Podcasts about cantor arts center

Portrait of artist in studio, 2016 Photo: Don Stahl Courtesy of Susan Inglett Gallery, NYC. Hope Gangloff (b. 1974)attended The Cooper Union for the Advancement of Science andArt. She is well known for her vibrant portrait and landscape paintings that combine a distinctive bright palette with intricate line work. Her early portraiture garnered attention for its intimate observation of relatable moments, from a road trip with friends to a late-night houseparty. Gangloff's work was recently exhibited in "Forces of Nature: Voices That Shaped Environmentalism" at the National Portrait Gallery, Washington D.C. and in "Women PaintingWomen" at the Fort Worth Modern, with an upcoming solo exhibition at Susan Inglett Gallery,NYC, from 1 May–7 June 2025. Solo exhibitions include the Cantor Arts Center, StanfordUniversity; the Broad Art Museum, East Lansing; and Aldrich Contemporary Art Museum, Ridgefield. Her work can be found in the permanent collections of the Grinnell CollegeMuseum of Art, Grinnell; National Portrait Gallery, Washington, D.C.; the Broad Art Museum,East Lansing; the Kemper Museum, Kansas City; and Pennsylvania Academy of the Fine Arts,Philadelphia, among others. Hope Gangloff, James (Case-Leal), 2025 (Detail) Acrylic on linen 36 x 26 in. Copyright The Artist Courtesy of Susan Inglett Gallery, NYC. Hope Gangloff, 'Bittersweet' barn, 2025 (Detail) Acrylic on canvas 48 x 72 in. Copyright The Artist Courtesy of Susan Inglett Gallery, NYC. Hope Gangloff, Matthew (Holtzclaw) & Prakash (Puru), 2025 (Detail) Acrylic on wood panel 80 1/2 x 48 in. Copyright The Artist Courtesy of Susan Inglett Gallery, NYC.

Stephanie H. Shih in the studio, Brooklyn, NY, 2025. Photo: Robert Bredvad Stephanie H. Shih (b. 1986, Philadelphia, PA) renders outdated consumer goods as trompe l'oeil sculptures that reveal the tensions within American domestic life. Turning everyday items—a Thighmaster, a self-help book, many pantries' worth of condiments—into intricately painted ceramic objects transforms each into a permanent artifact. Seen together, the works play with notions of timelessness and obsolescence, nostalgia and disillusionment. Shih has exhibited work at James Cohan, New York, NY; Jeffrey Deitch, Los Angeles, CA; Berggruen Gallery, San Francisco, CA; Alexander Berggruen, New York, NY; Cantor Arts Center, Stanford, CA; Berkeley Art Museum and Pacific Film Archive, Berkeley, CA; Santa Barbara Museum of Art, Santa Barbara, CA; Bradbury Art Museum, Jonesboro, AR; and the American Museum of Ceramic Arts, Pomona, CA. The artist has also been the recipient of numerous awards and residencies including the NYSCA/NYFA Artist Fellowship, New York, NY; residency at The Corporation of Yaddo, Saratoga Springs, NY as well as many others. Community work is central to Shih's practice, and since 2017, she has used her art and platform to raise over half a million dollars in direct aid for victims of state violence. Want to help? Click here. She is currently based in Brooklyn, New York. Works from Stephanie H. Shih's solo show Domestic Bliss (January 22-February 26, 2025) at Alexander Berggruen, New York. All works: 2023-2024, ceramic. Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Robert Bredvad Stephanie H. Shih Filet-O-Fish, 2023 ceramic 5 1/2 x 5 x 5 1/2 in. (14 x 12.7 x 14 cm.) Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Robert Bredvad.  Included in Stephanie H. Shih: Domestic Bliss (January 22-February 26, 2025) at Alexander Berggruen, NY. Stephanie H. Shih Zen and the Art of Motorcycle Maintenance, 2024 ceramic 7 x 4 1/2 x 1 1/2 in. (17.8 x 11.4 x 3.8 cm.) Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Robert Bredvad.  Included in Stephanie H. Shih: Domestic Bliss (January 22-February 26, 2025) at Alexander Berggruen, NY.

