WINTER 2019 Dear Friends,

When Jane Stanford dreamed of a museum that would be part of the university named in memory of her son Leland Jr., her vision included a museum that would provide educa- tion to the entire community. Now, nearly 125 years later, the Cantor Arts Center and the Anderson Collection at Stanford University are proud to welcome visitors from the Stanford campus, the Bay Area, and around the world to engaging exhibitions, educational programs, and hands-on family activities that promote new ways of thinking about Photograph by Stacy H. Geiken the visual arts. relationship between art and science evident in Josiah Each fall, it has been our tradition to acknowledge our McElheny’s sparkling sculptures, or watching the innova- community of donors in this publication. I am truly grateful tive live-feed broadcast of Stanford Presidential Visiting to our dedicated donors and members for enabling us to Artist Kahlil Joseph’s BLKNWS, we hope you’ll find some- fulfill Jane Stanford’s vision. Your support allows us to be a thing here at the Cantor to challenge and engage you. truly 21st-century museum and the hub of critical inquiry With your help, we look forward to the next 125 into the visual arts on campus, by enhancing our collections years, as we continue to uphold Leland Jr.’s legacy and presenting exciting new exhibitions that ask important and Jane Stanford’s vision by providing world-class art questions about the world in which we live. experiences for all. This year, we hope you will take advantage of wonderful programs and opportunities to engage with art in the galleries and to discover something new. Whether you’re viewing Do Ho Suh’s spectacular works that focus attention SUSAN DACKERMAN on transnational identity, exploring the complex John and Jill Freidenrich Director

REMEMBERING BURTON J. MC MURTRY DIRECTOR’S Ex Officio MEMBERSHIP ADVISORY BOARD Harry J. Elam Jr. E X E C U T I V E The Cantor Arts Center lost a cherished friend when Burton “Burt” J. McMurtry, Sue Diekman Melissa Fetter COUNCIL a highly regarded Stanford leader, volunteer, champion of the arts, and philan- Chair Roberta Katz Debbie Shepherd Jason Linetzky C. Diane Christensen Chair thropist, died on September 2. Alex Nemerov Doris F. Fisher Sara Abbasi Martin Shell McMurtry, an early venture capital investor in Silicon Valley, shaped many Andrea Hennessy Kathy Adams Debbie Shepherd initiatives at Stanford over the course of four decades through his work as an Pamela Hornik Nazila Alasti Marc Tessier-Lavigne Elizabeth Swindells Hulsey Nikki Andrews Matthew Tiews adviser and volunteer. It was during his 11-year tenure as a member of Stanford’s George H. Hume Sarah Blaustein Board of Trustees that McMurtry served on a review committee for the Cantor Liong Seen Kwee Martha Chamberlain Arts Center, examining the museum’s relatively isolated location on campus. Daryl Lillie Loren Gordon Deedee McMurtry Amy Kacher Thanks to the committee’s recommendation to consolidate arts-related activities J. Sanford Miller Ann Kalar near the museum, we now are positioned in the middle of a vibrant arts district. Barbara Oshman Shana Middler Frederick P. Rehmus Nicole Rubin Burt’s dedication did not stop there. He was instrumental in the Harry W. Victoria P. Sant Ex Officio Marilynn Thoma and Mary Margaret Anderson family’s decision to donate the core of their Barbara Bogomilsky Michael W. Wilsey extensive collection to Stanford, and he and his wife, Deedee, were generous Debi Wisch contributors to the Anderson Collection building and to Bing Concert Hall. Akiko Yamazaki Jerry Yang The McMurtrys were also pivotal in incorporating the Art and Art History Department into the arts district, with their vision and leading support for the building that bears their name and now sits next door to the Cantor. We will miss Burt and his commitment to the arts at Stanford. I feel so COVER Josiah McElheny (U.S.A., EDITOR AND WRITER Sandra Feder, b. 1966), Detail of Island Universe, Cantor Arts Center, Stanford fortunate that I got to know him this past year and that I was a beneficiary 2008. Chrome-plated aluminum, DESIGN Madeleine Corson Design, of his generous spirit and infectious joy in promoting the arts at Stanford. handblown and molded glass, elec- San Francisco tric lighting, and rigging. © Josiah All of us at the Cantor offer our condolences to Deedee and the McMurtry McElheny. Photo © Stephen White. family, and we will think of Burt every time we enjoy the arts at Stanford. —S.D. Courtesy White Cube, London

2 MUSEUM.STANFORD.EDU Josiah McElheny: Island Universe STRAY: A GRAPHIC TONE February 23–August 18, 2019 February 23–June 16, 2019 FREIDENRICH FAMILY GALLERY PIGOTT FAMILY GALLERY View a monumental installation made of chromed metal, hand- See works by Shannon Ebner made over the last decade that blown glass, and radiating lights inspired by the expansion of examine the relationship between the photographic and typo- the universe. graphic in both visual and recorded forms.

Josiah McElheny (U.S.A., b. 1966), Island Universe, 2008. Chrome-plated aluminum, Shannon Ebner (U.S.A., b. 1971), THE SPLAY ANTHEM, 2017. Archival pigment print handblown and molded glass, electric lighting, and rigging. © Josiah McElheny. mounted on aluminum. Courtesy of the artist and Altman Siegel Gallery, San Francisco Photo © Stephen White. Courtesy White Cube, London

CLOSING SOON

Contact Warhol: Photography Without End Closes January 6, 2019 PIGOTT FAMILY GALLERY See an unparalleled display of images from the Cantor’s remarkable archive of Andy Warhol’s photographic contact sheets, along with other examples of the artist’s iconic work.

Andy Warhol (U.S.A., 1928–1987), Detail from Contact Sheet [Jean-Michel Basquiat photo shoot for Polaroid portrait; Andy Warhol, Bruno Bischofberger], 1982. Gelatin silver print. Gift of The Andy Warhol Foundation for the Visual Arts, Inc., 2014.43.1547. © The Andy Warhol Foundation for the Visual Arts, Inc.

Blackboard Closes January 27, 2019 LYNN KRYWICK GIBBONS GALLERY Explore the relationship between art and education through works that imitate, resemble, or feature blackboards.

Claes Oldenburg (U.S.A., b. Sweden, b. 1929), M. Mouse (with) 1 Ear (Equals) Tea Bag [Blackboard Version], 1973. Lithograph, screenprint, and chalk. Gift of Barbara Gray, 1991.126.18

WINTER 2019 | CANTOR ARTS CENTER 3 Save the Date March 1, 2019 Opening Celebration Josiah McElheny: Island Universe Look for your invitation in the mail. February 23, 2018–August 18, 2019 FREIDENRICH FAMILY GALLERY

Josiah McElheny’s monumental installation made of chromed metal, handblown glass, and radiating lights, is an attempt to visualize something impossible to see: the big bang. Working at the unexpected intersection of physics, the history of Modernism, and art, McElheny imagines a multi- verse scenario, where five separate universes occupy the same space, frozen in their individual moments of expansion. In 1965, the first physical evidence of the big bang theory became public, launching popular interest in space science. That same year, artisans in Vienna created the iconic chandeliers of the Metropolitan Opera in New York. The confluence of those two events inspired McElheny, who many years later modeled Island Universe on the chandeliers but also incorporated the notion of an expanding universe with the careful placement of the metal spheres, glass disks, and lights that make up the work. McElheny collaborated with David Weinberg, distinguished university professor and chair, Department of Astronomy, Ohio State University, to make the necessary calculations and to conceptualize the installation’s forms. “Bringing Island Universe to the Cantor also is meaningful because the project was inspired by the work of Andrei Linde, a renowned professor in the Josiah McElheny (U.S.A., b. 1966), Detail of Island Universe, 2008. Chrome-plated aluminum, handblown and molded glass, electric lighting, and rigging. © Josiah McElheny. Photo © Stephen White. Courtesy Physics Department,” said Susan Dackerman, John White Cube, London and Jill Freidenrich Director at the Cantor. “My hope is that this exhibition encourages conversations among faculty, was a student at the Rhode Island School of Design in the 1980s. students, and the wider community about how art and science The 2006 MacArthur Fellow once told The New York Times that can be linked in visually stimulating and surprising ways, and using glass in his work gives a unique perspective, not because the how these two disciplines can inform each other.” glass itself is important but because of what viewers see through The glass disks that are part of the work were hand-blown by it. In the case of Island Universe, viewers might feel as though the artist, who developed a fascination with glass-blowing when he they’re able to see the beginning of time.

Gallery Shift The Freidenrich Family Gallery, which features modern and contemporary art, will be closed beginning January 7 to prepare for the installation of Josiah McElheny’s Island Universe. Modern and contemporary art can be seen in the Pigott Family Gallery beginning February 23, 2019.

4 MUSEUM.STANFORD.EDU This is exhibition is organized by the Cantor Arts Center. We gratefully acknowledge support from the Halperin Exhibitions Fund, the Robert Mondavi Fund, The Clumeck Endowment Fund, the Elizabeth Swindells Hulsey Exhibitions Fund, and the Contem- porary Collectors Circle.

