to integrate the arts into a Stanford education and into campus life more broadly.

The arts are no doubt a reflection of the kind of university that Stanford aspires to be. To judge by the transformed landscape — literally, with the arts district, and figuratively, with significant curricular and programmatic changes that have been implemented — they have a prominent and in- dispensable role to play in the university’s academic mission. This sharpened programmatic focus is reflected in three key developments: 1) the re- form of undergraduate education to include Creative Expression as a general education requirement; 2) the creation of new possibilities for connecting arts practice and academic study and research; 3) linking arts events with classroom activities.

Symptoms of these developments are not hard to find. The number of freshmen enrollments in Creative Expression classes has increased from 874 in 2012 to 1,158 in 2013. The Arts Institute’s interdisciplinary Honors in the Arts program is now entering its third year. And the annual arts immersion trip to New York City forms part of the Introductory Seminar called “Art in the Metropolis.” In addition, this past year’s thematic programming has included several substantial projects, among them “Imagining the Universe” and “Haydn: Patronage and Enlightenment.”

In their bountiful and critical mass, the arts reflect well on the university. At a recent talk on online learning, I was struck how the word “space” was being required to do a huge amount of work by referring variously to something physical (the campus), to something virtual (cyberspace), and to something mental (personal experience). May Stanford continue to flourish in all of these senses as “A Space for the Arts.”

STEPHEN HINTON

26 27 “STANFORD UNIVERSITY, ONE OF THE UNIVERSITIES RANKED HIGHEST BY U.S. NEWS & WORLD REPORT, HAS BEGUN SETTING A PRECEDENT FOR HOW OUR Looking LARGE UNIVERSITIES CAN PRIORITIZE ARTS AND CULTURE. THIS MOVEMENT Ahead TO INCLUDE ARTS AND CULTURE WITHIN ITS CAPITAL CAMPAIGN AND USE IT AS LEVERAGE TO ATTRACT STUDENTS INDICATES A SHIFT IN PERSPECTIVE AT THE COLLEGIATE LEVEL.” – JENNIFER SWAN | NONPROFIT QUARTERLY Roble Gym

Roble Gym, a historic structure that opened as the women’s gym in 1931, is being renovated with a new flexible-configuration, black-box- style theater and improved dance and rehearsal studios for the Department of Theater & Performance Studies. The renovation will also include the Stanford Arts Gym, a one-of-a-kind drop-in art-making studio and performing arts space. Boasting a flexible space for everything from informal performances to theatrical rehearsals, the gym will be a hub for arts practice with the swipe of a student ID. Opening 2016.

ROBLE GYM IS BEING RENOVATED TO PROVIDE PROGRAM SPACE FOR THEATER AND DANCE PRODUCTIONS WITHIN THE CURRICULAR OFFERING OF THE TAPS DEPARTMENT AND A MULTIPURPOSE ARTS SPACE (ARTS GYM) FOR STUDENTS WORKING ON INDEPENDENT ART PROJECTS.