A 2025 preview: Georgina Adam, our editor-at-large, tells host Ben Luke what might lie ahead for the market. And Ben is joined by Jane Morris, editor-at-large, and Gareth Harris, chief contributing editor, to select the big museum openings, biennials and exhibitions.All shows discussed are in The Art Newspaper's The Year Ahead 2025, priced £14.99 or the equivalent in your currency. Buy it here.Exhibitions: Site Santa Fe International, Santa Fe, US, 28 Jun-13 Jan 2026; Liverpool Biennial, 7 Jun-14 Sep; Folkestone Triennial, 19 Jul-19 Oct; Ruth Asawa: A Retrospective, San Francisco Museum of Modern Art, 5 Apr-2 Sep; Museum of Modern Art (MoMA), New York, 19 Oct-7 Feb 2026; Gabriele Münter, Guggenheim Museum, New York, 7 Nov-26 Apr 2026; Musée d'Art Moderne de Paris, 4 Apr-24 Aug; Elizabeth Catlett: a Black Revolutionary Artist, Brooklyn Museum, New York, until 19 Jan; National Gallery of Art (NGA), Washington DC, 9 Mar-6 Jul; Art Institute of Chicago, US, 30 Aug-4 Jan 2026; Ithell Colquhoun, Tate Britain, London, 13 Jun-19 Oct; Abstract Erotic: Louise Bourgeois, Eva Hesse, Alice Adams, Courtauld Gallery, London, 20 Jun-14 Sep; Michaelina Wautier, Kunsthistorisches Museum, Vienna, 30 Sep-25 Jan 2026; Radical! Women Artists and Modernism, Belvedere, Vienna, 18 Jun-12 Oct; Dangerously Modern: Australian Women Artists in Europe, Art Gallery of South Australia, Adelaide, 24 May-7 Sep; Art Gallery of New South Wales, Sydney, 11 Oct-1 Feb 2026; Lorna Simpson: Source Notes, Metropolitan Museum of Art, New York, 19 May-2 Nov; Amy Sherald: American Sublime, SFMOMA, to 9 Mar; Whitney Museum of American Art, New York, 9 Apr-Aug; National Portrait Gallery, Washington DC, 19 Sep-22 Feb 2026; Shahzia Sikander: Collective Behavior, Cincinnati Art Museum, 14 Feb-4 May; Cleveland Museum of Art, US, 14 Feb-8 Jun; Cantor Arts Center, Stanford, US, 1 Oct-25 Jan 2026; Jenny Saville: The Anatomy of Painting, National Portrait Gallery, London, 20 Jun-7 Sep; Linder: Danger Came Smiling, Hayward Gallery, London, 11 Feb-5 May; Arpita Singh, Serpentine Galleries, London, 13 Mar-27 Jul; Vija Celmins, Beyeler Collection, Basel, 15 Jun-21 Sep; An Indigenous Present, ICA/Boston, US, 9 Oct-8 Mar 2026; The Stars We Do Not See, NGA, Washington, DC, 18 Oct-1 Mar 2026; Duane Linklater, Dia Chelsea, 12 Sep-24 Jan 2026; Camden Art Centre, London, 4 Jul-21 Sep; Vienna Secession, 29 Nov-22 Feb 2026; Emily Kam Kngwarray, Tate Modern, London, 10 Jul-13 Jan 2026; Archie Moore, Queensland Gallery of Modern Art, 30 Aug-23 Aug 2026; Histories of Ecology, MASP, Sao Paulo, 5 Sep-1 Feb 2026; Jack Whitten, Museum of Modern Art, New York, 23 Mar-2 Aug; Wifredo Lam, Museum of Modern Art, Rashid Johnson, Solomon R. Guggenheim Museum, New York, 18 Apr-18 Jan 2026; Adam Pendleton, Hirshhorn Museum and Sculpture Garden, Washington DC, 4 Apr-3 Jan 2027; Marie Antoinette Style, Victoria and Albert Museum, London, 20 Sep-22 Mar 2026; Leigh Bowery!, Tate Modern, 27 Feb- 31 Aug; Blitz: the Club That Shaped the 80s, Design Museum, London, 19 Sep-29 Mar 2026; Do Ho Suh, Tate Modern, 1 May-26 Oct; Picasso: the Three Dancers, Tate Modern, 25 Sep-1 Apr 2026; Ed Atkins, Tate Britain, London, 2 Apr-25 Aug; Turner and Constable, Tate Britain, 27 Nov-12 Apr 2026; British Museum: Hiroshige, 1 May-7 Sep; Watteau and Circle, 15 May-14 Sep; Ancient India, 22 May-12 Oct; Kerry James Marshall, Royal Academy of Arts, London, 20 Sep-18 Jan 2026; Kiefer/Van Gogh, Royal Academy, 28 Jun-26 Oct; Anselm Kiefer, Ashmolean Museum, Oxford, 14 Feb-15 Jun; Anselm Kiefer, Van Gogh Museum, Stedelijk Museum, Amsterdam, 7 Mar-9 Jun; Cimabue, Louvre, Paris, 22 Jan-12 May; Black Paris, Centre Pompidou, Paris, 19 Mar-30 Jun; Machine Love, Mori Art Museum, Tokyo, 13 Feb-8 Jun Hosted on Acast. See acast.com/privacy for more information.

