Cantor Arts Center & Anderson Collection Magazine | Spring - Summer 2022

SPRING/
SUMMER
2022

Welcome back to the
Anderson Collection and
the Cantor Arts Center.
Take a tour,
listen to a gallery talk,
bring the kids to Family Day, and
enjoy the exhibitions.

SPRING/SUMMER 2022
PAGE 5
Tootsie’s at the Cantor is now open
5 WHAT’S NEW AT THE CANTOR
Tootsie’s café opened Apr. 6
A Cool Million: Petra Cortright
Apr. 22–May 30
LJ Roberts: Carry You With Me
Apr. 27–Nov. 27
6–7 EXHIBITION SPOTLIGHT
A Loaded Camera: Gordon Parks
Through Jul. 3
8 WHAT’S NEW AT THE ANDERSON
Wendy Red Star: American Progress
Apr. 6–Aug. 28
Richard Diebenkorn: A Centennial Celebration
Mar. 9–Sep. 4
PAGE 8
Wendy Red Star, Dust, 2021. Three-color lithograph
on Somerset Satin soft white, with archival pigment
printed chine collé on mulberry paper, ed. 13/25
20.25 x 20 inches. Courtesy of the artist and Sargent’s
Daughters. Photo: Nika Blasser
9 THINGS TO DO
The Burt and Deedee McMurtry Lecture
Apr. 27, 6:30 PM
Gallery Talks: A Loaded Camera: Gordon Parks
Apr. 28, 1 PM and Jun. 24, Noon
Art Breaks with Student Guides [VIRTUAL]
May 11 and Jun. 8, Noon
Art for All: Family Day
May 15, 11 AM–4 PM
10 STAFF AND STUDENT PERSPECTIVE
Book Club
Chocolate Heads’ Fashion Fable
PAGE 10
Chocolate Heads’ Fashion Fable
COVER IMAGE: Gordon Parks (American, 1912–2006), Mrs. Jefferson, Fort
Scott, Kansas (detail), 1950. Gelatin silver print. 1950. Gelatin silver print.
Courtesy of and © The Gordon Parks Foundation. The Capital Group
Foundation Photography Collection at Stanford University, 2019.47.26
INSIDE COVER: Photo by Andrew Brodhead
11 COMING SOON TO THE CANTOR
The Faces of Ruth Asawa
Jul. 6—ongoing
At Home/On Stage: Asian American
Representation in Photography and Film
Aug. 31, 2022—Jan. 15, 2023
PAGE 11
Michael Jang (American, born in 1951). Monroe and
Cynthia Watching TV, 1973. Gelatin silver print on fiberbased
paper. Cantor Arts Center Collection, William
Alden Campbell and Martha Campbell Art Acquisition
Fund, 2020.13.18
3
TABLE OF CONTENTS

Welcome
Make your free all-day
reservation online and
enjoy new exhibitions,
favorite works in the
permanent collections,
outdoor sculpture, lunch
in the café, and more.
Both museums are open
at 100% capacity Wednesday–
Sunday, 11 a.m.–5 p.m. To
review current safety protocols
and to get free reservations, go
to http://bit.ly/beforeyourvisit.
We are looking forward to
seeing you soon!
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
VISIT TODAY
4
In-Person Programs
are Back!
Join us for gallery talks, docent
tours, and special art-related
events. Our free programs are
open to all.
Note: tours are first-come,
first-served and limited to the
gathering guidelines at the time.

