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anarchivist/stanford_arts.geojson

Created January 17, 2018 18:36
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Stanford Arts Map as GeoJSON
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stanford_arts.geojson
{
"type": "FeatureCollection",
"features": [
{
"type": "Feature",
"geometry": {
"type": "Point",
"coordinates": [
-122.1705596,
37.4329744,
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]
},
"properties": {
"name": "Cantor Arts Center",
"styleUrl": "#icon-1509-F9A825",
"styleHash": "-2dc758c6",
"styleMapHash": {
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"description": "<img src=\"https://lh3.googleusercontent.com/XERtJHxXc8WMG8jnOA9ITGG9XWsvRVM3BcoatS6SGVVqEdSybvdzU0azaoCZ5IKwuwTqfj4MOMM21PMEqGRFunOhSh4R2mRj-Ht9PEy2cAkvPg0QlRvy4EPPz7a9SYCkFA\" height=\"200\" width=\"auto\" /><br><br>Content: Redesigned by - Polshek & Partners<br>Reopened - 1999<br><br>The Cantor, originally known as the Leland Stanford Jr. Museum, was founded alongside Stanford University in 1891. Created by Jane Stanford as a memorial to her son, the museum was designed to house and display objects of cultural and artistic interest collected by Leland Jr. and the Stanford family on their travels around the world. The museum was severely damaged and closed following the 1906 earthquake; it reopened in 1954 and was closed again in 1989 after the Loma Prieta earthquake and reopened once more in 1999 after restoration.<br>Excerpt: The Cantor Arts Center houses a significant and diverse collection of artwork spanning the entire globe and 5,000 years of art history.<br>Permalink: http://arts.stanford.edu/map/place/cantor-arts-center/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/051015-062-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/420_Cantor_001.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/051015-062.jpg<br>Place categories: Museum/Gallery<br>Location Details: Lomita Drive at Museum Way, Stanford, CA 94305<br>geo_latitude: 37.4329744<br>geo_longitude: -122.1705596<br>Website: http://museum.stanford.edu<br>Contact: 650-723-4177<br>Email: <br>Facebook: https://www.facebook.com/CantorArtsCenter<br>Notes: <br><br><img src=\"https://lh5.googleusercontent.com/H61Zanc5D_LEQbmKckt53-3sPUqWo4nocrMEaXA_WBAgviQKLhQcxPRrlN2cc-czVqQIDpYcu6ZH0o0_VORmbz_LL-jQB0QFwz2WgEeUQZAHJSqOJeW679IccdsnsHso\" height=\"200\" width=\"auto\" />",
"Content": "Redesigned by - Polshek & Partners\nReopened - 1999\n\nThe Cantor, originally known as the Leland Stanford Jr. Museum, was founded alongside Stanford University in 1891. Created by Jane Stanford as a memorial to her son, the museum was designed to house and display objects of cultural and artistic interest collected by Leland Jr. and the Stanford family on their travels around the world. The museum was severely damaged and closed following the 1906 earthquake; it reopened in 1954 and was closed again in 1989 after the Loma Prieta earthquake and reopened once more in 1999 after restoration.",
"Excerpt": "The Cantor Arts Center houses a significant and diverse collection of artwork spanning the entire globe and 5,000 years of art history.",
"Permalink": "http://arts.stanford.edu/map/place/cantor-arts-center/",
"Image URL": "http://arts.stanford.edu/map/wp-content/uploads/2013/06/051015-062-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/420_Cantor_001.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/051015-062.jpg",
"Place categories": "Museum/Gallery",
"Location Details": "Lomita Drive at Museum Way, Stanford, CA 94305",
"geo_latitude": "37.4329744",
"geo_longitude": "-122.1705596",
"Website": "http://museum.stanford.edu",
"Contact": "650-723-4177",
"Email": "",
"Facebook": "https://www.facebook.com/CantorArtsCenter",
"Notes": "",
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"coordinates": [
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"properties": {
"name": "Stanford Art Gallery",
"styleUrl": "#icon-1509-F9A825",
"styleHash": "-2dc758c6",
"styleMapHash": {
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"description": "<img src=\"https://lh3.googleusercontent.com/hoIl3QzCW9PYiEkvPsF2Nz4Pd55DrEERsYtWvsxbTrBVCzZPAC40fNU806Cw1UhOxLtjzPuOhOoXbwQxPuAT5YRe9Fk4L12kjss9i80xGEkVZI67kFsW1xKe2_CFnHZO\" height=\"200\" width=\"auto\" /><br><br>Content: The Department of Art & Art History sponsors exhibitions and programs in the Stanford Art Gallery to engage the university and wider community in stimulating dialogue facilitated by historical and contemporary visual language and culture. Annual shows present works by Master of Fine Arts students in design and art practice, with additional programming by faculty, alumni, visiting artists, and undergraduates.<br>Excerpt: Constructed in 1917 with a donation of $80,000 from Thomas Welton Stanford, one of Leland Stanford's brothers, the Thomas Welton Stanford Art Gallery was originally built to house the donor's art collection.<br>Permalink: http://arts.stanford.edu/map/place/stanford-art-gallery/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0066-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/SGR1828-1.jpg<br>Place categories: Museum/Gallery<br>Location Details: 419 Lasuen Mall, Stanford, CA 94305 <br>geo_latitude: 37.4280406<br>geo_longitude: -122.1679875<br>Website: https://art.stanford.edu/exhibition-spaces/stanford-art-gallery<br>Contact: 650-723-2842<br>Email: stanfordgalleries@gmail.com<br>Facebook: <br>Notes: <br><br><img src=\"https://lh4.googleusercontent.com/l0mcA9fjFVgp25Dy3me60Hd9uB5B0Z_or3xWYYY1s_LcvSRN0sGqcP3ip9v609L8MvRBsaj9_sgHoTrDakuy8WnmRnv35L65yzrJBWKpKLN4sj9odzbePqd8wuLSPycS\" height=\"200\" width=\"auto\" />",
"Content": "The Department of Art & Art History sponsors exhibitions and programs in the Stanford Art Gallery to engage the university and wider community in stimulating dialogue facilitated by historical and contemporary visual language and culture. Annual shows present works by Master of Fine Arts students in design and art practice, with additional programming by faculty, alumni, visiting artists, and undergraduates.",
"Excerpt": "Constructed in 1917 with a donation of $80,000 from Thomas Welton Stanford, one of Leland Stanford's brothers, the Thomas Welton Stanford Art Gallery was originally built to house the donor's art collection.",
"Permalink": "http://arts.stanford.edu/map/place/stanford-art-gallery/",
"Image URL": "http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0066-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/SGR1828-1.jpg",
"Place categories": "Museum/Gallery",
"Location Details": "419 Lasuen Mall, Stanford, CA 94305 ",
"geo_latitude": "37.4280406",
"geo_longitude": "-122.1679875",
"Website": "https://art.stanford.edu/exhibition-spaces/stanford-art-gallery",
"Contact": "650-723-2842",
"Email": "stanfordgalleries@gmail.com",
"Facebook": "",
"Notes": "",
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"geometry": {
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"coordinates": [
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},
"properties": {
"name": "The Pigott Theater",
"styleUrl": "#icon-1709-0097A7",
"styleHash": "1c35df7c",
"styleMapHash": {
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"description": "<img src=\"https://lh6.googleusercontent.com/efdkKhngMLsdI4V0FtJw7Gr6Y4fiwDoQeS90R6uGYINu9ogKgZydXJGyo7gG6CWZXxApb0uYyKPXxhgv303DenN87Ldbi9x6gEJrTRsrSbRXU_B-RasPFzvfFHhT9np4\" height=\"200\" width=\"auto\" /><br><br>Content: The Pigott Theater is located in Memorial Hall, facing the Graduate School of Business. It features a proscenium stage and has a seating capacity of 194. The space is managed by the Department of Theater & Performance Studies. Parking can be found on Memorial Way and in the parking lot on Lasuen Way.<br>Excerpt: The Pigott Theater is located in Memorial Hall, facing the Graduate School of Business. It features a proscenium stage and has a seating capacity of 194.<br>Permalink: http://arts.stanford.edu/map/place/the-pigott-theater/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0094-2.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0105-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0094-1.jpg<br>Place categories: Performance Venues<br>Location Details: 551 Serra Mall, Stanford, CA 94305 <br>geo_latitude: 37.4291147<br>geo_longitude: -122.1661604<br>Website: http://dance.stanford.edu/spaces.html<br>Contact: 650-723-2576<br>Email: tapsinformation@stanford.edu<br>Facebook: <br>Notes: <br><br><img src=\"https://lh3.googleusercontent.com/9oITw3-2Rn5l8E1SKN0CvbpTPQpNoDh7NTTCoQhIwltEvtvARRltI_8Tj5DKuolEQXXOJZ0eQETsYeH9nW-n90N3walorr-Z1crLNwlftpURtj77xSI12ol5TdomzwI\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh6.googleusercontent.com/mjW4qxgi-4X6TqKTLNM7DpyV3TK1hYPdvone74_wk6aH_ZItHf0T3XIBfQxMxhB-pXplNrghEhJlMlDcF427njdxO3iA0UNnkNGdp2YhDlDnBUQ0T0Two-RTjCHSd8LK\" height=\"200\" width=\"auto\" />",
"Content": "The Pigott Theater is located in Memorial Hall, facing the Graduate School of Business. It features a proscenium stage and has a seating capacity of 194. The space is managed by the Department of Theater & Performance Studies. Parking can be found on Memorial Way and in the parking lot on Lasuen Way.",
"Excerpt": "The Pigott Theater is located in Memorial Hall, facing the Graduate School of Business. It features a proscenium stage and has a seating capacity of 194.",
"Permalink": "http://arts.stanford.edu/map/place/the-pigott-theater/",
"Image URL": "http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0094-2.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0105-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0094-1.jpg",
"Place categories": "Performance Venues",
"Location Details": "551 Serra Mall, Stanford, CA 94305 ",
"geo_latitude": "37.4291147",
"geo_longitude": "-122.1661604",
"Website": "http://dance.stanford.edu/spaces.html",
"Contact": "650-723-2576",
"Email": "tapsinformation@stanford.edu",
"Facebook": "",
"Notes": "",
"gx_media_links": "https://lh6.googleusercontent.com/efdkKhngMLsdI4V0FtJw7Gr6Y4fiwDoQeS90R6uGYINu9ogKgZydXJGyo7gG6CWZXxApb0uYyKPXxhgv303DenN87Ldbi9x6gEJrTRsrSbRXU_B-RasPFzvfFHhT9np4 https://lh3.googleusercontent.com/9oITw3-2Rn5l8E1SKN0CvbpTPQpNoDh7NTTCoQhIwltEvtvARRltI_8Tj5DKuolEQXXOJZ0eQETsYeH9nW-n90N3walorr-Z1crLNwlftpURtj77xSI12ol5TdomzwI https://lh6.googleusercontent.com/mjW4qxgi-4X6TqKTLNM7DpyV3TK1hYPdvone74_wk6aH_ZItHf0T3XIBfQxMxhB-pXplNrghEhJlMlDcF427njdxO3iA0UNnkNGdp2YhDlDnBUQ0T0Two-RTjCHSd8LK"
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{
"type": "Feature",
"geometry": {
"type": "Point",
"coordinates": [
-122.1663864,
37.4293925,
0
]
},
"properties": {
"name": "Prosser Studio Theater",
"styleUrl": "#icon-1709-0097A7",
"styleHash": "1c35df7c",
"styleMapHash": {
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"description": "<img src=\"https://lh5.googleusercontent.com/jvdoKK0onuhu6irvdJwKeXB9YO4BYFgAw9EHsZLdvUjbaC3X7UYEEFMfdap82nYi1iSeIcoHVEC8n-JsJNwwziwAnFWeVsVSDLNpEady_1gPbuyB9t8v9wAZqbHMjwKRqQ\" height=\"200\" width=\"auto\" /><br><br>Content: Prosser Studio Theater, located on the second floor of Memorial Hall, has a flexible seating capacity of approximately 60. This small black box theater is fully equipped as a performance space, and is commonly used for Department of Theater & Performance Studies (TAPS) majors' senior projects. This space is managed by the TAPS.<br>Excerpt: Prosser Studio Theater is fully equipped as a performance space, and is commonly used for Department of Theater & Performance Studies (TAPS) majors' senior projects.<br>Permalink: http://arts.stanford.edu/map/place/prosser-studio-theater/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0710-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0111-1.jpg<br>Place categories: Performance Venues<br>Location Details: 551 Serra Mall, Stanford, CA 94305<br>geo_latitude: 37.4293925<br>geo_longitude: -122.1663864<br>Website: http://dance.stanford.edu/spaces.html<br>Contact: 650-723-2576<br>Email: tapsinformation@stanford.edu<br>Facebook: <br>Notes: <br><br><img src=\"https://lh5.googleusercontent.com/Kku2SWJNeDfdwxgej4Z8PBsmZOvgEAdVY0CQ1cQlgYDMZCGoOWKavb7oLHyOeERFmgwMGbQnnpWvabVDJCky7XaSb56f4hW_SBxHkMIv0SCqW_umyGL_iuvVkNEIbipo\" height=\"200\" width=\"auto\" />",
"Content": "Prosser Studio Theater, located on the second floor of Memorial Hall, has a flexible seating capacity of approximately 60. This small black box theater is fully equipped as a performance space, and is commonly used for Department of Theater & Performance Studies (TAPS) majors' senior projects. This space is managed by the TAPS.",
"Excerpt": "Prosser Studio Theater is fully equipped as a performance space, and is commonly used for Department of Theater & Performance Studies (TAPS) majors' senior projects.",
"Permalink": "http://arts.stanford.edu/map/place/prosser-studio-theater/",
"Image URL": "http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0710-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0111-1.jpg",
"Place categories": "Performance Venues",
"Location Details": "551 Serra Mall, Stanford, CA 94305",
"geo_latitude": "37.4293925",
"geo_longitude": "-122.1663864",
"Website": "http://dance.stanford.edu/spaces.html",
"Contact": "650-723-2576",
"Email": "tapsinformation@stanford.edu",
"Facebook": "",
"Notes": "",
"gx_media_links": "https://lh5.googleusercontent.com/jvdoKK0onuhu6irvdJwKeXB9YO4BYFgAw9EHsZLdvUjbaC3X7UYEEFMfdap82nYi1iSeIcoHVEC8n-JsJNwwziwAnFWeVsVSDLNpEady_1gPbuyB9t8v9wAZqbHMjwKRqQ https://lh5.googleusercontent.com/Kku2SWJNeDfdwxgej4Z8PBsmZOvgEAdVY0CQ1cQlgYDMZCGoOWKavb7oLHyOeERFmgwMGbQnnpWvabVDJCky7XaSb56f4hW_SBxHkMIv0SCqW_umyGL_iuvVkNEIbipo"
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"type": "Feature",
"geometry": {
"type": "Point",
"coordinates": [
-122.1749,
37.425849,
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},
