During the late Spring and early Summer of 2016, Jodi Roberts, Halperin Curator for Modern and Contemporary Art, and Sean O'Hanlan, a 5th year Ph.D. candidate in Art History who is writing on Surrealism, viewed the subtantial holdings of Surrealist printed material and ephemera held by the Bowes Art & Architecture Library. After numerous viewings and planning sessions with Peter Blank, Senior Librarian, and additional examinations of material held by Special Collections, Jodi and Sean selected thirty-eight Art Library pieces and two Special Collections pieces for inclusion in "The Conjured Life: The Legacy of Surrealism," a loan show traveling from the Museum of Contemporary Art, Chicago.
At the entrance hall of the East Asian Library, "Xiaoze Xie: Albums, Prints and Photographs" features two intimate albums with ink drawings from the artist's travels, prints with images of books taken at libraries in China and Canada, and somber photographs suggesting burning of books. The subject, style and format of Xie's work resonate with the specific context of the site. On view Oct. 18, 2016 to Jan. 15, 2017.
Xiaoze Xie, the Paul L. & Phyllis Wattis Professor of Art at Stanford University, is an internationally recognized artist who has exhibited extensively in the US and abroad. His work is in the permanent collection of such institutions as the Museum of Fine Arts Houston, the Scottsdale Museum of Contemporary Art, San Jose Museum of Art, and Oakland Museum of California. Xie received the Painter and Sculptor’s Grant from the Joan Mitchell Foundation (2013), the Pollock-Krasner Foundation Grant (2003) and artist awards from Phoenix Art Museum (1999) and Dallas Museum of Art (1996).
An opening reception will be held at 5:00pm, November 3, 2016
Sponsors of the event:
Stanford University Libraries
Department of Art & Art History
Stanford Arts Office of the Associate Dean
Moments of Innovation is a virtual reality film that highlights 125 years of innovation at Stanford. A collaboration between the Stanford University Archives and three graduate students in Stanford’s documentary filmmaking program, the film seamlessly weaves together historical images and audiovisual materials from the Archives with 360° video footage of iconic Stanford locations and experiences.
Today I received a copy of The Time of the Force Majeure: After 45 years, Counterforce is on the Horizon (Munich: Prestel, 2016), a major title on Helen and Newton Harrison, celebrated artists in what has become known as the Eco Art movement. With six critical essays this 464 page retrospective monograph covers their remarkable shared studio practice of forty-five plus years. SUL acquired the Helen & Newton Harrison papers in 2010. The appearance of the Harrisons’ monograph marks an extremely active publication period related to SUL’s more recent acquisitions of artists’ archives.
Lynn Hershman Leeson: Civic Radar (Ostfildern: Hatje Cantz, 2016) was published in conjunction with an exhibition held at three venues over 2014-2016 where materials from the Lynn Hershman-Leeson papers were shown, the ZKM, Museum of Contemporary Art, Karlsruhe, the Deichtorhallen Hamburg/Falckenberg Collection, and the Lehmbruck Museum Duisburg. Two recent monographs draw on the Carolee Schneemann papers. The first is a major monographic treatment, Carolee Schneemann: Unforgiveable (London: Black Dog Pub., 2015), and the second, Carolee Schneemann: Kinetic Painting (Salzburg: Museum der Moderne; Munich: Prestel, 2015), presents an exhibition held at the Museum der Moderne, Salzburg (November 2015-February 2016) and publishes materials from the archive.
Sadly, but on a related artists' and collections' note, I report the recent passing of Nathan Lerner, an extremely important American photographer, curator, museum director, educator, founding member of the Society for Photographic Education, and founder in 1969 of the Visual Studies Workshop (Rochester, New York). SUL is fortunate of have recently acquired a considerable treasure trove of early Visual Studies Workshop materials, which includes approximately 125 titles published by the Visual Studies Workshop Press, an extensive collection of ephemera (103 pieces) related to the early years of the VSW, and over 150 original silver photographs, silkscreen prints, offset lithographic prints, xerographic prints, and photo-etchings from VSW students and faculty. These materials offer a glimpse into the early years of the VSW and will certainly provide the visual material necessary for research and publication on Lyons and the Workshop.
This years IFLA Arts Libraries Satellite meeting was held at the Art Institute of Chicago, with papers delivered on the theme of "The Art Library as Place: Building on the Past, Building for the Future." Art librarians from eight countries spoke to a select audience of art librarians from around the world on a host of planning, facilities, and program issues pertaining to the refurbishing of existing historical structures (Rijksmuseum, Amsterdam; INAH Art, Paris; Pushkin State Museum of Art, Moscow, etc.) or 100% new construction (Stanford's Bowes Library). Peter's paper, "Designing for the Program, Programming for the Design" was part of two sessions devoted to "Architecture's Impact on the Library's Program," with the second paper in his session delivered by Anne Buxtorf (pictured), Director, INHA National Art History Library, Paris, which is in the midst of a major renovation project.
This year, Stanford Classics turns 125, and to celebrate, we have put together an exhibit examining its early history. While small and undistinguished early on, the department quickly produced scholars of distinction. Today it is a major center of American classics, and a world leader in the study of ancient Greece and Rome. Still, the century and a quarter that intervenes between us and its foundation is often a sort of ever-advancing black box—that is, we seldom have an institutional memory that extends any further back than the recollection of the faculty's most senior member. Earlier outlines of the department's history are therefore simply lost. This exhibit hopes to shed some light on that earlier place and time.
October 1, 2015, marks the 125th anniversary of the establishment of Yosemite National Park. To commemorate our nation’s third National Park, the University Archives has mounted an exhibition of photographs of Yosemite Valley taken by Eadweard Muybridge in 1872. On display are ten albumen photographs printed from replicated negatives made from photographs by Muybridge in 1872. This set of images comes from a limited edition printed by the Chicago Albumen Works, Inc. and published by Yosemite Natural History Association in 1977. Only 50 sets were produced. To read more about this amazing series of photographs follow this link. To view additional Muybridge photographs held by the Stanford University Libraries follow this link.
The photographs are on display in Green Library, 2nd Floor, near the Human Resources office (241) located near the middle of the Bing and East Wings. Viewing hours are Monday-Friday from 8AM to 5PM.
The current "Higlights from the Marmor Collection" exhibition, "Josef Albers: Interaction of Color," closes June 15 at the Cantor Arts Center. The exhibition displays prints by Albers from the "Homage to the square" series in the Marmor Collection alongside a selection of plates and the Text and Commentary books from the Art & Architecture's copy of Alber's Interaction of Color (New Haven: Yale University Press, 1963). The Interaction of Color presents Alber's rigorous examination of color's ability to deceive us, with numerous comparative color experiments shown via 150 silkscreen plates, the two text volumes outlining the step by step color examinations. Heavily used by classes in art history, design and photography, the Interaction of Color is one of the hallmark publications of design pedagogy. One of the great masters of 20th century art, Albers taught at the Bauhaus schools in Weimar, Dessau, and Berlin from 1923 to 1933, at Black Mountain College from 1933 to 1949, and at Yale University from 1950 on. This is a unique opportunity to see Alber's artwork displayed next to a sampling of the Interaction of Color. The exhibition is curated by Colleen Stockman, Assistant Curator for Special Projects.