The exhibition The Melancholy Museum: Love, Death, and Mourning at Stanford. Photo by Johnna Arnold
More Arts Programming at Stanford
Check out the upcoming programs from some of our arts partners within Stanford‘s Vice Presidency for the Arts.
The Melancholy Museum: Love, Death, and Mourning at Stanford
Using over 700 items from the Stanford Family Collections, artist Mark Dion’s new exhibition explores how Leland Stanford Jr.’s death at age 15 led to the creation of a museum, university, and—by extension—the entire Silicon Valley.
Dion spent more than a year culling through the over 6,000 objects in the original Stanford Family Collections to create an exhibition that explores young Leland’s collection—he already was an avid and curious collector at the time of his death—as well as important narratives related to the Stanford family. These include the history of the railroads and the laborers who worked to create them and the two earthquakes that caused major damage to the museum.
The result of Dion’s efforts are two rooms filled with beautiful, startling, and quirky objects that are grouped together to highlight the Stanford family’s story and to invite visitors to reflect and make their own connections.
Eamon Ore-Giron: Non Plus Ultra
September 23, 2021 – February 20, 2022
In the Stanford tradition of providing a home for art and artists who advance the dialogue on contemporary issues, the Anderson Collection at Stanford University and the Institute for Diversity in the Arts host visual artist Eamon Ore-Giron for the 2020-2022 Presidential Residency on the Future of the Arts. Ore-Giron’s extended two-year residency is due to the pandemic, which prevented the artist from fully realizing the program’s goals.
Eamon Ore-Giron, Infinite Regress CLXXXI, 2021, mineral paint and flashe on linen, 18 x 18 in. (45.7 x 45.7 cm), Courtesy of the artist and James Cohan, New York, Photo: Charles White / JWPictures.com
Eamon Ore-Giron’s work draws on motifs from indigenous and craft traditions, such as Amazonian tapestries and pre-Colombian goldwork, alongside aesthetics from 20th-century avant-gardes, including Suprematism, Neo-Concretism, and Futurism.
Moving between temporalities and across cultural contexts, his large-scale abstract geometric paintings manifest a history of transnational exchange.