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C a n t o r a r t s C e n t e r

S T A N F O R D U N I V E R S I T Yv i s i t m u s e u m . s ta n f o r d. e d u

FREE DOcENT TOURS

explore the museum’s collection through free guided tours. discover sculpture on campus, including the Papua new Guinea sculpture Garden.tour and event information: 650-723-3469

ShARE PhOTOS OF YOUR VISIT

Join our flickr Group at www.flickr.com/groups/CantorartsCenter.

PARkINg UPDATE

visitor parking has been temporarily located to museum Way, accessible from Palm drive. for environmental reasons, the university is installing a new heating system, and Lomita drive will be partially closed into the fall.

the Center is fully accessible to people with disabilities. for more information, call 650-723-4177 or visit museum.stanford.edu.

Left: Max Pechstein (Germany, 1881–1955), two voices (Zwiesprache) , 1920. Color woodcut. Given in memory of Ruth Haas Lilienthal by the Geballe Family, 1999.46. © 2012 Artists Rights Society (ARS), New York/Pechstein Hamburg/Toekendorf/VG Bild-Kunst, Bonn

stanford university

cANTOR ARTS cENTER

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328 Lomita drive

stanford, Ca 94305-5060

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Letter from the Director

Updates on construction projects in and around the cantor

recent visitors to the museum will have witnessed restoration work on the spectacular skylight illumi-nating our historic 1894 lobby. stanford’s office of architecture and Planning, arG Conservation services, Inc., and the Cantor’s operations staff have partnered to bring the skylight back to its full glory and functionality. this important project began in June and finishes in october.

Improvements to our infrastructure also include installation of an energy-efficient and environmen-tally friendly heating system. this new system will serve the entire campus, and connections to the Cantor arts Center should be completed this fall. the Cantor remains open throughout the projects.

the Cantor arts Center sits at the heart of a spectacular arts district emerging at the gateway to campus. as the Bing Concert Hall, facing the Cantor, is completed this fall, groundbreaking for the anderson Collection building will take place immediately to our north. the anderson Collection will open in 2014. the mcmurtry Building, housing the department of art and art History, will break ground in early 2013 to the south of the museum and will open in 2015. Look for reports of this transformation in future Cantor newsletters.

Cantor Arts Center main lobby. Photograph by Stephen Gladfelter

tr ANSformAtioNS

I am delighted to welcome you to the exciting fall season at the Cantor Arts Center. With new exhibitions and engaging educational programs, there is something for everyone!

When you walk through the doors of the Cantor this fall, you begin a journey around the world through exhibitions that feature a bold array of art and ideas. Among our offerings: a groundbreaking video installation by contemporary artist Christian Marclay, the political ruminations of French 19th-century artist Honoré Daumier, and a look at some key moments in modern history, from the Sino-Japanese wars to Nazi Germany’s Degenerate Art exhibition.

With this newsletter issue, we launch a new section that illuminates the many remarkable ways the students at Stanford contribute to and benefit from the Cantor’s unique resources. Later this year we will announce a new initiative just for families at the Cantor.

To our members, donors, and visitors, I thank you for your continuing generosity and support. You enable us to be a distinguished leader in the arts. I look forward to seeing you again at the museum.

CoNNIe WoLF (AB ’81) John & Jill FreiDenrich Director

cANtor ArtS ce Nte r

Connie Wolf John & Jill Freidenrich Director

dIreCtor’ s advI sory Board

susan diekman Chair

diane Christensendoris f. fisherJill freidenrichJohn freidenrichmimi Gardner Gatesandrea Hennessyelizabeth swindells HulseyLiong seen KweeWilliam Clark Landrethdaryl LillieBurton mcmurtrydeedee mcmurtryJ. sanford millerfrederick P. rehmusmarilynn thomamichael W. Wilsey

Ex OfficioJohn Hennessyrichard sallermartin shellLisa mooring matthew tiews nancy troy

memBersH IP e xeCutIve CounCIL

Lisa mooring Chair

Cindy traum Vice Chair

mary anne nyburg BakerBarbara BogomilskyCharles e. Clark, Jr.suzanne CrockerCarol C. friedmanmary B. W. marsh Pamela miller-HornikWilliam rellerIrene yeh

the Cantor arts Center news is underwritten by the Cantor arts Center membership and produced by the external relations department.

desIGn: madeleine Corson design, san francisco

front Cover: Honoré Daumier, Lower the curtain, the farce is over. (Baissez le rideau, la farce est jouée.)(detail). La Caricature, Plate 421 (Volume 8, Issue 201, September 11, 1834). Lithograph. Francis Alward Eames Fund, 1973.24.8.20