IMAGE Josiah McElheny (U.S.A., b. 1966), Detail of Island Universe, 2008. Chrome-plated aluminum, handblown and molded glass, electric lighting, and rigging. © Josiah McElheny. Photo © Stephen White. Courtesy White Cube, London

WINTER 2019 | CANTOR ARTS CENTER 5 STRAY: A GRAPHIC TONE

February 23–June 16, 2019 PIGOTT FAMILY GALLERY

Artist Shannon Ebner’s work, coming to the Cantor in February, is part of an ongoing, multimedia, and genre-defying project that began in 2016. Ebner’s STRAY: A GRAPHIC TONE comprises audio recordings, photographs, and literary components, and will include the Cantor’s recently acquired large-scale photographic work FROM THE ELECTRIC COMMA SERIES (A.L.N.G.U.E.*.F.X.P.S.R.), 2016. This work investigates the ways in which objects and language can shift away from their intended uses, creating new meanings in the process.

Shannon Ebner (U.S.A., b. 1971), SIGNAL ESCAPES, 2017. Archival pigment print mounted on aluminum, 7 parts. Courtesy of the artist; Altman Siegel, San Francisco; kaufmann repetto, Milan / New York; and Sadie Coles HQ, London

For the exhibition at the Cantor, Ebner is producing a full-length and discursive by nature. Howe’s and Mackey’s poems, with both poetry LP of the American poets Susan Howe (b. 1937) and their stray figures and stray marks, were partial subjects of an Nathaniel Mackey (b. 1947). Based on the way a long-form poem or earlier iteration of the project. photographic essay moves definitively—or infinitively—from one “For a number of years, my work was dealing with very physi- set of ideas to another, the project is intended to be accumulative cal things, the handling of language as material forms,” says Ebner, who in prior bodies of work made language from large corrugated cardboard sheets and concrete cinderblocks. “But the camera ren- dered them flat—in two-dimensional spaces such as graphic space, page space, wall space, and especially the electronic display spaces of the computer. With this new group of works, I am interested in the body as the site of transmission, in my own body’s role as image maker, but also the bodies of the various people with whom I’ve been interacting.”

This exhibition is organized by the Cantor Arts Center. We gratefully acknowledge The Clumeck Endowment Fund and The Elizabeth K. Raymond Fund for Photography.

The LPs produced for this exhibition are co-published by Fonograph Editions and ROMA Shannon Ebner (U.S.A., b. 1971), STRAY, 2017. Audio (left: Susan Howe, “Articulation Publications (2019). of Sound Forms in Time,” from SINGULARITIES [Middletown, CT: Wesleyan University Press, 1990]; right: Nathaniel Mackey, “Song of the Andoumboulou: 50,” from SPLAY ANTHEM [New Directions, 2006]) and archival pigment print mounted on aluminum. Courtesy of the artist; Altman Siegel, San Francisco; and Sadie Coles HQ, London

6 MUSEUM.STANFORD.EDU BLKNWS

Through June 16, 2019 MEIER FAMILY GALLERIA

Kahlil Joseph (U.S.A., b. 1981), BLKNWS, 2018. 2-channel broadcast. Courtesy of the artist

Kahlil Joseph, a visiting artist in the new the Arts. His presence on campus provides an opportunity for the Stanford community, and particularly the Cantor community, Presidential Residencies on the Future of the “to contribute to a new understanding of what’s made possible Arts program, is presenting his work BLKNWS by incorporating artists and cutting-edge artwork into the daily at the Cantor, as well as in other locations on life of the university,” Dackerman said. This exhibition is organized by the Cantor Arts Center. The residency is hosted in campus, including the dining hall in Lagunita collaboration with the Institute for Diversity in the Arts. We gratefully acknowledge support from the Office of the President, Stanford University. and Harmony House. The two-channel broadcast blurs the lines between art, journalism, entrepreneurship, and cultural critique. In conjunction with the BLKNWS installations, round- table discussions with faculty, students, and experts across disciplines will take place. These will examine issues related to BLKNWS, such as what it means for it to be an artwork, a business, and a teaching opportunity all at the same time, and possible new delivery systems for alternative forms of art and news. “Presenting BLKNWS at the Cantor and other sites on campus provides us with the chance to experiment with 21st-century notions of art and its presentation,” said Susan Dackerman, John and Jill Freidenrich Director of the Cantor. “BLKNWS is a hybrid work—part artwork, part news broadcast, part video, part collage—a new and innovative form of artistic production.” Joseph, a cofounder of the Underground Museum in Los Angeles, will have a yearlong residency on campus, hosted by the Cantor in collaboration with the Institute for Diversity in

Kahlil Joseph (U.S.A., b. 1981), BLKNWS, 2018. 2-channel broadcast. Installation view Cantor Arts Center.

WINTER 2019 | CANTOR ARTS CENTER 7 Stephanie Syjuco: I Am An . . .

Ongoing

Stephanie Syjuco’s monumental hand- made banner, I Am An . . ., is a powerful meditation on the connection between identity, protest, and political legibility in contemporary society. When com- pletely expanded, the stark-white block letters read “I AM AN AMERICAN.” The statement is a direct reference to a sign placed outside an Oakland storefront by its Japanese-American proprietor the day after the Japanese attack on Pearl Harbor. This compelling comment on nationality was captured by photogra- pher Dorothea Lange in 1942 [see image below]. Following Executive Order 9066, issued by President Franklin D. Roosevelt, the shop owner Stephanie Syjuco (U.S.A., b. 1974), I Am An . . . , 2017. Cotton fabric mounted on ceiling rack. © Stephanie Syjuco. Courtesy of the artist and RYAN LEE Gallery, New York became one of the 122,000 people of Japanese ancestry forcibly held in American internment camps The banner also visually recalls the famous “I AM A MAN” during World War II. More recently, this historic storefront sign picket signs used by black workers during the 1968 Memphis was appropriated by protestors demonstrating in support of sanitation strike. By materially referencing these key moments retaining DACA, the Deferred Action for Childhood Arrivals in American civil rights history, Syjuco collapses the distance program, which gave protections to those who had been brought between our immediate present and these historical events. to the United States illegally as children. This exhibition is organized by the Cantor Arts Center. We gratefully acknowledge support from the Kazak Acquisitions and Exhibitions Fund.

Bringing this piece to the Cantor is very “much in keeping with my vision of the art museum as the hub of critical inquiry about the world around us. This work asks important questions about nationality and identity that are both contemporary and historically relevant. ” SUSAN DACKERMAN John and Jill Freidenrich Director at the Cantor

Dorthea Lange (U.S.A., 1895–1965), Oakland, Calif., Mar. 1942. A large sign reading “I am an American” placed in the window of a store, at [401–403 Eighth] and Franklin streets, on December 8, the day after Pearl Harbor. The store was closed following orders to persons of Japanese descent to evacuate from certain West Coast areas. The owner, a University of California graduate, will be housed with hundreds of evacuees in War Relocation Authority centers for the duration of the war, 1942. Gelatin silver print. Library of Congress Prints and Photographs Division, Washington, D.C.

8 MUSEUM.STANFORD.EDU Do Ho Suh: The Spaces in Between

Through May 27, 2019 MADELEINE H. RUSSELL GALLERY

Reflection by

Najung Kim PhD Candidate, Department of Art and Art History, Stanford University

Stepping into the Madeleine H. Russell Gallery, I am engulfed in a dazzling swirl of color as I walk right up to the crystalline chandelier Cause and Effect (2007). Iridescent strands of figurines riding on one another’s shoulders form a luminous body that cascades from the ceiling downward. Behind the chandelier, Screen (2005) emanates a colorful pearly sheen. Each figurine’s outstretched arms and legs weave into a hanging wall decoration, spanning the entire height of the gallery. The engaging materiality and hue of these two instal- lations pull me in to get a closer look. They are not merely about the mass as an aggregate of repetitive units but about individuals with minute variations that are interlinked to create a whole. While the two installations activate the gallery space through their light-sensitive presence, the neutral-colored wallpaper Who Am We? (2000) waits in silence until I notice it. Yet up close, viewed through the lens of a magnifying glass, its indistinctive honeycomb pattern turns into myriad cells that enshrine individual portraits. When the artist Do Ho Suh moved to the United States from South Korea, he brought with him the memories of his home, community, and friends. His installations reenact those memories, filling up the gallery space, redefining it, changing it. This space also becomes a site where I call forth my own memories left behind Najung Kim, a PhD candidate in Stanford’s Department of Art and Art History, is inspired by Do Ho Suh’s works. Photograph by Harrison Truong. in South Korea and blend them with my new Do Ho Suh (South Korea, b. 1962), Details of Cause and Effect, 2007, and Screen, 2005. © Do Ho Suh. reality. For us modern nomads, who constantly Courtesy the artist and Lehmann Maupin, New York and Hong Kong. Installation view at Cantor Arts Center travel and migrate both geographically and socially, Suh’s works recreate our former and new homes and to allow us into this process of finding home wherever we stand with communities—the places where we feel connected to others. another—by traversing the binaries of the past and the present, of As explained by Rosi Braidotti, distinguished university professor travel and settlement, and of leaving and returning. at Utrecht University in the Netherlands, “Nomadism consists This exhibition is organized by the Cantor Arts Center. We gratefully acknowledge support not so much in being homeless, as in being capable of recreating from the Special Exhibitions Fund and The Jean Haber Green Fund. your home everywhere.” In this regard, Suh’s art provides a pause