"properties": {
"name": "Department of Theater & Performance Studies (TAPS) - Dance Division",
"styleUrl": "#icon-1726-757575",
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"description": "<img src=\"https://lh4.googleusercontent.com/f9EAwtzLVt1QR8IyTIFwslJ20KCXBxaOW4kGXD0jeEBiDfygLAgRjyufblyvGoQUWwyGY6JZ6K-V_RggM6ehigRvOLCB9CmoTSRzS3f2Oxb8VzsBU9AiUApCkDfqfJ6i\" height=\"200\" width=\"auto\" /><br><br>Content: Roble Gymnasium Building houses the main office, faculty and administrative staff, as well as dance studios, acting studios and rehearsal spaces, for the Dance Division of the Department of Theater & Performance Studies (TAPS). Dance workshops and performances are often held in the Big Dance Studio (Studio 38), located across from Roble Studio Theater. Studio 42 and Studio 52 are also often used for Stanford Dance purposes. Spaces in Roble Gymnasium Building are managed by TAPS.<br>Excerpt: Roble Gymnasium Building houses the main office, faculty and administrative staff, as well as dance studios, acting studios and rehearsal spaces, for the Dance Division of the Department of Theater & Performance Studies.<br>Permalink: http://arts.stanford.edu/map/place/roble-gymnasium-building-includes-roble-studio-theater/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0044-2.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0044-1.jpg<br>Place categories: Departments<br>Location Details: 375 Santa Teresa St., Stanford, CA 94305 <br>geo_latitude: 37.425849<br>geo_longitude: -122.1749<br>Website: https://taps.stanford.edu/<br>Contact: 650-723-2576<br>Email: tapsinformation@stanford.edu<br>Facebook: https://www.facebook.com/StanfordTAPS/<br>Notes: ",
"Content": "Roble Gymnasium Building houses the main office, faculty and administrative staff, as well as dance studios, acting studios and rehearsal spaces, for the Dance Division of the Department of Theater & Performance Studies (TAPS). Dance workshops and performances are often held in the Big Dance Studio (Studio 38), located across from Roble Studio Theater. Studio 42 and Studio 52 are also often used for Stanford Dance purposes. Spaces in Roble Gymnasium Building are managed by TAPS.",
"Excerpt": "Roble Gymnasium Building houses the main office, faculty and administrative staff, as well as dance studios, acting studios and rehearsal spaces, for the Dance Division of the Department of Theater & Performance Studies.",
"Permalink": "http://arts.stanford.edu/map/place/roble-gymnasium-building-includes-roble-studio-theater/",
"Image URL": "http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0044-2.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0044-1.jpg",
"Place categories": "Departments",
"Location Details": "375 Santa Teresa St., Stanford, CA 94305 ",
"geo_latitude": "37.425849",
"geo_longitude": "-122.1749",
"Website": "https://taps.stanford.edu/",
"Contact": "650-723-2576",
"Email": "tapsinformation@stanford.edu",
"Facebook": "https://www.facebook.com/StanfordTAPS/",
"Notes": "",
"gx_media_links": "https://lh4.googleusercontent.com/f9EAwtzLVt1QR8IyTIFwslJ20KCXBxaOW4kGXD0jeEBiDfygLAgRjyufblyvGoQUWwyGY6JZ6K-V_RggM6ehigRvOLCB9CmoTSRzS3f2Oxb8VzsBU9AiUApCkDfqfJ6i"
}
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"geometry": {
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"coordinates": [
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37.4307056,
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},
"properties": {
"name": "Frost Amphitheater",
"styleUrl": "#icon-1709-0097A7",
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"description": "<img src=\"https://lh4.googleusercontent.com/StDxvbFyJYr-NG-3VPyCqUgH1acQzSLZJQpq84i_xJqsrEci4ad_-5JXXkn1OBJ6o4MzCNybEEWZmVnsgQRSQJWlqRsXG5W3lzVQBk8Bq0K23TStMc1M8ki5QQDm0Qi3\" height=\"200\" width=\"auto\" /><br><br>Content: Designed by Palo Alto landscape architect Leslie Kiler, class of 1924, the Frost Amphitheater gives event attendees the feeling of being in a clearing in the woods. The sloped grass seating area descends 22 feet below the original ground level at the lowest point, near the stage, and rises a similar distance above ground level at the back of the amphitheater, farthest from the stage. The grove surrounding the bowl includes about 150 varieties of trees, including apple, birch, elm, mulberry, and cherry.<br><br><br><br>Formally known as the Laurence Frost Memorial Amphitheater, Frost honors the memory of John Laurence Frost, class of 1935, who died of polio at age 23. Mr. and Mrs. Howard Frost donated $90,000 to create the venue, which first opened in 1937. Frost hosted the University's Commencement until 1984 when the ceremony moved to the Sunken Diamond and then Stanford Stadium. Several distinguished guests spoke at Commencement ceremonies held in Frost, including then-Soviet President Mikhail Gorbachev in 1990. Noteworthy performers include the Grateful Dead, who played at Frost for years.<br>Excerpt: Designed by Palo Alto landscape architect Leslie Kiler, class of 1924, the Frost Amphitheater gives event attendees the feeling of being in a clearing in the woods.<br>Permalink: http://arts.stanford.edu/map/place/frost-amphitheater/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/120518-7301-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/991008A-7-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/120518-7298-1.jpg<br>Place categories: Performance Venues<br>Location Details: Galvez Street and Campus Drive, Stanford, CA 94305 <br>geo_latitude: 37.4307056<br>geo_longitude: -122.1659729<br>Website: http://live.stanford.edu/Venues/parkingmapsdirections.php<br>Contact: 650-725-ARTS (Stanford Ticket Office)<br>Email: ticketorders@stanford.edu<br>Facebook: <br>Notes: <br><br><img src=\"https://lh4.googleusercontent.com/PBmr-7GJl_iMtC5n7z9Yi5OEUV__rZKbxYymIQHCLSSvbkJcP74JekVbpC4ufQdCwthTN-GRxXud4p_HCO3ny5nEwOcmbHQyfVM8Rs3M9IdaSnhT9TbOyWbrwPVlOSTkkQ\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh5.googleusercontent.com/OqNf-6lFcnf2jILgPb1owtkBh_jZ6LcinIyZoIAdtU6KyY2Q84veYzp1rJrCFZADV1z_-WKTNH-xyDiJWodls255O3itvDqBDJHHTjDjeE8eHfakJkCrO3-Vg8SA3MBb\" height=\"200\" width=\"auto\" />",
"Content": "Designed by Palo Alto landscape architect Leslie Kiler, class of 1924, the Frost Amphitheater gives event attendees the feeling of being in a clearing in the woods. The sloped grass seating area descends 22 feet below the original ground level at the lowest point, near the stage, and rises a similar distance above ground level at the back of the amphitheater, farthest from the stage. The grove surrounding the bowl includes about 150 varieties of trees, including apple, birch, elm, mulberry, and cherry.\n\n\n\nFormally known as the Laurence Frost Memorial Amphitheater, Frost honors the memory of John Laurence Frost, class of 1935, who died of polio at age 23. Mr. and Mrs. Howard Frost donated $90,000 to create the venue, which first opened in 1937. Frost hosted the University's Commencement until 1984 when the ceremony moved to the Sunken Diamond and then Stanford Stadium. Several distinguished guests spoke at Commencement ceremonies held in Frost, including then-Soviet President Mikhail Gorbachev in 1990. Noteworthy performers include the Grateful Dead, who played at Frost for years.",
"Excerpt": "Designed by Palo Alto landscape architect Leslie Kiler, class of 1924, the Frost Amphitheater gives event attendees the feeling of being in a clearing in the woods.",
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"Place categories": "Performance Venues",
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"Email": "ticketorders@stanford.edu",
"Facebook": "",
"Notes": "",
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"Content": "Dinkelspiel Auditorium is located on Lagunita Drive, adjacent to Tresidder Union. The auditorium seats approximately 716, and wheelchair seating is available.",
"Excerpt": "Dinkelspiel Auditorium is located on Lagunita Drive, adjacent to Tresidder Union. The auditorium seats approximately 716, and wheelchair seating is available.",
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"Content": "The Stage at the Knoll is a mid-size performance space capable of multichannel surround sound. It is available to CCRMA faculty, staff and students for teaching, concerts and acoustic experimentation. The Stage is wired to connect with the underlying network, and a gateway connects the network to the campus at large and to the Internet, allowing for experimentation with Telematic (over-network) rehearsals and performances.",
"Excerpt": "The Stage at the Knoll is a mid-size performance space capable of multichannel surround sound. It is available to CCRMA faculty, staff and students for teaching, concerts and acoustic experimentation.",
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"Notes": "",
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"description": "<img src=\"https://lh6.googleusercontent.com/NHS3jnyLU5GUU1pXmAl0LV8ntq3I9H6BRqFDaq_l3dqiW7QrUbaxNS5tm3RphFDNx0dBRcHRXa1JtjDMledLCjTALJNSjAo-Lxvrsf2OMuUGfVZaUpdMvadfw2nH2Po\" height=\"200\" width=\"auto\" /><br><br>Content: Stanford Art Spaces (SAS) has been one of the largest galleries in the Bay Area for over 25 years. The gallery has held over 140 exhibits, represented over 300 artists, and displayed over 5,000 works. SAS provides a unique opportunity for artists from the Bay Area and the Western states to exhibit their work on the Stanford University campus. It also brings rotating collections of exciting contemporary art to the Stanford community and the general public.<br><br>SAS schedules exhibitions by both established and emerging artists. The works exhibited are usually in the possession of the artists, rather than on consignment or belonging to commercial galleries, and most works are for sale directly from the artists. Exhibitions normally last about two months and are located in the Paul G. Allen Building, the David Packard Electrical Engineering Building, and the Psychology Department Office in Jordan Hall, Building 420.<br>Excerpt: Stanford Art Spaces (SAS) has been one of the largest galleries in the Bay Area for over 25 years. The gallery has held over 140 exhibits, represented over 300 artists, and displayed over 5,000 works.<br>Permalink: http://arts.stanford.edu/map/place/stanford-art-spaces-allen-building/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0042-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/061005-002-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0045-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0041-1.jpg<br>Place categories: Museum/Gallery<br>Location Details: 420 Via Palou Mall, Stanford, CA 94305 <br>geo_latitude: 37.4295793<br>geo_longitude: -122.1748332<br>Website: http://cis.stanford.edu/~marigros/<br>Contact: 650-725-3622<br>Email: marigros@cis.stanford.edu<br>Facebook: <br>Notes: <br><br><img src=\"https://lh5.googleusercontent.com/ilhSvjgSRzrpgOIS41eV8b8N6efVrWC0xUIVu4edQhTW8LpKEZeSHypYvAKjRsF3nvFraP6nULI1xXFFDQWAiL8JST1Pz7VXiQrrKmhHm8XNycFBpfgwhwaBNQZCxuEfJg\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh3.googleusercontent.com/nNBCrfQypQWSIxqYSqSozqwJ_o1_lPV8VOE9pXrbdKmtpUSsV--bdRvRG1OSeo9QloGQpANKq1Sd_qM7b_osVPjKEHEPFezt6T93eY-M5KApqcyXulZFhA4dXT5R0i8\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh3.googleusercontent.com/TGDVqrEWkc8ku9RzoMjQduj1ioCjqcTbI7ZDxx3bPmnZLeoYQAUWa85RG-dvS_g4n2whtr0g3ml8m8W6lHaNi3xA7kx-chqEc4E0IIJRlBHTi75mztQLoEjqwiRwevsb\" height=\"200\" width=\"auto\" />",
"Content": "Stanford Art Spaces (SAS) has been one of the largest galleries in the Bay Area for over 25 years. The gallery has held over 140 exhibits, represented over 300 artists, and displayed over 5,000 works. SAS provides a unique opportunity for artists from the Bay Area and the Western states to exhibit their work on the Stanford University campus. It also brings rotating collections of exciting contemporary art to the Stanford community and the general public.\n\nSAS schedules exhibitions by both established and emerging artists. The works exhibited are usually in the possession of the artists, rather than on consignment or belonging to commercial galleries, and most works are for sale directly from the artists. Exhibitions normally last about two months and are located in the Paul G. Allen Building, the David Packard Electrical Engineering Building, and the Psychology Department Office in Jordan Hall, Building 420.",
"Excerpt": "Stanford Art Spaces (SAS) has been one of the largest galleries in the Bay Area for over 25 years. The gallery has held over 140 exhibits, represented over 300 artists, and displayed over 5,000 works.",
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"Contact": "650-725-3622",
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"Facebook": "",
"Notes": "",
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"Content": "Stanford Art Spaces (SAS) has been one of the largest galleries in the Bay Area for over 25 years. The gallery has held over 140 exhibits, represented over 300 artists, and displayed over 5,000 works. SAS provides a unique opportunity for artists from the Bay Area and the Western States to exhibit their work on the Stanford University campus. It also brings rotating collections of exciting contemporary art to the Stanford community and the general public.\n\nSAS schedules exhibitions by both established and emerging artists. The works exhibited are usually in the possession of the artists, rather than on consignment or belonging to commercial galleries; most works are for sale directly from the artists. Exhibitions, which normally last about two months, are located in the Paul G. Allen Building, the David Packard Electrical Engineering Building, and the Psychology Department Office in Jordan Hall, Building 420.",