InsIde front Cover: Connie Wolf, John & Jill Freidenrich Director. Photograph by Linda A. Cicero/Stanford News Service

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3S e p t e m b e r – D e c e m b e r 2 0 1 2 Cantor arts Center News

Christian Marclay’s Video Quartet

Christian Marclay, installation view of Video Quartet, 2002. Four-channel video production with sound. © Christian Marclay. Photograph Courtesy of Paula Cooper Gallery, New York

In this four-channel video projection, artist Christian Marclay presents four different montages gleaned from more than 700 Hollywood films, with the common theme of music: all the featured actors sing, play instruments, or make some other kind of sound. the screens respond to each other, too, much like players in a musical quartet. twin arthur rubinsteins dual with twin oscar Levants in the pounding of grand piano keys. actresses build on each other’s horror-movie screams, culminating in Maria Callas’s high C.

at the core of Marclay’s creative process is a coherent narrative constructed out of found objects, images, or sounds. Marclay laboriously created Video Quartet over the course of more than a year on a home computer. at a fundamental level, Video Quartet serves to remind the viewer

that “What you see is what you hear,” as Marclay puts it. In Video Quartet sound and image are inextricably related: one is informed by and dependent upon the other. “the image is always part of the sound,” Marclay says. An internationally acclaimed artist, Christian Marclay was born in 1955 in San Rafael, California, and he lives and works in London and New York City. He has been featured in one-person exhibitions at major institutions including the Tate Modern, the Louvre Museum, the Whitney Museum of American Art, and the San Francisco Museum of Modern Art (SFMOMA).

In showing Video Quartet, an installation that so imaginatively combines music and visual arts, the Cantor Arts Center celebrates the January 2013 opening of the Bing Concert Hall at Stanford.

Pigott Family Gallery, November 14, 2012 – February 10, 2013

Video Quartet was commissioned by SFMOMA in 2002. We gratefully acknowledge support for the exhibition from the Contemporary Collectors Circle, the Clumeck Fund, and Cantor Arts Center Members.

O P e N I N G s O O N

“Mr. Marclay has never brought music, sound, and image into such perfect, beautiful, funny alignment, or conflated seeing and hearing so ecstatically.” roberta Smith, The New York Times

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New oN View

John Livingston: Transformation Mask

In the Northwest Coast region, native artists continue to make masks for important family ceremonies to convey the interconnectedness of humans, animals, and the forces of nature. Come see John Livingston’s transformation mask and get a rare glimpse into the animated nature of these complex masks. This work is a gift to the Cantor from Fred and Marcia rehmus, in honor of Thomas K. Seligman.Within the Rehmus Family Gallery, through June 1, 2013

Frank Marshall: Bound by the Moon

The leather-clad musicians in Frank Marshall’s photographs appear both startling and familiar; the Botswanan men fuse American biker and cowboy fashions with the skull-and-bones imagery of classic heavy-metal bands. Marshall, a young South African, beautifully captures their defiant style and theatrical pose in this photograph, Bound by the Moon.Within the Thomas K. Seligman Gallery, through January, 2013

Divided Visions: Reportage from the Sino-Japanese Wars

Who ends up depicting the horrors of war, and how do these artists choose what stories to tell?

This exhibition examines how the two Sino-Japanese wars were represented through master sensationalist Kiyochika Kobayashi’s battle prints, sketches by the cartoonist Zhang Wenyuan, and photojournalism by John Gutmann. The distinctly different sets of images demonstrate how the Sino-Japanese wars were not only major conflicts between competing Asian nations, but also a critical breeding ground for new forms of public art and audiences.Within the Madeleine H. Russell Gallery, through January 13, 2013

Frank Marshall (South Africa, b. 1985), Bound by the moon, 2010. Archival digital print. Museum purchase made possible by the Phyllis Wattis Program Fund, 2012.13

Kiyochika Kobayashi (Japan, 1847–1915), Private onoguchi destroying the Gate of Chinchou fortress, 1895. Woodblock print (triptych). Committee for Art Acquisitions Fund, 1987.77.1–3

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Honoré Daumier, don’t you meddle with It!! (ne vous y frottez pas!!). L’association mensuelle, Plate 20 (March 1834). Lithograph. Committee for Art Acquisitions Fund, 1983.83

As press coverage of the 2012 American presidential elec-tion heats up, this exhibition explores the art that ignited a 19th-century battle over politics and freedom of the press. The weekly Paris journal la caricature, founded in 1830 shortly after Louis-Philippe I (1773–1850) took the French throne, quickly became the king’s worst enemy in his fight for popular approval. It published hundreds of lithographs ridiculing the “July Monarchy,” as Louis-Philippe’s reign was known. The young Honoré Daumier (1808–1879), armed with abundant technical skill and a wicked sense of humor, cut his teeth as an artist at la caricature and created the majority of the approximately 50 prints on view. The government reacted to the journal by suppressing text as well as subjecting its staff to litigation, fines, and prison sentences; even Daumier served a six-month prison term

for his efforts. The journal persevered until the September Laws of 1835 closed it down and forced Daumier and his colleagues to stop lampooning the king.