Pamela Hornik is an art collector based out of the Bay Area. She is a Founding member of the Institute of Contemporary Art San Francisco (ICA SF), Board member of Stanford's Cantor Arts Center, and a Management committee member of Stanford's Anderson Collection. Pamela and her husband, David Hornik, also regularly supports artists with funding their exhibitions, publishing their books, and more. In recent years, thanks to a deep connection with her Maltese Chihuahua mix Teddy, Pamela began to focus more on collecting dog art from contemporary artists. Eventually, this turned into a traveling exhibition called Some Dogs, which first exhibited in San Francisco in 2023 and then in Dallas in 2024.For photos of the artwork Pamela mentions from her collection and more information: www.dogsavethepeople.com/episodes/pamela-hornik-2024   

Episode No. 681 of The Modern Art Notes Podcast features artist Tidawhitney Lek. Lek is featured in "Spirit House" at the Cantor Arts Center at Stanford University. The exhibition considers how 33 contemporary artists of Asian descent challenge the boundary between life and death through art, including how the spiritual relates to diaspora, connections to ancestral homelands, and the experience of feeling present within multiple cultures and multiple geographies. The show's curatorial framework was inspired by spirit houses, small devotional structures found throughout Thailand that provide shelter for the supernatural. The exhibition was curated by Aleesa Pitchamarn Alexander with Kathryn Cua. It is on view through January 26, 2025. An excellent exhibition catalogue, titled "Spirit House: Hauntings in Contemporary Art of the Asian Diaspora,"  was published by the Cantor and Gregory R. Miller & Co. Amazon and Bookshop offer it for $45-50. Discussed on the program: Martha Rosler's "House Beautiful: Bringing the War Home" series may be viewed on the website of the Museum of Modern Art, New York. The work of Amir Fallah and Annie Lapin. Lek's website. Lek is a southern California-based, Cambodian-American artist whose work examines narratives surrounding and the daily experiences of a first-generation American born to immigrant parents. Her work has been included in exhibitions at the Museum of Contemporary Art San Diego, the Made in LA biennial at the Hammer Museum, University of California, Los Angeles, and the Institute of Contemporary Art Miami. Her first museum solo show was at the Long Beach Museum of Art last year. Instagram: Tidawhitney Lek, Tyler Green.

Episode No. 669 is a summer clips episode featuring artist Tammy Nguyen. This late summer and fall Nguyen will be featured in two institutional exhibitions, one a solo show and the other a group show. On October 4, the Sarasota (Fla.) Art Museum will present "Tammy Nguyen: Timaeus and the Nations." The show was curated by Rangsook Yoon. On September 4 the Cantor Arts Center at Stanford University will present "Spirit House." It's an examination of how contemporary artists of Asian descent challenge the boundary between life and death through art. It was curated by Aleesa Pitchamarn Alexander with Kathryn Cua. Nguyen was a recipient of a 2023 Guggenheim fellowship, and has exhibited at museums such as MoMA PS1, the Metropolitan Museum of Art, The Factory Contemporary Arts Center in Ho Chi Minh City, Vietnam, and more. Her work is in the collection of museums such as the Institute of Contemporary Art Miami and the Dallas Museum of Art. This program was taped in 2023 on the occasion of her first museum solo exhibition, at the Institute of Contemporary Art, Boston. She is also the founder of Passenger Pigeon Press, an artists' book publisher. For images, see Episode No. 625B.

Lonnie Holley and Aleesa Pitchamarn Alexander in conversation at the Auburn Forum for Southern Art and Culture, a symposium organized by The Jule Collins Smith Museum of Fine Art at Auburn University on February 3, 2024. Dr. Aleesa Pitchamarn Alexander is curator of the exhibition "Black Codes: Art and Post-Civil Rights Alabama" on view January 23 through July 7, 2024 at The Jule Collins Smith Museum of Fine Art at Auburn University, featuring the work of Lonnie Holley alongside work by Thornton Dial (1928 – 2016), Ronald Lockett (1965 – 1998) and Joe Minter (b. 1943). Dr. Alexander is the Halperin Associate Curator of Modern and Contemporary Art and Co-Director of the Asian American Art Initiative at the Cantor Arts Center, Stanford University. Lonnie Holley (b. Birmingham, AL, 1950) lives and works in Atlanta, Georgia. His work is represented in the permanent collections of the Los Angeles County Museum of Art, Los Angeles, CA; Metropolitan Museum of Art, New York, NY; National Gallery of Art, Washington, DC; Smithsonian American Art Museum, Washington, DC; Whitney Museum of American Art, New York, NY; among many others.

