Cantor Arts Center & Anderson Collection Magazine | Fall - Winter 2023

FALL/WINTER 2023

NEW AT THE ANDERSON COLLECTION
Sam Francis Centennial THROUGH MAR. 3, 2024
Sam Francis in his Broadway studio,
Santa Monica, 1984. Photo by Jim McHugh
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FALL/WINTER 2023
5 WHAT’S NEW AT THE CANTOR
Imvuselelo: The revival, through
JAN. 21, 2024
Más Allá | Beyond Here: The Judy and
Sidney Zuber Collection of Latin American
Photography, through JAN. 28, 2024
6–7 EXHIBITION SPOTLIGHT
Morris Hirshfield Rediscovered, through
JAN. 21, 2024
8–9 WHAT’S NEW AT THE ANDERSON
Sam Francis Centennial, through
MAR. 3, 2024
Art-o-mat spotlight, through 2023
PAGE 5
Imvuselelo: The revival
Sabelo Mlangeni (South African, born 1980), Isimakade,
2015. Hand-printed silver gelatin print. Courtesy of the
artist and blank projects, Cape Town. © Sabelo Mlangeni
10-11 THINGS TO DO
Morris Hirshfield: A Personal View
SEPT. 28, 2023
ART FOR ALL: Family Day
OCT. 15, 2023
Author Gabrielle Selz on Sam Francis
NOV. 1, 2023
Kenneth Tam: Silent Spikes
Film screening and conversation
NOV. 9, 2023
The Ruth K. Franklin Lecture on the Arts
of Africa, Oceania, and the Americas:
Gabi Ngcobo
NOV. 14, 2023
GALLERY TALKS
Más Allá | Beyond Here: The Judy and
Sidney Zuber Collection of Latin American
Photography
OCT. 19, 2023 and JAN. 17, 2024
Morris Hirshfield Rediscovered
NOV. 16, 2023
SELF-GUIDED TOURS
At the Anderson Collection
PAGE 6–7
Morris Hirshfield Rediscovered
Morris Hirshfield, Birds on the Grass, II, 1944. Oil on
canvas. Cantor Arts Center, Stanford University, Gift of
Maria and Conrad Janis Estate. © 2023 Robert and Gail
Rentzer for Estate of Morris Hirshfield / Licensed by
VAGA at Artists Rights Society (ARS), NY. Photograph by
Melissa Goodwin, courtesy Pace Gallery
COVER IMAGE: Morris Hirshfield, Harp Girl II (Girl with Harp),
1945. Oil on canvas. Collection of Ralph and Bobbi
Terkowitz. © 2023 Robert and Gail Rentzer for Estate of
Morris Hirshfield / Licensed by VAGA at Artists Rights
Society (ARS), NY
PAGE 9
Anderson Collection spotlight: Art-o-mat
Clark Whittington, Art-o-mat, 2014. In the lobby of the
Anderson Collection at Stanford University. Photography
by Aimee Shapiro
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TABLE OF CONTENTS

As we prepare for a new academic year, I’m delighted to
welcome students back to campus and highlight exciting new
exhibitions at the Cantor this fall.
In August, we opened a terrific show, Más Allá | Beyond
Here: The Judy and Sidney Zuber Collection of Latin American
Photography, featuring 34 works by Latin American
photographers from 10 countries. The title, Más Allá | Beyond
Here, taken from a Mexican song, has many meanings and
captures what art can do—providing a lens into other cultures
and countries, allowing us to learn from lived experiences
that may connect and diverge in meaningful ways from
our own. The Zuber Collection is a promised gift that will
form the foundation of a growing collection of Latin American photography here. It is a
meaningful step in supporting the Cantor’s mission to better reflect diverse, international
perspectives in the art that we collect and display.
We believe that university museums can play a crucial role in helping students become
critical thinkers and global citizens, and we are delighted to also be hosting an intimate
show of photographs by South African artist, Sabelo Mlangeni, opening on September 27.