See how the artists at la caricature used social satire, visual puns, and physical caricature to attack the July Monarchy’s ministers, their censorship of the press, and the king’s physical appearance. The most provocative prints represent the king as la poire, a bulbous pear with a striking royal resemblance. The installation also features issues of la caricature and large lithographs published for l’Association Mensuelle (a monthly print subscription associated with la caricature). reLAteD eVeNt Panel discussion on art censorship in the 1830s and today. (See things to Do, p. 15.)Ruth Levison Halperin Gallery, through November 11

When Artists Attack the King: Honoré Daumier and La caricature, 1830–1835

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Ink Performances

The historic medium of ink continues to play a prominent role in contemporary Asian art, with artists using ink to foil audience expectations, suggest randomness, and reinforce their cultural heritage. This exhibition features video and other works by Chinese and Japanese artists who have expanded the potential of ink practice. The exhibi-tion centers on performances by Qiu Zhijie and Ushio Shinohara and also includes works by Gu Wenda, Xu Bing, and Wu Guanzhong.Within the Madeleine H. Russell Gallery, through January 13, 2013

A War on Modern Art: The 75th Anniversary of Degenerate Art

Works by German artists Max Beckmann (1884–1950) and Max Pechstein (1881–1955) hang in the collections of world-class museums. But in 1937, Adolf Hitler and his Nazi regime viewed such modernist artists as insane and threatening to Third Reich ideals and presented the Entartete Kunst (Degenerate Art) exhibition in Munich, hoping to turn public opinion against all modern art. Explore works by several of these

“degenerate” artists as we mark the 75th anniversary of the exhibition’s opening. Within the Marie Stauffer Sigall Gallery, October 3, 2012–February 24, 2013

Wu Guanzhong (China, 1919–2010), Village Landscape, 1980s. Ink and color on paper. Gift of Patrick and Darle Maveety, Class of 1951, in honor of Thomas K. Seligman, 2011.77

Conrad Felixmüller (Germany, 1897–1977), self-Portrait with Wife and son, 1923. Gouache, watercolor, and pencil. Lent by ArtNow International, L.29.5.2008. © 2012 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

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The prestigious, international Jameel Prize celebrates the highest level of artistic achievement by contem-porary artists inspired by Islamic art, craft, and design. The exhibition the Jameel Prize: Art inspired by islamic tradition features work by rachid Koraïchi, the prize’s 2011 (and latest) winner, as well as pieces by the nine other artists shortlisted in 2011.

The 10 diverse artists connect tradition to contemporary practices through sculpture, digital collage, mosaic, textiles, paintings, and works on paper. Their exquisite work also exemplifies the fluidity, complexity, and dynamics of Islamic art today. The show’s centerpiece, Koraïchi’s les Maîtres invisibles (the invisible Masters), consists of embroidered cloth banners that pay tribute to the 14 great mystics of Islam.reLAteD eVeNtS A lecture by rachid Koraïchi and a round-table discussion on contemporary Islamic art. (See things to Do, p. 15.)Ruth Levison Halperin and Lynn Krywick Gibbons Galleries, December 12, 2012–March 10, 2013

the exhibition is organized by the victoria and albert museum London (v&a) in partnership with the abdul Latif Jameel Community Initiatives. We also gratefully acknowledge the support of Cantor arts Center members and the sohaib and sara abbasi Program in Islamic studies at stanford university, which has made possible the exhibition’s presentation at stanford.

o P e N i N G S o o N

The Jameel Prize: Art Inspired by Islamic Tradition

Rachid Koraïchi (Algeria, b. 1947), Les maîtres Invisibles (the Invisible masters), 2008. Cotton appliqué. Image courtesy of October Gallery, London

The 10 diverse artists connect tradition to contemporary practices through sculpture, digital collage, mosaic, textiles, paintings, and works on paper.