WINTER 2019 | CANTOR ARTS CENTER 9 Painting Nature in the American Gilded Age

Through August 25, 2019 RUTH LEVISON HALPERIN GALLERY

Framer Albert Lewis applies gold leaf to a frame. Exhibition curator Melissa A. Yuen admires the finished gilded frame created by Albert Lewis. Gilded Frames for the Gilded Age

The word gilded in the exhibition title Painting Nature in the gilder’s liquor, a mixture of water and alcohol. For the last step, American Gilded Age meant something special to framer Albert Lewis floated an extremely thin sheet of gold onto the surface, Lewis, who has been studying the water-gilding process for years. tamped it down with bunched cotton, and burnished it with agate Both Lewis and exhibition curator Melissa Yuen were intrigued by stones until it was smooth and shiny. the idea of adding gilded frames to works depicting nature and Four works—Coastal Scene with Fort Dumpling and An Ocean everyday life during the Gilded Age. But the beauty of the frames Scene by William Trost Richards; Portrait of Ida Weher as a Young now on display belies the difficulty of creating them. Woman by Lawrence Carmichael Earle; and Chelsea Houses by “Starting with recipes found in Italian painter Cennino James McNeill Whistler—are now encased in the sparkling results Cennini’s 15th-century manual on secret painting techniques of of Lewis’s work. Two other paintings—Street Scene: Enterprise by the great masters, I have been teaching myself the gilding process William Wallace Wotherspoon and Portrait of Professor William D. through research, workshops, and apprenticeships for 16 years Marks by Thomas Eakins—are displayed in stained oak frames with and counting,” Lewis said. gilded liners, created by Lewis using an oil gilding process. The final layer of paper-thin gold leaf that Lewis pressed onto Sometimes all that glitters really is gold. each frame with a special squirrel-hair brush, lends the frames a Curator: Melissa A. Yuen, curatorial fellow for American and European art to 1900 spectacular sparkle. But underneath is a messy mixture of unlikely This exhibition is organized by the Cantor Arts Center. We gratefully acknowledge support from the Halperin Exhibitions Fund. materials, including warm glue made from the skin of a rabbit; gesso made from that glue mixed with chalk dust and water; and

10 MUSEUM.STANFORD.EDU Salon Style II: Collected Marks on Paper Through February 18, 2019 WISCH FAMILY GALLERY

This second grouping of works on paper—including rarely exhibited collages, watercolors, drawings, and paintings—from the Anderson family’s collection highlights the varied artistic practices of the featured contemporary artists. Curator: Jason Linetzky, director, Anderson Collection at Stanford University

This exhibition is organized by the Anderson Collection at Stanford University, with all works on loan from the Collection of Harry W. and Mary Margaret Anderson. The museum gratefully acknowledges support for this exhibition from museum members and the Harry W. and Mary Margaret Anderson Charitable Foundation.

Wayne Thiebaud, Freeway Curve, 1977. Monotype. Collection of Harry W. and Mary Margaret Anderson. Art © Wayne Thiebaud / Licensed by VAGA, New York, NY

Spotlight on Elizabeth Murray Through March 25, 2019 SECOND FLOOR

Elizabeth Murray’s work expands the definition of painting and challenges its conventions through large-scale, multipart canvases. Curator: Jason Linetzky, director, Anderson Collection at Stanford University

Organized by the Anderson Collection at Stanford University. Works on loan from the Collection of Harry W. and Mary Margaret Anderson, Glimcher Collection, and Pace Gallery. The museum gratefully acknowledges support from museum members, the Murray-Holman Family Trust, and Pace Gallery.

Elizabeth Murray, Bop, 2002–3. Oil on canvas. Photograph by Ellen Page Wilson, courtesy Pace Gallery. © The Murray-Holman Family Trust / Artists Rights Society (ARS), New York

Even with my art background and education in the arts, I was never very well versed“ on Elizabeth Murray’s work. I’m proud of the Anderson Collection and Stanford University for bringing Murray and more women artists to the foreground. ” NIKKI ANDREWS Anderson Collection volunteer and member of the Membership Executive Council

Nikki Andrews in front of Elizabeth Murray’s Chain Gang, 1985–86.

WINTER 2019 | CANTOR ARTS CENTER 11 Mark Dion: Artist in Residence 2019 Opening September 18, 2019 STANFORD FAMILY GALLERIES

When Leland Stanford Jr. died unexpectedly just before his 16th birthday, he had already estab- lished himself as a dedicated collector who showed extraordi- nary curiosity about the world. The museum, founded 125 years Mark Dion. Photograph by Jorge Colombo ago in conjunction with the open- ing of the university that bears his name, was to provide education and serve as a reminder of young Leland’s enthusiasm for collecting. To celebrate this milestone anniversary, the Cantor Arts Center has invited Mark Dion, known for his work on the history of museums and their collections, to serve as the Diekman Contemporary Commissions Program Artist in Residence for 2019. Dion will delve into the original Stanford family collection to create a cabinet of curiosities for the 21st century. In addition, Susan Dackerman, John and Jill Freidenrich Director at the Cantor, and Paula Findlen, professor of early modern Europe and the history of science in Stanford’s Department of History, will teach a winter quarter course titled Wonder, Curiosity, and Collecting: Building a Stanford Cabinet of Curiosities. Students enrolled in the course will explore the history of collecting, with special attention to the Renaissance origins of the cabinet of curiosities and the modern afterlife of this historical object. Students will also get unique, hands-on experience working with Dion.

The Diekman Contemporary Commissions Program, in honor of Mona Duggan and her extraordinary dedication to the arts at Stanford, is organized by the Cantor Arts Center. We gratefully acknowledge support from The Diekman Special Projects Fund.

Mark Dion (U.S.A., b. 1961), Universal Collection: A Mark Dion Project, 2016. Mixed media. Courtesy the artist and Tanya Bonakdar Gallery, New York / Los Angeles. Photograph by Jeffrey Jenkins

12 MUSEUM.STANFORD.EDU Upcoming exhibitions will highlight these two new acquisitions.

Breakdown by Jeffrey Gibson Breakdown (2018) by Jeffrey Gibson (U.S.A., b. 1972), who is of Mississippi Choctaw and Cherokee heritage, is the first object by the artist to enter the Cantor’s collection. Gibson’s piece adds to the Cantor’s representation of Native American artists and diversifies the museum’s contemporary American art offerings. The work blends varied cultural references: hard-edge abstract painting, traditional Native American beadwork, quilt patterns, and the music of American soul and jazz legend Nina Simone, whose song title is part of the work. Through its potential to spark interdisciplinary and cross-cultural dialogue, Breakdown is a significant work that complements the museum’s holdings and serves as a valuable teaching resource.

Curator: Aleesa Alexander, assistant curator of American art

This exhibition is organized by the Cantor Arts Center. We gratefully acknowledge support from the Kazak Acquisitions and Exhibitions Fund.

Yinka Shonibare MBE (England, b. 1962), Cowboy Angel III, from the portfolio Cowboy Angels, 2017. Five woodcuts with newsprint collage and cotton Dutch wax cloth additions; wooden portfolio box covered with cotton Dutch wax cloth. © Yinka Shonibare MBE. Photo courtesy of the artist and Alan Cristea Gallery, London. Robert E. and Mary B. P. Gross Fund, 2018.70.1–6

Cowboy Angels by Yinka Shonibare The five woodblock prints in the Cantor’s newly acquired portfolio Cowboy Angels (2017), by renowned British artist Yinka Shonibare, are his first works to enter the museum’s collection. Each image of a dynamic American cowboy figure also features a collaged piece of Shonibare’s signature material, the colorful Dutch wax fabric traditionally created in Europe for export to Africa. The juxtaposi- tion serves as a reminder of the enduring colonial myths of racial and cultural purity that continue to reinforce long-standing associ- ations of the heroic cowboy with national identity and authenticity.

Curator: Melissa A. Yuen, curatorial fellow for American and European art to 1900

This exhibition is organized by the Cantor Arts Center. We gratefully acknowledge support from the Kazak Acquisitions and Exhibitions Fund.

Jeffrey Gibson (U.S.A., b. 1972), Breakdown, 2018. Acrylic and graphite on canvas, glass beads, artificial sinew, and acrylic felt on canvas over wood panel. Palmer Gross Ducommun Fund, 2018.69

WINTER 2019 | CANTOR ARTS CENTER 13 This fall, the Cantor welcomed two new curators who are excited to work on new exhibitions and to share their ideas.

