On Sunday D. and I went back to the Anderson Collection at Stanford to see the art on the main upper gallery that was closed the last time we were there. Here are some of the pics I took.
From his black-on-black phase, Ad Reinhardt's generically-titled Abstract Painting.
In addition to being a serious painter, Reinhardt was known for his "How to Look" cartoon series which ran during the 1940s in the New York newspaper PM. He philosophized and satirized modern art in his comics, offering ways to approach difficult abstract paintings.
From left to right, we see the target-like Rose by Kenneth Noland, Saul Baizerman's Largo-May sculpture, and the dark blob of Ellsworth Kelly's Black Ripe.
View with bench of Larry Poons' No. 15 (1972).
Mark Rothko's Pink And White Over Red, from 1957.
Jackson Pollock's Lucifer, from 1947.
Photographing an art lover photographing art. Meta!
This piece by Scott Burton is called Pair of Steel Chairs, and the signs say Please Do Not Sit. But they're chairs?
Robert Arneson, father of the Funk Art movement, created this whimsical glazed ceramic sculpture, Hommage to Philip Guston, in 1981.
Detail from Jennifer Bartlett's modular 1979 work At the Lake, Morning (enamel, serigraph on steel, oil on canvas).
Frank Stella's Zeltweg, a 1981 mixed media on aluminum piece, is very busy, full of angles, color and movement.
Elizabeth Murray's This Pair (1987, oil on canvas on wood). The artist claimed no one sees the shoe in this piece. Um, perhaps because there is no shoe?
Can't help but be reminded of an exhaust pipe.
I beg your pardon?? One of the many words painted in Squeak Carnwath's 2003 oil and alkyd piece Full Time. Is adding the written word to a two-dimensional painting akin to adding sound? Discuss.