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CONTINUING ON VIew

Streets, Shops, Signs, and Surrealism

Voyeuristic, surreal photographs of urban streets, shops, and adver-tisements by 20th-century artists Eugène Atget, Manuel Alvarez Bravo, Robert Doisneau, Robert Frank, John Gutmann, Lotte Jacobi, André Kertész, Lisette Model, and Edward Weston. Marie Stauffer Sigall Gallery, through September 23

Central Nigeria Unmasked: Arts of the Benue River Valley

The first major viewing of spec-tacular sculpture, ceramic objects, and video material representing the three sub-regions of the Benue River Valley. Pigott Family Gallery, through October 14

Adventures in the Human Virosphere: The Use of Three-Dimensional Models to Understand Human Viral Infections

Models of human viruses demonstrating the beauty of the molecular world and the creativity of their makers— Stanford students. Rowland K. Rebele Gallery, through October 28

Not Wanting to Say Anything About Marcel: John Cage Plexigrams

Plexiglas panels silkscreened with images and text by prominent American experimental composer John Cage (1912–1992) to honor Marcel Duchamp.RelaTed eVeNT Spotlight on Art lecture. (See Things to Do, p. 15.) Lynn Krywick Gibbons Gallery, through November 11

Guardians: Photographs by Andy Freeberg, an Exhibition in Three Parts

San Francisco-based photogra-pher Andy Freeberg’s poignant portraits of the women who watch over the paintings and sculptures in Moscow and St. Petersburg museums. New photographs by Andy Freeberg of the Cantor Arts Center guards, and a student- produced documentary film about these guards.

RelaTed eVeNT Andy Freeberg lecture. (See Things to Do, p. 15.) Gallery for Early European Art, the Robert Mondavi Family Gallery, and the Patricia S. Rebele Gallery, through January 6, 2013

Drawings from Los Angeles in the 1960s and 1970s: The Marmor Collection

A delightful variety of artistic approaches, from the illusionistic drawings of Ed Ruscha and Vija Celmins to the zany musings of Peter Saul and John Altoon. Freidenrich Family Gallery, through February 3, 2013

Holiday guests to entertain? Show them the Cantor.We’re open through the holiday season on our regular schedule except for thanksgiving day. Visitor hours are Wednesday–sunday, 11 am–5 pm, thursday 11 am–8 pm.

the Cantor arts Center staff wishes you happy holidays!

Artist unknown, Jukun, Wurbon Daudu village, standing female figure, late 19th–early 20th century. Wood. The Menil Collection, Houston. Photograph by Hickey- Robertson, Houston

Andy Freeberg (U.S.A., b. 1958), stroganov Palace, russian state museum, 2008. Archival pigment ink print. Lent by the artist. © Andy Freeberg

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Wood, Metal, Paint: Sculpture from the Fisher Collection

Important works by contem-porary artists Carl Andre, John Chamberlain, Sol LeWitt, Claes oldenburg, and Martin Puryear. reLAteD eVeNt Spotlight on Art lecture. (See things to Do, p. 15.)Oshman Family Gallery, through October 13, 2013

Sequence at Stanford

Museum-goers can experience richard Serra’s 200-ton sculpture in the open air, as he intended. Ongoing

the cantor collections A Journey Around the World from africa to the americas to asia, from classical to contemporary—there is so much to discover at the Cantor. selections from the collections and long-term loans are on view in many of the Cantor’s 24 galleries, sculpture gardens, and terraces on an ongoing basis. a sampling:

Rodin! The Complete Stanford CollectionExpanding Views of AfricaThe Cantor Arts Center’s Contemporary CollectionLiving Traditions: Arts of the Americas The Robert Mondavi Family Gallery of 19th-Century Art of Europe and AmericaThe Life and Legacy of the Stanford FamilyStone River by andy Goldsworthy (outdoors)

“Janet Fish’s Goldfish and Autumn leaves (Freidenrich Family Gallery) is one of my favorite paintings because of its brilliant combination of realism and abstraction. Fish updates the tabletop still-life genre by exaggerating the scale of the objects, cropping them in a photographic manner, and using broad, gestural brushstrokes. Her colorful palette

and use of light and reflections also make this a joyous, even celebratory work. And I like how Fish has included her signature goldfish, a witty reference to her name.”HILArIe FABerMAN

robert M. and ruth l. halperin curator of Modern and contemporary Art

our curators reveal which pieces in the cantor collections move them the most

Janet Fish (U.S.A., b. 1938), Goldfish and autumn Leaves, 1979–80. Oil on canvas. Modern and Contemporary Art Fund, 2010.8. © Janet Fish/Licensed by VAGA, New York

Andy Goldsworthy, stone river, 2001. Sandstone. Given in honor of Gerhard Casper, President, Stanford University, 1992–2000, by the Robert and Ruth Halperin Foundation

whAt i LoVe

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Voices in the Gallery

The annual Geballe Prize for Writing, awarded in the spring to first- and second-year Stanford undergraduate students, was celebrated on April 26 with an evening of selected readings by prize finalists. Papers written for courses in art history, history, and anatomy, as well as a short story, vied for awards in nonfiction essay and creative prose. The prize acknowledges excellence in research and written composition and also encourages Stanford students to use the museum’s collections for their research and independent writing.