"Excerpt": "Stanford Art Spaces (SAS) has been one of the largest galleries in the Bay Area for over 25 years. The gallery has held over 140 exhibits, represented over 300 artists, and displayed over 5,000 works.",
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"Content": "Stanford Art Spaces (SAS) has been one of the largest galleries in the Bay Area for over 25 years. The gallery has held over 140 exhibits, represented over 300 artists, and displayed over 5,000 works. SAS provides a unique opportunity for artists from the Bay Area and the Western states to exhibit their work on the Stanford University campus. It also brings rotating collections of exciting contemporary art to Stanford community and the general public.\n\nSAS schedules exhibitions by both established and emerging artists. The works exhibited are usually in the possession of the artists, rather than on consignment or belonging to commercial galleries; most works are for sale directly from the artists. Exhibitions, which normally last about two months, are located in the Paul G. Allen Building, the David Packard Electrical Engineering Building, and the Psychology Department Office in Jordan Hall, Building 420.",
"Excerpt": "Stanford Art Spaces (SAS) has been one of the largest galleries in the Bay Area for over 25 years. The gallery has held over 140 exhibits, represented over 300 artists, and displayed over 5,000 works.",
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"Content": "Gallery160 opened in the fall of 2010 in the lobby of Wallenberg Hall (aka Building 160) as part of the Your Art Here Program. The gallery was founded jointly by the Stanford Arts Institute and Wallenberg Hall.",
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"Content": "The 842-seat Bing Concert Hall is a state-of-the-art venue suited to a wide range of music performances, from small chamber ensembles to full-size orchestra, jazz and multimedia events. The seats are arranged in a \"vineyard\" format, with seating sections ringing the stage; the center-section seating begins on the same level as the stage.\n\nBing Concert Hall is designed by Richard Olcott of Ennead Architects, the internationally acclaimed architectural firm whose award-winning work includes renowned performing arts venues such as Zankel Hall at New York's Carnegie Hall. Ennead's additional Stanford projects include architect Richard Olcott's work on the Cantor Center for Visual Arts, Stanford Law School's William H. Neukom Building, and the Anderson Collection at Stanford University, set to open in 2014. The acoustical design is by Nagata Acoustics' Yasuhisa Toyota (whose resume includes the Walt Disney Concert Hall in Los Angeles).\n\n\n\nNamed in honor of major supporters Helen and Peter Bing, '55, the concert hall is located at the gateway to the Stanford campus, adjacent to the existing Frost Amphitheater, at the east end of Museum Way, with its main entry plaza facing the Cantor Arts Center on the other side of Palm Drive.",
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"Content": "The 2,375-square-foot Bing Concert Hall Studio is located on the north side of Bing Concert Hall and is acoustically isolated from the concert hall to allow simultaneous use. The studio is outfitted with variable acoustic curtains to allow tuning of the room's acoustic properties and a flexible pipe grid overhead to support lighting and other equipment for a wide variety of performances.",
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"Content": "In 2009, the Stanford Arts Institute and the Stanford Concert Network cosponsored the installation of a permanent sound system to support the more than 150 performances that take place at CoHo annually. An art tracking system was also installed in the space, which launched the first student-run gallery space on campus as part of the Your Art Here program sponsored by the Stanford Arts Institute. In 2010 the Stanford Arts Institute also assisted in the purchase of a new piano for CoHo, enabling it to better support ongoing jazz concerts, jam sessions and musical performances.",
"Excerpt": "In 2009 the Stanford Arts Institute and the Stanford Concert Network cosponsored the installation of a permanent sound system to support the more than 150 performances that take place at CoHo annually.",
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"Content": "The Cemex Auditorium boasts floor-to-ceiling windows, high-end acoustics and the latest technology. The 587 seats are arranged in two tiers, with 404 seats on the lower level, giving the space a surprisingly intimate feeling.",
"Excerpt": "The Cemex Auditorium boasts floor-to-ceiling windows, high-end acoustics and the latest technology.",
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"Content": "Founded in 1980, the Stanford Humanities Center is a multidisciplinary research institute at Stanford dedicated to advancing knowledge about culture, philosophy, history and the arts. The Center's fellowships, research workshops and public events strengthen the intellectual and creative life of the university, foster innovative scholarship and teaching, and enrich our understanding of the vast record of human achievement.",
"Excerpt": "Founded in 1980, the Stanford Humanities Center is a multidisciplinary research institute at Stanford dedicated to advancing knowledge about culture, philosophy, history and the arts.",
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"Location Details": "424 Santa Teresa St., Stanford, CA 94305 ",
"geo_latitude": "37.4249204",
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"Contact": "650-724-0113",
"Email": "rknowles@stanford.edu",
"Facebook": "http://www.facebook.com/HumanatStanford",
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"Content": "During the 2008 renovation of White Plaza, a large outdoor stage was created adjacent to Dinkelspiel Auditorium. The stage has been used for outdoor concerts, performances and the annual student-run Arts + Sustainability Festival in the spring.",
"Excerpt": "During the 2008 renovation of White Plaza, a large outdoor stage was created adjacent to Dinkelspiel Auditorium.",
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"description": "<img src=\"https://lh3.googleusercontent.com/x68ICCvzp2z4i1978T-2balTO3CLlB1s00WwoEGPSu5STJeHSiC1UuwjQyO9Xy2ciBtw1AESWCbVX7srLwLWFxz2WApVrmDyveGMtguaVsJz5JA2u04fzP3ChEAk_DnXtA\" height=\"200\" width=\"auto\" /><br><br>Content: The Anderson Collection at Stanford University is a place of creative engagement, community programming, and active learning. Opened in 2014, the museum is home to a collection of 121 modern and contemporary American paintings and sculpture generously gifted by Harry W. and Mary Margaret Anderson and Mary Patricia Anderson Pence. Each work is exemplary of its movement, from Abstract Expressionism and New York School to Bay Area Figuration and California Light and Space. The Anderson Collection collaborates with academic departments, faculty, and students to develop and present exhibitions and public programs that include live performances, workshops, and dynamic experiences that explore the connections between art and life. Here, students can explore the breadth of post-war American art and experience the distinctive art collecting vision of the Anderson family.<br>Excerpt: Stanford University will become home to the core of the Anderson Collection, one of the most outstanding private collections of post-World War II American art in the world.<br>Permalink: http://arts.stanford.edu/map/place/anderson-collection/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/AND1272.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Render-Entry-2012-06-07-1.jpg<br>Place categories: Museum/Gallery<br>Location Details: Lomita Dr<br>geo_latitude: 37.433824<br>geo_longitude: -122.1707889<br>Website: http://anderson.stanford.edu<br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Content": "The Anderson Collection at Stanford University is a place of creative engagement, community programming, and active learning. Opened in 2014, the museum is home to a collection of 121 modern and contemporary American paintings and sculpture generously gifted by Harry W. and Mary Margaret Anderson and Mary Patricia Anderson Pence. Each work is exemplary of its movement, from Abstract Expressionism and New York School to Bay Area Figuration and California Light and Space. The Anderson Collection collaborates with academic departments, faculty, and students to develop and present exhibitions and public programs that include live performances, workshops, and dynamic experiences that explore the connections between art and life. Here, students can explore the breadth of post-war American art and experience the distinctive art collecting vision of the Anderson family.",
"Excerpt": "Stanford University will become home to the core of the Anderson Collection, one of the most outstanding private collections of post-World War II American art in the world.",
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"Content": "Art Spot is located on the first and second floors of Old Union. Located at the center of campus and Stanford student life along with Tresidder Union, Old Union is a vibrant gathering place where students, faculty, staff and visitors of Stanford University can encounter the work of student artists.",
"Excerpt": "ArtSpot at the Old Union is a vibrant gathering place where students, faculty, staff and visitors of Stanford University can encounter the work of student artists.",
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"properties": {
"name": "The Wall",
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"description": "<img src=\"https://lh4.googleusercontent.com/8h6Gpbz1n7X7HhCAvY9F46bq5VTkhEiafC-9RUY7CT5JOWyYVLunUeZ_rglTtskmEr0SxNOJz-dj4b0XYmUhS4nu4vvk9ntvRewDupSKIm_0PgFRWL6b-gzMQ21_RgI\" height=\"200\" width=\"auto\" /><br><br>Content: The Wall at the Cantor Arts Center's Cool Caf_ was launched as a student gallery in 2011. The Cool Caf_ provides an art-friendly environment where museum visitors and the Stanford community can interact with student artwork while taking a break from the museum's formal galleries. The Caf_'s owner and noted organic chef, Jesse Cool, hopes that The Wall will draw a larger student crowd to the caf_. The Cantor Arts Center is pleased to support this collaboration to bring students' artwork to its premises year-round. The Cantor's Cool Caf_, Museum Store, galleries and gardens are all accessible by wheelchair.<br>Excerpt: The Wall at Cantor's Cool Caf_ provides an art-friendly environment where museum visitors and the Stanford community can interact with student artwork while taking a break from the museum's formal galleries.<br>Permalink: http://arts.stanford.edu/map/?post_type=place&p=439<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0064-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0065-1.jpg<br>Place categories: Museum/Gallery<br>Location Details: Lomita Drive at Museum Way, Stanford, CA 94305<br>geo_latitude: 37.4327075<br>geo_longitude: -122.171177<br>Website: http://artsinstitute.stanford.edu/programs/your-art-here/<br>Contact: 650-725-4758 (Cool Caf_), 650-736-4087 (Stanford Arts Institute) <br>Email: artsinstitute@stanford.edu<br>Facebook: <br>Notes: <br><br><img src=\"https://lh6.googleusercontent.com/CWr8xVllsTUcEBtmtN7-MrvtaUgWGXvRQJpHouQHeITo2M0k2UTl4SB5naS_7au3hYD1S-JkFTW8HSMGqZv5xl5lLpoJ8mh9UZg22u0DllRgn56_0wmaRWMqYjiHnxD3\" height=\"200\" width=\"auto\" />",
"Content": "The Wall at the Cantor Arts Center's Cool Caf_ was launched as a student gallery in 2011. The Cool Caf_ provides an art-friendly environment where museum visitors and the Stanford community can interact with student artwork while taking a break from the museum's formal galleries. The Caf_'s owner and noted organic chef, Jesse Cool, hopes that The Wall will draw a larger student crowd to the caf_. The Cantor Arts Center is pleased to support this collaboration to bring students' artwork to its premises year-round. The Cantor's Cool Caf_, Museum Store, galleries and gardens are all accessible by wheelchair.",
"Excerpt": "The Wall at Cantor's Cool Caf_ provides an art-friendly environment where museum visitors and the Stanford community can interact with student artwork while taking a break from the museum's formal galleries.",
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"description": "<img src=\"https://lh3.googleusercontent.com/EgdIeJkWURtPapwckQIk96pDci-C9wklHVNqttfBuHxEjNRgaI2UThIFXpvjOCmj8T_LujSZUWQSEQu3h2wvPuw3WAY6zl6xCs6tmaARp8oOw4dauoZJSJjtqbTvRQaP3A\" height=\"200\" width=\"auto\" /><br><br>Content: Memorial Auditorium, the largest indoor performance space at Stanford, opened its doors in 1938. Commemorating students and faculty who lost their lives in the armed services, it is now primarily used to present TAPS’s largest musicals and dance shows, as well as for the University’s special events. Memorial Auditorium's main stage features a large proscenium stage, and orchestra and balcony seating for over 1700 audience members. In addition to the main stage, Memorial Auditorium houses TAPS faculty offices, production staff offices, the costume shop, scene shops, the light lab, and other classrooms. Requests to reserve Memorial Auditorium must be made through the Registrar's Office.<br>Excerpt: At Stanford's Department of Theater & Performance Studies, students receive instruction from faculty and artists-in-residence in the classroom and onstage.<br>Permalink: http://arts.stanford.edu/map/place/department-of-theater-and-performance-studies/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0724-1.jpg<br>Place categories: Performance Venues<br>Location Details: 551 Serra Mall, Memorial Hall, Stanford, CA 94305 <br>geo_latitude: 37.428815<br>geo_longitude: -122.1665949<br>Website: https://taps.stanford.edu/<br>Contact: 650-723-2576<br>Email: tapsinformation@stanford.edu<br>Facebook: https://www.facebook.com/StanfordTAPS<br>Notes: ",
