Cantor Arts Center & Anderson Collection Magazine | Fall - Winter 2022

FALL/
WINTER
2022

NEW AT THE ANDERSON COLLECTION
Stephanie Syjuco: White Balance/Color Cast SEP. 18, 2022–MAR. 5, 2023
Stephanie Syjuco, Whiteout (Krylon ColorMaster Gloss White on White Oriental Lillies) in the series
“Hard Light,” 2019. Pigmented inkjet print. Edition of 5 + 2AP. Courtesy of the artist, Catharine Clark
Gallery, San Francisco, and RYAN LEE Gallery, New York

FALL/WINTER 2022
5 WHAT’S NEW AT THE CANTOR
The Marmor Collection: Color as Form in
Prints, 1953–1971, through NOV. 27, 2022
At Home/On Stage: Asian American
Representation in Photography and Film,
through JAN. 15, 2023
6–7 EXHIBITION SPOTLIGHT
East of the Pacific: Making Histories of Asian
American Art, SEP. 28, 2022–FEB. 12, 2023
8–9 WHAT’S NEW AT THE ANDERSON
Stephanie Syjuco: White Balance/Color Cast,
SEP. 18, 2022–MAR. 5, 2023
New Acquisition: Eamon Ore-Giron,
Infinite Regress CLXXXIII
10 THINGS TO DO
Art For All: Family Day, OCT. 16, 2022
PAGE 5
The Marmor Collection: Color as Form in Prints, 1953–1971
Sonia Delaunay (French, born in Russia, 1885–1979),
Color Rhythm (Rhythme Coloré), 1953. Pochoir. Cantor
Arts Center, Stanford University. Gift of the Marmor
Foundation (Drs. Michael and Jane Marmor) from the
collection of Drs. Judd and Katherine
Marmor, 2006.98
Symposium: IMU UR2: Art, Aesthetics,
and Asian America Asian America,
OCT. 28–29, 2022
11 COMING TO THE CANTOR
A Change of Scenery: Photographs of Leisure
in the Landscape, FEB. 8–JUL. 16, 2023
Reality Makes Them Dream: American
Photography, 1929–1941, MAR. 29–
JUL. 30, 2023
PAGE 6–7
East of the Pacific: Making Histories of Asian American Art
Tokio Ueyama (American, born in Japan, 1889–1954),
Monterey Cove, 1924. Oil on canvas. Cantor Arts Center,
Stanford University. 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, 2020.129
COVER IMAGE: George Matsusaburo Hibi (American, born
in Japan, 1886–1947), Three Muses, 1930. Oil on canvas.
Cantor Arts Center, Stanford University. 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, 2020.54
PAGE 9
Symposium: IMU UR2: Art, Aesthetics, and Asian America
OCT. 28–29, 2022
Miki Hayakawa (American, born in Japan, 1899–1953)
Sleeping Man, 1926. Oil on canvas. Cantor Arts Center,
Stanford University. 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. Funding
for the conservation of this artwork was generously
provided through a grant from the Bank of America Art
Conservation Project, 2020.48
3
TABLE OF CONTENTS

WELCOME
4
On July 5, Veronica Roberts joined the Cantor as the John and
Jill Freidenrich Director after serving as curator of modern
and contemporary art at the Blanton Museum of Art at The
University of Texas at Austin. Roberts joins the Cantor in the
middle of a busy year of returning, rebuilding, and reimagining
at the museum during the evolving pandemic. First up for the
new director is meeting staff and volunteers and overseeing the
opening of two Asian American art exhibitions and a related
two-day public symposium featuring a keynote conversation
with poet Cathy Park Hong, artist Jen Liu, and AAAI co-founder
Marci Kwon. This fall Roberts and Jason Linetzky, director of
the Anderson Collection, presided over Museums by Moonlight
and look forward to Art for All: Family Day, two signature events
for the museums that bring the arts community together. Read
on to find out more about what’s happening at the museums.
Photo Andrew Brodhead