Our major fall exhibition, Morris Hirshfield Rediscovered, is also not to be missed. A
fascinating self-taught artist, Hirshfield took up painting late in life after a successful
career as a slipper manufacturer. Although he painted for only the last 7 years of his life,
during that time, The Museum of Modern Art in New York gave him a solo exhibition
and leading avant-garde artists like Pablo Picasso and Piet Mondrian admired his work.
Curated by Stanford professor Richard Meyer, the show debuted at the American Folk Art
Museum to critical and popular acclaim. We are fortunate to be able to bring an expanded
presentation to the Cantor, highlighting Surrealist artists such as Joan Miró, Kay Sage,
and Leonora Carrington, whose works were exhibited alongside Hirshfield’s works in a
landmark 1942 Surrealism show. In addition, we have a section devoted to self-taught
artists including Hector Hippolyte and Grandma Moses.
We look forward to welcoming you to the museum this fall!
—Veronica Roberts, John and Jill Freidenrich Director, Cantor Arts Center
WELCOME
The Anderson Collection warmly welcomes the campus and
surrounding communities to a new academic year. Museum staff
have prepared the collection and galleries for an exciting fall,
and Stanford students have returned and are enlivening
the campus.
We are delighted to commemorate the centennial of Sam
Francis (1923–1994) with a solo exhibition from September to
March. San Mateo-born Francis was an artist of international
acclaim who returned to the Bay Area in the 1970s and
energized Palo Alto with his artistic output. Sam Francis
Centennial in the Wisch Family Gallery includes the artist’s
work across media, highlights his multifaceted relationship with the Anderson family, and
features the research and writing of a wonderful Stanford graduate student, Emily Chun.
During your visit to the museum, you will also encounter reinstalled collection galleries
accompanied by self-guided tours based on artist friendships, redefining feminism, and
spirituality. Undergraduate students developed and wrote the new tours during the
spring and summer quarters in collaboration with museum staff. Opportunities to attend
free public programs highlighting artists, authors, and contemporary ideas are scheduled
throughout the season, so please check our website for details.
Fostering community is key to our mission, and as members, I hope you feel the
Anderson Collection is your place. Whether a long-standing member or a first-time visitor,
I thank you for your support and look forward to seeing you in our galleries and at our
programs in the coming months.
—Jason Linetzky, Anderson Collection Director
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Imvuselelo: The revival
Through JAN. 21, 2024
Lynn Krywick Gibbons Gallery—210
Sabelo Mlangeni is a South African photographer who cultivates intimacy
and community in his process and work. This sense of familiarity coincides
with a feeling of distance, however, in images that refuse to present
everything in sharp focus and clear detail. This exhibition includes
photographs of some of the 15–18 million members of the African Zionism
movement, a Christian practice, unrelated to Jewish nationalism, which
centers healing.
This exhibition is organized by the Cantor Arts Center. It is presented in concert with the colloquium Curating the Image: African
Photography and the Politics of Exhibitions, instructed by Joel Marie Cabrita, Associate Professor of History and, by courtesy, of
Religious Studies and Susan Ford Dorsey Director, Center for African Studies, Stanford University. We gratefully acknowledge support
from The C. Diane Christensen Fund for African Art. Sabelo Mlangeni (South African, born in 1980), Inkonzo Yokunikela, Twelve at
Ferrum High School, Newcastle, 2018. Hand-printed silver gelatin print. Courtesy of the artist and blank projects, Cape Town.
© Sabelo Mlangeni
Más Allá | Beyond Here: The Judy
and Sidney Zuber Collection of Latin
American Photography
Through JAN. 28, 2024
Ruth Levison Halperin Gallery—211
This single-gallery exhibition features
34 works by Latin American photographers
who foreground the figure’s natural capacity
for storytelling and craft compelling
narratives about the profound changes
of the 20th century. It includes work by
Manuel Álvarez Bravo, Graciela Iturbide,
Flor Garduño, Javier Silva Meinel, and Marta
María Pérez Bravo, among others from
10 countries.