"Content": "Memorial Auditorium, the largest indoor performance space at Stanford, opened its doors in 1938. Commemorating students and faculty who lost their lives in the armed services, it is now primarily used to present TAPS’s largest musicals and dance shows, as well as for the University’s special events. Memorial Auditorium's main stage features a large proscenium stage, and orchestra and balcony seating for over 1700 audience members. In addition to the main stage, Memorial Auditorium houses TAPS faculty offices, production staff offices, the costume shop, scene shops, the light lab, and other classrooms. Requests to reserve Memorial Auditorium must be made through the Registrar's Office.",
"Excerpt": "At Stanford's Department of Theater & Performance Studies, students receive instruction from faculty and artists-in-residence in the classroom and onstage.",
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"Website": "https://taps.stanford.edu/",
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"Facebook": "https://www.facebook.com/StanfordTAPS",
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"description": "<img src=\"https://lh5.googleusercontent.com/ovBMhV3GK2A6_JVLMTVoMKIk3RttVSCpFm7TvJMXp6w58QvFmMypawNHBCvObnrOEjL4RumL6fEPgkhAu6V-5ffq0JWP75VuAYg__8G4wh25BLgSbSLNT955YWo2GPHeFQ\" height=\"200\" width=\"auto\" /><br><br>Content: Through courses based in theory, musicianship, analysis and history, the Stanford Department of Music trains students for careers as composers, performers, teachers and scholars. The department supports a culture that is both firmly rooted in history and tradition and vigorously engaged with the technological and artistic evolution of sound. Resources include the Archive of Recorded Sound - where students can explore the progression of music on formats from wax cylinders to CDs - and the Center for Computer Research in Music and Acoustics, a multidisciplinary facility of composers and researchers collaborating at the crossroads of technology and art.<br><br>Campus-wide, the department also promotes the enjoyment and understanding of music through private lessons, as well as the opportunity to participate in ensembles, chamber groups and major productions.<br>Excerpt: Through courses based in theory, musicianship, analysis and history, the Stanford Department of Music trains students for careers as composers, performers, teachers and scholars.<br>Permalink: http://arts.stanford.edu/map/place/department-of-music/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/cellist-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/BraunMusicCenter_color.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/JazzOrch-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/ChamberChorale-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/BraunMusicCenter_tint-1.jpg<br>Place categories: Departments<br>Location Details: Braun Music Center, 541 Lasuen Mall, Stanford, CA 94305 <br>geo_latitude: 37.4237583<br>geo_longitude: -122.1692958<br>Website: http://music.stanford.edu/Home/index.html<br>Contact: 650-723-3811<br>Email: musicinfo@stanford.edu<br>Facebook: https://www.facebook.com/StanfordMusicDepartment<br>Notes: <br><br><img src=\"https://lh5.googleusercontent.com/LkpgqAHZsEmDq-StON5NRdTiiVHxEUkuMDopDOFHjoMe_o4d9Ve5PJSclyLIjWQsuxGdb6flME2we4IE6ejpTRoQiE7TobfSFaZXMB3kUT1JLfumSfQwd-GWxdlTeLcN\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh3.googleusercontent.com/7iCo8hFwyra4Dgd7piaFqEqcJqdFPZMp7adeEpeDhlghK-mhPwih_9PZVnDGeOe2o3kSNHc-ZBxIQSmPU2aaAtMhd3sK-pXYozODHN-iwEY9tKeHJbfRtrbxqBGFjos\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh4.googleusercontent.com/-CEiVRl9kvklZgmzJML-oEUci266o3dBWnxf_P4c2eFUBOSL7g2BCfKebM8A6syAP7Ih7NHLdaeDlU3vXe_nd-YXyZigb57kU_I3SztHY2JxhVIXTmnTAqKuZwsvAEhW\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh6.googleusercontent.com/ArLLzTO-pwuksR5YdWno2LiKnGt8ZYp3s8xvcFJZ8OTH7NINZ2Q3xmY7hGb7_eSUrGi0i7pS1q1Ig7-pFeS29aA8M2tHd4uwVDwcGcZz6K6dEnCGJ4DX63W1E8DHea8RTw\" height=\"200\" width=\"auto\" />",
"Content": "Through courses based in theory, musicianship, analysis and history, the Stanford Department of Music trains students for careers as composers, performers, teachers and scholars. The department supports a culture that is both firmly rooted in history and tradition and vigorously engaged with the technological and artistic evolution of sound. Resources include the Archive of Recorded Sound - where students can explore the progression of music on formats from wax cylinders to CDs - and the Center for Computer Research in Music and Acoustics, a multidisciplinary facility of composers and researchers collaborating at the crossroads of technology and art.\n\nCampus-wide, the department also promotes the enjoyment and understanding of music through private lessons, as well as the opportunity to participate in ensembles, chamber groups and major productions.",
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"Content": "Designer - Frederick Law Olmsted\nArchitects - Shepley, Rutan and Coolidge\nDate - 1887-1906\n\nFrederick Law Olmsted was asked to design the campus and the result, representing a compromise between the naturalistic Olmsted style and the more monumental tastes of the Stanfords, called for California Mission-inspired buildings of local sandstone and red tile roofs surrounding a cloistered quadrangle with Memorial Church as its focal point. The Inner Quad, composed of 12 single-story buildings and the church, was completed concurrent with the opening of the university in 1891, and the Outer Quad, composed of larger one- and two-story buildings, was constructed from 1898 to 1906 after the Stanford estate cleared probate. Constructed of unreinforced masonry, the historic Main Quad suffered extensive damage from the 1906 earthquake; the church and several other Quadrangle buildings were rebuilt with metal framing.",
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"Content": "Designer - Foster and Partners in collaboration with MBT Architecture\nDate Constructed - 2003\n\nDesigned to bridge medical, engineering and scientific disciplines, the three-story building features three wings enfolding a courtyard, at the center of which is a circular stage for events such as concerts. Beneath the stage, underground, is a round auditorium with 150 Cardinal-red seats. The room is rimmed with a skylight that can constrict like the iris of an eye to block incoming light.",
"Excerpt": "Designed to bridge medical, engineering and scientific disciplines, the three-story building features three wings enfolding a courtyard.",
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"description": "<img src=\"https://lh6.googleusercontent.com/WmVMbpg-SG1zfq3_1t3BEh89s3W_l8Rywsd88PX7dVc8mHlD5eJ8dvFBzfooRtxS_khKyYeNyreZPqOjdejCCbf79W-lQIQ0vlD1Icff0AQt4Je5GNPieKypoq0juEJn\" height=\"200\" width=\"auto\" /><br><br>Content: Designer - Diller Scofidio + Renfro with Boora Architects<br>Date Constructed - 2015<br><br>Stanford's new McMurtry Building for the arts provides unified facilities for art history, art practice and film programs.<br><br>Diller Scofidio + Renfro, along with the executive architect, Portland, OR-based Boora Architects, designed not only a new home for the Department of Art & Art History but an interdisciplinary hub for the arts at Stanford that is fostering interaction and collaboration among students and faculty, and support the integration of the arts into university life.<br><br>Housed within 96,000 gross square feet and under one roof are programs in art practice, design, art history, film and media studies, and documentary film and video. The building include art studios, screening spaces, film editing rooms, exhibition space, the Experimental Media Art Lab and Sound Studio and the Art & Architecture Library. The McMurtry Building is located at 355 Roth Way, between the Cantor Arts Center and Parking Structure 1. Students were welcomed into the building the first day of fall term 2015 and the building was dedicated on Oct. 6, 2015.<br>Excerpt: The new McMurtry Building will house the department's programs in art practice, design, art history, film and media studies, and documentary film. <br>Permalink: http://arts.stanford.edu/map/place/mcmurtry-building-for-the-department-of-art-and-art-history/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/mcmurtry11.jpg<br>Place categories: Departments<br>Location Details: Roth Way<br>geo_latitude: 37.4324185<br>geo_longitude: -122.171766<br>Website: https://arts.stanford.edu/mcmurtry-building/<br>Contact: <br>Email: <br>Facebook: https://www.facebook.com/pages/Mcmurtry-Building/218683261817964<br>Notes: ",
"Content": "Designer - Diller Scofidio + Renfro with Boora Architects\nDate Constructed - 2015\n\nStanford's new McMurtry Building for the arts provides unified facilities for art history, art practice and film programs.\n\nDiller Scofidio + Renfro, along with the executive architect, Portland, OR-based Boora Architects, designed not only a new home for the Department of Art & Art History but an interdisciplinary hub for the arts at Stanford that is fostering interaction and collaboration among students and faculty, and support the integration of the arts into university life.\n\nHoused within 96,000 gross square feet and under one roof are programs in art practice, design, art history, film and media studies, and documentary film and video. The building include art studios, screening spaces, film editing rooms, exhibition space, the Experimental Media Art Lab and Sound Studio and the Art & Architecture Library. The McMurtry Building is located at 355 Roth Way, between the Cantor Arts Center and Parking Structure 1. Students were welcomed into the building the first day of fall term 2015 and the building was dedicated on Oct. 6, 2015.",
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"description": "<img src=\"https://lh6.googleusercontent.com/pKZKVLAPzT9e5wXUrAUD31lzZb9zpKvVOyPpmoGvwNbJiXgnG_lA17PaR-hNqwUkba_aBJ3iGvK1QJEMRQoECmRJNjJBiNyf13iO3v95eBYxXguvIQC5z_ira2ufgHW7\" height=\"200\" width=\"auto\" /><br><br>Content: Date(s) Constructed - 1913-1922<br><br>The Old Union complex (Old Union, Courtyard, Clubhouse and Nitery) is a vibrant gathering place for students, faculty, staff, alumni and guests of Stanford. The complex was built as the first campus union to bring men and women students together. The YWCA for many years provided programming in the Clubhouse (originally the Women's Clubhouse, built with the help of the Cap and Gown women's honor society). Now the Clubhouse is home to the Asian American and Native American community centers, and El Centro Chicano is in the Nitery. Old Union houses an eatery and the Associated Students of Stanford University (student government) on the ground floor, the Office of Student Activities upstairs and the Center for Inter-Religious Community, Learning and Experiences (CIRCLE) on the third floor. With the Nitery's black-box theater and the multipurpose ballroom in the Clubhouse, the complex is a focal point for student performing arts.<br>Excerpt: The Old Union complex (Old Union, Courtyard, Clubhouse and Nitery) is a vibrant gathering place for students, faculty, staff, alumni and guests of Stanford.<br>Permalink: http://arts.stanford.edu/map/place/old-union/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/130521-66161.jpg<br>Place categories: Architecture<br>Location Details: <br>geo_latitude: 37.424983<br>geo_longitude: -122.1696114<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Content": "Date(s) Constructed - 1913-1922\n\nThe Old Union complex (Old Union, Courtyard, Clubhouse and Nitery) is a vibrant gathering place for students, faculty, staff, alumni and guests of Stanford. The complex was built as the first campus union to bring men and women students together. The YWCA for many years provided programming in the Clubhouse (originally the Women's Clubhouse, built with the help of the Cap and Gown women's honor society). Now the Clubhouse is home to the Asian American and Native American community centers, and El Centro Chicano is in the Nitery. Old Union houses an eatery and the Associated Students of Stanford University (student government) on the ground floor, the Office of Student Activities upstairs and the Center for Inter-Religious Community, Learning and Experiences (CIRCLE) on the third floor. With the Nitery's black-box theater and the multipurpose ballroom in the Clubhouse, the complex is a focal point for student performing arts.",
"Excerpt": "The Old Union complex (Old Union, Courtyard, Clubhouse and Nitery) is a vibrant gathering place for students, faculty, staff, alumni and guests of Stanford.",
"Permalink": "http://arts.stanford.edu/map/place/old-union/",
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"Website": "",
"Contact": "",
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"Facebook": "",
"Notes": "",
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"properties": {
"name": "Old Chemistry",
"styleUrl": "#icon-1671-9C27B0",
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"description": "<img src=\"https://lh6.googleusercontent.com/z5CWgspSyPDaEWI2Udt0cGOxDUx_BvG3iIPVcYRWmcsGiLiWcIf2veQKddtbRnXKrcaFuUJldWRZ_V8FGYGhAbYf8wmn934t_bJ4CW_5o-nc9Ge8eD8MKpV487cuEyWZ\" height=\"200\" width=\"auto\" /><br><br>Content: Designer - Clinton Day<br>Date Constructed - 1903<br><br>A 60,000-square-foot sandstone structure built near the Oval. It was the first major science building constructed on campus. Described as Richardsonian Romanesque, the building features heavy stone, arches, a red tile roof and a classical-style pediment in the central section of the faade.<br>Excerpt: A 60,000-square-foot sandstone structure built near the Oval.<br>Permalink: http://arts.stanford.edu/map/place/old-chemistry/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/1965_Old_Chemistry_bldg_near_Oval.jpg<br>Place categories: Architecture<br>Location Details: <br>geo_latitude: 37.4307428<br>geo_longitude: -122.1714097<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Content": "Designer - Clinton Day\nDate Constructed - 1903\n\nA 60,000-square-foot sandstone structure built near the Oval. It was the first major science building constructed on campus. Described as Richardsonian Romanesque, the building features heavy stone, arches, a red tile roof and a classical-style pediment in the central section of the faade.",
