2021 Fall Cantor Magazine

FALL 2021

FALL 2021
4 WELCOME BACK TO THE MUSEUMS
Learn about reservations, safety
protocols, and parking
5 WHAT’S NEW AT THE CANTOR
Two special exhibitions of works in
the permanent collection and
Enrique Chagoya acquisitions
6–7 EXHIBITION SPOTLIGHT
Paper Chase: Ten Years of Collecting Prints,
Drawings, and Photographs at the Cantor
PAGE 6
Martine Gutierrez (American, born in 1989), Masking,
Green-Grape Mask, p51 from “Indigenous Woman”,
Masking Series, 2018. C-print mounted on Sintra. ©
Martine Gutierrez. Robert E. and Mary B. P. Gross Fund,
2019.144.5
8–9 WHAT’S NEW AT THE ANDERSON
The Anderson Collection reopens
with new exhibitions and a David Park
acquisition
WE LOOK FORWARD TO YOUR VISIT
WELCOME BACK
On April 21 of this year, the museums reopened to the public with
limited capacity, a new reservation system, and great optimism
as we entered the recovery period after more than a year of
sheltering. We have heard from visitors that returning to the
museum is a meaningful way to reconnect with family and friends
and to feel a part of a community again. This fall, after summer
maintenance, the Anderson Collection rejoins the Cantor at
100% capacity, and both museums are offering new exhibitions,
reinstallations of familiar favorites, and in-person and virtual
programs. Safety protocols are still in place to protect visitors and
staff and all doors are open.
PAGE 9
Kiyan Williams, (American, born in 1991), Reaching
Towards Warmer Suns, 2020. Soil from the James River in
Virginia, steel, gems, crystals, and concrete base
PAGE 10
Wing-Kwong Tse, (Chinese, 1902–1993), Chinatown
Musician. Watercolor on paper. The Michael Donald Brown
Collection, made possible by the William Alden Campbell
and Martha Campbell Art Acquisition Fund and the Asian
American Art Initiative Acquisitions Fund, 2020.128
10 STAFF PERSPECTIVE
Framing table highlights from the Cantor
11 COMING SOON TO THE CANTOR
Art/Object and A Loaded Camera:
Gordon Parks
COVER IMAGE: Wesaam Al-Badry (American, born in
Iraq, 1984), Hermes #V, 2018. Archival pigment print.
Gift of Pamela and David Hornik, 2019.3
PAGE 11
Gordon Parks (American, 1912–2006), Emerging Man,
Harlem, New York, 1952. Gelatin silver print. Courtesy
of and © The Gordon Parks Foundation. The Capital
Group Foundation Photography Collection at Stanford
University, 2019.47.30
TABLE OF CONTENTS
3

Welcome Back
We look forward to welcoming
you back to both museums!
See the new exhibitions, revisit
your favorites works, enjoy the
artwork outdoors, and more.
We are open at 100% capacity
Wednesday–Sunday,
11 a.m.–5 p.m.
Ian Cheng: Emissary Sunsets
The Self
Far into the future, a liquid, sentient
AI sends a puddle of itself into the
environment to experience incarnate
life. A “live-simulation,” Cheng’s work
strives to elucidate complex systems
undergirding human life.
Ian Cheng (American, born in 1984), Still from Emissary Sunsets
The Self, 2017. Live simulation and story. Courtesy of the Artist,
Pilar Corrias, Gladstone Gallery, Standard (Oslo). William Alden
Campbell and Martha Campbell Art Acquisition Fund, 2019.200
WELCOME BACK TO THE MUSEUMS
Reservations are Free
Reservations, which are good
throughout the day that you
choose, are required for every
visitor including members. Review
the reopening policies prior
to making your reservation at
https://bit.ly/beforeyourvisit
Contactless Parking
Pay for campus parking using
the ParkMobile App. Visit the
Stanford Transportation page
to familiarize yourself with the
contactless web/app system at
https://bit.ly/aboutparking
Safety Protocols
We ask that you stay home if
you are feeling sick. A mask is
required throughout your visit.
Maintain social distance of six
feet from others. Review the
policies at
https://bit.ly/beforeyourvisit
Enrique Chagoya
Fourteen prints and one
artist’s book by Enrique
Chagoya, Stanford professor
of art and art history and a
practicing artist, were recently
given to the Cantor by
two alumni in honor of
Stanford Professors
Herbert and Eve Clark.
Enrique Chagoya (Mexican, born in 1953), Illegal Alien’s Guide to
Somewhere Over the Rainbow,2010. Color lithograph with chine
collé. Given in honor of Professors Herbert and Eve Clark by
Richard Gerrig and Timothy Peterson, 2020.10
The Marmor Collection:
Frank Stella and
Claes Oldenburg
A selection of 19 prints
from the Marmor Collection
at the Cantor by Frank
Stella and Claes Oldenburg
demonstrate different
approaches to abstraction in
order to evoke the character
of specific places and sites.
Claes Oldenburg, (American, born in Sweden,
1929), Untitled (Ice Cream Cones) from Notes,
1968. 12-color lithograph and embossing. Gift of
the Marmor Foundation (Drs. Michael and Jane
Marmor) from the collection of Drs. Judd and
Katherine Marmor, 2017.123.6
4 5
WHAT’S NEW AT THE CANTOR