The Cantor Arts Center is pleased to announce that 2012 prizes were awarded to the following students:

The 2012 Geballe Prize for Writing: Essay goes to Maya Krishnan (’14) for her paper “The Artist, the Outlaw, and the Institutionalization of Rebellion,” written for the spring 2011 course History 132a: The Enlightenment and the Arts, taught by Professor Carolyn Lougee Chappell. The paper addresses the painting Two Banditti (1770) by English painter John Hamilton Mortimer.

The 2012 Geballe Prize for Writing: Creative Prose goes to Helen Anderson (’14) for her short story “Figure Ate.” The story was inspired by Sequence (2006), a sculpture by American artist Richard Serra.

We thank all students and faculty members who submitted entries and who utilize the museum as a resource for academic research and informal learning.

Guards on Film: Andy Freeberg and the Cantor Arts Center Security Staff

The Cantor exhibition Guardians: Photographs by Andy Freeberg so inspired Josie Johnson (’13) that she curated Guards on Film, a presentation of new photographs by Freeberg of the Cantor Arts Center security staff. Meanwhile Justin Warren (’09) produced a short documentary film that presents Cantor guards discussing the nature of their work in the galleries.

In the gallery for early European art, students in the spring 2012 course History 132A: Enlightenment and the Arts, taught by history professor Carolyn Lougee Chappell, present research they have conducted on artworks of their choice.

C A M P U S C O N N E C T I O N S

The Cantor collaborates with Stanford students in many creative ways. Here’s what happened most recently.

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the wall: Stanford Student Gallery

In collaboration with the multi-gallery Stanford University program “Your Art Here,” the Cantor’s Cool Café show-cases Stanford student artwork three to four times a year. “The Wall,” as the Cantor program is called, is overseen by Kristen olson of our education Department and a small student committee and offers students the opportunity to curate, install, and practice arts administration and program development.

Art inspires Dance

Students in Diane Frank’s spring 2012 class, Intermediate Modern Dance, spent a session experiencing their move-ments in the space illuminated by Dan Flavin and robert Irwin works.

free Sketch fridays for Stanford Students

every Friday Stanford students can check out free drawing supplies and explore the galleries, stopping anywhere they like to sketch.

Adventures in the human Virosphere

Students in professor robert Siegel’s class Humans and Viruses enjoyed a celebration of their contributions to Adventures in the human Virosphere: the Use of three-Dimensional Models to Understand human Viral infections (now showing in the rowland K. rebele Gallery). In his class, Siegel requires his students to build three-dimensional models of specific viruses. The exhibition features his students’ bedazzled, amusing models of these surprisingly beautiful human viruses.

uPPer Left Photographs by Laura Conigliaro (’15) hang in the Cool Café through late September. uPPer rIGHt Archaeology major Alex Larrave (’12) sketches the Rodin bronze Illusions received by the earth in the Susan & John Diekman Gallery. Photograph by Kana Hammon (’12) LoWer Left Dance students interact with Dan Flavin’s “monument” for V. Tatlin. © 2012 Stephen Flavin/Artists Rights Society (ARS), New York. Photograph by Linda A. Cicero/Stanford News Service LoWer rIGHt Angela Cesena (right) explains why she built a human papilloma virus model and reflects on what she learned from the process. Listening in are (left to right) curatorial assistant Judy Dennis, curator of European art Bernard Barryte, Michelle Jin (whose rabies virus is also in the show), and friends of the model-makers. Photograph courtesy of Robert Siegel

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f o r t h e L o V e o f A r t : G i V i N G t o t h e c A N t o r

Leadership Gifts

recent generous leadership gifts benefit the museum’s objectives in a number of ways. The Koret Founda-tion made a second payment toward its $100,000 pledge for operating support, Mike and Bobbie

Wilsey’s annual gift furthers several education objectives, and Stanford alumna Jenny Chrisman directed half of her pledge for her 25th reunion to the museum for unrestricted use. Additionally, a donor who wishes to remain anonymous added

generously to her acquisitions fund.We are honored that the family of

distinguished Stanford professor elliott Levinthal chose to name a bench in the rodin Sculpture Garden in his memory. His wife, rhoda, made the thoughtful gift in the spring. And, through the generosity of Professor Levinthal’s son, Michael, the Cantor has received a significant portfolio of photographs by Lee Friedlander (see article on page 14).