"Excerpt": "A 60,000-square-foot sandstone structure built near the Oval.",
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"properties": {
"name": "Campbell Recital Hall",
"styleUrl": "#icon-1709-0097A7",
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"description": "<img src=\"https://lh4.googleusercontent.com/UA-s7YK4Julo-fzUHKWflDnB1gYs5PsNh2K720rZjGpg7m54GvIx6ZuDOk3sUkIKCOGC8VAWpRgnuVjtZX17WW-MMGNYoUs4yLpSUFqx5FL7juAxZo3-eYzULM_bJbPH\" height=\"200\" width=\"auto\" /><br><br>Content: Campbell Recital Hall, located within Braun Music Center, usually hosts Music Department events including student and faculty performances. The hall also hosts Stanford Jazz Festival events in the summer. The auditorium can seat 221 people.<br>Excerpt: Campbell Recital Hall, located within Braun Music Center, usually hosts Music Department events including student and faculty performances.<br>Permalink: http://arts.stanford.edu/map/place/campbell-recital-hall/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/SGR1924-1.jpg<br>Place categories: Performance Venues<br>Location Details: Braun Music Center, 541 Lasuen Mall, Stanford, CA, 94305 <br>geo_latitude: 37.4237242<br>geo_longitude: -122.1700173<br>Website: http://www.stanford.edu/group/tickets/venue.html<br>Contact: (650) 723-3811<br>Email: musicinfo@stanford.edu<br>Facebook: https://www.facebook.com/pages/Campbell-Recital-Hall/194355607250645<br>Notes: ",
"Content": "Campbell Recital Hall, located within Braun Music Center, usually hosts Music Department events including student and faculty performances. The hall also hosts Stanford Jazz Festival events in the summer. The auditorium can seat 221 people.",
"Excerpt": "Campbell Recital Hall, located within Braun Music Center, usually hosts Music Department events including student and faculty performances.",
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"properties": {
"name": "Nitery Theater",
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"description": "<img src=\"https://lh6.googleusercontent.com/CXoywSUcuoOA-Ni6C3hFVBIkkVkun2tw08ZL28GA_ZvpMZYrvujGUlcLnPqoG5ZGx8665oZU-frM_IYE6riqW9amBmbMojAZY8QatVIS2U0mQnejuqjNtwK0b6hDdKeYGA\" height=\"200\" width=\"auto\" /><br><br>Content: The recently renovated Nitery Theater is located in the Old Union, near White Plaza, and has a flexible seating capacity of up to 85. This fully equipped black box theater can adapt to a wide range of seating and staging formats. This space is typically used for directing workshops and the support of campus student theater groups.<br>Excerpt: The recently renovated Nitery Theater is located in the Old Union, near White Plaza, and has a flexible seating capacity of up to 85. This fully equipped black box theater can adapt to a wide range of seating and staging formats.<br>Permalink: http://arts.stanford.edu/map/?post_type=place&p=1512<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0024-21.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/09/DSC_0003-1.jpg<br>Place categories: Performance Venues<br>Location Details: Old Union, Stanford, CA 94305 <br>geo_latitude: 37.4251203<br>geo_longitude: -122.1703289<br>Website: http://dance.stanford.edu/spaces.html<br>Contact: 650-723-2576<br>Email: tapsinformation@stanford.edu<br>Facebook: https://www.facebook.com/The-Nitery-108803572517021/<br>Notes: <br><br><img src=\"https://lh6.googleusercontent.com/JoefCZ_9UdHmeNVAUUc614VQLTuf9wxEbj1DOJe0GWSspwcg78cTb4nx6xm1xBFHqb1AlvWzJ9XsAYxaMC5AYim5TeydDljhVAKHZBCyvKj6EhgQ8Q00Ovie302PEq0\" height=\"200\" width=\"auto\" />",
"Content": "The recently renovated Nitery Theater is located in the Old Union, near White Plaza, and has a flexible seating capacity of up to 85. This fully equipped black box theater can adapt to a wide range of seating and staging formats. This space is typically used for directing workshops and the support of campus student theater groups.",
"Excerpt": "The recently renovated Nitery Theater is located in the Old Union, near White Plaza, and has a flexible seating capacity of up to 85. This fully equipped black box theater can adapt to a wide range of seating and staging formats.",
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"Contact": "650-723-2576",
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"properties": {
"name": "Stanford Hospital",
"styleUrl": "#icon-1509-F9A825",
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"description": "<img src=\"https://lh3.googleusercontent.com/Ibg7wim12SbFMdP2byzxeMEWRBUTDAfkQGY8PR1JqmWjCjOpwR2YRAYXBDzV1l5Hp6hs2l0kF1K_yz97tPELSPJbffUB-gHYiflmXjHU1nEKd9-CLxpA4ObG3YsQGfZl\" height=\"200\" width=\"auto\" /><br><br>Content: Under the auspices of the Stanford Hospital & Clinics Art Commission, Stanford Hospital's art collection has grown since the establishment of the commission in 1986 to include over 1,200 pieces of original art and 4,000 fine art posters. Comprised of the original eight dedicated community members and eight new members, the commission seeks to display art in the hospital in order to enhance and humanize the environment for patients, families, staff and the community.<br><br>The collection consists of contemporary art composed of diverse media from national and international artists, and includes paintings, photographs, monotypes, lithographs and sculptures. The works are integrated throughout the hospital and can be found in corridors, stairwells, nursing stations, patient rooms and even restrooms.<br><br>The Art Commission has developed an Audio Art Tour of artworks on the first floor, available to all guests through their mobile phones. The commission presents this tour as one of its many efforts to enrich the environment within the hospital.<br>Excerpt: Under the auspices of the Stanford Hospital & Clinics Art Commission, Stanford Hospital's art collection has grown since the establishment of the commission in 1986 to include over 1,200 pieces of original art and 4,000 fine art posters.<br>Permalink: http://arts.stanford.edu/map/place/stanford-hospital/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/Hospital_124-1.jpg<br>Place categories: Museum/Gallery<br>Location Details: Stanford Hospital & Clinics, 300 Pasteur Drive, Stanford, CA 94305 <br>geo_latitude: 37.4331559<br>geo_longitude: -122.1749426<br>Website: http://stanfordhospital.org/forPatients/patientServices/ArtCollection.html<br>Contact: 650-498-3333<br>Email: LDang@stanfordmed.org<br>Facebook: <br>Notes: ",
"Content": "Under the auspices of the Stanford Hospital & Clinics Art Commission, Stanford Hospital's art collection has grown since the establishment of the commission in 1986 to include over 1,200 pieces of original art and 4,000 fine art posters. Comprised of the original eight dedicated community members and eight new members, the commission seeks to display art in the hospital in order to enhance and humanize the environment for patients, families, staff and the community.\n\nThe collection consists of contemporary art composed of diverse media from national and international artists, and includes paintings, photographs, monotypes, lithographs and sculptures. The works are integrated throughout the hospital and can be found in corridors, stairwells, nursing stations, patient rooms and even restrooms.\n\nThe Art Commission has developed an Audio Art Tour of artworks on the first floor, available to all guests through their mobile phones. The commission presents this tour as one of its many efforts to enrich the environment within the hospital.",
"Excerpt": "Under the auspices of the Stanford Hospital & Clinics Art Commission, Stanford Hospital's art collection has grown since the establishment of the commission in 1986 to include over 1,200 pieces of original art and 4,000 fine art posters.",
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"Location Details": "Stanford Hospital & Clinics, 300 Pasteur Drive, Stanford, CA 94305 ",
"geo_latitude": "37.4331559",
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"Website": "http://stanfordhospital.org/forPatients/patientServices/ArtCollection.html",
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"Email": "LDang@stanfordmed.org",
"Facebook": "",
"Notes": "",
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"properties": {
"name": "Stanford Archaeology Center",
"styleUrl": "#icon-1726-757575",
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"description": "<img src=\"https://lh6.googleusercontent.com/MmiGZd4G5GWZjLzKSNuTKXErO5J4r7QuYJdrWKegiEFvI7Twc10-5YOz-DR4uKwGjGYQ6PlMzh2eHdYGs8Dv9O9zxHS2c6mwXqBXUulh1vwmhXIV83-FUTKNClVdkNQ\" height=\"200\" width=\"auto\" /><br><br>Content: The goal of the Stanford Archaeology Center is to instill passion for research by giving students a strong basis in the discipline and its ethical standards while providing the opportunity for diverse and open-minded enquiry in facing the challenges that confront archaeologists today. The Center provides a forum for interaction amongst faculty and students in different parts of the university. It promotes theoretical, methodological and ethical innovation and encourages visiting scholars, post-doctoral researchers, faculty and students to work side-by-side on a daily basis. There is a strong global range of interests, with student and faculty researchers working from Asia to Europe, Africa and the Americas.<br><br>Daily life in the Archaeology Center involves a unique blending of archaeologists from different departments and perspectives as they work in laboratories or meet at coffee time to talk and debate. There are two weekly seminars, and four Distinguished Lectures each year. The Center collaborates with other units in the university to support post-doctoral researchers, and it promotes research in specific areas from conservation of natural and cultural capital to human rights and heritage ethics. It supports public programs for diverse communities.<br>Excerpt: The goal of the Stanford Archaeology Center is to instill passion for research by giving students a strong basis in the discipline and its ethical standards while providing the opportunity for diverse and open-minded enquiry.<br>Permalink: http://arts.stanford.edu/map/?post_type=place&p=1587<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/Archpic-11.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/09/Archpic-1.jpg<br>Place categories: Departments<br>Location Details: Building 500, 488 Escondido Mall, MC 2170, Stanford CA 94305<br>geo_latitude: 37.425375<br>geo_longitude: -122.1662111<br>Website: http://www.stanford.edu/dept/archaeology/cgi-bin/drupal/<br>Contact: 650-723-5731<br>Email: <br>Facebook: https://www.facebook.com/pages/Stanford-Archaeology-Center/295061658407<br>Notes: ",
"Content": "The goal of the Stanford Archaeology Center is to instill passion for research by giving students a strong basis in the discipline and its ethical standards while providing the opportunity for diverse and open-minded enquiry in facing the challenges that confront archaeologists today. The Center provides a forum for interaction amongst faculty and students in different parts of the university. It promotes theoretical, methodological and ethical innovation and encourages visiting scholars, post-doctoral researchers, faculty and students to work side-by-side on a daily basis. There is a strong global range of interests, with student and faculty researchers working from Asia to Europe, Africa and the Americas.\n\nDaily life in the Archaeology Center involves a unique blending of archaeologists from different departments and perspectives as they work in laboratories or meet at coffee time to talk and debate. There are two weekly seminars, and four Distinguished Lectures each year. The Center collaborates with other units in the university to support post-doctoral researchers, and it promotes research in specific areas from conservation of natural and cultural capital to human rights and heritage ethics. It supports public programs for diverse communities.",
"Excerpt": "The goal of the Stanford Archaeology Center is to instill passion for research by giving students a strong basis in the discipline and its ethical standards while providing the opportunity for diverse and open-minded enquiry.",
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"Place categories": "Departments",
"Location Details": "Building 500, 488 Escondido Mall, MC 2170, Stanford CA 94305",
"geo_latitude": "37.425375",
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"Website": "http://www.stanford.edu/dept/archaeology/cgi-bin/drupal/",
"Contact": "650-723-5731",
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"Facebook": "https://www.facebook.com/pages/Stanford-Archaeology-Center/295061658407",
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"properties": {
"name": "Center for Computer Research in Music and Acoustics (CCRMA)",
"styleUrl": "#icon-1726-757575",