Padma D. Maitland Aleesa Alexander Patrick J. J. Maveety Assistant Curator of Asian Art Assistant Curator of American Art

The thing I am most looking It’s difficult to decide which aspect of my new position I am most forward to at the Cantor is the excited about. I am eager to start planning informative exhibitions chance to engage with students and getting to know the Stanford community. But if I had to pick and faculty at Stanford. I can’t just one, I would say I am most looking forward to diving deep wait to hear what they are into the Cantor’s collection of American art. How can we better interested in and to figure out represent the diversity and breadth of American art within the how the Cantor can be a place collection? I want to assess our strengths while also looking for to delve deeper into those ideas areas of improvement, so that we can further understand how and topics. I think museums can “Americanness” has been defined in the historical sense, and how it be incredible spaces of inquiry continues to be defined in the present. My hope is to acquire more and discovery, and I would work by artists who are underrepresented in the American canon. like to work with students and I’m also looking forward to learning how the Cantor can best faculty to imagine new shows serve the wider community. As a major cultural center in the area, and installations, as well as the Cantor has a responsibility Padma D. Maitland creative approaches to display to try to foster intercommunity and curation, from new technological solutions that help visitors dialogue. I hope to help bring experience historical works in new ways to alternative display stimulating and engaging strategies made possible by things like 3-D printing. Alternatively, programming to the museum, how can we bring new voices into the museum, or more personal especially in connection with perspectives? Is there a way to engage with the museum’s collec- exhibitions. As one of the most tion as the basis for exploring issues and topics that have meaning visited university art museums for our lives today? in the country, the Cantor can continue to make a great The chance to engage with living artists can be extremely impact in a variety of arenas. “illuminating and compelling, and I am eager to explore how we I’m excited to do my part. might bring artists from different parts of Asia to the Cantor. ” PADMA D. MAITLAND Aleesa Alexander Patrick J.J. Maveety Assistant Curator of Asian Art

My hope is to acquire more work by artists who are As a first step toward such conversations, I plan to work underrepresented“ in the American canon. on reinstalling the Asian galleries with the aim of developing an approach that allows us to show a greater diversity of the ” ALEESA ALEXANDER museum’s collection and to feature more works by contemporary Assistant Curator of American Art artists. The chance to engage with living artists can be extremely illuminating and compelling, and I am eager to explore how we might bring artists from different parts of Asia to the Cantor. Through such collaborations, I hope to be a part of creating spaces inside the museum where we can learn more about ourselves and the world.

14 MUSEUM.STANFORD.EDU BEHIND THE SCENES

Installation of Sequence at the Cantor Arts Center, 2011. Photograph by Linda Cicero, Stanford News Service

Richard Serra (U.S.A., b. 1938), Details of Sequence, 2006, at the Cantor Arts Center at Stanford University. Collection of the San Francisco Museum of Modern Art. © 2018 Richard Serra / Artists Rights Society (ARS), New York. Cantor Arts Center Sequence leaving the Cantor Arts Center, 2015. Photograph by Margaret Whitehorn

Sequence Returns I felt much smaller with the open endless sky above, something Opening February 6, 2019 that was special about our outdoor installation.” In 2011, as it awaited installation outside the Cantor, the con- Sometimes a work of art leaves both metaphorical and physical toured steel was hosed down every day as part of the treatment to marks, causing us to consider the physical space it occupied, as “cure” the sculpture, which was originally a burnt-orange color. Now, well as its impact, long after it’s gone. Such is the case with Richard the steel has ceased to oxidize and is a permanent deep amber color. Serra’s massive steel sculpture Sequence, one of the distinguished The return of Sequence is cause for both celebration and reflec- artist’s greatest achievements. tion. “It was always one of my favorite things to see from above and Housed from 2011 to 2015 outdoors, near the Cantor’s North to experience from within,” said Margaret Whitehorn, the Cantor’s Lawn, Sequence literally left behind its footprint, reminding visitors public relations assistant manager. “You can perceive it in so many where all 235 tons of it once stood. And now, after being indoors different ways.” at the San Francisco Museum of Modern Art for the last three years, Sequence is returning to the Cantor to stand again in the open air. Members-only Viewing It will take 12 wide-body, flatbed trucks and many rigging SUNDAY, JANUARY 27 • 10 AM–2 PM specialists to move the 67-foot-long, 42-foot-wide, 13-foot- high sculpture back to the Cantor. Pushing the boundaries of Look for an email soon to sign up for timed-access to a engineering, the curvilinear walls of Sequence slant, creating a members-only lounge in the Cantor Auditorium, where vertiginous experience as visitors walk through the two torqued you will have a view of the fascinating and complicated ellipses connected with an S. reinstallation of Richard Serra’s Sequence. “I remember feeling off-balance on entering the iron canyon and its rusting walls,” said Susan Roberts-Manganelli, director of Not a member? Sign up now at twomuseums.stanford. the Cantor’s Art+Science Learning Lab. “The lack of parallel planes edu or by calling 650.723.3482. caused an unexpected ‘stumble’ into the space. I also loved how

Sequence arriving at the Cantor Arts Center, 2011. Photograph by Margaret Whitehorn WINTER 2019 | CANTOR ARTS CENTER 15 Josiah McElheny (U.S.A., b. 1966), Island Universe, 2008. Chrome-plated aluminum, handblown and molded glass, electric lighting, and rigging. © Josiah McElheny. Photo © Stephen White. Courtesy White Cube, London

Case Studies Poetry Reading Focusing on one particular object on view, Case Studies is a series WEDNESDAY, APRIL 17, 2019, 6 PM of public conversations between art historians and faculty from CANTOR AUDITORIUM other disciplines. Case Studies is the first of several new programs Hear poet Robin Coste Lewis, author of Voyage of the Sable Venus designed to heighten the Cantor’s role as a campus hub for critical (2015)—winner of the National Book Award for Poetry—read inquiry and cross-disciplinary discourse on the visual arts. her work. This program is in conjunction with the Center for Comparative Studies in Race and Ethnicity at Stanford. Josiah McElheny’s Island Universe During winter quarter 2019, Case Studies will be devoted to Josiah McElheny’s Island Universe. Faculty from both the humanities and Lecture sciences on campus will discuss this monumental work, which was Living with Leonardo: Fifty Years of Sanity and inspired by renowned Stanford physicist Andrei Linde’s theory of Insanity in the Art World and Beyond (2018) the multiverse. Professor Martin Kemp, Oxford University

TUESDAY, FEBRUARY 19, 2019, 6 PM Josiah McElheny in Conversation CANTOR AUDITORIUM MARCH 2, 2019, 2 PM Martin Kemp, professor emeritus of the history of art at Oxford Island Universe creator Josiah McElheny will be in conversation University, is renowned for his work on Leonardo da Vinci. He will with David Weinberg, distinguished university professor and chair, discuss his new book, Living with Leonardo: Fifty Years of Sanity Department of Astronomy, Ohio State University. McElheny and Insanity in the Art World and Beyond (2018), and his 50-year collaborated with Weinberg to make the necessary calculations engagement with the artist to show how detached and objective and conceptualize his installation’s forms. historical research can become immersed in a context of myth and wild theories. Kemp will discuss how the source of information—from whom, when, and where it comes—shapes its reception in both the scholarly and public arenas.

His visit is sponsored by the Suppes Center for the History and Philosophy of Science at Stanford University.

Copies of Professor Kemp’s book will be available for pur- chase and signing at the event. His visit is sponsored by the Suppes Center for the History and Philosophy of Science at Stanford University.

16 MUSEUM.STANFORD.EDU For the most up-to-date information on programs and registration, please visit museum.stanford.edu. Programs are free and open to the public unless otherwise noted.

Gallery Talks Last Thursdays at the Anderson Josiah McElheny: Island Universe JANUARY 31, FEBRUARY 28, MARCH 28, APRIL 25; 6 PM The Anderson Collection has public programs the last Thursday of Come into the gallery to learn more about these visually stunning every month. Check the website, anderson.stanford.edu, for details and monumental sculptures that map the history of time. on artist talks, film screenings, and performances. Painting Nature in the American Gilded Age Conversation on Hans Hofmann Join us in the gallery to see stunning examples of paintings THURSDAY, JANUARY 24, 6:30 PM produced during the American Gilded Age—a time of great DENNING FAMILY RESOURCE CENTER industrialization and urban development. Alex Nemerov Please check museum.stanford.edu for further information. Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities and chair, Department of Art and Art History, Stanford University Lucinda Barnes First Friday Former chief curator and director of programs and collections at the Berkeley Art Museum, and a preeminent scholar of Hans Hofmann Stanford students are invited to enjoy a night out at the Cantor on the First Friday of the month during the academic year, with Creative Reading in the Galleries evenings full of art-making, music, and special performances. THURSDAY, FEBRUARY 28, 6:30 PM ANDERSON GALLERIES Inspired by Rodin Faculty and students from the creative writing program read FRIDAY, FEBRUARY 1, 8–10 PM original work in the galleries. Inspired by Josiah McElheny: Island Universe FRIDAY, MARCH 1, 8–10 PM For more information on programs at Celebrating poetry month the Anderson Collection, please visit FRIDAY, APRIL 5, 8–10 PM anderson.stanford.edu.

This program is organized by the Cantor Arts Center and made possible through the generous support of the Joan and John Jay Corley Fund for Performance, the Kenneth D. Brenner Family Fund for Student Outreach, and the Bobbie and Mike Wilsey Fund for Education.