DIR ECTOR ’ S C I RCLE

marlene & Garth saloner

ART ISTS ’ C I RCL E

robert GoldHeather & Bill Hilliard

PATRON

Kelly & Clay Bavor, Jr.madson & Gregg Buchbinder

SPONSOR

susan Blanco & John Coopersusan Bockus & michael Browndiana Coxsusanne Cox & Jack muranamiJoanne & arthur Hallmargot Knight & nick WalshLindley miller, Jr.sana miroPaula tomlinsonPamela & James Wilson

FA MI LY / DUAL

Kelly Lawrence & tom annauPhyllis & richard Casselmarie di Pasqualenancy ellsworthCindy fulce-Paradan & thierry ParadanJane & mike Hartmanashley Haywardelryna Lawimorton LevineLenore & Walter LoewensteinCathy Cakebread & Bob mazawaHelen mickiewiczmegan murraymindie nguyenmari & tom ormistonJ. s. sethisusan anderes & John sternJennifer rose & James Wilcox

FR I END

Barbara BayhaCathy Blakeedna BonsalIrina Crossmichael deLeonPamela Kaiserdavid Katznelsonmaria KellyCorie Kotanskyanadel LawJoyce Linkersusan mallstefanie midlockthomas Pressburgervictoria reedCarol Lee scalmarianne towerseyrae yumul

weLcome to oUr New memberS ( J a n u a ry – a P r I L 2 012 )

reNew YoUr memberShiP oNLiNe

did you know that you can renew your membership online? Click on the “Join now” button on the museum’s homepage or membership pages. museum.stanford.edu

Give the Gift of membershipa Cantor arts Center membership makes a wonderful holiday gift for a special relative or friend. members can look forward to many member-only opportunities to enjoy at the museum, so this is a gift that keeps on giving all year. membership support is a critical source of annual income for the Cantor, ensuring an artistic program of excellence, offered free of charge to all.

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Professor Elliott Levinthal (1922–2012). Chuck Painter/Stanford News Service Archives

Please remember the cantor as you plan your year-end giving!the Cantor arts Center has many gift opportunities at all levels. for information regarding gifts or estate plans, please contact associate director mona duggan by phone at 650-725-4240, or email mduggan@stanford.edu.

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f o r t h e L o V e o f A r t : G i V i N G t o t h e c A N t o r

Wilsey’s annual gift furthers several education objectives, and Stanford alumna Jenny Chrisman directed half of her pledge for her 25th reunion to the museum for unrestricted use. Additionally, a donor who wishes to remain anonymous added

generously to her acquisitions fund.We are honored that the family of

distinguished Stanford professor elliott Levinthal chose to name a bench in the rodin Sculpture Garden in his memory. His wife, rhoda, made the thoughtful gift in the spring. And, through the generosity of Professor Levinthal’s son, Michael, the Cantor has received a significant portfolio of photographs by Lee Friedlander (see article on page 14).

three cantor Volunteers honored

There are many ways to give to the Cantor Arts Center, and we are fortunate to have a corps of devoted volunteers who provide more than 25,000 hours of service each year. So we’re delighted that the museum was well represented at the Stanford Associates awards ceremony in April, when three of our volunteers were honored. The Stanford Associ-ates is an organization of more than 2,200 Stanford alumni volunteers.

Deedee McMurtry received a Governors’ Award for demonstrating exemplary volunteer service to Stanford University for many years. She is a member of the Cantor’s Director’s Advisory Board, leads the Contemporary Collectors Circle’s Steering Com-mittee, and serves on several other university arts committees. Connie Wolf, the Cantor’s director, presented the award, describing Deedee as “a vital and instrumental leader in helping create the artistic fabric of what makes Stanford so great.”

Stanford Alumni Association Board Member rodney Gilmore then presented Awards of Merit to Joan Hong and Jane Lanza for their extraordinary leadership of three consecutive Treasure Market

events. The Association bestows the Award of Merit for a specific and significant achievement in volunteer service.

Thanks and congratulations, Deedee, Joan, and Jane!