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"description": "<img src=\"https://lh6.googleusercontent.com/1faewgPs4BTS8ucT4vCs_KBPLfftuKcwHW7nTVr_0Gl6OP-IMVWgPydVbrgSFuzcvrQKnE9atc_LjfU6-IQ42As2RugMHhjLR8JnrJ2_EUWNGSx3jtUMoU5INZqqlnY2\" height=\"200\" width=\"auto\" /><br><br>Content: Stanford's Center for Computer Research in Music and Acoustics (CCRMA, pronounced \"karma\") is an interdisciplinary center within the Department of Music where research exploring the science and technology of music coexists harmoniously with music composition and production. CCRMA is housed in the historic Knoll, original dwelling of the presidents of Stanford University. Degrees offered are BA in Music, Science and Technology (MST), MA in MST, and PhD in Computer-Based Music Theory and Acoustics (CBMTA). Students working at CCRMA have the opportunity to explore composition, applications hardware and software, synthesis techniques and algorithms, physical modeling, music and mobile devices, sensors, real-time controllers, signal processing, digital recording and editing, psychoacoustics and musical acoustics, perceptual audio coding, music information retrieval, audio networking, auditory display of multidimensional data (data sonification), neuroscience and music, and real-time applications.<br>Excerpt: At Stanford's Center for Computer Research in Music and Acoustics (CCRMA, pronounced \"karma\"), research exploring the science and technology of music coexists harmoniously with music composition and production.<br>Permalink: http://arts.stanford.edu/map/place/ccrma/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/NewBackSMWM.jpg<br>Place categories: Departments<br>Location Details: The Knoll, 660 Lomita Court, Stanford, CA 94305 <br>geo_latitude: 37.4210682<br>geo_longitude: -122.1723811<br>Website: https://ccrma.stanford.edu<br>Contact: 650-723-4971<br>Email: info@ccrma.stanford.edu<br>Facebook: <br>Notes: ",
"Content": "Stanford's Center for Computer Research in Music and Acoustics (CCRMA, pronounced \"karma\") is an interdisciplinary center within the Department of Music where research exploring the science and technology of music coexists harmoniously with music composition and production. CCRMA is housed in the historic Knoll, original dwelling of the presidents of Stanford University. Degrees offered are BA in Music, Science and Technology (MST), MA in MST, and PhD in Computer-Based Music Theory and Acoustics (CBMTA). Students working at CCRMA have the opportunity to explore composition, applications hardware and software, synthesis techniques and algorithms, physical modeling, music and mobile devices, sensors, real-time controllers, signal processing, digital recording and editing, psychoacoustics and musical acoustics, perceptual audio coding, music information retrieval, audio networking, auditory display of multidimensional data (data sonification), neuroscience and music, and real-time applications.",
"Excerpt": "At Stanford's Center for Computer Research in Music and Acoustics (CCRMA, pronounced \"karma\"), research exploring the science and technology of music coexists harmoniously with music composition and production.",
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"geo_latitude": "37.4210682",
"geo_longitude": "-122.1723811",
"Website": "https://ccrma.stanford.edu",
"Contact": "650-723-4971",
"Email": "info@ccrma.stanford.edu",
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"Content": "The Institute for Diversity in the Arts (IDA) is an interdisciplinary program in the humanities that involves students in the study of culture, identity and diversity through artistic expression. Our mission is to create, support and advance powerful, collaborative and transformative arts practice and arts leadership. We do this through courses, events, student fellowships and internships.",
"Excerpt": "The Institute for Diversity in the Arts (IDA) is an interdisciplinary program in the humanities that involves students in the study of culture, identity and diversity through artistic expression. ",
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"Content": "The Art & Architecture Library collects titles in the fields of art, architecture, and design. Holdings range in coverage from the Paleolithic to the present, and are particularly strong in the areas of Medieval, Renaissance, Modern, Contemporary, and Chinese art history. The Locked Stacks collection includes unique materials such as 20th-century ephemera, architectural treatises, and artists' books. The library supports art-related research, teaching, exploration, and discovery; it is open to all Stanford students, faculty, staff, and registered visitors.",
"Excerpt": "The Art & Architecture Library collects titles in the fields of art, architecture, and design. Holdings are particularly strong in the areas of Medieval, Renaissance, Modern, Contemporary, and Chinese art history.",
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"Content": "The Department of Special Collections and University Archives operates the Peterson Gallery and Munger Rotunda exhibition area on the second floor of the Green Library, Bing Wing, where it mounts three to four major exhibitions annually of rare books, manuscripts, and archive materials from Stanford University Libraries' research collections. Recent exhibits have included the two-part \"Monuments of Printing: Gutenberg Through the Book Arts Revival\"; \"Things That Dream: Calligraphic Artists' Books,\" featuring the collaborative work of Manuel Neri, Thomas Ingmire, and Dan Kelm; \"Scripting the Sacred: Medieval Latin Manuscripts\"; and \"Writing in Books,\" exploring the phenomenon from multiple perspectives. Exhibitions in the 20-case gallery are curated variously by staff and faculty as well as by students working collaboratively with library subject specialists.\n\n\"Art Meets Technology: Core samples from nine archives\" will fill the galleries in fall 2013, followed in winter 2014 by an exhibition of secular medieval manuscripts.\n",
"Excerpt": "The Department of Special Collections and University Archives operates the Peterson Gallery and Munger Rotunda exhibition area on the second floor of the Green Library, Bing Wing.",
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"description": "<img src=\"https://lh6.googleusercontent.com/kc2tFd9p8o0eDZutRZXyGENP2faiB46TBbPCaJxPH3Umsr6Vo0GNYMFWtANo4uwxEhLufBcxkngNb7JElMKf3QZVVYOQMlO6bIlYAdEMzmpBNH3HoRc6_NMkz_o_rwhz\" height=\"200\" width=\"auto\" /><br><br>Content: The Hoover Tower, completed in 1941, houses the Hoover Library and is part of the Hoover Institution, a public policy research center, library, and archives. The tower was designed by Arthur Brown Jr., who also designed other buildings on campus, as well as Coit Tower and San Francisco City Hall. Brown based the Hoover Tower design on the bell tower of the New Cathedral in Salamanca, Spain; the bells in the tower carillon are played during commencement ceremonies and other special occasions.<br><br>The exhibition rooms of the Hoover Tower contain memorabilia commemorating the life and accomplishments of the Hoover Institution's founder, Herbert Hoover (Stanford Class of 1895), and his wife, Lou Henry Hoover (Class of 1898). The observation platform on the tower's 11th floor offers an expansive view of the San Francisco Bay Area.<br>Excerpt: The Hoover Tower, completed in 1941, houses the Hoover Library and is part of the Hoover Institution, a public policy research center, library, and archives.<br>Permalink: http://arts.stanford.edu/map/place/hoover-tower/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/P1000319-2.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/09/100801-046-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/09/P1000319-1.jpg<br>Place categories: Museum/Gallery<br>Location Details: Hoover Institution, 434 Galvez Mall, Stanford University, Stanford, CA 94305 <br>geo_latitude: 37.4275176<br>geo_longitude: -122.1670291<br>Website: http://www.stanford.edu/dept/visitorinfo/plan/guides/hoover.html<br>Contact: 650-723-2053<br>Email: <br>Facebook: <br>Notes: <br><br><img src=\"https://lh3.googleusercontent.com/fhOMtkXcIvhJxEAT87_WWZ5t7LzXQs1gHO9kG7uCKSbWVMy-aDoe1N6tI-7bNNwmVrbpzXpKK1oTE8Q4TaxBn4_rQsPeE7g2YaheBdkpV5bwuNkBbhV1BRCsclOotLN6\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh6.googleusercontent.com/pUIdpKR56KgDV-YIJbILIUUyc5ajVND4RrTHUFDJvXLI2vgdT_z6Dvys0g2-Q7oGVWZ8_coAOlZ14Cw3jwO6OvBZrSV8JD4pFh6qD4ArM1q-jxueN6MBTkuC0p3Vig2hgQ\" height=\"200\" width=\"auto\" />",
"Content": "The Hoover Tower, completed in 1941, houses the Hoover Library and is part of the Hoover Institution, a public policy research center, library, and archives. The tower was designed by Arthur Brown Jr., who also designed other buildings on campus, as well as Coit Tower and San Francisco City Hall. Brown based the Hoover Tower design on the bell tower of the New Cathedral in Salamanca, Spain; the bells in the tower carillon are played during commencement ceremonies and other special occasions.\n\nThe exhibition rooms of the Hoover Tower contain memorabilia commemorating the life and accomplishments of the Hoover Institution's founder, Herbert Hoover (Stanford Class of 1895), and his wife, Lou Henry Hoover (Class of 1898). The observation platform on the tower's 11th floor offers an expansive view of the San Francisco Bay Area.",
"Excerpt": "The Hoover Tower, completed in 1941, houses the Hoover Library and is part of the Hoover Institution, a public policy research center, library, and archives.",
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"Content": "The pavilion showcases exhibitions from the Hoover Library and Archives. Past exhibitions have focused on Chinese history, propaganda from World Wars I and II, Russian art, Soviet dissidents, and Radio Free Europe. The pavilion was constructed in 1978 alongside the Herbert Hoover Memorial Building, which also houses the Hoover Archives and is the only federal monument to President Herbert Hoover. ",
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"Content": "The Bing Music Series, made possible by Helen and Peter Bing, is the centerpiece of the Stanford Hospital Music Program. From a single weekly concert in 1992, the program has expanded to include an extensive roster of musicians performing several different genres of music and a special annual Holiday Show featuring the performances of some of the San Francisco Bay Area's finest ballet companies.\n\nThe concerts are held in the Stanford Hospital Atrium and provide an opportunity for patients, families and staff to step away from their daily routines for a few minutes and relax. One comment heard universally from attendees is how much the music helps and what a wonderful surprise it is that a hospital offers such a program.\n\nAll concerts are free and open to the public. A weekly calendar is emailed to those who want to keep informed of upcoming concerts.",
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"Content": "The School of Medicine art program has multiple facets. There are several installations by well-known artists, such as Dale Chihuly and Alyson Shotz, that are intended to permanently enrich the environment of students, staff, and researchers in the School of Medicine. Similarly, the Cantor Arts Center has loaned the School of Medicine several sculptures by significant artists, including William Turnbull, Kenneth Snelson and Mark di Suvero, that are installed throughout the landscape. A growing element of the School of Medicine's art program is research-based art, which has evolved with various forms of imaging technologies. The Li Ka Shing Center and Lokey Stem Cell Research Building also feature temporary exhibitions of faculty, staff, and student art as well as extensive installations of print and poster art. Art is a reminder for the faculty, students, and staff of the School of Medicine of the tremendous importance of interaction across disciplines, and of our deeper connection through science to humanity.",
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"Content": "The School of Medicine art program has multiple facets. There are several installations by well-known artists, such as Dale Chihuly and Alyson Shotz, that are intended to permanently enrich the environment of students, staff, and researchers in the School of Medicine. Similarly, the Cantor Arts Center has loaned the School of Medicine several sculptures by significant artists, including William Turnbull, Kenneth Snelson and Mark di Suvero, that are installed throughout the landscape. A growing element of the School of Medicine's art program is research-based art, which has evolved with various forms of imaging technologies. The Li Ka Shing Center and Lokey Stem Cell Research Building also feature temporary exhibitions of faculty, staff, and student art as well as extensive installations of print and poster art. Art is a reminder for the faculty, students, and staff of the School of Medicine of the tremendous importance of interaction across disciplines, and of our deeper connection through science to humanity.",
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"Content": "Windhover is a spiritual refuge on the Stanford University campus meant to both inspire and promote personal renewal. Named for the series of paintings by Nathan Oliveira that grace its walls, Windhover provides an environment for quiet reflection throughout the day for Stanford students, faculty, and staff. Although entry into the center requires a Stanford ID card, areas surrounding the perimeter of the building are open to the public. ",