We're re-releasing a wonderful episode about the positive impact art has on individual and societal health. Guest Deborah Cullinan, vice president for the arts at Stanford, shares how including just 10-20 minutes of art in your day — whether through drawing or dancing to your favorite song — can contribute to improved health. Her insights remind us, and hopefully will remind you as well, that art plays a valuable role in both individual and societal well being. Connect With Us:Episode Transcripts >>> The Future of Everything WebsiteConnect with Russ >>> Threads or Twitter/XConnect with School of Engineering >>> Twitter/XChapters:(00:00:00) Introduction(00:02:04) The Power & Appreciation of ArtDiscussion on the societal shift and increased appreciation and demand  for art activities.(00:05:30) Expansive Definition of Art Discussion on potential pushback and challenges in defining art boundaries.(00:07:55) Art and Health The intersection of art and health, emphasizing its significance and the book “Your Brain on Art” and some of the neuroscience based benefits.(00:11:33) Art in Healthcare Highlighting some of the programs integrating art and healthcare at Stanford including, Stanford Medicine's program "Medicine in the Muse" art programs for healthcare providers, and supporting mental health services for students.(00:13:30) Micro Art Moments The potential benefits of small doses of art and demand for art programs (00:15:19) Fluidity in Creating and Consuming Art The symbiotic relationship between creators and consumers of art and the way creating makes you appreciate art more.(00:18:04) Technology and the Arts (00:22:44) Exciting Art Collaborations at Stanford(00:25:53) The Importances of Art Spaces as safe spaces and community hubs(00:28:27) Conclusion Connect With Us:Episode Transcripts >>> The Future of Everything WebsiteConnect with Russ >>> Threads or Twitter/XConnect with School of Engineering >>> Twitter/X

This week we share a conversation with Sarah and Bay Area artist Jamil Hellu. They talked during a shared artist residency at the Space Program in August 2023. About Jamil Hellu Jamil Hellu is a visual artist whose work focuses on the fluidity of identity, cultural heritage, and queer representation, often pointing to the tensions found in the evolving discourses about sexuality. He is a Photography Lecturer in the Department of Art & Art History at Stanford University and is represented by Rebecca Camacho Presents in San Francisco.Through a multidisciplinary practice rooted in photography and that includes video, sculpture, and installation, Hellu's projects interrogate the dominant patriarchal ideology of masculinity while challenging preconceived notions about gender expression. Navigating from a personal lens, he frequently incorporates his own history as an immigrant to the United States, exploring the impact of cultural hybridity. His art fosters empathy and dialogue, ultimately promoting a more inclusive and equitable world.Hellu holds a Masters in Fine Arts in Art Practice from Stanford University and a Bachelors of Fine Arts in Photography from the San Francisco Art Institute. His work has been discussed in publications such as The New York Times, The Guardian, Artforum, and VICE. He has held multiple art residencies including at the Headlands Center for the Arts and the Cité Internationale des Arts in Paris. Public collections holding his work include the San Francisco Museum of Modern Art; Cantor Arts Center; and the Blanton Museum of Art. Show Notes: https://jamilhellu.net/about Jamil's solo show at Rebecca Camacho, "Odyssey" https://rebeccacamacho.com/exhibitions Folsom Street Fair https://www.folsomstreet.org Pop Out https://www.dukeupress.edu/pop-out About The Side Woo Host & Creator: Sarah Thibault Sound & Content Editing: Sarah Thibault Intro and outro music: LewisP-Audio found on Audio Jungle Recording Studio: The Space Program The Side Woo is a podcast created through The Side Woo Collective. To learn more go to thesidewoo.com For questions, comments, press, or sponsorships you can email thesidewoo@gmail.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/thesidewoo/message

Episode No. 626 features curator Michelle White and artist Kenneth Tam.  With Megan Holly Witko, White is the co-curator of "Chryssa & New York," a survey of work the Greek-born Chryssa made while living in New York from the late 1950s to the early 1970s. It's at the Menil Collection in Houston through March 10, 2024. During the years featured in the exhibition, Chryssa used neon and elements of commercial signage to bridge ideas rooted in the pop, conceptual, and minimalist movements. It is the first major survey of the artist's work in the United States in more than fifty years. The excellent exhibition catalogue was co-published by the Menil and the Dia Art Foundation, with which the Menil co-organized the show. Amazon and Bookshop offer it for about $49. The Berkeley Art Museum & Pacific Film Archive is exhibiting "MATRIX 281 / Kenneth Tam: The Founding of the World" through November 26. The exhibition presents The Founding of the World, a video and sculptural installation in which Tam explores the history and practices of fraternities as a way of probing the dynamics of male intimacy and ritualized violence. The presentation was curated by Victoria Sung. Tam's work is also included in: "Cowboy," at the Museum of Contemporary Art Denver through February 18, 2024. "Cowboy" features the work of 27 artists who are shifting cowboy mythology. It was curated by Nora Burnett Abrams and Miranda Lash.  "Kenneth Tam: All of M" at the Cantor Arts Center at Stanford University. All of M is Tam's re-staging of the high school prom as a way of exploring how men perform their identities in spaces of social ritual. It is on view through November 11.  Instagram: Michelle White, Kenneth Tam, Tyler Green.

