Reena Saini Kallat (India, b. 1973), Woven Chronicle, 2011–16. Circuit boards, speakers, electrical wires, and fittings; single-channel audio (10:00 minutes); approximately 11 x 38 ft.; © Reena Saini Kallat; courtesy of the artist and Nature Morte, New Delhi. Installation view from Insecurities: Tracing Displacement and Shelter, The Museum of Modern Art, New York, 2016–17; photograph by Jonathan Muzikar; digital image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY.
More Arts Programming at Stanford
Check out the upcoming programs from some of our arts partners at Stanford's Vice Presidency for the Arts. Despite shelter-in-place orders and a remote academic environment for Stanford students, Stanford's Institute for Diversity in the Arts, the Cantor Arts Center, and The Anderson Collection continue to seek events that engage artists, the community, and students through virtual programming.
When Home Won’t Let You Stay: Migration through Contemporary Art
Feb 5–May 31, 2021
Aligned with its mission to be a gathering place that advances dialogue on contemporary issues, the Cantor Arts Center at Stanford University will be the exclusive West Coast venue and the only site with free admission for When Home Won’t Let You Stay: Migration through Contemporary Art. The multimedia exhibition, organized by the Institute of Contemporary Art/Boston, features 20 leading artists from more than a dozen countries and more than 40 works made since 2000.
The exhibition’s title derives from a poem by Somali-British writer Warsan Shire, the opening lines of which have been adopted as a way to give voice to refugees and provide understanding of their experience. “No one leaves home unless / Home is the mouth of a shark,” she writes.
“When Home Won’t Let You Stay highlights similarities between migration stories across the globe, but the artworks also express how unique and personal each story is,” said Maggie Dethloff, assistant curator of photography and new media, who curated the exhibition at the Cantor. “As part of Stanford’s commitment to utilize the arts as a way to understand the human experience more deeply and to strengthen community, I look forward to engaging more voices in our programming and online. Migration and issues of home and belonging are personal matters to many of our students, faculty, staff, and community members. Their voices are crucial for engaging in profound conversations about the wide-ranging issues this exhibition addresses.”
Institute for Diversity in the Arts
Introducing the 2020 IDA and CBPA Fellows
This year, Stanford’s Institute for Diversity in the Arts (IDA) will be offering two fellowships for students interested in exploring the arts at the intersection of race and social justice: our ongoing IDA Fellowship Program and a newly added fellowship with the Committee on Black Performing Arts, the CBPA Fellowship Program. And it’s with great joy and excitement that IDA introduce their new cohort of incredible artists-activists, the 2020 CBPA and IDA fellows.
The IDA Fellowship is a year-long paid program for undergraduate students from diverse backgrounds and creative disciplines and majors. This fellowship program provides support from a close-knit creative community and time for generative arts' practice alongside professional development and deepening of social justice principles.
Led by CBPA Artistic Director, Amara Tabor-Smith, the CBPA Fellowship Program is a year-long paid program centering the experiences of Black identified, Afro-Latinx, Afro-Indigenous, African and Caribbean undergraduate and graduate students. In this performance and movement-based fellowship, students will develop their artistic practice rooted in experimental Black performance and ritual spirituality.
Follow IDA on Instagram as they share more of the fellows’ art practice.
The Anderson Collection at Stanford University
Eamon Ore-Giron: 2020–2021 Presidential Residency on the Future of the Arts
October and November 2020
Recordings are available for Part One and Part Two
In the Stanford tradition of providing a home for art and artists who advance dialogue on contemporary issues, the Anderson Collection at Stanford University welcomed visual artist Eamon Ore-Giron to campus for the 2020-2021 Presidential Residency on the Future of the Arts.
In a two-part exploration of depictions of Latin American and border cultures through the moving image and sound, the celebrated abstract painter explores the visual possibilities of cross-cultural aesthetics and expression through large-scale geometric works. Ore-Giron led a virtual panel discussion in October exploring how the work of artists of color is framed in institutional settings. He also presented work by video artists that have influenced his practice, including clips of traditional music and dance of native tribes in Peru. In the November event, Ore-Giron screened the film "Chulas Fronteras," which explores the lives and music of Norteño musicians on the Texas-Mexico border.
Also in October, Ore-Giron and poet and scholar Edgar Garcia discussed the artist’s practice in relation to the history and symbolism of gold, including the decolonization of this precious metal. The color gold features prominently in Ore-Giron’s ongoing series of infinite regress paintings.
“The Anderson Collection seeks to be a destination for discourse around modern and contemporary art by raising voices that offer diverse lenses on its history and how our collection can play a role in understanding the course of American art,” said Jason Linetzky, director of the Anderson Collection. “As a painter, Eamon Ore-Giron combines architectural shapes—circles, triangles, arches, rectangles—in bold colors and interlocking compositions. His approach is also one of intersections: across media, cultures, identities, generations and geographies. We are delighted to collaborate with the Institute for Diversity in the Arts to bring this dynamic artist and thinker to our gallery spaces and classrooms.”
Updates on the residency will be available at anderson.stanford.edu and by email newsletter.
Hostile Terrain 94
Oct 15, 2020–May 3, 2021
Hostile Terrain 94 is a participatory art project sponsored and organized by the Undocumented Migration Project. The installation is composed of more than 3000 hand-written toe tags, each representing a migrant who has died trying to cross the US-Mexico border at the Sonoran Desert of Arizona between the mid-1990s and 2019.
This installation will take place simultaneously at more than 100 institutions around the world and is presented by the Anderson Collection in collaboration with students and faculty from the Department of Anthropology at Stanford University. An accompanying publication, written by Stanford graduate and undergraduate students, is available on the Anderson Collection's website.