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"description": "<img src=\"https://lh5.googleusercontent.com/gA7-QkysmIn--bRjWvb009RY2G5CF2jCrylBBXSLsNHv-VDKbLcdif01WdO6Jpr3YwbcqOnjNA5ImrKY_SHFzfQR-fw7OEis_27SAivc-zTRcTj8TwoUnGe_dDrlePA\" height=\"200\" width=\"auto\" /><br><br>Artist: Mitchell Freifeld (U.S.A., b. 1950)<br>Date: 2007<br>Media: Oil on Canvas<br>Content: Mitchell Freifeld describes his inspiration for Along 23rd Avenue with these words: \"23rd Avenue in northwest Portland, Oregon is an old commercial thoroughfare. Many of the structures along it have managed to survive since the 19th century through numerous rejuvenation and gentrification projects that were the whim of the social or political moment. Today, it's wonderful to stroll along 23rd and be transported back to an era of small shops below, at and above street level. In the fall, the trees turn a brilliant yellow that is striking against the tumbling skies.\"<br><br>Mitchell Freifeld cannot remember a time when he did not draw and paint. He won his first juried show at age 10 and decided that someday, he'd be a \"real painter.\" He settled in the San Francisco Bay Area in the early '70s and got involved in the burgeoning tech industry. He moved to Portland later, upon accepting an information technology position there. After being laid off the day of the Sept. 11, 2001, terrorist attacks, he devoted himself full-time to painting and has been living his dream ever since. His work focuses on architecture and cityscapes, and portrays everyday places that \"become lost to our curiosity through sheer familiarity.\"<br>Excerpt: 23rd Avenue in northwest Portland, Oregon is an old commercial thoroughfare. Many of the structures along it have managed to survive since the 19th century.<br>Credit Line: Purchased by the School of Education<br>Permalink: http://arts.stanford.edu/map/place/along-23rd-avenue/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/SGR1868-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/SGR1868-2.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/SGR1868.jpg<br>Place categories: Public Art<br>Location Details: Barnum Building lobby<br>geo_latitude: 37.4256861<br>geo_longitude: -122.1689529<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: <br><br><img src=\"https://lh4.googleusercontent.com/Fasl2HGletdNg0nOCcU6KOxhD5D8BseKWsK9zLQ5mKBtwrv8uKQztOWXC0dbwwMVViGHUM_rEqr7bXJo0TsaF6UA0YSlzS9dpqWRnYLOhEA8Ccksq_IRR_M3gWTZzxA\" height=\"200\" width=\"auto\" />",
"Artist": "Mitchell Freifeld (U.S.A., b. 1950)",
"Date": "2007",
"Media": "Oil on Canvas",
"Content": "Mitchell Freifeld describes his inspiration for Along 23rd Avenue with these words: \"23rd Avenue in northwest Portland, Oregon is an old commercial thoroughfare. Many of the structures along it have managed to survive since the 19th century through numerous rejuvenation and gentrification projects that were the whim of the social or political moment. Today, it's wonderful to stroll along 23rd and be transported back to an era of small shops below, at and above street level. In the fall, the trees turn a brilliant yellow that is striking against the tumbling skies.\"\n\nMitchell Freifeld cannot remember a time when he did not draw and paint. He won his first juried show at age 10 and decided that someday, he'd be a \"real painter.\" He settled in the San Francisco Bay Area in the early '70s and got involved in the burgeoning tech industry. He moved to Portland later, upon accepting an information technology position there. After being laid off the day of the Sept. 11, 2001, terrorist attacks, he devoted himself full-time to painting and has been living his dream ever since. His work focuses on architecture and cityscapes, and portrays everyday places that \"become lost to our curiosity through sheer familiarity.\"",
"Excerpt": "23rd Avenue in northwest Portland, Oregon is an old commercial thoroughfare. Many of the structures along it have managed to survive since the 19th century.",
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"description": "<img src=\"https://lh4.googleusercontent.com/9zyQdflMM6rAv1m13VB3sKcPH3Sa2Gh_9fWVSJ0feS_iQkeNkNgi2V8h6o0AfMl4Zav_RP0lCUsoWdvJ_aZb0KV6vKY1v-pu9olhcppRnc9IOsZwHo4-sNUvls0CIM-JWQ\" height=\"200\" width=\"auto\" /><br><br>Artist: Carved by the Bernieri Brothers of Tuscany after an original design by William Wetmore Story (U.S.A., 1819-1895)<br>Date: Design, 1894; this replica, 1900-1901<br>Media: Carrara marble<br>Content: Jane Lathrop Stanford commissioned the Angel of Grief in 1900 as a memorial for one of her brothers, Henry Clay Lathrop, after choosing the design from a photograph. A reproduction of an original design by William Wetmore Story, the statue was carved by the Bernieri Brothers of Tuscany from a single block of Carrara marble. The 7-ton, 6-foot-wide statue was packed in a special case built to support the figure and sustained only damage to the wing tip during the three-month overseas journey to Palo Alto. The canopy collapsed atop the statue in the 1906 earthquake, and Charles Lathrop (no relation), Stanford's business manager, had the statue restored in 1908, but without the canopy. In 2001, the left arm, which had been missing, was replaced and the statue was cleaned and restored.<br><br>William Wetmore Story designed the statue in memory of his wife, Emelyn, who died in 1894. Story was the son of Joseph Story, a Harvard law professor and U.S. Supreme Court justice. William studied law, but later abandoned it for sculpture, and moved to Rome in 1850. William and Emelyn are interred beneath the Angel of Grief in the Protestant Cemetery in Rome.<br>Excerpt: Jane Lathrop Stanford commissioned the Angel of Grief in 1900 as a memorial for one of her brothers, Henry Clay Lathrop, after choosing the design from a photograph.<br>Credit Line: Commissioned by Jane Stanford<br>Permalink: http://arts.stanford.edu/map/place/angel-of-grief/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/angel_of_grief-3-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0032-1.jpg<br>Place categories: Public Art<br>Location Details: Stanford Arboretum<br>geo_latitude: 37.4373804<br>geo_longitude: -122.1686365<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: <br><br><img src=\"https://lh4.googleusercontent.com/BnZ57_ihrawO9TGa3XTplKcwWaVZDUYptutV8vEXBV94vb7TMJiLVmutnvpk_vkpjSnd6BIqv9MzmtYx0GsHthfBZsymDoWy1PmarmNcaARSt5MH5sSDJVumADqpihTR\" height=\"200\" width=\"auto\" />",
"Artist": "Carved by the Bernieri Brothers of Tuscany after an original design by William Wetmore Story (U.S.A., 1819-1895)",
"Date": "Design, 1894; this replica, 1900-1901",
"Media": "Carrara marble",
"Content": "Jane Lathrop Stanford commissioned the Angel of Grief in 1900 as a memorial for one of her brothers, Henry Clay Lathrop, after choosing the design from a photograph. A reproduction of an original design by William Wetmore Story, the statue was carved by the Bernieri Brothers of Tuscany from a single block of Carrara marble. The 7-ton, 6-foot-wide statue was packed in a special case built to support the figure and sustained only damage to the wing tip during the three-month overseas journey to Palo Alto. The canopy collapsed atop the statue in the 1906 earthquake, and Charles Lathrop (no relation), Stanford's business manager, had the statue restored in 1908, but without the canopy. In 2001, the left arm, which had been missing, was replaced and the statue was cleaned and restored.\n\nWilliam Wetmore Story designed the statue in memory of his wife, Emelyn, who died in 1894. Story was the son of Joseph Story, a Harvard law professor and U.S. Supreme Court justice. William studied law, but later abandoned it for sculpture, and moved to Rome in 1850. William and Emelyn are interred beneath the Angel of Grief in the Protestant Cemetery in Rome.",
"Excerpt": "Jane Lathrop Stanford commissioned the Angel of Grief in 1900 as a memorial for one of her brothers, Henry Clay Lathrop, after choosing the design from a photograph.",
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"name": "Stanford Mausoleum - Untitled (Stanford Family statue)",
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"description": "<img src=\"https://lh5.googleusercontent.com/PUzinhOqigheMoQV95ldNf7dy2-MdcgboHuvvLWPRbrkxOQdTvwIH104BqLvEZT46wEw-UclcY_fBEz3ZJrKfSTqLeQ-U_UEXPGfNwjsaSlltGsha60MfiEZ3S6t4Gwcag\" height=\"200\" width=\"auto\" /><br><br>Artist: Larkin Goldsmith Mead Jr. (U.S.A., 1835-1910)<br>Date: 1899<br>Media: Bronze<br>Content: Jane Stanford commissioned the Stanford Family statue as a memorial to her family in 1890. The statue, cast in bronze in Florence, Italy, was not completed until 1899. Originally located in the Inner Quad, it was relocated several times. In 1978, vandals sawed off Leland Stanford Jr.'s thumb and the sculpture was moved into safekeeping until the thumb could be replaced. When the statue was about to be removed from storage in a Facilities Department parking lot in 1987, Stanford feminists objected, asserting that the statue portrayed women as subservient. The resulting controversy delayed the return of the statue to public display. The statue was finally placed next to the mausoleum in 1998.<br>Excerpt: Jane Stanford ordered the Egyptian-style sphinxes that guard the mausoleum to replace the original Greek-style female sphinxes, which allegedly so displeased her that she had them moved to the back of the building. <br>Credit Line: Commissioned by Jane Stanford<br>Permalink: http://arts.stanford.edu/map/place/stanford-family/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/010416DG-76-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0006-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0012-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0008-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0017-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Stanford_Family-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0003-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Stanford_Family.jpg<br>Place categories: Public Art<br>Location Details: To the right of Stanford Mausoleum<br>geo_latitude: 37.43643<br>geo_longitude: -122.1699447<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: <br><br><img src=\"https://lh5.googleusercontent.com/_7obXFyV4OO2rmL2tvAuOihKgRBCxJd9i5zz9TCUjf0Vye2h_wZn6mvOKylWoouPOm0w3Hbk9TwkP1iRGKPmU1boXJmsc35hhLlgXmwpH6efi25ap1dxj7X2VcT8fpAH\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh6.googleusercontent.com/7fifiI_UvaXwU4jiMY2J4ST0DBH68mSIF_IvBMzevVeC23jOC8D3TAZBLAezC1-lSKQEaGYi_GS3Y1WXz5Gb7nml8yIrOq4RaZhBypWGgDKHi395SH4MgmRSBA9jDZus\" height=\"200\" width=\"auto\" />",
"Artist": "Larkin Goldsmith Mead Jr. (U.S.A., 1835-1910)",
"Date": "1899",
"Media": "Bronze",
"Content": "Jane Stanford commissioned the Stanford Family statue as a memorial to her family in 1890. The statue, cast in bronze in Florence, Italy, was not completed until 1899. Originally located in the Inner Quad, it was relocated several times. In 1978, vandals sawed off Leland Stanford Jr.'s thumb and the sculpture was moved into safekeeping until the thumb could be replaced. When the statue was about to be removed from storage in a Facilities Department parking lot in 1987, Stanford feminists objected, asserting that the statue portrayed women as subservient. The resulting controversy delayed the return of the statue to public display. The statue was finally placed next to the mausoleum in 1998.",
"Excerpt": "Jane Stanford ordered the Egyptian-style sphinxes that guard the mausoleum to replace the original Greek-style female sphinxes, which allegedly so displeased her that she had them moved to the back of the building. ",
"Credit Line": "Commissioned by Jane Stanford",
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"Image URL": "http://arts.stanford.edu/map/wp-content/uploads/2013/06/010416DG-76-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0006-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0012-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0008-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0017-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Stanford_Family-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0003-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Stanford_Family.jpg",
"Place categories": "Public Art",
"Location Details": "To the right of Stanford Mausoleum",
"geo_latitude": "37.43643",
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"Website": "",
"Contact": "",
"Email": "",
"Facebook": "",
"Notes": "",
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"properties": {
"name": "Stanford Mausoleum - Sphinxes",
"styleUrl": "#icon-1899-E65100",
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"description": "<img src=\"https://lh6.googleusercontent.com/vtjDNPTG0qxGLD-wpMnwr_xuWj6HcVHq5S20QEoQQTXgYYgyE49Fqbx9RpxS1t9_35GkOrlnK3mzu4JKt_HN7_r7KFk3q-OmyaJYXMJblHBMvcpQjdWzlZl6_GKYCvfnrQ\" height=\"200\" width=\"auto\" /><br><br>Artist: William Couper (U.S.A., 1853-1942)<br>Date: 1891<br>Media: Carrara marble<br>Content: (Egyptian sphinxes) Location - Front of Stanford Mausoleum<br>(Greek Sphinxes) Location - Back of Stanford Mausoleum<br><br>Jane Stanford ordered the Egyptian-style sphinxes that guard the front of the mausoleum from sculptor William Couper in 1890 to replace the original Greek-style female sphinxes. The female sphinxes allegedly so displeased Mrs. Stanford that she had them moved to their current positions at the back of the building. William Couper was an American artist who spent many years working in Italy. He is known for his bas-reliefs, portraits, busts and allegorical figures and, especially, for his sensitive depictions of angels.<br>Excerpt: Jane Stanford ordered the Egyptian-style sphinxes that guard the mausoleum to replace the original Greek-style female sphinxes, which allegedly so displeased her that she had them moved to the back of the building. <br>Credit Line: Commissioned by Jane Stanford<br>Permalink: http://arts.stanford.edu/map/place/stanford-family/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/010416DG-76-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0006-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0012-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0008-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0017-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Stanford_Family-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0003-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Stanford_Family.jpg<br>Place categories: Public Art<br>Location Details: Front, back and in a grove to the right of Stanford Mausoleum<br>geo_latitude: 37.4364918<br>geo_longitude: -122.169824<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: <br><br><img src=\"https://lh6.googleusercontent.com/qz0sfKfDkd3V6QZHB0MLTEpCgLz00YuMdpr6gNHC61uqkuvXNatdSvEDkvMmfLq3LynSfFSTG_2crUSISrHTo6S0gsaEyTM21IMbMhuAn8VDAvJT7ULQiHzV45EYUHG_\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh5.googleusercontent.com/AhUf8PJgkWd7GfxoYMi8JkbE-gC-gXdGP1Lr_XHPmnrxG3Gwh5Gp4Cb6csS5HRvgRWJqWtoXogmuq6U8em2KAKI1CFLqP7uSsJBxdiZhto1NUJjnasXLjQHjR1hVGHk0uQ\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh6.googleusercontent.com/SqB1KQNLrTU6_AnZgEz1u_rRxZAW2bpsLt19Qn4GluSiqY6RoyvK4i9m1xnwaQ2a2xtyRZsrzCatqJweTYW1MmOozFv6t3nS6UFdD3HfPFums4CO7GE9Y8TrajMkeKMj\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh4.googleusercontent.com/hLXWJDEQx-MVtWn3ooy5OxquyK8BIvacKBxs-46ukG0QV1YCxbLVLIN3rDsi35jD6Y9GBK3CLEK5DemjMPth4Kqv0hej21V0APywjjxZqNNOQUCt03rLEghwCHLKdim8\" height=\"200\" width=\"auto\" />",