As Lynne Maphies, former Curatorial Assistant at the Blanton Museum of Art, knows firsthand — for many artists, “day jobs” do more than pay the rent. In this fascinating behind-the-scenes conversation, Lynne shares the 10 year process that Veronica Roberts, former Blanton Curator of Modern and Contemporary Art, directed to create the standout exhibit “Day Jobs.” A dialogue with conceptual artist Sol LeWitt prompted Roberts to explore the different ways that artists establish relationships or get material inspiration from the jobs that sustain them. After receiving hundreds of recommendations from colleagues, scholars, gallerists, and artists in the field, Maphies and the Blanton team selected 100 works by 38 artists whose “day jobs” had a significant impact on their work, grouping works by categories of “other” work the artist performed: Service Industry; Industrial Design; Media & Advertising; Fashion & Design; Caregivers; Finance, Tech & Law; and Art World. Lynne also shares her own “day job” impact, one that redirected her onto her curatorial path.Find Lynne: Linkedin:  Lynne Maphies Mentioned:“Day Jobs” Exhibit, Blanton Museum of Art, Austin TX  (explore)Veronica Roberts, Director of Cantor Arts Center (learn)Cantor Arts Center, Stanford University, Stanford CA (explore) Anne Carson, Canadian poet, essayist (1950- ) (read) Robert Smithson, American land artist (1938-1973) (learn) Walter de Maria, American artist (1935-2013) (learn) “Savage Dreams,” by Rebecca Solnit (read)Sol LeWitt , American artist (1928-2007) (learn)Louis “Studs” Terkel, American writer, broadcaster (1912-2008) (learn); “Working” by Studs Terkel (1974) (read)Robert Mangold, American minimalist artist (1937 -) (learn) "The Artist as Culture Producer: Living and Sustaining a Creative Life," by Sharon Louden (read)Marsha Cottrell, American landscape painter (1964- ) (learn) Ricardo Valverde (1946 - 1998), American photographer (learn)Sarah Bennett, American photographer (learn)Vivian Maeir, American photographer  (1926-2009) (learn)Lenka Clayton, British-American artist (1977- )(learn)Hope Ginsburg, AmeSupport the show

Episode No. 597 of The Modern Art Notes Podcast features artist Binh Danh and curator Jeffrey Richmond-Moll. Radius Books has just published a two-volume monograph titled, "Binh Danh: The Enigma of Belonging." The book, Danh's first monograph, brings together Danh's prints on plant matter that consider images associated with the war in Vietnam, and Danh's daguerreotypes of scenic vistas in the American West, his attempt to negotiate the land and history of a still-contested region. The book features essays by Danh, Boreth Ly, Joshua Chuang, Isabelle Thuy Pelaud, and Andrew Lam. Bookshop and Amazon offer it for about $60. Danh's work is on view in "Ansel Adams in Our Time" at the de Young Museum, San Francisco. The exhibition, which was curated by Karen Haas for the Museum of Fine Arts, Boston, is on view through July 23. Danh has had solo shows at museums such as the Cantor Arts Center, Stanford University; the North Carolina Museum of Art, Raleigh; and the Sheldon Museum of Art, University of Nebraska. He's in many major US museum collections, including at the Eastman House in Rochester, NY; the San Francisco Museum of Modern Art, the Harvard Art Museums, and the Huntington Library, San Marino, Calif. Richmond-Moll discusses "Object Lessons in American Art: Selections from the Princeton University Art Museum" at the Georgia Museum of Art. The exhibition features work from PUAM that present artworks about American history, culture, and society in ways that reveal how Princeton has taught and presented US art history. It's on view through May 14. A catalogue was published by PUAM. Bookshop and Amazon offer it for $30-40.

On this episode of Michaels' Craftivity Podcast, host Anna White is joined by the Miami-based art advisor, Michelle Azout. As an innovator in the world of art advisory, Michelle offers clients an education-focused approach to acquiring works of art. Born in Puerto Rico, Michelle studied art history at the University of Miami and has experience working in various parts of the artworld including galleries and museums such as the Cantor Arts Center at Stanford University and the Guggenheim in New York City. She joins Anna to chat about how she uses her creativity to pair people with art in a perfect match. Plus she gives some great tips on how to make finding and buying art more accessible and affordable. Join us for a wonderful episode with an art innovator and advisor, on today's Michaels' Craftivity Podcast!Follow UsTwitter @MichaelsStores Facebook @MichaelsInstagram @michaelsstoresPresented by Michaels Storeshttps://www.michaels.com