For Families and Visitors of All Ages Look at the art on view in new ways. Curiosity encouraged! Art Packs are available in the Susan and John Diekman Gallery at the Cantor and at the Anderson Collection’s welcome desk.

SECOND SUNDAY 11 AM–4 PM Join us for free, family-focused days of art talks, hands-on art-making, and gallery adventures. Visitors can tailor their experiences to their schedules and interests. Registration is not required. Please ask for a Sunday Schedule at the front desk of either museum for locations of activities and programs.

Celebrate the Color Looking Closely at Uncover the Secrets Rhythm, Repetition, Yellow Faces and Places of Art—Color and Pattern JANUARY 13 FEBRUARY 10 MARCH 10 APRIL 14 Explore how yellow makes an Examine how an artist’s Investigate color and shape, Play with letter and number impact in visual expression. process and medium convey and create a colorful collage. forms as compositional

Inspired by works on view at the Cantor a message to the viewer. Inspired by works on view at the Cantor elements. and at the Anderson Collection. and at the Anderson Collection. Inspired by works on view at the Cantor Inspired by the exhibition STRAY: and at the Anderson Collection. A GRAPHIC TONE, featuring work by Shannon Ebner. Second Sunday at the Cantor Arts Center is made possible through the generous support of the Hohbach Family Fund for Educational Outreach and The Barbara and Arnold Silverman Fund for Community Outreach.

WINTER 2019 | CANTOR ARTS CENTER 17 Party on the Edge The 20th annual Party on the Edge featured an art-making scavenger hunt throughout the Cantor, churros and ice cream, plenty of student performers, and a closing set from London- based composer and DJ Nitin Sawhney.

This event is organized by the Cantor Arts Center, the Anderson Collection at Stanford University, Stanford Live, the Office of the Vice President for the Arts, and the Institute for Diversity in the Arts. We gratefully acknowledge generous support from the Joan and John Jay Corley Fund for Performance, the Kenneth D. Brenner Family Fund for Student Outreach, the Barbara and M. Kenneth Oshman Fund, and the Bobbie and Mike Wilsey Fund for Education. Support is also provided by Stanford Live and the Office of the Vice President for the Arts.

Students enjoy celebrating the arts, student performances, and great music.

Second Sunday Art Associates On the second Sunday of each month, hundreds of families visit the Cantor for art-making and special family tours, and we couldn’t pull it off without the help of a loyal group of Stanford students. These students do everything from greeting visitors to handing out art materials to help- ing provide inspiration for all of the marvelous creations.

Second Sunday associate Claire Baker, ’21. Second Sunday associates from left to right, summer intern Nan Munger, ’20, and Shana Levine, ’21.

18 MUSEUM.STANFORD.EDU Warhol Opening Celebration More than 500 guests filled the Cantor on Friday, LEFT Speakers from left to right, Warhol curators September 28, 2018, for the opening celebration of Richard Meyer, Robert and Ruth Halperin Professor in Contact Warhol: Photography Without End, enjoying Art History, Department the vibrant exhibition, remarks, and refreshments. of Art and Art History; Peggy Phelan, Ann O’Day Maples Professor in the Arts, professor of Theater and Performance Studies and of English, and Denning Family Director; and Susan Dackerman, John and Jill Freidenrich Director, Cantor Arts Center.

Guests enjoying the Warhol opening celebration and exhibition. Photographs by Michael Spencer

Opening Celebrations at the Anderson Collection Director Jason Linetzky shares remarks at the opening event, for two new exhibitions, Salon Style II and Spotlight on Elizabeth Murray, Friday, September 28, 2018.

The 2018 Ruth K. Franklin Lecture on the Arts of Africa, Oceania, and the Americas On Wednesday, October 17, 2018, more than 350 people filled Bing Concert Hall to hear internationally acclaimed artist El Anatsui (left) in conversation with Sylvester Ogbechie (right), professor of art history, University of California, Santa Barbara.

WINTER 2019 | CANTOR ARTS CENTER 19 THE CANTOR ARTS CENTER has continued to benefit greatly from our donors’ support. New gifts and pledges and honored pledges have impacted every area of our work, establishing new programs for students, enriching the collections, strengthening exhibitions and installations, and underwriting the family program. Donors also strongly supported the Cantor’s signature, highly successful fund-raising event Rodin by Moonlight. Our deepest gratitude goes to all donors for their encouragement, loyalty, and support.

DONORS OF MONETARY GIFTS September 1, 2017, through August 31, 2018

$100,000 to $999,999 Pamela and David Hornik Director’s Advisory Board Jane and Michael Marmor Marilyn Hohbach Carrie and Greg Penner Vinie and J. Sanford Miller Marcia and Frederick Rehmus Herbert Ploch Estate Komal Shah and Guarav Garg Akiko Yamazaki and Jerry Yang Quintilla Shott Marilynn and Carl Thoma $50,000 to $99,999 TriplePoint Capital Susan and John Diekman Anita and Steven Westly Deedee and Burton McMurtry Barbara Oshman $5,000 to $9,999 Barbara and Michael Wilsey Charlene Cogan Susan Dennis $25,000 to $49,999 Catherine and Franklin Johnson Jr. Mary Anne Nyburg Baker and Pamela and Charles Koob G. Leonard Baker Jr. William Reller Jordan Casteel Carolyn and C. Preston Butcher (U.S.A., b. 1989), A. Michael Stewart Estate Electra de Peyster Flight, 2018. Oil Cindy and Jeff Traum on canvas. Gift Lynn and Robert Ducommun of Pamela and Doris Fisher $1,000 to $4,999 David Hornik, Goldman Sachs Group Inc. Fannie Allen and George Cogan 2018.65 Maurine and Philip Halperin Annie and James Barnett Elizabeth and Zachary Hulsey Cynthia and Bill Floyd Up to $999 David Levy Leslie and George Hume Connie Ho Anonymous Nancy Lowenthal and Jean Savy Koret Foundation Howard and June Hubbard Estate William Aronson Amy Mantell Mai and Liong Seen Kwee William Jason Scott Atthowe McKinney Family Charitable Fund Mayfield Teri Kil and Trevor Watt Jane and Christopher Botsford Patricia and David Miller Neiman Marcus Wing Ko Arlowayne and Lester Brenno Denis Minev David and Lucille Packard Somayeh Mesbahi Bright Funds Foundation Cynthia Muchnick Foundation Melody Mortazavi Sven Bruntjen Alicia and Merrill Newman Margaret Bass Sickel Jeanette and Christopher Payne Mary Cafiero Judith Ousterhout Debra and Steven Wisch Elizabeth Raymond Ashley Chambers Catherine Paddock and Paula Robichaud Bernadette Charpin-Hallberg Jonathan Hagstrum $10,000 to $24,999 Caroline Schooler and Judith and Harry Cohen Carol and J. James Pearce Katie and Colin Anderson Joseph Krauskopf Carol Conoley Cynthia Querio Melissa and James Badger William Scott III Santa Dasu and Suresh Kondapalli Judith and Charles Rino Catherine and Richard Boyle Jane and Lawrence Solomon Ann and Robert DeBusk Salesforce.com Foundation Paula and Bandel Carano Kathryn Stivers Michael Eldredge Victoria Sant Cartier Inc. Andrea and Lubert Stryer Kirsten and Kirk Essenmacher Jennifer Sargentini Jennie Chiu and Vanessa Suchar-Marcus Sally and Noel Fenton Serena Schlaile Christopher Schaepe Elizabeth Sullivan Arti Garg David Schlossman C. Diane Christensen Mark Valentine Andrea Glanz and James Irish Norma and Charles Schlossman Jackie and Bret Comolli Nicole Vidalakis Sarah and Devin Griffin Nicole Sieminski Katherine and Thomas Dickson Amy and Geoffrey Yang Suneel Gupta Kim Sommer David Dollinger Eleda and Paul Hagstrum Vibeke Strand and Jack Loftis Jill and Augustus duPont Jean Heaton Rita Strena Angela and David Filo Daniel Hill Kathleen Stueck John Fogelsong Holt Family Charitable Fund Susan Swezey Betsy and Mark Gates Jr. Alex Karakozoff Julia Wall Andrea and John Hennessy Katrina Kershner Vivian Wang and Jason Hom Curt Kinsky Louise Waters Margie Kriebel Nathalie Weiss Jane and Drew Lanza