The Marmor Collection: Color
as Form in Prints, 1953–1971
Through NOV. 27, 2022
Pigott Family Gallery—142
This collection rotation of
American and British prints drawn
from the Marmor Collection at
the Cantor Arts Center highlights
abstract works from the early
1950s to the ’70s that explore the
relationship between color and
form. Artists represented include
Sonia Delaunay, Sam Francis,
Allen Jones, Ellsworth Kelly, and
Frank Stella.
We gratefully acknowledge support from the Marmor
Foundation Gift Fund. IMAGE: Allen Jones (English, born
in 1937), Untitled from Life Class, 1968. Lithograph.
Cantor Arts Center, Stanford University. Gift of the
Marmor Foundation (Drs. Michael and Jane Marmor)
from the collection of Drs. Judd and Katherine Marmor,
2006.101.6.a-b
At Home On Stage: Asian
American Representation in
Photography and Film
Through 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 toward
self-definition. 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. This
exhibition is part of the Asian
American Art Initiative (AAAI).
We gratefully acknowledge support from the Halperin Exhibitions Fund. IMAGE: Gloria Wong (Canadian, born in 1998), Ngan,
2020. Archival pigment print. Cantor Arts Center, Stanford University. Gift of the artist in support of the Asian American Art
Initiative, 2021.132
5
WHAT’S NEW AT THE CANTOR

SEP. 28, 2022–FEB. 12, 2023
Freidenrich Family Gallery—221
This exhibition asks: what it
would mean to consider
a history of the United
States as one of Eastern
expansion from Asia? How
might we reorient our
understanding of what
constitutes Asian, and
what constitutes American,
through looking at artists
who worked between these
worlds? This exhibition
argues that the continental
United States’ western
coast was—and continues
to be—fundamentally shaped by its interactions with Asia, which is
especially evident in its artistic production. Though long overlooked
by mainstream art institutions, Asian diasporic artists have helped
shape and advance the course of American art, serving as vanguards,
teachers, and activists within their communities and beyond.
Works in East of the Pacific
were acquired from a variety of
sources. A significant percentage
of the objects presented came
from the estate of Michael Donald
Brown, a Bay Area arts dealer
and collector who amassed an
unparalleled collection of pre-
1950 Asian Californian art. Many
gifts of art reflect the generosity
and support of larger Bay Area arts and AAPI communities: living
artists, historic artists’ estates, Japanese incarceration survivors, and
6

contemporary art collectors all contributed
to this exhibition. The provenance of these
objects tells stories about how Asian
American art has been created, cared for,
and preserved—demonstrating that historymaking
is an active and ongoing process.
Curated by assistant curator of American
Art, Aleesa Pitchamarn Alexander, she
said, “This exhibition is a testament to the power of community
and collaboration. It is dedicated to the artists represented and
their families, as well as important foundational figures to the
history of Asian American art, like scholars Mark Dean Johnson
and Gordon Chang. Without their support, Marci Kwon and
I would not be able to do the work of the Asian American Art
Initiative.” Alexander continues, “East of the Pacific just scratches
the surface of Asian American art history. Not all Asian diasporas
are equitably represented. There is much to celebrate here, but
working on this exhibition has made clear to me just how much
more there is to do.”
Artists represented in the exhibition include Toshio Aoki
(Japanese, active in U.S.A., 1854–1912), Bernice Bing (American,
1936–1998), Chiura Obata (American, born in Japan, 1885–
1975), Toshiko Takaezu (American, 1922–2011), Carlos Villa
(American, 1936–2013), Martin Wong (American, 1946–1999),
and Jade Fon Woo (American, 1911–1983). To accompany the
exhibition, the Asian American artist performance collective For
You, was commissioned to create
a series of original audio tours.
We gratefully acknowledge support from the Robert Mondavi
Family Fund, the Terra Foundation for American Art, Pamela
and David Hornik, and the Bank of America Art Conservation
Project. IMAGES: Bernice Bing (American, 1936–1998),
Blue Mountain No. 4, 1966. Oil and acrylic on canvas. Gift of
Alexa Young. Funding for the conservation of this artwork
was generously provided through a grant from the Bank of
America Art Conservation Project, 2020.14 • Chiura Obata
(American, born in Japan, 1885–1975), Tanforan, Mr. S.
Yamamoto, Mr. M. Kimbara First Vegetable Raised, 1942. Ink
on paper. Gift of the Estate of Chiura Obata in support of
the Asian American Art Initiative, 2022.29 • Toshiko Takaezu
(American, 1922–2011), #8, c. 1990s. Stoneware with glazes.
Gift of the artist, 2008.230 • Jade Fon Woo (American,
1911–1983), Lanterns-S.F. Chinatown, c. 1943–1949.
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, 2020.146. All images: Cantor
Arts Center, Stanford University
7
EXHIBITION SPOTLIGHT