We gratefully acknowledge support from the Zuber Family Art Fund. Cristina Kahlo (Mexican, born in 1960). Fumador de
Huejotzingo, Carnaval de Huejotzingo, Puebla, 2011. Gelatin silver print. The Judy and Sidney Zuber Collection of Latin
American Photography. Courtesy of the artist. © Cristina Kahlo
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WHAT’S NEW AT THE CANTOR

MORRIS HIRSHFIELD
REDISCOVERED
Through JAN. 21, 2024
Freidenrich Family Gallery—221
This exhibition reintroduces
a singular self-taught artist to
contemporary audiences. A Jewish
immigrant, tailor, and slipper
manufacturer in Brooklyn who took
up painting at the age of 65, Morris
Hirshfield (1872–1946) attracted
a great degree of attention during
his brief career as an artist. His
wildly stylized pictures of animals,
landscapes, and often nude female
figures were embraced by the
international avant-garde, including
Pablo Picasso and Piet Mondrian; collected by Peggy Guggenheim;
and featured in a highly publicized solo show at The Museum of
Modern Art in 1943. Yet, the artist was dismissed in the press as an
unschooled amateur and mocked as the “Master of the Two
Left Feet” for his tendency to display the female body in an
unorthodox fashion.
The American Folk Art Museum in New York opened the original
showing in September 2022 to significant critical acclaim. As New
Yorker writer Andrea K. Scott stated in her review, “His subjects
are ornamental, so highly stylized—static, hypnotic—that paint
on canvas performs as beads, trim, and pompoms once did on his
patented slippers, a delightful
selection of which have
been re-created for
the exhibition.” The
Cantor Art Center’s
presentation—the
only viewing on the
West Coast—will
feature more
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works by Surrealist
artists, such as
Yves Tanguy, Kay
Sage, and Leonora
Carrington, as well
as a section devoted
to self-taught artists,
such as John Kane,
Hector Hippolyte,
and Grandma Moses.
The exhibition is curated by Richard Meyer,
Robert and Ruth Halperin Professor in Art
History at Stanford. Meyer explains, “As the
only full-career retrospective of Hirshfield
ever organized, this exhibition offers
visitors a unique opportunity to experience
the vibrant imagination and sheer visual
delight of the artist’s work. By displaying
his paintings alongside avant-garde artists
such as Piet Mondrian and Yves Tanguy, the
show reveals the vital dialogue between
vanguard modernism and self-taught art of
the mid-20th century.”
The exhibition’s accompanying monograph
by Richard Meyer, Master of the Two Left
Feet: Morris Hirshfield Rediscovered (winner
of the 2023 Dedalus Foundation Exhibition
Catalogue Award) will be available for
purchase at the Museum and the Stanford
University Bookstore. $59/$53 members
Morris Hirshfield Rediscovered is organized by the American Folk Art Museum (AFAM), New York, and curated by Richard
Meyer, Robert and Ruth Halperin Professor of Art History at Stanford University. Major support to date provided by Pamela
and David Hornik and the Ellsworth Kelly Foundation. IMAGES: Morris Hirshfield, The Artist and His Model, 1945. Oil on
canvas. American Folk Art Museum, New York, gift of David L. Davies, 2002.23.1. © 2023 Robert and Gail Rentzer for
Estate of Morris Hirshfield / Licensed by VAGA at Artists Rights Society (ARS), NY • Boudoir slippers fabricated by Liz
Blahd, 2021–2022, to the specifications of fourteen of Morris Hirshfield’s design patents. American Folk Art Museum,
New York. Photo: Tony Blahd and Lydia Fine • Morris Hirshfield, Cat and Two Kittens, 1945. Oil on canvas. Collection of
KAWS. © 2023 Robert and Gail Rentzer for Estate of Morris Hirshfield / Licensed by VAGA at Artists Rights Society
(ARS), NY • Piet Mondrian, Composition (no. III) blanc-jaune / Composition with Red, Yellow, and Blue, 1935–1942. Oil on
canvas. Collection SFMOMA, Purchase through a gift of Phyllis C. Wattis. Photograph: Katherine Du Tiel
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EXHIBITION SPOTLIGHT

WHAT’S NEW AT THE ANDERSON
Sam Francis Centennial
Through MAR. 3, 2024
Born in San Mateo in 1923,
Sam Francis began his painting
career after a serious illness,
contracted while training in
the United States Army Air
Corps, left him immobilized in
a Northern California hospital.
