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Albers interaction of color

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.

Shu-Wen Lin

The Stanford Media Preservation Lab and the Department of Special Collections are delighted that Shu-Wen Lin is spending the summer with us in Redwood City interning as a media archivist. Leveraging her interest and background in the arts, Shu-Wen will help to process and preserve several media-based collections, including the archives of visual artist Carolee Schneeman and the archives of Telling Pictures, a prominent Bay Area film production company. Shu-Wen's first day is June 1.

Have you ever wondered why Stanford is represented by the color cardinal, and not the original choice of gold? Or why the university's motto is in German?

The University Archives, in collaboration with Kathleen Smith, Curator of Germanic Collections and Medieval Studies, is pleased to announce a new exhibition focused on the development of Stanford's insignia. Becoming Stanford: The History and Meaning of the University’s Insignia is now on display in the South Lobby of Green Library.

San Francisco Fountain detail by Joe Thompson

As previously announced, the Ruth Asawa papers are now available. In thinking of fun and innovative ways to present certain aspects of her work, we decided to scan a small series of San Francisco architecture snapshots from her collection and upload them to the social mapping website Historypin, and also include them in their Year of the Bay local history project.  These photographs were probably used as research in creating the San Francisco Fountain in Union Square, which features many cast dough relief images of the city. Unfortunately there is no information on or about the prints in the collection. They are likely all from the 1960s, and were probably taken by Asawa (she has referred to taking pictures of the city in preparation). Architectural historian Sally Woodbridge may have also contributed. The varying qualities of the prints implies that several cameras or developers were used, and that they were probably taken over a period of time. At any rate, they collectively serve as a remarkable portrait of the city in that decade.

Portrait of Ruth Asawa and wire sculptures by Nat Farbman, from 1955 Guggenheim fellowship application

After more than a year of intensive organizing and arranging, we are very proud to announce that the papers of artist and educator Ruth Asawa (M1585) are now available for research. The finding aid can be accessed from the Online Archive of Calfornia, and the collection record in the Searchworks catalog. A bibliography is also available from the Stanford Digital Repository.

The collection documents her commissions and other creative work as well her involvement in shaping civic arts and educational policy. Perhaps the greatest number of files contain correspondence from a remarkably diverse community of associates: friends, neighbors, artists, teachers, students, architects, designers, patrons, politicians, and philanthropists. She was also close to such major figures as Buckminster Fuller, Imogen Cunningham, Josef and Anni Albers, Ray Johnson, and countless others. In a sense, her papers can be considered a collection of collections. Scholars studying San Francisco history, art education pedagogy, fundraising for non-profits, public art, Japanese American Internment, or Black Mountain College will be rewarded by the collection's breadth.

Of course, there is also a great deal of information on Asawa's own art, particularly her unique wire constructions. The collection contains communication with galleries and museums, many photographs and slides, and insights on her artistic processes as included in portfolios and applications. For instance, here is some detail from an insert in her 1955 Guggenheim application. There are many of these halftone images of her crocheted wire shapes:

 detail, halftone image of Asawa wire sculptures 1955

Please stay tuned: we'll be posting a few more entries on Asawa in the weeks to come.

Alert 747: Cecil H. Green LIbrary exhibit of the Vela 6911 Collection by Victor Gama (Archive of Recorded Sound ARS.0149)

Alert 747: Suspected Nuclear Test  - A journey to uncover facts and create dialog through humanistic creative production. This February, Stanford University Libraries (SUL) highlights a special collection, Vela 6911 by Victor Gama, with an exhibit on display in the Green Library South Lobby from February 3- March 9, 2015.  Vela 6911 is a multimedia musical piece created by Victor Gama, an Angolan composer and designer of contemporary musical instruments for new music. This exhibit offers a glimpse into this vast collection of research, images, video content and musical scores that reside in the SUL Archive of Recorded Sound.  It also supports and coincides with the March 6th live performance of VELA 6911 by Gama, the Stanford University New Ensemble and special guests from Stanford’s Center for Computer Research in Music and Acoustics (CCRMA). Information about the concert is at the Stanford Events Page. 

Fragment of Text of Canon Law dealing with statues in church

Eight new digital collections are now available in SearchWorks. These collections take advantage of SearchWorks' ability to provide users with rich discovery and access capabilities for finding and working with digital collection content.

Medieval fragments study collection, 11th-16th cent

Abstract: Primarily fragments, these specimens were acquired to demonstrate the development of writing in the western world. A variety of scripts are represented, from Carolingian minuscule to the humanistic hands and the "cancelleresca."

Collection contact: Benjamin Albritton

Ruth Asawa at Tamarind lithography workshop 1965 by an unknown photographer

Walking around campus, one can readily see the impact of Stanford’s Arts Initiative. Joining the existing Cantor Arts Center are several new buildings, including the Bing Concert Hall, which opened in 2013, the Anderson Collection at Stanford University, which opened on September 21st, and the growing structure that will be the McMurtry Building, slated to open in 2015.

In parallel with this new focus on the arts, the MSS division in Special Collections has worked over the last year with Peter Blank and Anna Fishaut at the Art & Architecture Library, in identifying and funding the preservation and processing of four recently acquired art collections. Some of the projects will include selected reformatting of audio-visual elements, processing of digital files, additional digitization efforts, and collaboration with the libraries’ Department of Conservation and the Art Library’s Visual Resources Center.

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