Stephanie Syjuco: White
Balance/Color Cast
SEP. 18, 2022–MAR. 5, 2023
Wisch Family Gallery
Utilizing photography,
video, installation, and social
practice, artist and educator
Stephanie Syjuco interrogates
the construction of American
history and foregrounds
its colonial practices. She
is a tireless researcher
of national archives who,
through examination and
appropriation, questions
the neutrality of images and
counters existing power
structures. Dedicated to
repositioning narratives
and constructing new ones,
Syjuco asks her viewers to
shift their perspectives and
critically engage in creative
acts of inclusion.
WHAT’S NEW AT THE ANDERSON
White Balance/ColorCast
derives from Syjuco’s
established interest in
photographic imaging
standards, color calibration
charts, and photography’s
suggestive powers. The commonly used
term, white balance, refers to the process
of removing an image’s color cast, shifting
the image to what could be considered a
more “neutral” or accurate representation.
In Syjuco’s case, she uses these traditional
imaging terms to question how
photography and imaging standards—such
as the quest for “correct” color—reflect
deep-seated biases, positioning whiteness
as its center.
8

Born in the Philippines in 1974,
Syjuco earned a BFA from the San
Francisco Art Institute in 1995 and
an MFA from Stanford University in
2005. She is the recipient of a 2014
Guggenheim Fellowship Award, a
2009 Joan Mitchell Painters and
Sculptors Award, and a 2020 Tiffany
Foundation Award.
We gratefully acknowledge support from Pamela and David
Hornik. ALL IMAGES: Stephanie Syjuco: Cargo Cults: Head Bundle
(Small), 2016. Pigmented inkjet print. Edition of 15 + 2AP •
Orange Alert (Fluorescent Orange on White Tulips) in the series
“Hard Light,” 2019. Pigmented inkjet print. Edition of 3 + 2AP •
Pileup (Eastman), 2021. Hand-assembled pigmented inkjet prints
on Hahnemuhle Baryta. Edition 3 + 2AP • Installation shot of
Block Out the Sun, 2021. Single-channel video with sound. Edition
of 3 +2AP. Photo: John Janca. ALL IMAGES: Courtesy of the artist,
Catharine Clark Gallery, San Francisco, and RYAN LEE Gallery,
New York
New Acquisition: Infinite Regress CLXXXIII
The Anderson Collection was honored to present an exhibition of Eamon
Ore-Giron’s paintings in the fall of 2021 and is excited to continue sharing his
voice and work with the community by acquiring Infinite Regress CLXXXIII, 2021,
for the museum’s permanent collection. 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.
Moving between temporalities and across cultural contexts, his large-scale
abstract geometric paintings manifest a history of transnational exchange. We
extend our deep gratitude to all who made this acquisition possible.
IMAGE: Installation
view, Eamon Ore-
Giron, Infinite Regress
CLXXXIII, 2021, flashe
and mineral paint
on linen, Anderson
Collection at Stanford
University. Gift of
Pamela and David
Hornik with generous
support from the
Harry W. and Mary M.
Anderson Charitable
Foundation, Andi
Okamura and Jeff
Chambers, Leslie and
Kenneth Heisz, Mary
Patricia Anderson
Pence, and Kathryn
and Thomas Wiggans,
2022.1
9