The Café Returns
On April 6, the Italian café Tootsie’s, a longtime
favorite at the Stanford Barn, opened a second
location at the Cantor. Tootsie’s at the Cantor
features seasonal soups and paninis, the Tootsie’s
burger, and of course dolci, vino, e caffè. Visitors can dine inside or
outdoors on the south patio with views of the Rodin Sculpture Garden.
Museum members receive 10% off.
The Marmor Collection: Black and White
Prints from the 1970s
APR. 20–AUG. 7
Pigott Family Gallery — 142
This selection of American prints highlights works
that capitalize on the simple but bold graphic impact of black against
white. Artists include Richard Serra, Ellsworth Kelly, Sam Francis, Robert
Rauschenberg, and Bruce Nauman.
Ellsworth Kelly (American, 1923–2015). White Bar with Black, 1973. Lithograph with pencil on Special Arjomari paper. ©
Ellsworth Kelly Foundation and Gemini G.E.L. LLC. Cantor Arts Center, Gift of the Marmor Foundation (Drs. Michael and Jane
Marmor) from the collection of Drs. Judd and Katherine Marmor, 2015.67
A Cool Million: Petra Cortright
APR. 22–MAY 30
A Cool Million is a public arts initiative for climate
awareness led by artists and institutions to
expand environmental justice programming and
support the conservation of one million acres of
land central to the California hydrological system. The Cantor is participating
in the initiative by collaborating with artist Petra Cortright to create a
banner for the museum’s exterior, which features a new digital painting of an
invented landscape evoking the rugged scenery and wildfires of California.
Petra Cortright (American, born in 1986), Hellscape Nº17, 2022. Digital painting on banner. Photo with added banner: Farrin
Abbott / Stanford News Service. This initiative is organized by Haley Melin and Micki Meng and is a collaboration between Art
into Acres, Art+Climate Action, and California museums
LJ Roberts: Carry You With Me
APR. 27–NOV. 27
Lynn Krywick Gibbons Gallery — 210
This exhibition is the result of a long-term,
ongoing project by LJ Roberts, consisting of 26
six-by-four-inch embroidered portraits of the
artist’s friends, collaborators, and lovers within
New York’s queer and trans communities. Stitched entirely by hand, these
embroideries illustrate how politics, culture, and identity manifest in both
visible and subtle ways in daily life.
LJ Roberts (American, born in 1980), Hannah (HH) Hiaasen and Lukaza Branfman-Verissimo, 2020-2021. Embroidery on cotton. © LJ Roberts.
Courtesy the artist and Hales, London and New York. LJ Roberts: Carry You With Me is organized by Pioneer Works, and curated by Gabriel Florenz.
It is made possible through generous support from Pamela and David Hornik. It is also supported in part by the New York City Department of
Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of the New York Legislature
5
WHAT’S NEW AT THE CANTOR

The Capital Group Foundation Gift
A Loaded Camera
Gordon
Langston Hughes, Malcolm X,
and Sister Ethel Muhammad
Sharrieff are some of the
famous faces featured
in the third and final
exhibition in a series at
the Cantor celebrating The
Capital Group Foundation
Photography Collection at
Stanford University, a collection of more than 1,000 20th-century
photographs by American artists.
A Loaded Camera: Gordon Parks, on view in the Ruth Levison
Halperin Gallery through July 3, celebrates the artistry and impact
of Parks’ documentary photography.
Parks’ work as a photographer, writer, composer, and filmmaker
repeatedly broke barriers set against African Americans. For the
self-taught Parks, born to a family of 15 children in a segregated
Kansas town, taking a photograph was never a neutral act. He
famously wrote that early on, he understood his camera to be a
“weapon against all the things I dislike about America – poverty,
racism, discrimination.”
Elizabeth Kathleen Mitchell, Cantor’s interim co-director and the
museum’s Burton and Deedee McMurtry
curator, organized the two previous
Capital Group photography exhibitions
featuring the influential works of Ansel
Adams, John Gutmann, Helen Levitt,
Wright Morris, and Edward West.
In In this final installation in the series,
Mitchell puts Parks’ portraits – of famous,
infamous and anonymous subjects – in
6

Parks
the spotlight. Images from
some of his best-known
photojournalistic projects of
the 1940s through the ’60s are
featured, including photographs
of members of the Nation of
Islam and the Black Panthers.
“The artist honed his direct
visual style during World War II. He learned to anticipate
critical moments and invest information in the body, through
its gestures and physical context,” Mitchell writes. “The volatile
civil rights era further sharpened and refined his voice while
continuing to expose the deep roots of contemporary racism
and economic inequity in the United States.”
For Mitchell, A Loaded Camera
is an example of the way
photography has transformed
how the Cantor addresses the
aesthetic and social concerns
of 20th-century American art.
She writes, “Parks’ portraits
and close figure studies offered clear and
personal views into Black American life.
The persuasive humanity of the images is
a testament to Parks’ capacity to create
objective and documentary art while also
motivating social change.”
ALL IMAGES: Gordon Parks (American, 1912–2006). Courtesy of and © The
Gordon Parks Foundation. The Capital Group Foundation Photography
Collection at Stanford University LEFT TO RIGHT: Emerging Man, 1952. Gelatin
silver print • Langston Hughes, Chicago, Illinois, 1941. Gelatin silver print • Black
Muslim Rally, Harlem, New York, 1963. Gelatin silver print • Gallery installation
photograph by Andrew Brodhead • Duke Ellington Listening to Playback, Los
Angeles, California, 1960. Gelatin silver print
7
EXHIBITION SPOTLIGHT