Episode No. 584 features curators Gretchen Hirschauer and Aleesa Pitchamarn Alexander. The National Gallery of Art in Washington is presenting "Vittore Carpaccio: Master Storyteller of Renaissance Venice," through February 12. The exhibition was curated by Peter Humfrey in collaboration with Andrea Bellieni and Hirschauer. It presents Carpaccio, a Venetian master who worked in the period between Bellini and the rise of Tintoretto, as the producer of spectacular narrative pictures that brought storytelling more fully into the practice of Venetian painters. The exhibition includes 45 paintings and 30 drawings. The NGA and Yale University Press copublished an excellent catalogue. It is available from Indiebound and Amazon for $51-65. For Carpaccio's Scuola degli Albanesi 'Life of the Virgin' cycle, see here. Alexander discusses "East of the Pacific: Making Histories of Asian American Art" at Stanford University's Cantor Arts Center. The exhibition engages an American art history centered on transpacific migration and discourse rather than the traditional transatlantic address. It features roughly chronological sections that highlight key narratives in Asian American art between the late nineteenth and twenty-first centuries. "East of the Pacific" is one of the three inaugural Asian American Art Initiative exhibitions at the Cantor. It is on view through February 12. In addition to the images below, see the Cantor's collection site for Henry Sugimoto's linocuts, and Sarah Kim's Bernice Bing zine Bingo!.

Episode No. 563 of The Modern Art Notes Podcast features curator Aleesa Pitchamarn Alexander and artist Katherine Bradford. Alexander is the curator of "The Faces of Ruth Asawa," a new permanent installation at the Cantor Arts Center at Stanford University featuring Asawa's Untitled (LC.012, Wall of Masks). Wall of Masks is made up of ceramic face masks Asawa made with the cooperation of friends and visitors. The masks once hung on the exterior of the Asawa family's home. The artwork was the first acquisition made by Stanford's Asian American Art Initiative, which Alexander founded with Stanford professor Marci Kwon, and which she co-leads. "Faces" also includes three vessels by Asawa's son Paul Lanier. Each was made with clay mixed with the ashes of Asawa, her husband Albert, and their late son, Adam. Upon Asawa's death, by her request, Lanier threw these materials into a set of vessels, one for each surviving sibling. The second segment is a re-air of painter Katherine Bradford's 2018 appearance on the program. This summer, the Portland (Me.) Museum of Art is presenting "Flying Woman: The Paintings of Katherine Bradford," the first solo museum survey of Bradford's career. It was curated by Jaime DeSimone and is on view through September 11. The segment was taped on the occasion of “FOCUS: Katherine Bradford” at the Modern Art Museum of Fort Worth.

Veronica Roberts - the new Executive Director of the Cantor Arts Center at Stanford!Veronica has had an incredible curatorial career. She was working the Blanton in Austin since 2013 as the curator of modern and contemporary art. At the Blanton, she put on a number of notable exhibitions: national touring displays of “Nina Katchadourian: Curiouser” and “Converging Lines: Eva Hesse and Sol LeWitt”; work uplifting Texan artists like Vincent Valdez and Donald Moffett; and a collaboration with the UT Austin's Black Studies program to bring Charles White's work on campus. Roberts also worked with Ellsworth Kelly to create “Austin,” a 2,715-square-foot stone chapel-sculpture with colored glass windows that opened in early 2018. Before the Blanton Museum, Roberts held curatorial positions at the Museum of Modern Art (MoMA) in New York, the Indianapolis Museum of Art and the Whitney Museum. She also served as Director of Research for the Sol LeWitt Wall Drawing Catalogue Raisonné. Roberts earned her master's from the University of California, Santa Barbara, and her bachelor's in art history from Williams College.

Today we asked Debi Wisch, marketer, and documentary film producer: How can media, especially documentary filmmaking, expand the impact of art? We talk through the making of her two smash hit films about the art world, The Price of Everything (2018) and The Art of Making It (2021), talk objectivity, storytelling, and representation in the industry. We ask: What is most important, and most challenging to convey about the art world in media? What do people most often miss or get wrong? Whose perspectives are most important to convey in each project? And how did you capture them? Get bona fide answers and stories from Debi on Episode 9 of Declassified. About Debi: Debi Wisch is a marketer and filmmaker best known for her two most recent projects about the art world, The Price of Everything (2018) and The Art of Making It (2021). The Price of Everything follows the careers of several contemporary artists and influential figures in the New York art scene and questions our understanding of art as commodity, art as expression, value, time and, most centrally, art as inspiration. In The Art of Making It, the lens is turned toward emerging artists, who tell the stories of their successes and failures and work to navigate the volatile waters of the art world. The Price of Everything was picked up by HBO before it even premiered at Sundance and earned global distribution and an Emmy nomination. The Art of Making It has been selected to show at dozens of film festivals this year and is garnering awards and great reviews already. Along with producing these films with Wischful Thinking Productions, Debi has had a successful career in marketing at international luxury brands, cultural institutions, art galleries and museums. She has served on the director's boards at the Cantor Arts Center and Anderson Collection at Stanford University, the Guggenheim Museum, the Jewish Museum, the Lincoln Center Film Society, and the American Jewish Committee. Find Debi & The Art of Making It on IG: @debiwisch, @theartofmakingitfilm Join The Art of Making It NFT community on Lobus, www.lobus.io/theartofmakingit Definitions and more resources on www.declassified-pod.com/wisch & IG @declassified.pod. See you next week!

