Stanford University is the home to the core of the Anderson Collection, one of the world’s most outstanding private assemblies of modern and contemporary American art.
The collection is a gift from Harry W. and Mary Margaret Anderson and Mary Patricia Anderson Pence, the Bay Area family who built the collection over the last 50 years.
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Join us for a special exhibition of prints and photographs by world renowned artist Ed Ruscha. Rarely seen black and white photographs from Ruscha’s frequent trips from L.A. to Oklahoma in the 1960s reveal inspirations for his iconic prints and paintings, including images of gas stations, diners and the streets of rural towns like Gallup, new Mexico and Winslow, Arizona. Also featured are color lithographs from his well-known “word paintings” series that mix visual formality with playful language.
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“M. Louise Stanley: No Regrets, 50 Years of Art and Activism.” Ms. Stanley is best known for her humorous narrative style, inspired by Western Art history and Greek mythology. Since the beginning of her career in the 1970s, Ms. Stanley, (aka Lulu,) has tackled the thorny issues of our time–gender inequality, corporate malfeasance, social justice, and all-around bad behavior. Given the current socio-political environment, viewers will appreciate her bold work which treats difficult subjects with wit and insight. Spanning five decades, the exhibition will include artworks shown together for the first time, as well as presenting never-before exhibited works. A selection of her art journals and protest signs will also be on view.
“In this retrospective exhibition of works selected from fifty years of M. Louise Stanley’s career as commentator on the human comedy, both the artist’s wit and her prodigious gift for renovating the history of art are on full view,” states Maria Porges, author of the exhibition catalog essay.
Ms. Stanley’s paintings and journals are filled with lush color, and rich, historically-accurate references. Her work reaches out with striking contemporary relevance and will engage viewers in “Lulu’s” world: where “Bad Bankers” receive ‘just’ punishment, and Greek Gods are seen through a feminist lens, as portrayed in “Jupiter and Io.” She is represented by Anglim/Trimble Gallery in San Francisco.
An exhibition catalog featuring an essay by Maria Porges will be published in conjunction with the exhibit.
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The Crocker hosts one of the state’s premier collections of Californian art, dating from the Gold Rush to the present day, a collection of master drawings, European paintings, one of the largest international ceramics collections in the U.S. and collections of Asian, African, and Oceanic art.
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The de Young museum is the first American venue for the exhibition Calder-Picasso, which features more than 100 sculptures, paintings, drawings, and graphics by Alexander Calder (1898–1976) and Pablo Picasso (1881–1973), two of the most innovative and influential artists of the twentieth century. With his mobiles, Calder animated sculpture and engaged the viewer in a dynamic dialogue with the ever-evolving artwork. Alternating between representation and abstraction, Picasso revealed and explored the infinite potential inherent in both styles, often in the same work of art.
Conceived and curated by Alexander Calder’s grandson Alexander S. C. Rower and Pablo Picasso’s grandson Bernard Ruiz-Picasso, this exhibition juxtaposes artworks by the two artists, revealing both the intriguing parallels between these great innovators and the unique visions that make each distinctive. They reaffirm the revolutionary contributions of two artists who transformed our conceptions of form and space—and thus the very definition of art itself.
This exhibition of selected American artists explores the diverse approaches to abstraction developed since 1950, from the forceful brushwork of Lee Krasner to the contemplative canvases and reliefs of Ellsworth Kelly and the enigmatic wood forms of Martin Puryear. The variety of materials and techniques included in this presentation testifies to abstraction’s enduring potential as a form of artistic expression.
Approaching American Abstraction is the result of an innovative partnership established in 2009 between the Doris and Donald Fisher Collection and the San Francisco Museum of Museum Art. The galleries showcase the shared strengths and complementary nature of our holdings through presentations that blend artworks from the Fishers with pieces from the museum’s collection and occasionally other lenders.
An unapologetic proponent of “poetry as insurgent art,” he was also a publisher and the owner of the celebrated San Francisco bookstore City Lights.
Lawrence Ferlinghetti, the poet, publisher, and political iconoclast who inspired and nurtured generations of San Francisco artists and writers from City Lights, his famed bookstore, died on Monday at his home in San Francisco. He was 101.
The cause was interstitial lung disease, his daughter, Julie Sasser, said.
The spiritual godfather of the Beat movement, Mr. Ferlinghetti made his home base in the modest independent book haven now formally known as City Lights Booksellers & Publishers. A self-described “literary meeting place” founded in 1953 and located on the border of the city’s sometimes swank, sometimes seedy North Beach neighborhood, City Lights soon became as much a part of the San Francisco scene as the Golden Gate Bridge or Fisherman’s Wharf. (The city’s board of supervisors designated it a historic landmark in 2001.) Read More