Wendy Red Star:
American Progress
APR. 6–AUG. 28
This exhibition is a presentation of
works at the Anderson Collection
by artist Wendy Red Star, who
was raised on the Apsáalooke
(Crow) reservation in Montana.
Red Star’s work is informed by her
cultural heritage and engagement with
many forms of creative expression,
including photography, sculpture,
video, fiber arts, and performance.
Installed throughout the first floor of
the museum, the exhibition explores
the ideas of Westward Expansion and Manifest Destiny through the lens
of John Gast’s 1872 painting, American Progress. Much of the work for
this show was created as a collaboration between Wendy Red Star and
Stanford students.
WHAT’S NEW AT THE ANDERSON
Wendy Red Star: Dust, 2021. Three-color lithograph on Somerset Satin soft white, with archival pigment printed chine collé on
mulberry paper, ed. 13/25 20.25 x 20 inches. Photo: Nika Blasse • Wendy Red Star and Stanford Students, American Progress, 2022
Richard Diebenkorn:
A Centennial Celebration
MAR. 9–SEP. 4
Born 100 years ago, Richard Diebenkorn
(1922–1993) produced a body of work
whose beauty and mysteriously empathyinspiring
nature has long attracted many
devotees worldwide. The Anderson
Collection is delighted to celebrate the
artist’s centennial with an installation
of eight works ranging from 1949, when
the artist received his degree from
Stanford, through 1980. The museum
is grateful to the Richard Diebenkorn
Foundation and the Anderson Family
for their loans of this installation.
Richard Diebenkorn, Untitled #32 (Sausalito), 1949, oil on canvas, 57 x 39 1/2 in. (144.8 x 100.3 cm), Courtesy of Richard Diebenkorn
Foundation, © 2022 Richard Diebenkorn Foundation
8

Photo: Beatrice Red Star Fletcher
Wendy Red Star in conversation
with Karen Biestman
Wednesday, April 27, 6:30 PM
Bing Concert Hall
Artist Wendy Red Star will deliver the
annual Burt and Deedee McMurtry
Lecture and engage in conversation
with Karen Biestman, associate dean and director of the Native
American Cultural Center and the dean for community engagement
and diversity at Stanford. The conversation will focus on Red Star’s
experience as an Apsáalooke (Crow) artist and her exhibition Wendy
Red Star: American Progress at the Anderson Collection.
Register at https://bit.ly/3LujWWO
Gallery Talks: Gordon Parks
Thursday, April 28, 1 PM and
Friday, June 24, Noon
In-gallery talks about the Cantor’s special
exhibition, A Loaded Camera led by curator
Elizabeth Kathleen Mitchell. Tours are
first-come, first-served and limited to the
gathering guidelines at the time.
Gordon Parks (American, 1912–2006), Emerging Man, Harlem, New York (detail), 1952. Gelatin silver print. Courtesy of and
© The Gordon Parks Foundation. The Capital Group Foundation Photography Collection at Stanford University, 2019.47.30
Art Breaks with Student Guides
VIRTUAL EVENTS
Wednesdays, 12 Noon PST
May 11, June 8
Enjoy virtual 30-minute interdisciplinary art talks
led by Student Guides featuring artwork from
the Cantor and the Anderson Collections. Receive a Zoom link for the
event after registering on Eventbrite at http://bit.ly/art_breaks
Art for All: Family Day
Sunday, May 15, 11 AM–4 PM
Join us for our first in-person family event
since 2020! Celebrate art and family with
a day of art-making fun and engaging
performances, outdoors between the
Cantor and the Anderson Collection.
Advance registration is required
go to Eventbrite at
http://tiny.cc/a4a522
Family Day is made possible through the generous support of the Hohbach
Family Fund
9
THINGS TO DO