During his recuperation period,
Francis studied with Anderson
Collection artist David Park,
who later became a key figure
of the Bay Area Figurative Movement. Painting became, for Francis, a
“way back to life.” In the late 1940s, he returned to the University of
California, Berkeley, to study painting and art history before moving
to Paris in 1950, where he remained for 12 years. He first traveled
to Japan in 1957 and subsequently spent significant periods of his
life there. Throughout the 1950s and 1960s, Francis was one of his
generation’s most well-known American artists in Western Europe
and Japan.
The exhibition highlights Francis’ multifaceted connection to Palo
Alto and the Anderson family. Though he was familiar with this area as
it was his birthplace, it was not until the early 1970s that Francis began
making frequent trips to Palo Alto from his home in Santa Monica to
create prints at 3EP Ltd., a printing press founded by gallerist Paula
Kirkeby, artist Joseph Goldyne,
and collector Mary Margaret
“Moo” Anderson. In 1986,
Francis established a studio
near Stanford University in a
former spray shop for cars that
he transformed into a work
sanctuary. Francis’ artistic
output energized Palo Alto for
decades, and his work became
widely represented in local
collections, including the Anderson family’s. Two Francis paintings
were part of the original 121 works gifted to Stanford by Moo and
Harry W. “Hunk” Anderson and their daughter, Mary Patricia “Putter”
Anderson Pence.
This exhibition is organized by the Anderson Collection at Stanford University, with research and writing by Emily Chun, PhD
candidate in art history. We gratefully acknowledge the lenders and support from the Sam Francis Foundation, museum members,
and the Anderson family. We thank Mitchell Johnson, Stefan Kirkeby, Nancy Mozur, Putter Pence, and John Seed for their
participation. IMAGES: Sam Francis, Red in Red, 1955, oil on canvas, 2014.1.011 • Sam Francis, The Beaubourg, 1977, acrylic
on canvas, 2014.1.053. Both works: Anderson Collection at Stanford University, Gift of Harry W. and Mary Margaret
Anderson, and Mary Patricia Anderson Pence. © Sam Francis Foundation, California / Artists Rights Society (ARS), NY
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Anderson Collection spotlight:
Art-o-mat
In 1997, 10 years out of school with
a degree in graphic design, North
Carolina conceptual artist Clark
Whittington wanted to make owning
original art more accessible to more
people. Nostalgic for the satisfying
simplicity of a vending machine
transaction, he packaged his art in
small uniform boxes wrapped with
cellophane, refurbished and stocked
a vintage cigarette machine with the
boxed art, and temporarily installed
his first Art-o-mat in a café in Winston-
Salem. The cost to pull a knob and
receive a one-of-a-kind treasure was
a dollar.
After a month in the café, the
owner pleaded with Whittington to extend the installation indefinitely.
She liked the swords-to-plowshares ethos of the repurposed cigarette
machines, and customers enjoyed the thrill of acquiring a work of art
for less than the price of their cup of coffee. Whittington knew he was
on to something, so he started buying up retired cigarette machines and
converting them into Art-o-mats featuring radically affordable works from
a collective of participating artists from all over the country.
There are now over 200 Art-o-mats installed around the globe featuring
works by 400 artists, including one in the lobby of the Anderson Collection.
The sleek early 1960s model with industrial reflective silver metal details
and a galvanized steel cabinet in mid-century-modern blue is on loan from
the artist by way of Stanford Residential Education and Lantana Hall, a
freshman residence in the Gerhard Casper Quad where it has been since
2014. The temporary relocation to the Anderson Collection seems a
natural fit, given that many of the works in the collection are from the same
era as the machine.
The price of a work of art is $5, and
the machine accepts bills only and
does not make change. Become a
contemporary art owner with the
pull of a single knob or the owner
of an art collection with the pull of
all nine.
Clark Whittington, Art-o-mat, 2014. In the lobby of the
Anderson Collection at Stanford University • The full
collection of artwork currently stocked in the Art-o-mat.