Episode No. 539 features artist Stephanie Syjuco and historian Kate Wilson. Stephanie Syjuco's work is featured in several exhibitions around the United States. The Amon Carter Museum in Fort Worth is presenting "Stephanie Syjuco: Double Vision," a site-specific commission that builds from the Carter's collection to investigate historical and art historical narratives around American imperialism in the West. The project was curated by Kristen Gaylord and will be on view through January 2023. Syjuco is also in "Futures," a 32,000-square-foot pan-Smithsonian exhibition on view at the Smithsonian's Arts & Industries building through July 6; "Constellations: Photographs in Dialogue" at the San Francisco Museum of Modern Art through August 21; and "Stephanie Syjuco: Latent Images" at New York's Ryan Lee Gallery through March 12. Syjuco works across media such as installation and photography to investigate how images have helped build racialized, exclusionary narratives that have helped construct history and determine citizenship. Among the institutions that have presented her projects and solo exhibitions of her work are the Baltimore Museum of Art, the Blaffer Art Museum, the Contemporary Art Museum Saint Louis, the University of Kentucky, the Cantor Arts Center at Stanford University, and the Asian Art, Havana and Bucharest biennials. Wilson is a senior lecturer in the Department of Classics in Arts & Sciences at Washington University in St. Louis. Last semester she taught a class called "Race and Identity in Greco-Roman Antiquity." Concurrently she organized a teaching gallery exhibition in Wash U's Kemper Art Museum titled, "Colonizing the Past: Constructing Race in Ancient Greece in Rome." The project was the rare presentation of whiteness studies-informed exhibition in American art museum. Instagram: Stephanie Syjuco, Tyler Green. 

I went to Costco on the Saturday before Thanksgiving. On accident, of course I didn't think about it. I went to the Cantor Arts Center at Stanford University. I had to position myself to avoid the glare. The Rodin, they had "The Thinker". So, I went into the gallery and saw that and I had to kind of position myself all around it. And because you have to spend so much, because I had to spend so much time positioning myself, I couldn't do this kind of casual looking. It really changed the way I looked at stuff. I had to look kind of more actively. It was interesting. Anyway, it was just a really cool experience having been to so many art shows in my life. It was totally new way of doing it, but I enjoyed it. I did it. I'm going to do it again, I think that's cool and so cool stuff with the wheelchair, positive things. I appeared on another MS Podcast, the YEG MS Podcast. Read on.. Begin Transcript Welcome to the "What's the Matter With Me?" Podcast. My name is John, I'm 39 years old: husband, father of two, small business owner, radio DJ, podcaster, and I have multiple sclerosis, so I made this podcast to share what I'm going through. "What's the Matter With Me?" is an MS podcast, and it's also about other things. I'm not a medical professional and you should not take this for medical advice. If you need medical advice, ask your health care provider. I record this podcast to let people know that when difficult things happen you don't have to quit or give up, you can just keep going. YEG MS Podcast I went on my wheelchair to two different places, one was crazy and the other was kind of beautiful. But first, I did an interview on a multiple sclerosis podcast from Canada called YEG MS Podcast, which is created by this guy Sean Wingrave. And he's kind of like me, he's husband and father, about my age and he's out of Edmonton, Canada, in the state of Alberta. Sean has MS and he organizes running events called "The Really Long Run to End MS", which is kind of an interesting thing. I can't run, but I'm interested! I reached out to him to try and make a connection with another MS patient. He's a podcaster, he's a father, he's my age, have a lot in common, I thought, maybe. I wanted to see if I could talk with another podcast to see what we sound like. It sounds loud out here right now. But just like I said, I'm just going to keep rolling. SI have a lot in common with him. I wanted to see how my message sounded when I crossed it with another person's podcast, or with their own message. We had a pretty long conversation. I think it was about an hour. Actually, we had two conversations because the first one there was some audio lost and so we made it up on the second one. it was good, I had, it was almost an hour conversation with the guy. We covered a lot of stuff. I'm going to play an excerpt, I'm going to try and download some of it. I'll definitely put a link to it on my website. Here's the excerpt: Sean Wingrave: Welcome to the YEG podcast, episode number 52 Today I have the pleasure of chatting with John Hoppan and John is a podcaster. He's a radio DJ, he's an entrepreneur, he's a father, he's a husband, he's an MS warrior. He's an all-around great guy and his podcast has had a profound impact on me. At the start of these things, I always like to give the listeners more of a sense of who we're talking to and kind of how your MS journey started, but you're involved in so many different things. So, where do you think we should start? John Hoppin: Oh gosh, that's hard. I mean, you have to edit things out right? (tape edit sounds) ..Like I often say at the beginning of my podcast, I say, "What's The Matter With Me?" is a MS podcast. But, it's also about other things because I live a full life. I have a family, I have a wife, I have two children. I run my own business and I'm on the radio and I make the podcast. I put a lot of energy out there in the world bec...