TEN YEARS OF COLLECTING
PRINTS, DRAWINGS, AND PHOTOGRAPHS
AT THE CANTOR
Art on paper can take on myriad forms and
expressions, each work revealing a glimpse into the
struggles and beauty of so many different worlds.
Over the last decade, Elizabeth Kathleen Mitchell,
the Burton and Deedee McMurtry Curator
overseeing prints, drawings, and photographs, has
acquired a diverse collection of works on paper by
artists working in the United States, Latin America,
Africa, Europe, and the Middle East. A selection
of these acquisitions are featured in the new
exhibition Paper Chase: Ten Years of Collecting Prints,
Drawings, and Photographs at the Cantor. Running
from September 29, 2021, through January 30,
2022, this much-anticipated installation features
more than 100 objects, many that have never
before been exhibited at the Cantor, including
multiple works by major artists from a host of
different cultures, backgrounds, and countries,
such as Lee Friedlander, José Clemente Orozco,
Carrie Mae Weems, and Malick Sidibé.
- Laurie Lauletta-Boshart
1 2 3
4
5 6
1 Martine Gutierrez (American, born in 1989), Masking, Green-Grape Mask, p51 from “Indigenous Woman”,
Masking Series, 2018. C-print mounted on Sintra. © Martine Gutierrez. Robert E. and Mary B. P. Gross Fund, 2019.144.5 2 Paul Gavarni (Hippolyte-Guillaume-
Sulpice-Chevallier) (French, 1804–1866), Self-Portrait Holding a Cigarette, 1842–45. Lithograph on chin collé. Given in memory of R. E. Lewis by Betsy G. and David
Fryberger, 2019.126 3 Frank Marshall (South African, born in 1985), Ghost, 2010. Archival digital print. Gift of Charles and Diane Frankel, 2016.15 4 Ambreen
Butt (Pakistani, born in 1969), Untitled, 2008. Soft-ground etching, aquatint, spitbite aquatint, lift-ground aquatint, drypoint, and chine collé. Palmer Gross
Ducommun Fund, 2011.38.2 5 Jess T. Dugan (American, born in 1986), Sky, 64, Palm Springs, CA, 2016,2018. Color archival pigment print. Fenton Family Fund,
2019.51.1.1 6 Diego Rivera (Mexican, 1886–1957), Self-Portrait, 1930. Lithograph. © 2020 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico,
D.F./Artists Rights Society (ARS), New York. Robert E. and Mary B. P. Gross Fund, 2012.189
6 7
EXHIBITION SPOTLIGHT