Photography by Aimee Shapiro
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Morris Hirshfield: A Personal View
Robert Dennis Rentzer and Richard Meyer in conversation
Thursday, September 28, 6 PM
Cantor Auditorium
Morris Hirshfield’s grandson Robert Dennis Rentzer and exhibition
curator Richard Meyer share remembrances, stories, and surprising
tales in celebration of the artist’s extraordinary life.
ART FOR ALL: Family Day
Sunday, October 15, 10 AM–3 PM
Celebrate art and family with a day of art-making
and musical performances on the lawn between the
Cantor and the Anderson Collection.
Family Day is made possible through the generous support of the Hohbach Family Fund.
Author Gabrielle Selz on
Sam Francis
Wednesday, November 1, 6 PM
Anderson Collection
Join us for a special conversation
with Gabrielle Selz, author of Light
on Fire: The Art and Life of Sam
Francis. Selz will discuss her book
and the work of Sam Francis featured at the Anderson Collection in
the exhibition Sam Francis Centennial.
Kenneth Tam: Silent Spikes
Film screening and conversation
Thursday, November 9, 6 PM
Cantor Auditorium
Cowboys, a labor strike, and intertwined histories of
Westward Expansion and Chinese Immigration are
central in this sensuous video by Kenneth Tam.
Installation view of Kenneth Tam: Tender is the hand which holds the stone of memory, October 26, 2022–May 7, 2023, Ballroom
Marfa. Courtesy of the artist and Ballroom Marfa. Photography by Heather Rasmussen
THINGS TO DO
The Ruth K. Franklin Lecture on the Arts
of Africa, Oceania, and the Americas
• Tuesday, November 14, 6 PM, Cantor Auditorium
Featuring Johannesburg, South Africa-based
curator Gabi Ngcobo.
• Tuesday, January 9, 6 PM, Cantor Auditorium
Featuring Edinburgh, Scotland-based professor
Dr. Ileana L. Selejan.
We gratefully acknowledge support from the Ruth K. Franklin Lecture and Symposium Fund. Image courtesy of Jaavett-UP
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Gallery Talks
Enjoy in-gallery talks about the Cantor’s special exhibitions. Gallery talks
are first-come, first-served.
Más Allá | Beyond Here: The Judy and Sidney
Zuber Collection of Latin American Photography
Ruth Levison Halperin Gallery—211
Join a co-curator for a tour of this special exhibition.
• Thursday, October 19, 12 PM
Led by co-curator Maggie Dethloff
• Wednesday, January 17, 12 PM
Led by co-curator Jorge Sibaja
Graciela Iturbide (Mexican, born in 1942). Nuestra señora de las iguanas (Our Lady of
the Iguanas), Juchitán, Oaxaca, 1979. Gelatin silver print. The Judy and Sidney Zuber
Collection of Latin American Photography. Courtesy of the artist. © Graciela Iturbide
Morris Hirshfield Rediscovered
Freidenrich Family Gallery—221
Thursday, November 16, 12 PM
Join Robert and Ruth Halperin
Professor in Art History at
Stanford, Richard Meyer, for a
tour of this special exhibition.
Morris Hirshfield, Girl with Pigeons, 1942. Oil on canvas.
The Museum of Modern Art, New York, The Sidney and
Harriet Janis Collection, 1969, 610.1967. © 2023 Robert
and Gail Rentzer for Estate of Morris Hirshfield / Licensed
by VAGA at Artists Rights Society (ARS), NY
Anderson Collection
Contemporary Themes in
Modern Art
New self-guided tours developed
by undergraduates and museum
staff based on artist friendships,
redefining feminism, and spirituality
are available in hard copy at the
reception desk and online.
Learn more about all our programs
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PERMIT NO. 28
ART FOR ALL: Family Day
OCT. 15, 10 AM–3 PM
Celebrate art and family with a day of art-making
and musical performances on the lawn between
Cantor and the Anderson Collection.
Family Day is made possible through the generous support of the Hohbach Family Fund.
Museum Membership
As a member, you will receive invitations
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Center and the Anderson Collection, such
as behind-the-scenes tours, curator-led talks,
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Photo by John Todd