28 29 THE MCMURTRY BUILDING FOR THE DEPARTMENT OF ART & ART HISTORY, DESIGNED BY DILLER 2014-15 Arts Advisory Council SCOFIDIO + RENFRO MICHAEL DARLING, ’90 Support for ROBERTA DENNING, CHAIR, ’75, MBA ’78 SUSAN PATRICIA DIEKMAN, ’65, MA ’67 (EX OFFICIO) HARRY J. ELAM JR. Stanford Arts MELISSA F. FETTER, ’82 ALEX FIALHO, ’11 DORIS FISHER, ’53 NANCY FORSTER ANDREA HENNESSY LESLIE HUME MA, ’71, PHD ’79 DAVID H. HWANG, ’79 The tremendous growth in the arts at Stanford has MARY ITTELSON, MBA ’85 transformed this university — its campus, its curricula RONALD JOHNSON, ’80 and its community. Alumni, parents, and friends ROBERTA KATZ, ’69 responded generously to the university’s vision ANNIE LAMONT, ’79 for a world-class arts district, to work in harmony CHRISTY MACLEAR, ’88 with emerging student interests and top academic BURT MCMURTRY, MS ’59, PHD ’62 departments and faculty. DEEDEE MCMURTRY BILL MEEHAN, MBA ’78 The Department of Art & Art History moved into its NANCY MOHR new home in the McMurtry Building in September MARGRIT MONDAVI 2015. Earlier in the year, the Anderson Collection at WENDY MUNGER, ’72 Stanford University hosted artist Wayne Thiebaud as DAILEY PATTEE, ’71 the inaugural speaker for the McMurtry Lecture, as KIRK RADKE, ’80 well as presenting other academic and community VICKI SANT, ’61 programs. In its third season in Bing Concert Hall, V. JOY SIMMONS, ’74 Stanford Live presented more than 60 performances, CONNIE WOLF, ’81 (EX OFFICIO) launching programs on key academic themes as well as offering its first summer series. At the Cantor Arts Center, building on the collection was a prominent theme, with exhibitions featuring the newly acquired Jacob Lawrence collection and New York Corner Faculty and Staff (Corner Saloon), a 1913 painting by renowned artist MAUDE BREZINSKI, Senior Director of Development for the Arts Edward Hopper. STEPHEN W. HINTON, Denning Family Director of the Stanford Arts Institute, Avalon Foundation Professor in the Humanities and Professor of Music The future is bright for the arts at Stanford, as more MATTHEW TIEWS, Associate Dean for the Advancement of the Arts friends of the university join this effort as donors, members, volunteers, and audiences. For them, and for our students, it holds the promise of creative 30 expression in vibrant and unprecedented ways. 31 “THE BIRTHPLACE OF YAHOO AND , STANFORD UNIVERSITY IS Stanford NOW RAMPING UP AND SHOWING OFF ITS CULTURAL RESOURCES.”

– JORI FINKEL | NEW YORK TIMES Arts District

THE ANDERSON COLLECTION, THE CANTOR ARTS CENTER, AND STANFORD LIVE PRESENTED “ARTS ROLL,” A MULTIARTS FESTIVAL FEATURING AN OUTDOOR ROLLER-SKATING RINK TO CELEBRATE ANOTHER YEAR AS PART OF STANFORD’S VIBRANT ARTS DISTRICT.

Photo Credits

Front Cover : Harrison Truong • Inside Front Cover : Iwan Baan, Courtesy of DS+R, Boora, and Stanford • Pg. 1 : Harrison Truong • Pgs. 2-3 : Lauren Dyer • Pg. 4 : Steve Castillo • Pg. 5 : JoelSimonImages. com • Pg. 6 : Stills from Aaron Kehoe’s video • Pg 7. : Harrison Truong • Pgs. 8-9 : Richard Nevle • Pg. 10 : Nicke Xu • Pg. 11 : Frank Chen • Pg. 12 : Yuto Watanabe • Pg. 13 : Photo by Evan Carpenter, poster design by Randy Bangerter, Banger Creative • Pgs. 14-15 : Courtesy of TAPS • Pg. 16 : Alex Tamkin • Pgs. 17-18. : Harrison Truong • Pg. 19 : L. A. Cicero • Pgs. 20-21 : Frank Chen, Courtesy of TAPS • Pg. 25 : Harrison Truong • Pg. 26 : Toni Gauthier • Pg. 27 : Jae-Young Son • Pgs. 28-29 : Harrison Truong • Pg. 30 : Iwan Baan, Courtesy of DS+R, Boora, and Stanford • Pgs. 32-33 : map by Krystina Tran, Yuto Watanabe • Back Cover : Krystina Tran

32 Designed by Pam Stone, STONEDUGGAN.com ARTS.STANFORD.EDU

TAIKO DRUMMERS PERFORMING AT BING OUTSIDE/IN