20 MUSEUM.STANFORD.EDU MEMORIAL AND HONORARY GIFTS September 1, 2017, through August 31, 2018

In Honor of Melissa Badger Marilynn and Carl Thoma Margie Kriebel Barbara and Michael Wilsey Debra and Steven Wisch In Honor of Susan and John Diekman Carol and James Pearce Akiko Yamazaki and Jerry Yang In Memory of Catherine Docter In Honor of Carol Friedman Mary Cafiero Judith and Harry Cohen Bernadette Charpin-Hallberg In Memory of Lucille Hagstrum Patricia and David Miller Michael Eldredge Judith Ousterhout Eleda and Paul Hagstrum Judith and Charles Rino Alex Karakozoff Norma and Charles Schlossman Jane and Drew Lanza Kim Sommer Catherine Paddock and Julia Wall Jonathan Hagstrum Kathryn Stivers In Memory of John Freidenrich Frank Stella (U.S.A., b. 1936), , from the Copper Series, 1970. Three-color C. Diane Christensen Miscellaneous Donors Lake City lithograph and screenprint. Gift of the Marmor Foundation (Drs. Michael and Jane Susan and John Diekman In Honor of Diane Lee Marmor) from the collection of Drs. Judd and Katherine Marmor, 2017.126.3 Doris Fisher Serena Schlaile Andrea and John Hennessy In Memory of Suzanne Mantell Elizabeth and Zachary Hulsey William Aronson MUSEUM LEGACY CIRCLE Leslie and George Hume Arlowayne and Lester Brenno Wai and Liong Seen Kwee Amy Mantell The following donors have included Cantor Arts Center in their estate Daryl and John Lillie plans for gifts of art or funds. Deedee and Burton McMurtry In Honor of Norma Schlossman David Schlossman Vinie and J. Sanford Miller BEQUEST INTENTIONS Kirk Edward Long Cynthia Muchnick In Memory of Marion Smith * denotes new bequest Carol and Hal Louchheim Marcia and Frederick Rehmus Jennifer Sargentini ◊ denotes deceased P. L. Loughlin Victoria and Roger Sant Norma and Charles Schlossman ◊ Anonymous (2) Darle and Patrick J. J. Maveety Mildred and Paul Berg Deedee and Burton* McMurtry Elaine and Eric Berson Lynn McRae Horace Brock J. Sanford Miller More than 260 volunteers provided Gayle Brugler Lynn and Lewis Mingori Betye Burton Carolyn and David Mitchell Bliss Carnochan Myrna Mitchner 14,115 hours of service— Virginia and William Carpenter◊ Ellen Narver Susan and Robert Christiansen Alicia and Merrill Newman ◊ the equivalent of seven additional Betty and Albert Cohen Takeshi Omura Sharon Collins and John Steinfirst Barbara and Warren Poole full-time staff members— Margaret Crary Deborah Port and Anne Dauer Michael Heymann Shirley Ross Davis Martha Puff in fiscal year 2018. Susan and John Diekman Michael Puff Beverly and Stephen Docter Karen Purtich William Eddelman Sally Randel and Paul Fearer Alexander Fetter Marcia and Frederick Rehmus GIFTS OF ART Betsy and Mark Gates Jr. Julian Robertson September 1, 2017, through August 31, 2018 Lynn and James Gibbons Nancy Weeks Rossen ◊ Gerry Gilchrist Dorothy and George Saxe Anonymous Deborah Kiley Nancy Harris William Scott III* Jean and Edwin Aiken Will Leben Priscilla and George◊ Hexter Donna and John Shoemaker Kevin Bean Estate Marmor Foundation Todd Hochstatter Alan Sieroty Robert Enteen Julia Norrell Robert Hockwald Elizabeth Silver and Robert Cullen Fathi Hassan Stefan Simchowitz ◊ Marilyn Hohbach Gaither Hatcher Smith and Laurie J. Hamilton B. J. Topol-Blum and Jon Blum Virginia and Benjamin Holt◊ W. Byron Smith Dan Holland Lisa and Mark Wan Janet Kreager Huston Peter Stansky Pamela and David Hornik Phoebe Korn Marilyn Symmes ◊ Jean Lane Eugenie and Hugh Taylor Barbara and John Larson Anna Teeples William Leben Ellen Uhrbrock Daryl and John Lillie

WINTER 2019 | CANTOR ARTS CENTER 21 BEQUEST DISTRIBUTIONS Samuel Ellenberg Frederica and Henry Lindgren Ben Shenson * denotes recent distributions Albert Elsen H. F. Lynn Edgar Sinton Anonymous Anne Fisher Frank Marcus Margaret Sowers Elizabeth Adams Oliver Frieseke Jr. Stewart Marshall Judithe Douglas Speidel Glen Alps Russell Geiger Anna Mautz Carl Sprinchorn Pauline and Arthur Bakalar M. Richard Giffra Joseph McCrindle James King Steele Ruth Bernhard Barbara Goldenberg Roberta McKee Jean Steiner Archibald Bianchi Frank Golder Mabel Means Ettie Stettheimer Donna Blank Barbara Gray Jane Miller John Plummer Steward Robert Bothwell Jean Haber Green Josephine Morris A. M. Stewart* Theodore Bravos Reba Grosse Carroll Cambron Morrison and Charles Tanenbaum John Brown Musa Guston The Francis Alward Eames Fund Mary Tanenbaum Pauline Brown Estate of Robert Halperin Richard Narver Frances and Harold Torbert Alice Meyer Buck Ruth and Robert Halperin Elizabeth and Leonard Offield Mary Curry Tresidder Frank Buck Anna Lathrop Hewes Linda Olson Vida French Ure Hans J. & Thordis W. Burkhardt Mildred Hollingsworth Alice Rawlins Pemberton Beth Van Hoesen Foundation Timothy Hopkins Marion Pierstorff Melitta and Rex Vaughan Douglas Campbell Jane and Howard Hubbard* Herbert Ploch* John Watrous Martha and William Campbell Kennell Jackson Jr. Viola Quillen Ida Wehner Jennie Stanford Catherwood Patricia Geary Johnson Eri Richardson Virgil Whitaker Betty and George Cilker Vincent Klevesahl Harry Robinson Norman Whyte Marion Sarah Cilker Ambassador Bill Lane Robert Scal Dore Williams Kathryn Cutler Martha Faul Lane Irma Scheier Florence Williams Pedro Delemos Connie Lembark Elliot Schieffelin Graham Williams Dagmar Dern Mortimer Leventritt Victoria Schuck Carolyn Kizer Woodbridge and Joanna Despres Marjorie Lewisohn Laurel Schumann John Woodbridge Carol Doyle Leon Liebes Pauline and Robert Sears Meri and Joseph Ehrlich Ruth Lillenthal A. Jess Shenson

The Cantor Arts Center presented more than 20 special exhibitions and installations over the last year.

GIFTS FOR ENDOWMENT

Endowment gifts are enduring commitments, ensuring the Cantor’s excellence into the future. The following recognizes endowment gifts of $50,000 and above, made throughout the institution’s history.

DISTINGUISHED DONORS JANE STANFORD CIRCLE Barbara Gray A. Jess Shenson Anonymous (4) Anonymous (3) Andrea and John Hennessy, Ben Shenson Martha and William Campbell Anonymous, in memory of in honor of John Freidenrich Barbara and Arnold Silverman Christensen Fund Ruth Franklin Liong Seen Kwee Khoan and Michael Sullivan C. Diane Christensen Baker Street Foundation Ambassador Bill and Jean Lane Mary and Charles Tanenbaum Karen Christensen Kenneth Brenner Family Ellen and Stewart Marshall Eugenie and Hugh Taylor Lois Clumeck Alice Meyer Buck Darle and Patrick J. J. Maveety Mary Lois and Jack Wheatley Susan and John Diekman Joan and John Jay Corley Constance Corcoran Miller Florence Williams Jill and John Freidenrich Charles Ducommun, in memory of Vinie and J. Sanford Miller Akiko Yamazaki and Jerry Yang, Robert and Ruth Halperin Palmer Gross Ducommun Leonard and Elizabeth Offield Trust in honor of John Freidenrich Foundation Charles and Palmer Gross Barbara and M. Kenneth Oshman Ruth and Robert Halperin Ducommun, in memory of Mary Sally Randel and Paul Fearer GOLD SPIKE CIRCLE Marilyn Hohbach and Robert Gross Elizabeth Raymond Jean Haber Green Deedee and Burton McMurtry Meri and Joseph Ehrlich Marcia and Frederick Rehmus Robert K. F. Scal Robert Mondavi Family Connie and Albert Eisenstat William Reller Family Melitta and Rex Vaughan Frederick Frane Pauline and Robert Sears Phyllis Wattis Frances and Theodore Geballe Donors of Gifts in honor of Barbara and Michael Wilsey Lynn and James Gibbons Thomas Seligman

22 MUSEUM.STANFORD.EDU The Cantor Arts Center provided complimentary tours to more than 400 school groups throughout the year.