Wednesday, November 6, 2019 From 1976 until his death in 1987, Andy Warhol was never without his camera. He snapped photos at discos, dinner parties, flea markets, and wrestling matches. Friends, celebrities, passers by: all captured Warhol's attention. In 2014, after a competition among a selection of leading American art museums, the Andy Warhol Foundation for the Visual Arts designated the Cantor Arts Center as the permanent home of Warhol’s archive of over 3,600 contact sheets. In this MCN program, Cantor representatives will present on how receiving this extraordinary archive became the catalyst for achieving a long-standing desire to partner digitally with the Stanford University Libraries and help expand awareness of the University’s research holdings at large. The unprecedented partnership was not without challenges, given the different digital systems, technical requirements, legal constraints, and staffing needs to scan and process over 130,000 images. By 2018, the Warhol archive ultimately resulted in a multitude of audience interfaces: three comprehensive websites; a 4,000 sq. ft. exhibition at the Cantor featuring a digital tabletop interactive as its centerpiece; a 230-page catalogue; and an undergraduate course. The Cantor’s experience is a case study of collaboration and intense adaptation to leverage the reach of digital technology. Session Type30-Minute Session (Presentation or Case Study) TrackSystems Chatham House RuleNo Key OutcomesAfter attending this session, participants will be able to better realize the nuances and challenges of digitizing a vast quantity of images, appropriately cataloguing them, and making them accessible across multiple platforms (used by Stanford's museum and libraries). Participants will understand how this type of project was organized, and where the various critical points of adaptation occurred. With the scanning and cataloging complete, the Warhol contact sheets were deposited into both the museum database and server, which together provide access to the museum’s website. They were also then uploaded to the Stanford Digital Repository managed by the Libraries, which allows for access through the Libraries’ "Searchworks" online catalogue and focused "Spotlight" web-based exhibit. Each site provides a slightly different functionality, allowing visitors to explore the images in different ways. Within their own institutions, participants should be able to better strategize how to navigate the issues that arise between object ownership and image rights ownership, down to the details of specified digital file types, sizes, and formats. The Cantor, for example, had to solve how to display images online of high quality for research purposes, while controlling access and preventing downloads of what could essentially be considered valuable Warhol artwork for commercial use. Speakers Session Leader : Tiffany Sakato, Exhibition & Publication Project Manager, Cantor Arts Center, Stanford University Speaker : Clarissa Morales, Director of Collections & Exhibitions, Cantor Arts Center at Stanford University Speaker : Peg Brady, Collections Department Manager & Senior Registrar, Cantor Arts Center, Stanford Speaker : Dianne Weinthal, MLIS Candidate, UCLA 2020, The Getty

Wim De Wit discusses his research into industrial design history, and his use of the Thomas Lamb papers and other collections from the Hagley Library for his project. Wim de Wit is adjunct curator for architecture and design at the Cantor Arts Center at Stanford University. Stories from the Stacks is an ongoing program from the Center for the History of Business, Technology, and Society featuring interviews with researchers who share the excitement of discovering the rich and varied historical materials in the Hagley Library’s collections. Listen to additional episodes at www.hagley.org/storiesfromthestacks.

The four speakers discuss their collaboration on "True Colors," an exhibit at the Cantor Arts Center which fuses science and art, the classroom and the museum. (February 28, 2011)

Stanford artists and visitors talk about their experiences and feelings with the 2009 Party on the Edge, an event at the Cantor Arts Center that feature performing and visual art from the Stanford community. (October 1, 2009)

Betsy Fryberger, who recently retired after many years as the Burton and Deedee McMurtry Curator of Prints and Drawings at the Cantor Arts Center, discusses the history of the museum with particular attention to some of the exhibitions. (January 7, 2010)