FR I END

Barbara BayhaCathy Blakeedna BonsalIrina Crossmichael deLeonPamela Kaiserdavid Katznelsonmaria KellyCorie Kotanskyanadel LawJoyce Linkersusan mallstefanie midlockthomas Pressburgervictoria reedCarol Lee scalmarianne towerseyrae yumul

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Connie Wolf (left) presents Deedee McMurtry with a Governors’ Award.

Rodney Gilmore, Joan Hong, and Jane Lanza

Please remember the cantor as you plan your year-end giving!the Cantor arts Center has many gift opportunities at all levels. for information regarding gifts or estate plans, please contact associate director mona duggan by phone at 650-725-4240, or email mduggan@stanford.edu.

There are many ways to give to the Cantor Arts Center, and we are fortunate to have a corps of devoted volunteers who provide more than 25,000 hours of service each year.

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THINGS To DoNEW ACQUISITIoNS

LEE FrIEDLANDEr

Michael J. Levinthal, BS ’76, MS ’77, MBA ’81, has pledged to give to the Cantor an important series of 79 photographs by the distinguished American photographer Lee Friedlander.

In 1986 the Cray Company, then the world’s top supercomputer producer, invited Friedlander (b. 1934) to create a photo-illustrated book commemorating the company’s 15th anniversary. This commission built on past projects in which Friedlander photographed people working on factory assembly lines and in data entry centers. Each of our newly acquired photographs of a Cray technician is both intimate and detached, taken at close proximity while the worker labored at a complex manual task. The series also features images of the town of Chippewa Falls, Wisconsin, where the company was located, and its surrounding landscape.

LISETTE MoDEL

Lisette Model (1901–1983) often focused on the fleeting effects of light, reflection, and shadow on shop windows, capturing the dynamism of urban Manhattan in the 1930s and ’40s. Our new acquisition, a dreamlike image, offers its visual information in layers: mannequins and a marquee inside a store appear on the same plane as the parked and moving cars, architecture, and sidewalk outside. The combination of recognizable objects and abstract forms makes the familiar seem unreal, and also suggests the passage of time. See streets, shops, signs, and surrealism, Marie Stauffer Sigall Gallery, through September 23

rUFINo TAMAyo

Rufino Tamayo (1899–1991) was Mexico’s most prolific 20th-century printmaker. Our new acquisition, the raw and powerful woodcut Man and Woman (1926), is one of his very first prints and was made in New York City. The work portrays an emotionally charged encounter; but rather than tell a story specific to a particular time or nation, Tamayo aspired to express universal emotions in a new and modern style influenced by the abstract paintings of Stuart Davis, German Expressionist prints, and Mexican pre-Columbian and folk aesthetics. This woodcut will be featured in a modern Mexican print exhibition now in the planning stages and scheduled to open at the Cantor in 2015.

Lee Friedlander (U.S.A., b. 1934), Cray at Chippewa falls, Wisconsin, 1986. Gelatin silver print from a set of 79 prints. Promised Gift of Michael J. Levinthal

Rufino Tamayo (Mexico, 1899–1991), man and Woman (Hombre y mujer), 1926. Woodcut. Robert E. and Mary B. P. Gross Fund, 2012.190. © Tamayo Heirs/Mexico/Licensed by VAGA, New York

Lisette Model (U.S.A., b. Austria, 1901–1983), Windows, 5th ave., 1945–55. Gelatin silver print. Elizabeth K. Raymond Fund, 2012.9

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thiNGS to Do

Spotlight on ArtmarK your CaLendars: Graduate students in the Department of Art and Art History give gallery talks on the second Friday of each month at 2 pm during the academic year.

October 12: Sydney Simon, PhD candidate in contemporary art, discusses Martin Puryear’s Malediction in the oshman Family Gallery.

November 9: Michael Bartalos, MFA candidate in art practice, and ellen Yoshi Tani, PhD candidate in art history, discuss John Cage’s Plexigrams in the Lynn Krywick Gibbons Gallery.

Artist’s talk: Andy freebergWednesday, October 3, 6 pm Cantor Arts Center auditorium, free

San Francisco photographer Andy Freeberg discusses his series Guardians, on view in three second-floor galleries, and his related work.

Panel DiscussionThursday, November 1, 6 pm Cantor Arts Center auditorium, free

“When Artists Attack the King : Art and Censorship”Panelists examine censorship in the current art world and compare it to censorship that affected and fueled the art of Honoré Daumier in the 1830s.

Art trips for our membersAnderson CollectionSeptember 22

Washington, D.C.: The HeART of AmericaSeptember 27– October 2

Benicia’s Bounty: An Artists’ CommunityOctober 18

Local TreasuresNovember 7

San Francisco Historic Hotels Celebrate the HolidaysDecember 5

Members only. See your Art Trips flyer for further details. Fee, registration required; call 650-725-7939.