CONTEMPORARY COLLECTORS CIRCLE September 1, 2017, through August 31, 2018

Katherine Adams Ellen McLennan Lois Anderson Cathryn McMurtry and Margaret Anderson James Mclaughlin Elaine Baskin and Deedee and Burton McMurtry Kenneth Krechmer Linda and Anthony Meier Kay and William Bates III Martha and Roger Mertz Nancy and Clayton Bavor Penelope Midlock Susan Benton Shauna Mika Sarah Blaustein Lisa Mooring Barbara Bogomilsky Janet Offensend Ann Bowers Megan O’Reilly-Lewis and Polly and Thomas Bredt Todd Lewis Carolyn Brennan Barbara Oshman Rick Callison Gretchen and Robert Ostenberg Chris and Jeffrey Carlton Jane Otto Joyce and Ronald Castellino Margo Parmacek Lynda and Charlie Clark Barbara Preuss Susan Coan Sally Randel and Paul Fearer Suzanne Crocker Walter Robinson Ann and E. David Crockett Debbie and Stuart Rosenberg Susan Dennis Ruth F. Seiler Susan and John Diekman Deborah Shepherd Jennifer Dinapoli Barbara and Arnold Silverman Norma Egan Bonnie Silverman Valerie Evans Julie Veitch and Peter Nosler Jeanne and Frank Fischer Judith Wolken Frédéric Bruly Bouabré (Cheik Nadro) (Côte d’Ivoire, 1923–2014), Doris Fisher A singer admired by the crowd. (Un chanteur admiré par la foule.), 2009. Cynthia and Bill Floyd Colored pencil and ink on card stock. Gift of Stefan Simchowitz, 2018.48 Jill Freidenrich Judy and Kent Frewing Judith Gaulke Lynn and James Gibbons Betsy Gifford Loren Gordon Ann Griffiths From September 1, 2017, to August 31, 2018, Pamela Hornik Annette and David Jorgensen Robert and Betty Joss 151 new gifts of art joined the collections, Jeanne Kennedy Iris and Harold Korol and the Cantor Arts Center purchased an Kathryn Ladra Gloria Levy additional 12 works with gift funds. Daryl and John Lillie Beverly and Peter Lipman Gayla Lorthridge and Walter Wood Carol and Hal Louchheim

WINTER 2019 | CANTOR ARTS CENTER 23 CANTOR ARTS CENTER / ANDERSON COLLECTION AT STANFORD UNIVERSITY MEMBERSHIP SUPPORT

We are grateful to all our museum members for their support, which continues to significantly impact what we are able to accomplish and helps keep both museums free to all. Here we recognize members in the categories of Benefactor through Directors Gold Circle.

DIRECTORS GOLD CIRCLE Ann Griffiths Sara and Sohaib Abbasi Stephanie and Fred Harman Mary Anne Nyburg Baker and Ann and Duane Kalar G. Leonard Baker Jr. Jeanne and William Landreth Helen and Peter Bing Joan Lane Artist unknown (Kongo peoples, Democratic Republic of the Congo, Africa), Roberta and Steven Denning Emily Leisy Power figure in the shape of a double-headed dog (nkisi nkondi a Susan and John Diekman Beverly and Peter Lipman mbwa or kozo), late 19th–early 20th century. Wood, nails, wire, Mona and John Duggan Gayla Lorthridge and Walter Wood and metal blades. Anonymous Gift, 2017.66 Jill Freidenrich Cathryn McMurtry and Loren and Michael Gordon James Mclaughlin ARTISTS CIRCLE Jill and Augustus duPont Pamela and David Hornik Wendy Munger and Katie and Colin Anderson Carson and Helmy Eltoukhy Leslie and George Hume Leonard Gumport Margaret and Gibson Anderson Jr. Joan and Clarence Ferrari Wai and Liong Seen Kwee Paula and William Powar Marianne Arnstein Jeanne and Frank Fischer Alison and Howard Lutnick Sally Randel and Paul Fearer Marion Avery John Fogelsong Deedee and Burton McMurtry Nicole and Amir Rubin Ariel Balter and Roger Roberts Cathleen and Michael Foster Mindy and Jesse Rogers Victoria and Roger Sant Alison and James Barta Carol and Joel Friedman Marilynn and Carl Thoma Deborah and Michael Shepherd Elaine Baskin and Phyllis Friedman Akiko Yamazaki and Jerry Yang Suzanne and Laurence Spitters Kenneth Krechmer Betsy Gates Madeline and Isaac Stein Ann Baskins and Thomas DeFilipps Judith and Michael Gaulke DIRECTORS CIRCLE Kathryn and Thomas Wiggans II Jan and David Baszucki Alison Geballe Nicole and Jon Andrews Judith and Peter Wolken Rita Barela and Thomas Seligman Margaret Baxter-Pearson and Frances and Theodore Geballe Eric Pearson Paula and Bandel Carano CONNOISSEURS CIRCLE Lynn and James Gibbons C. Diane Christensen Nancy and Clayton Bavor Kirsten and Peter Bedford Karen and Edward Gilhuly Elizabeth and Bruce Dunlevie Louise and John Bryson Mildred and Paul Berg Marcia and John Goldman Doris Fisher Katherine and Susan Berman and Leon Lipson Maren Granger-Monsen and Cynthia and John Gunn T. Robert Burke Sandy Berrey Jeffry Grainer Andrea and John Hennessy Jennifer and Bard Chrisman Joanne Blokker Brenda and James Harrington Marilyn Hohbach Wayee Chu and Ethan Beard Recia and Mark Blumenkranz Sarah Herrick Elizabeth and Zachary Hulsey Diane and Stephen Ciesinski Barbara and Ahron Bogomilsky Tricia and Jack Herrick Catherine and Franklin Johnson Jr. Frances Codispoti Catherine and Richard Boyle Michaela and Jay Hoag Daryl and John Lillie Anne and Jerry Down Polly and Thomas Bredt Karen Hohner and Randall Keith Jane and Michael Marmor Barbara Edwards Marilyn and Allan Brown Vanessa and Gavin Hood Vinie and J. Sanford Miller Melissa and Trevor Fetter Casey and Jack Carsten Patricia and Robert Huggins Lisa and David Mooring Francoise Fleishhacker Joyce Castellino Lori and Deke Hunter Christine and Michael Morgan Betsy Fryberger Ashley and John Chambers Jacque and John Jarve Barbara Oshman Diane and Harry Greenberg Huifen Chan and Roelof Botha Annette and David Jorgensen Marcia and Frederick Rehmus Lucille and Walter Harrison Hilary and Erik Charlton Betty and Robert Joss William Reller Amy and Glen Kacher Courtney and Michael Charney Marcia and Marc Kastner Anne and Craig Taylor Catherine Lamb Lillian and David Chun Roberta and Charles Katz Jr. Debra and Steven Wisch P. L. Loughlin Lynda and Charlie Clark Jr. Joyce and Kenneth Kaufman Nancy and Lawrence Mohr Jr. Jackie and Bret Comolli Puja and Samir Kaul NEW FOUNDERS CIRCLE Phyllis Moldaw Margaret and Yogen Dalal Stacey Keare and John Hodge Susan Benton Laura Nagle Cristina and Jonathan Davidson Nicole and Robert Keller Carolyn and C. Preston Butcher Ellanor Notides Kathleen Davis Jane and Saif Khalaf Chris and Jeffrey Carlton Carrie and Gregory Penner Sallie De Golia-Jorgenson and Michele and Steven Kirsch Martha and Paul Chamberlain Juliana Petricciani Jack Jorgenson Lauren and Brad Koenig Suzanne and Bruce Crocker Ruth F. Seiler Susan and Harry Dennis Diana Koin and William Vermeere Ann and E. David Crockett Eugenie B. Taylor Holly and Michael Depatie Hilarie Koplow-McAdams and Susan Ford Dorsey Kelli Tomlinson Katherine and Thomas Dickson Steve McAdams Christine and Reece Duca Mara and Richard Wallace David Dollinger Gisel and Omid Kordestani Mary Elmore Allison Whiting Fairfax Dorn and Marc Glimcher Iris and Harold Korol Jean Frailong and Richard Halton Katherine and William Duhamel Jr.

