Stanford art museums welcome visitors over the holidays

While the campus is closed for winter break from Dec. 23 through Jan. 3, Stanford’s art museums will remain open during regular hours, and campus visitors are welcome to explore the outdoor public art collection.

The Anderson Collection’s 10th-anniversary exhibitions celebrate the museum’s roots and what it means to live with art, while the Cantor offers several exhibitions related to the Asian American Art Initiative and two galleries of new acquisitions that explore how art expands our understanding of home.

Holiday closures include Christmas Day, Dec. 25, and New Year’s Day, Jan. 1. The Cantor will close at 5 p.m. instead of 8 p.m. on Dec. 26. Reservations are not required, and the museums are always free. The outdoor art collection is accessible 365 days a year.

Parking enforcement remains as posted during the winter break, except on the weekends and university holidays, Dec. 24, Dec. 25, and Jan. 1.

On view at the Anderson Collection

Bringing It Home celebrates the love of living with art and foundational relationships between influential artists and the Anderson family. A re-creation in the first floor Wisch Family Gallery of the Anderson family’s kitchen wall with artwork by artists they knew and admired, including Philip Guston, Frank Stella, and Josef Albers, is accompanied by related correspondence and photographs, further highlighting the importance of personal relationships held for the family and artists. This 10th-anniversary exhibition is on view through Feb. 16, 2025.

Upstairs on the second floor isAn Expanded Lens, a new interpretation of the permanent collection through historic arrangements and contemporary pairings on loan from the Anderson family. This exhibition showcases the voices and curatorial collaboration of Stanford art history PhD candidates Emily Chun, Christian Gonzalez Ho, and Dejan Vasic, and centers the museum as a home for living with art. An Expanded Lens invites the community to consider the meaning-making capacity of the collection and reengage with the museum space by experiencing this constellation of artwork anew. This 10th-anniversary installation is on view through Aug. 17, 2025.

On view at the Cantor

During winter break, the Cantor hosts four special exhibitions.

Spirit House, a significant special exhibition related to the museum’s Asian American Art Initiative (AAAI), investigates how contemporary artists of Asian descent challenge the boundary between life and death through art. Inspired by spirit houses, the small devotional structures found throughout Thailand that provide shelter for the supernatural, this exhibition considers how art can bridge the gap between this world and the next. Thirty-three contemporary artists reckon with the spiritual and spectral in our visual culture and question the many forms that ghosts can take. In foregrounding intuitive and inherited forms of knowledge, these artists challenge the primacy of data-driven, scientific methods of understanding the world around us. This exhibition is on view through Jan. 26, 2025, in the Freidenrich Family Gallery.

Livien Yin: Thirsty in the Ruth Levison Halperin Gallery is the first museum solo exhibition of the work of Brooklyn-based artist Livien Yin, a 2019 Stanford MFA alum. This single-gallery special exhibition showcases new and recent paintings by Yin and their sensitive, researched-based approach to creating scenes of contemporary subjects alongside historical Asian Americans and their environments. In their paintings, Yin often casts their friends as models, collapsing the distance between the past and present to create new connective threads between Asian Americans across generations. The paintings in Thirsty are fictional scenes inspired by the Chinese-born “paper sons and daughters” who entered the U.S. during the Chinese Exclusion Act (1882-1943) by obtaining forged documents that stated they were children of American citizens. Yin draws from historic photographs of Chinese immigrants and stages imagined vignettes in the absence of visual records, using the gaps in these archival sources as fertile ground to envision possible realities. This AAAI exhibition is on view through Feb. 23, 2025.

The third AAAI special exhibition is TT Takemoto: Remembering in the Absence of Memory, which features two video works and two complementary series of small handmade objects and works on paper by San Francisco Bay Area-based artist TT Takemoto. Their videos Looking for Jiro (2011) and On the Line (2018) uniquely center queer experiences of intimacy in prewar and WWII contexts. The Gentleman’s Gaman series (2009-23) and an installation of handcrafted kokeshi dolls (2023) offer sculptural, expanded modes of engagement with challenging and overlooked narratives in Asian American history, as reimagined by the artist. This exhibition is on view in the Madeleine H. Russell Gallery through April 6, 2025.

Dwelling: New Acquisitions showcases recent acquisitions to the Cantor’s collection and explores how these works expand our understanding of home. This ongoing exhibition highlights that home can be more than just a physical space; it can also be a familial tradition, a challenging reality, or the inner world of one’s mind and body. By offering diverse perspectives and experiences, Dwelling suggests that art can serve as a meaningful dwelling place.

In addition to the Cantor’s special temporary exhibitions, the 13 permanent collection galleries, which span two floors, feature works from around the globe spanning 5,000 years.

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Alia Farid, “Amulets,” 2024. Blue faience and polyester resin. | Andrew Brodhead

Explore the outdoor public art collection

Beyond the museums, dozens of outdoor works of art are viewable 365 days a year. Works by Andy Goldsworthy, Deborah Kass, Beverly Pepper, and Auguste Rodin are located near the museums. If you venture further into campus, you will encounter among other works Alia Farid’s first public art commission in North America and Stanford’s second Plinth Project installation, Amulets, on Meyer Green; the Papua New Guinea Sculpture Garden on the southwest side of campus; Peter Wegner’s suite of five site-specific pieces at the Graduate School of Business; and Alicja Kwade’s Pars Pro Toto, twelve stone spheres ranging in size from a diminutive 16 inches to a colossal 98 inches, installed throughout the Science and Engineering Quad. Use the public art app to navigate Stanford’s full public art collection.

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