Anderson Collection is Open
After summer maintenance and
a thoughtful reimagining of the
permanent collection, the Anderson
Collection is now open with newly
installed galleries and two special
exhibitions.
Kiyan Williams: Reaching
Towards Warmer Suns
Through 12/5/21
Stanford alum Kiyan Williams’ Reaching
Towards Warmer Suns is a public work
on view among the grove of oak trees in
front of the Anderson Collection.
Kiyan Williams, (American, born in 1991), Reaching Towards
Warmer Suns, 2020, soil from the James River in Virginia, steel,
gems, crystals, and concrete base. Courtesy of the artist.
Photo by Andrew Brodhead
In the Galleries
Hostile Terrain 94, a long-term
installation on the first floor,
is a participatory art project
sponsored and organized by
the Undocumented Migration
Project. The work is composed of
more than 3000 hand-written toe
tags, each representing a migrant
who has died trying to cross the
US-Mexico border at the
Sonoran Desert of Arizona.
This installation takes place simultaneously at more than 100
institutions around the world and is presented in collaboration
with students and faculty from Stanford’s Department of
Anthropology
Sam Richardson:
Islands, Ice, and Sand
Through 3/13/22
California native Sam Richardson
created small-scaled, finely
crafted poetic sculptures that
influenced a generation of artists
and students and helped push
the boundaries of landscape art
in the West.
Sam Richardson, (American, 1934–2013), Most of that Iceberg is
Below the Water, 1969. Plywood, polyurethane foam, polyester
resin, fiberglass, polyester filler, and lacquers. Anderson
Collection at Stanford University, 2014.1.015
New Acquisition
Last year, the Anderson Collection
received a gift from two individuals,
one who has been giving the gift of
time to the museum for years and
the other an alumnus. Keith Jantzen,
museum volunteer, and Scott Beth,
’82, donated Untitled (Portrait of Tom
Jefferson), 1957, by the Bay Area
artist David Park. The painting is
on view for the first time as part of
the reinstallation of the permanent
collection.
David Park, (American, 1911–1960), Untitled (Portrait of Tom
Jefferson, detail), 1957. Oil on canvas. Promised gift from Keith
Jantzen and Scott Beth ‘82 in honor of the Anderson Collection’s
staff and volunteers, TN.2020.1. Image by Impart Photography
Eamon Ore-Giron: Non Plus
Ultra
Through 2/20/22
Eamon Ore-Giron’s work draws
on motifs from indigenous and
craft traditions, such as Amazonian
tapestries and pre-Colombian
goldwork, alongside aesthetics from
20th-century avant-gardes, including
Suprematism, Neo-Concretism,
and Futurism. Moving between
temporalities and across cultural
contexts, his large-scale abstract
geometric paintings manifest a
history of transnational exchange.
Eamon Ore-Giron, (American, born in 1973), Infinite Regress
CLXXXI, 2021. Mineral paint and flashe on linen, (JCG12883).
Courtesy of the artist and James Cohan, New York. Photo by
Charles White/JWPictures.com
8 9
WHAT’S NEW AT THE ANDERSON

Framing Table Highlights by
Albert Lewis
In preparation for an exhibition
in 2022, Albert Lewis, matter
and framer at the Cantor, is
beginning the process of re-housing
watercolors by Wing Kwong Tse
that were acquired from the
Art/Object:
Contemporary Works
between Mediums
Opens 10/18/21
Stanford art history
doctoral candidate and
Cantor Curatorial Fellow
Jennie Waldow considers
contemporary works in the collections of the Cantor and the Bowes Art
& Architecture Library that fall between the cracks of obvious medium
categories in this virtual exhibition. http://tiny.cc/artobject
Allen Ruppersberg (American, born in 1944), Poster Objects (The Color of Perfection Is Pink), 1988. Screenprints on
aluminum. Gift of the Marmor Foundation (Drs. Michael and Jane Marmor) from the collection of Drs. Judd and
Katherine Marmor, 2006.112.a-c
STAFF and STUDENT PERSPECTIVES
Michael Donald Brown
Collection as part of the Asian
American Art Initiative. Based
in San Francisco, the artist made
highly rendered watercolors
out of his apartment above the
famous City Lights bookstore.
Enjoy virtual 30-minute
interdisciplinary art
talks featuring artwork
from the Cantor and the
Anderson Collection
led by the museums’
Student Guides.
Learn more at
http://bit.ly/art_breaks
Wing-Kwong Tse, (Chinese, 1902–1993). Chinatown
Musician. Watercolor on paper. The Michael Donald Brown
Collection, made possible by the William Alden Campbell
and Martha Campbell Art Acquisition Fund and the Asian
American Art Initiative Acquisitions Fund, 2020.128
Art Breaks with
Student Guides
The Capital Group Foundation
A Loaded Camera:
Gordon Parks
Opens 2/23/22
A Loaded Camera celebrates
work by groundbreaking
African American artist
Gordon Parks. This is the third
and final exhibition in a series
Gordon Parks (American, 1912–2006)
TOP: Emerging Man, Harlem, New York, 1952. Gelatin
silver print, 2019.47.30 • BOTTOM: Duke Ellington
Listening to Playback, Los Angeles, California, 1960.
Gelatin silver print, 2019.47.4
BOTH: Courtesy of and © The Gordon Parks
Foundation. The Capital Group Foundation
Photography Collection at Stanford University
celebrating The Capital Group
Foundation Photography Collection,
which features an outstanding
representation of Gordon Parks,
whose work as a photographer, writer,
composer, and filmmaker repeatedly
wrecked the barriers that Black artists
fought during the civil rights era.
For the self-taught Parks, making a
photograph was never a neutral act.
He famously wrote that, early on, he
had understood his camera to be a
“weapon against all the things I dislike
about America—poverty, racism,
discrimination.” This installation
foregrounds the significance of
portraits—of known, infamous, or
anonymous subjects—to Parks’
photographic arsenal.
10 11
COMING SOON TO THE CANTOR

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Presidential Visiting Artist Eamon Ore-Giron with his monumental work, Infinite Regress
CLXXXIII, 2021, on view in the Anderson Collection. Photo by Jason Linetzky
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