Art for All: Family Day
OCT. 16, 2022, 11 AM–4 PM
Celebrate art and family with a
day of art-making and engaging
performances on the lawn
between the Cantor and the
Anderson Collection. Free
registration is required at
https://stanford.la/3Rwv8Wi
Family Day is made possible through
the generous support of the Hohbach
Family Fund
Symposium: IMU UR2: Art,
Aesthetics, and Asian America
OCT. 28–29, 2022
Organized by the Asian American Art Initiative
(AAAI) and the Stanford Arts Incubator,
this two-day symposium will bring together
artists, curators, and academics to rethink and
reimagine the histories and futures of artists of
Asian descent.
The title of the symposium, IMU UR2 is a phrase
coined by the painter Martin Wong, who lived
in San Francisco and New York. Phonetically
reading “I am you, you are two/too/to,” it captures the imagination,
playfulness, and conceptual depth of Wong’s work. Here, the self is
not singular but made in relation to others, who are likewise made
in relation to us. The phrase encapsulates the symposium’s aim of
thinking through the myriad ways Asian/Americans, and the work they
create, are at once connected and distinctive.
THINGS TO DO
The symposium panels are titled Global Intimacies, Race and Aesthetics,
Art & Activisms, History & Memory, Gender and Sexuality, and Institutional
Interventions, and they will be followed each day by a reception. The
event will conclude with a keynote conversation at Bing Concert
Hall between Cathy Park Hong , author and poet; Jen Liu, artist; and
Marci Kwon, co-director of the Asian American Art Initiative. Free and
open to the public, the symposium will also be live-streamed. Check
the museum website (museum.stanford.edu) for more information,
including RSVP instructions.
IMAGE: Martin Wong (American, 1946–1999), Chinatown Dragon, 1993. Acrylic on canvas. Cantor Arts Center, Stanford
University. Gift of The Martin Wong Foundation, 2019.202
10

A Change of Scenery:
Photographs of Leisure in the
Landscape
FEB. 8–JUL. 16, 2023
Ruth Levison Halperin Gallery—211
This exhibition surveys ways
of “being” in the landscape,
encompassing common activities
like sightseeing, recreation, and
play, and affective states like joy,
intimacy, affinity, and belonging.
Displaying approximately 55
American photographs from the
19th and 20th centuries from the
Cantor’s collection featuring people
in various outdoor public spaces, this
single-gallery exhibition considers the importance of access to nature
and leisure, what access entails, and how it shapes identity.
We gratefully acknowledge support from the Halperin Exhibitions Fund. IMAGE: Robert Frank (American, born in
Switzerland, 1924–2019), Couple with Child Sleeping in Woods, c. 1950. Gelatin silver print. Cantor Arts Center, Stanford
University. © Andrea Frank Foundation. Gift of Raymond B. Gary, 1984.493.94
Reality Makes Them Dream:
American Photography,
1929–1941
MAR. 29–JUL. 30, 2023
Freidenrich Family Gallery—221
This exhibition features works
created in the 1930s by five
artists in the Capital Group
Foundation Photography
Collection: Ansel Adams,
John Gutmann, Helen
Levitt, Wright Morris, and
Edward Weston. Displayed
among a diverse selection
of photographs by their
contemporaries, this material
illuminates how American
artists used photography to
spark the imagination.
We gratefully acknowledge support from The Capital Group Foundation Photography Collection Fund and the Kazak
Acquisitions and Exhibitions Fund. IMAGE: Wright Morris (American, 1910–1998), Gano Grain Elevator, Western Kansas,
1940. Gelatin silver print. © Estate of Wright Morris. Courtesy of the Center for Creative Photography. Cantor Arts
Center. The Capital Group Foundation Photography Collection at Stanford University, 2019.46.12
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COMING TO THE CANTOR

328 Lomita Drive
Stanford, CA 94305-5060
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PALO ALTO CA
PERMIT NO. 28
Art for All: Family Day
OCT. 16, 11 AM–4 PM
Celebrate art and family with a day of
art-making and engaging performances
on the lawn between the Cantor
and the Anderson Collection. Free
registration is required.
https://stanford.la/3Rwv8Wi
Family Day is made possible through the generous
support of the Hohbach Family Fund
We appreciate your support! museum.stanford.edu/support