24 MUSEUM.STANFORD.EDU Donna Krupp Dorothy Saxe Over the last year, the Ava Kuo and Mark Duggan Komal Shah and Gaurav Garg Caroline Crawford Labe Lee Ann and Martin Shell Amy Ladd and Doug Fitzgerald Quintilla Shott Cantor Arts Center welcomed more Grayson and David Lane Charlotte and George Shultz Sheila and Thomas Larsen Margaret and Edward Sickel than 235,000 visitors. Anne and Kenneth Lawler Alan Sieroty Bren and Lawrence Leisure Barbara and Arnold Silverman Debra and Mark Leslie Eila Skinner and Tom Sadler Rebecca and Alfred Lin Judith and Walter Sleeth BENEFACTOR Gloria and Kenneth Levy Carol and Hal Louchheim Trine Sorensen and Katherine Adams Elise and George Liddle Christy MacLear Michael Jacobson Paul Althouse Emily Lopez and Andy Tang Elizabeth and Joseph Mandato Srinija Srinivasan Lois and David Anderson Lazel Louie Mary Marsh Harise Stein and Peter Staple Kaaren and John Antoun Charlotte Lowell and Katherine and Robert Maxfield Edward Storm Colleen and Jay Backstrand Charles Munger Gina Maya and Richard Capelouto Birthe and Sven Strohband Kay and William Bates III Mandy MacCalla Susan and J. Patterson McBaine Christine Suppes Sarah and Peter Blaustein Robert Martone Christie and James McCoy Debra and Kevin Taweel Suzanne and Peter Boutin Shirley Matteson Apoorva Mehta Allyn and John Taylor Bonnie Brae Karen and Bruce McCaul Celeste and Anthony Meier Jr. Ayesha Thapar and Nikesh Arora Carolyn Brennan Suzanne and James McElwee Linda and Anthony Meier Terri Tienken Donald Brewster Ellen and William McLennan Victoria and James Merchant Cindy and Jeff Traum Lynn Bunim and Alexander Fetter Christina and Michael Meyer Martha and Roger Mertz Lorraine Twohill Mary and Luca Cafiero Penelope Midlock Shana and David Middler Carly and Robin Vasan Susan and Ralph Coan Jr. Janet Offensend Shauna Mika and Rick Callison Julie Veitch and Peter Nosler Amy Conn Stacey and Donald Olgado Constance Corcoran Miller Katie and Rob Wallace Janet and Guy DiJulio Megan O’Reilly-Lewis Elizabeth and Mark Moragne Jennifer and Steve Walske Peggy and Stephen Dow Blair and Kevin Paige Betsy Morgenthaler Tracy and Fred Wang Gary and Jeffrey Dunker Ann and John Perez Dean Morton Irene Wapnir and Ralph Greco Suzanne and Allan Epstein Barbara and Warren Poole Sheila Mussone Anita and Steven Westly Nancy and John Etchemendy Barbara and Charles Preuss Sue and Robert O’Donnell Carolyn Williams Valerie Evans Melissa and Stephen Reller Shirley and Michael Orsak David Wollenberg Jacqueline and William Faulkner Sarah and Douglas Rivers Gretchen and Robert Ostenberg Madelene Wong and Cynthia and Bill Floyd Walter Robinson Margo Parmacek John Schwabacher David Franklin and Ruedi Thoeni Amy Rosenberg and John Slafsky Tricia and Jeff Raikes Shannon and Dennis Wong Judy and Kent Frewing Barbara and Gregory Rosston Patricia and Rowland Rebele Amy and Geoffrey Yang Betsy and Mark Friebel Lisa and Steven Schatz Condoleezza Rice Michelle Yee Jane and Owen Frost Norma and Charles Schlossman Jenny and Gerald Risk Amr Zahid Lois Garland Eta and Sass Somekh Debbie and Stuart Rosenberg Amy Zegart and Craig Mallery Nancy and Charles Geschke Diane and Hall Steuber Jr. Stephen In-Sun Ryu Betsy Gifford Jan and Robert Strohecker Mary and Clinton Gilliland Charles Swezey Lucille Glassman and Phillip Harter Nancy Thomas Cathleen and Michael Glenn Lisa Voge-Levin and Peter Levin Carol and Dexter Hake Kimberly Young and John Moragne Heather and Bill Hilliard Laurie and Robert Holyoake Joan Hong and Roger Day Julie and William Hooper Larry Horton Jonna Hunter and Joshua Becker Jeanne Ichnowski Suzanne and Kurt Jaggers Susan Jenks Alyce and Steven Kaplan Wendy and Howard Kleckner Barbara Klein and Stanley Schrier K. Knox Jill and Donald Knuth Phoebe Korn

James Casebere (U.S.A., b. 1953), Flooded Hallway, 1998. Digital chromogenic print mounted on Plexiglas. Gift of Jon Blum and B. J. Topol, 2017.122

WINTER 2019 | CANTOR ARTS CENTER 25 SAVE THE DATE SEP 28, 2019 MUSEUMS BY MOONLIGHT

Museums by Moonlight (MxM) The Stanford art museums’ reimagined signature fund- raising event celebrates innovation and access to visual art with a special evening under the stars. This year, we honor Roberta and Steve Denning for their profound leadership in the arts on campus and beyond. In 2019, we also mark the 125th anniversary of the opening of the Leland Stanford Junior Museum, now known as the Cantor, and the fifth anniversary of the Anderson Collection.

Dinner in the Garden offers an artful cocktail hour and a unique dining experience, while The After Party brings together guests for a night of heart-pounding music, creative late-night nibbles, and art-inspired activities.

Support from this gala enriches our community by making possible extraordinary programming at the museums. Most importantly, contributions help maintain free admission to the museums for all visitors!

For sponsorship information, contact Sara Larsen, development manager, [email protected].

26 MUSEUM.STANFORD.EDU Debbie Shepherd As the museum enters its 125th anni- Chair, Membership Executive Council versary year, we continue to be the free I happily find myself at the Cantor for the museum on the peninsula that Jane Stanford second time in my life. My husband and envisioned, offering not only training and I met on campus as undergraduates exposure to art for students, but also exhibi- and moved to Palo Alto two years ago to tions, date nights, and family programs for all! take advantage of all that Stanford offers, Recently, the remarkable exhibition particularly in the arts—including the Betray the Secret: Humanity in the Age of wonderful Anderson Collection. From left to right, Shana Nelson Middler, Debbie Shepherd, Frankenstein was drawn almost exclusively and Kathy Adams. I first came to the Cantor as an from the permanent collection of works on undergraduate student of Lorenz Eitner (the former museum paper. I am excited to see us carry on this tradition in collecting and director) and Albert Elsen (former art professor and Auguste exhibitions with our new curatorial team. As a student of 19th- Rodin scholar). In 1980, I had the opportunity to work as assistant and early 20th-century American painting, I am delighted to see curator for Betsy Fryberger (formerly the Cantor’s Burton and chestnuts from our permanent collection on view in Painting Nature Deedee McMurtry Curator of Prints and Drawings). My career in the American Gilded Age. took me to various museums, including the National Gallery of During my years at the New member benefits coming Art, where I worked in both exhibitions and development. museums, I have so enjoyed soon! This winter we will debut a As the new MEC chair, I am most excited about the Cantor’s creating new friendships— refreshed membership program leadership and what that means for our members. We have a direc- those connections are what with new benefits and exciting tor of national standing who is well on her way to reaching her goal make this work so meaning- ways to engage at the museums. of assembling a full complement of curators who will continue to ful. I look forward to getting Look for more information build our permanent collection and offer members exhibitions, to know more new and old starting in February. lectures, and programs of the highest quality. members alike!

NEW MEMBERS OF THE MEMBERSHIP EXECUTIVE COUNCIL

Kathy Adams spent her career on a college campus, counseling Shana Nelson Middler was born and raised on the peninsula. students on personal, career, and academic issues. In 2010, she Her parents encouraged a passion for the arts by bringing their started spending more time on Stanford’s campus as a docent children on regular visits to the Stanford campus and its cultural for the Cantor, the Anderson Collection, and Memorial Church. institutions. After serving for five years on the board of the “Sharing the museums with visitors gives me a lot of pleasure,” Contemporary Jewish Museum in San Francisco, Middler is happy she said. And once involved, Adams looks for ways to contribute to be joining MEC to encourage community engagement with on an even deeper level, which led her to MEC. “There’s lots of the Cantor and the Anderson Collection. “The museums are energy around introducing the museums to nonmembers, getting wonderful places to gather and learn, and they’re right here in our new people involved, and encouraging membership on the part backyard,” she said. “Having grown up playing in the sculpture of visitors. I’m looking forward to helping make that happen to garden, I definitely feel a connection. It feels like home.” whatever extent I can.”

WELCOME TO OUR NEW MEMBERS (JUNE–OCTOBER 2018)

ARTISTS CIRCLE SPONSOR Sheena Makhecha and FRIEND Jane and Saif Khalaf Aubrey Beam Nicholas Sandersfeld Catherine Burns Gina Maya and Richard Capelouto Barbara Fried and Julie and Craig Newton John Chambers Joseph Bankman Margaret and William Phelps Cathy Cosgrove BENEFACTOR Nicholas Hsu Karen and John Reis Miranda Friedman Cathleen and Michael Glenn Joan Passman Patricia Richards and Ulick Malone Erica Gunderson Janet Offensend Elizabeth Shivell Elisabeth Shader Cynthia Hanson PATRON Susan Shrader-Suriyapa and Miranda Junowicz FAMILY/DUAL Arthi Britto Seksom Suriyapa Helen Lechner Cori Bates and Tony Bates Ying Gao Deborah Simon David Madson Daniel Hammerson Dessa Goddard Caroline U. A. Okorie Davina and Bruce Isackson Gerald Griffith Tim Oshea David Kerr Nadine North Claire Woodell Barbara and William Kinsey Anita Sande and Paul Fink Karn and Kurt Knight WINTER 2019 | CANTOR ARTS CENTER 27 STANFORD UNIVERSITY NONPROFIT CANTOR ARTS CENTER ORGANIZATION U.S. POSTAGE 328 LOMITA DRIVE PAID STANFORD, CA 94305-5060 PALO ALTO CA PERMIT NO. 28

OPEN WED–MON, 11 AM–5 PM THURS, 11 AM–8 PM CLOSED TUESDAYS

ALWAYS FREE

C OME IN T ODAY

LOCATION & PARKING 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 weekends. The Cantor is fully accessible to people with disabilities.

INFORMATION 650-723-4177 museum.stanford.edu

CANTOR CAFÉ BY JESSE COOL The café is open during regular museum hours.

SIGN UP FOR E-NEWS Get free email notices about programs and exhibitions at the Cantor. Click “E-NEWS” at the bottom of museum.stanford.edu.

Visit us online at museum.stanford.edu.

Visit our refreshed café during regular museum hours.

HOLIDAY HOURS Christmas Eve (Monday): 11 AM–3 PM Christmas Day: Closed New Year’s Eve (Monday): 11 AM–3 PM New Year’s Day: Closed on Tuesdays