Book Club
The Cantor
and Anderson
Collection DEAI
book club was
started in the
summer of 2020
and grew out of
a need for staff
to empower
themselves
with knowledge
around issues
dealing specifically with diversity, equity, accessibility, and inclusion
within the museum’s framework. The book club meets once a month
to discuss various books and essays. Organizers hope that gathering
and exchanging ideas prompted by selected books is an opportunity to
create community and find shared values that inspire a more inclusive
and open museum and workplace.
STAFF and STUDENT PERSPECTIVES
Collaborating partners for this production
included professional guest artists: Jamie
Lyons (visual and site-specific design),
Connie Strayer (costumes), Patrick Lotilla
(sound design), and Angrette McCloskey
(scenic design). Institutional partners were:
the Cantor Arts Center, the Institute for
Diversity in the Arts, the Dance Division
in the Department of Theater and
Performance Studies, and MINT Magazine.
Fashion Fable - A Dance and Fashion Event at
Cantor Arts Center performed by The Chocolate
Heads Movement Band. Artistic Director: Aleta
Hayes. Photography: Jamie Lyons
Chocolate Heads’
Fashion Fable
The Stanford student production
Fashion Fable on February 24 and 25
marked the long-anticipated return
of the Chocolate Heads to the Cantor
with a live performance. Fashion Fable
brought together contemporary dance,
live music, and a fashion presentation in
celebration of beauty in all of its forms,
metamorphosis in all of the ways one can
imagine, and a rich proposition to awaken
the muses.
10

The Faces of
Ruth Asawa
JUL. 6–ONGOING
Meier Family Galleria — 134
While she is known for her biomorphic
abstract sculptures, Ruth Asawa was an artist
of diverse talent in many media. The Faces of
Ruth Asawa is a long-term installation of 233
ceramic face masks Asawa created of friends,
family members, and fellow artists. Never exhibited in its entirety, the
display of this work showcases Asawa’s range as an artist, arts advocate, and
community member.
Ruth Asawa with life masks on the exterior wall of her house. Photography by Terry Schmitt. ARTWORK: Untitled (LC.012 Wall
of Masks), c. 1966–2000. Ceramic, bisque-fired clay. © 2020 Estate of Ruth Asawa/Artists Rights Society (ARS),
New York. Courtesy The Estate of Ruth Asawa and David Zwirner • Curator Aleesa Pitchamarn Alexander and
conservator Catherine Coueignoux London review a mask in the Cantor’s conservation lab. Photo by Andrew Brodhead
At Home/On Stage:
Asian American
Representation in
Photography and Film
AUG. 31, 2022–JAN. 15, 2023
Ruth Levison Halperin Gallery — 211
This exhibition of 20th-century
photography, film, and video explores how
Asian American artists’ work participates
in sociocultural efforts towards selfdefinition.
At Home/On Stage features
moving depictions of the private family
lives of Asian Americans and conceptual
visual rebuttals to the problematic history
of Asian American representation in
American culture.
Michael Jang (American, born in 1951). Monroe and Cynthia Watching TV, 1973. Gelatin silver print on fiber-based paper.
Cantor Arts Center Collection, William Alden Campbell and Martha Campbell Art Acquisition Fund, 2020.13.18 • Gloria
Wong (Canadian, born in 1998). Ngan, 2020. Archival pigment print. Cantor Arts Center Collection, Gift of the artist in
support of the Asian American Art Initiative, 2020.13.18
11
COMING SOON TO THE CANTOR

328 Lomita Drive
Stanford, CA 94305-5060
NONPROFIT
ORGANIZATION
U.S. POSTAGE
PAID
PALO ALTO CA
PERMIT NO. 28
Museums By
Moonlight
September 17, 2022
Space is limited to this exclusive event.
Reserve your table or tickets soon!
museum.stanford.edu/mxm
This signature fundraising gala
benefits the Cantor Arts Center
and the Anderson Collection at
Stanford University.
We appreciate your support! museum.stanford.edu/support