Storytelling in the Galleries a benefit for members at the family/dual level and above

Join storyteller Margaret More in the galleries for a playful and whimsical introduction to art. A hands-on art project follows each session. This program is designed for children and their adult companions to enjoy together.Saturday, November 3 Rehmus Family Gallery for Native American ArtTwo sessions: 9:30 am and 10:30 am Ages 5 to 11

this program is free for members, but reservations are required as space is limited. to register, please call 650-723-3482.

bookshop holiday SalesFriday–Sunday, November 16–18 and November 30–December 2

Just in time for the holidays, members receive 20 percent off all regularly priced merchandise.

ViSit mUSeUm.StANforD.eDU

Visit our web site to get the latest information about programs and events, learn more about exhibitions, sign up for e-news to stay fully informed, and renew your membership.

MAKe A DAy oF IT!the cantor Arts center is your museum—so next time

you visit, why not relax and settle in for the whole day?

bring a picnic to the rodin Sculpture Garden or try an

organic lunch at the cool café; take a docent tour, shop

for holiday gifts in the bookstore, then roam the galleries

until closing. You’re always welcome at the cantor!

LiSette moDeL

Lisette Model (1901–1983) often focused on the fleeting effects of light, reflection, and shadow on shop windows, capturing the dynamism of urban Manhattan in the 1930s and ’40s. our new acquisition, a dreamlike image, offers its visual information in layers: mannequins and a marquee inside a store appear on the same plane as the parked and moving cars, architecture, and sidewalk outside. The combination of recognizable objects and abstract forms makes the familiar seem unreal, and also suggests the passage of time. See streets, shops, signs, and surrealism, Marie Stauffer Sigall Gallery, through September 23

rUfiNo tAmAYo

rufino Tamayo (1899–1991) was Mexico’s most prolific 20th-century printmaker. our new acquisition, the raw and powerful woodcut Man and Woman (1926), is one of his very first prints and was made in New York City. The work portrays an emotionally charged encounter; but rather than tell a story specific to a particular time or nation, Tamayo aspired to express universal emotions in a new and modern style influenced by the abstract paintings of Stuart Davis, German expressionist prints, and Mexican pre-Columbian and folk aesthetics. This woodcut will be featured in a modern Mexican print exhibition now in the planning stages and scheduled to open at the Cantor in 2015.

in conjunction with The Jameel Prize: Art Inspired by Islamic Tradition eternity Is the Absence of Time Thursday, January 24, 5:30 pm Cantor Arts Center auditorium, free

Join us for an evening with rachid Koraïchi, recipient of the 2011 Jameel Prize. Against the backdrop of his award-winning work, the invisible Masters, Koraïchi will discuss the Path of roses, a series of installations that develop over time and in different locations.

Roundtable on Islamic ArtThursday, February 7, 5:30 pm Cantor Arts Center auditorium, free

Listen in as a panel of experts engages in current scholarly debates about contemporary Islamic art. This event is co-organized by the Sohaib and Sara Abbasi Program in Islamic Studies at Stanford University.

CANTor ArTS CeNTer NewSs e P t e m B e r – d e C e m B e r 2 0 1 2

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C a n t o r a r t s C e n t e r

S T A N F O R D U N I V E R S I T Yv i s i t m u s e u m . s ta n f o r d. e d u

FREE DOcENT TOURS

explore the museum’s collection through free guided tours. discover sculpture on campus, including the Papua new Guinea sculpture Garden.tour and event information: 650-723-3469

ShARE PhOTOS OF YOUR VISIT

Join our flickr Group at www.flickr.com/groups/CantorartsCenter.

PARkINg UPDATE

visitor parking has been temporarily located to museum Way, accessible from Palm drive. for environmental reasons, the university is installing a new heating system, and Lomita drive will be partially closed into the fall.

the Center is fully accessible to people with disabilities. for more information, call 650-723-4177 or visit museum.stanford.edu.

Left: Max Pechstein (Germany, 1881–1955), two voices (Zwiesprache) , 1920. Color woodcut. Given in memory of Ruth Haas Lilienthal by the Geballe Family, 1999.46. © 2012 Artists Rights Society (ARS), New York/Pechstein Hamburg/Toekendorf/VG Bild-Kunst, Bonn

stanford university

cANTOR ARTS cENTER

membershiP offiCe

328 Lomita drive

stanford, Ca 94305-5060

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Temporary Visitor Parking

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