"Artist": "William Couper (U.S.A., 1853-1942)",
"Date": "1891",
"Media": "Carrara marble",
"Content": "(Egyptian sphinxes) Location - Front of Stanford Mausoleum\n(Greek Sphinxes) Location - Back of Stanford Mausoleum\n\nJane Stanford ordered the Egyptian-style sphinxes that guard the front of the mausoleum from sculptor William Couper in 1890 to replace the original Greek-style female sphinxes. The female sphinxes allegedly so displeased Mrs. Stanford that she had them moved to their current positions at the back of the building. William Couper was an American artist who spent many years working in Italy. He is known for his bas-reliefs, portraits, busts and allegorical figures and, especially, for his sensitive depictions of angels.",
"Excerpt": "Jane Stanford ordered the Egyptian-style sphinxes that guard the mausoleum to replace the original Greek-style female sphinxes, which allegedly so displeased her that she had them moved to the back of the building. ",
"Credit Line": "Commissioned by Jane Stanford",
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"Excerpt": "The majestic blue chandelier suspended in the atrium of the Lorry I. Lokey Stem Cell Research Building serves as a reminder of the importance of creativity in both art and science.",
"Credit Line": "A gift from the friends of My Blue Dots: The McCollum Family Fund (Sue, Bob, Mike, Dave, Jeff), Marion and Don Howell, Anonymous, Bev and Bob Chell, Mary Lou and Ron McCollum, Sheri and Mike Page",
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"description": "<img src=\"https://lh4.googleusercontent.com/fTNL5WX9to8UBiaiaOe9PlxCl-VE0uk5umk63qC3EDOiXwLuNpJOnzWfNM9-_dj7UGxz1NYc3Ukqx4w_7Ycj-2NAk37SC9XlZMisS9w-lfoB2nnieZEIdpsH_XdtGkQzmQ\" height=\"200\" width=\"auto\" /><br><br>Artist: Alyson Shotz (U.S.A., b. 1964)<br>Date: 2013<br>Media: Welded aluminum frame, acrylic with dichroic lamination<br>Content: The iridescent latticework sculpture Three Fold by Alyson Shotz seems to float to the ceiling of the second floor Yang and Yamazaki Lobby in the Li Ka Shing Center, belying its immense weight; the 56-foot-long, 20-foot-wide sculpture composed of three separate pieces weighs more than 3,000 pounds.<br><br>The artist describes Three Fold as \"sort of an upside down conceptual topography of the imagination.\" Shotz goes on to say, \"I've had a longstanding interest in topology and folding, and the way that shapes can be manipulated and stretched or deformed into other shapes without cutting or tearing them. In the case of Three Fold, each section of the sculpture is the same shape folded and stretched three different ways. Folding is a process that is found all over the natural world and is crucial in biology. For example, before proteins are folded they exist as non-dimensional structures; after folding they become three dimensional and functional structures. In parallel, when I made my drawings for Three Fold, the lines were non-dimensional, almost conceptual objects. I had to expand the lines in order to get a three dimensional functional sculpture.\"<br><br>Also crucial to Three Fold is the experience of change, light and color. Because of the properties of the dichroic material, which is actually transparent, the sculpture changes color throughout the day as the sun moves across the sky. The movement of the viewer around the piece also changes his or her experience of color and shape. The spaces and the solid parts of the sculpture are equally important and affect each other, and perception is heightened the longer one looks at this work.<br><br>The rippling form began as a drawing of lines on a grid. Shotz used 3D modeling software to stretch and fold the structure until she reached a series of three complex wave-like shapes that retained the linear character of their conception. A fabricator, DCM Fabrication in Brooklyn, created shop drawings from which the aluminum and acrylic pieces were cut and then assembled into sections. The sections were moved across the country to the Stanford campus in a tractor-trailer. Shotz and a team of art installation experts installed the piece in the Li Ka Shing Center over a two-week period.<br><br>Three Fold is dedicated to the former dean of the School of Medicine, Philip A. Pizzo, MD, who created the medical school's art committee in 2011 and was dean from 2001 to 2012.<br><br><br><br><br>Excerpt: The iridescent latticework sculpture Three Fold by Alyson Shotz seems to float to the ceiling of the Yang and Yamazaki Lobby in the Li Ka Shing Center, belying its immense weight.<br>Credit Line: Made possible through the generosity of the Li Ka Shing Foundation, Alan and Elene Yeung, Paul and Mildred Berg, and many School of Medicine faculty members and departments in honor of Philip A. Pizzo, MD, who led the school with distinction as the Carl and Elizabeth Naumann Dean from 2001 to 2012.<br>Permalink: http://arts.stanford.edu/map/place/three-fold/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/Shotz_Three-Fold_detail_2v2-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Shotz_Three-Fold_6-v2-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Three-Fold_detail_0191-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Three-Fold_0196-1.jpg<br>Place categories: Public Art<br>Location Details: Li Ka Shing Center<br>geo_latitude: 37.4318233<br>geo_longitude: -122.1758038<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: <br><br><img src=\"https://lh6.googleusercontent.com/NlnwWwXdzsBXkaeZvM9gTa8UpodDxKdde1pPxINFKMVdZTnfxadu4oDwlFJfSsAkLP1P6FuzGnzzRnVixqUVAovy_m7PiXAocJcwWnAsUsXN9UPpgt_Va2Zvs0oY0WE\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh3.googleusercontent.com/dHuEp7trF81TpN8f19OlRSy4px7Cb0Z1tyzuk20jsEM7MdkLMLceiePCctcAKm6OJx0ZIzwYeFDWUmov9rp5F5w0J9LJuYGgi0KUn2mN1QDwvhLbHdGRYG5RDcF4YGU\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh6.googleusercontent.com/cxgweE9pkeuwY2DtNPivtPZTFqv7X1g73HnV0xjAMWvTaCm0nGTjC_3WeD72g_sAteykukoP8PFxLylRmfEbHSBkfSz7SkYmhC_UVr0j-m3PevrF2kMPzf8DbovgQ3o\" height=\"200\" width=\"auto\" />",
"Artist": "Alyson Shotz (U.S.A., b. 1964)",
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"Media": "Welded aluminum frame, acrylic with dichroic lamination",
"Content": "The iridescent latticework sculpture Three Fold by Alyson Shotz seems to float to the ceiling of the second floor Yang and Yamazaki Lobby in the Li Ka Shing Center, belying its immense weight; the 56-foot-long, 20-foot-wide sculpture composed of three separate pieces weighs more than 3,000 pounds.\n\nThe artist describes Three Fold as \"sort of an upside down conceptual topography of the imagination.\" Shotz goes on to say, \"I've had a longstanding interest in topology and folding, and the way that shapes can be manipulated and stretched or deformed into other shapes without cutting or tearing them. In the case of Three Fold, each section of the sculpture is the same shape folded and stretched three different ways. Folding is a process that is found all over the natural world and is crucial in biology. For example, before proteins are folded they exist as non-dimensional structures; after folding they become three dimensional and functional structures. In parallel, when I made my drawings for Three Fold, the lines were non-dimensional, almost conceptual objects. I had to expand the lines in order to get a three dimensional functional sculpture.\"\n\nAlso crucial to Three Fold is the experience of change, light and color. Because of the properties of the dichroic material, which is actually transparent, the sculpture changes color throughout the day as the sun moves across the sky. The movement of the viewer around the piece also changes his or her experience of color and shape. The spaces and the solid parts of the sculpture are equally important and affect each other, and perception is heightened the longer one looks at this work.\n\nThe rippling form began as a drawing of lines on a grid. Shotz used 3D modeling software to stretch and fold the structure until she reached a series of three complex wave-like shapes that retained the linear character of their conception. A fabricator, DCM Fabrication in Brooklyn, created shop drawings from which the aluminum and acrylic pieces were cut and then assembled into sections. The sections were moved across the country to the Stanford campus in a tractor-trailer. Shotz and a team of art installation experts installed the piece in the Li Ka Shing Center over a two-week period.\n\nThree Fold is dedicated to the former dean of the School of Medicine, Philip A. Pizzo, MD, who created the medical school's art committee in 2011 and was dean from 2001 to 2012.\n\n\n\n",
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"description": "<img src=\"https://lh4.googleusercontent.com/xH3fCf_zM1iq5ftrEReJJtimkMG7b4ixQSBiCh54MQOj4oCCAAYBjb_jyi6ZCfPIv3D9HnpDCwEQJE2zSF6rRBfbrPdKD6u7P6h7J8bWEXJ-FvMFUoLOrflJHoiANZQ\" height=\"200\" width=\"auto\" /><br><br>Artist: Susan Schwartzenberg (U.S.A., b. 1951) and Tom Leader Studio<br>Date: 2012<br>Media: Laser-etched Mongolian black granite<br>Content: In 347 clear black granite panels etched with photos, drawings, diagrams, text and data, the Stanford Medical Narrative tells an interpretive history of the Stanford School of Medicine. A multitude of individual voices contributes to the narrative: over 225 research and clinical faculty, in addition to students, staff and alumni of the school were interviewed for the project. They relay stories about the history of the school, its extraordinary achievements in diverse fields such as immunology, neuroscience, and medical practice, and issues such as medical ethics, health care policy, collaboration and competition in science, and approaches to research and invention. The included text typically directly quotes interviewees, contributing to a sense of the development of medical knowledge as both an objective and professional, and an utterly human endeavor.<br><br>The panels of the Stanford Medical Narrative line the sides of 22 benches that double as planters, which border the central promenade of the School of Medicine stretching north from the Clark Center. The promenade, called Discovery Walk, includes pavers containing text that links the Stanford stories to the history of medicine. The Foundations Way, another pathway, intersects the Discovery Walk as it stretches from Campus Drive to the Li Ka Shing Center. The Foundations Way contains a chronology of the School of Medicine since its founding in 1858. Designed by Tom Leader Studio, the landscape plan also includes the Alumni Green, and next to it, historic columns from the School of Medicine's predecessor instantiation in San Francisco, Cooper Medical College, as well as the sign from the original school which rests on a foundation of bricks from the now demolished building.<br>Excerpt: In 347 clear black granite panels etched with photos, drawings, diagrams, text and data, the Stanford Medical Narrative tells an interpretive history of the Stanford School of Medicine.<br>Credit Line: Made possible by the generous support of the Li Ka Shing Foundation<br>Permalink: http://arts.stanford.edu/map/place/discovery-walk/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/ArtWalk_043.stacking-panels-1-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/ArtWalk_087.bench-9-1-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/ArtWalk_32879.overview-1-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0080-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0082-1.jpg<br>Place categories: Public Art<br>Location Details: Walkway adjacent to the James H. Clark Center, the Fairchild Center, the Li Ka Shing Center, the Beckman Center, the Center for Clinical Sciences Research, and the Lorry I. Lokey Stem Cell Research Building<br>geo_latitude: 37.4314604<br>geo_longitude: -122.1759484<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: <br><br><img src=\"https://lh3.googleusercontent.com/r12-MkYrvYB9EdWapuYQdxcEvJmSE46rjkOBidLaRHMKE0haGSwfq_K4Cf0qkFEZzArakamlKQkh7iLnN0E8ngaEBw2e-FrPTY1C6rViiFRfpG_AN3yynoqVn3wylgL5ug\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh6.googleusercontent.com/jYVuGwW8YuvgmV6rvdPYaabbz1keoW47ajY3YsBRzRe2ak6isJER_UOoR36sV1qubLrfSl2Dcg1PDR88B_I2bkNFP28W4j2WTqG5C_2ynWzue_SdIxJEYgsDYcj6xt4\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh5.googleusercontent.com/BLihKFSyBm-5ADCwomyZfm2XKgVDtJ_24sIdVFCa0-DmjrCUgDVNZ1pOwPj-XZKBeSsOj14rlSQQR8sMxIbT5SYsGY-hBcR610yLm51UpnmtpoHsVFG1cbCi1I1FX9U\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh5.googleusercontent.com/EgGRYOftFpvriJicwM4s6C9zvyrXsBpBlF3OLFYEci_PZv2-6N9Ub2PRTlSEzScL50EfCu9-Sf1xK2Eq3CBaf6NqWdF8-B_kxyoF_3OIfGpmzEfiye_nvBpr9Igb3_A\" height=\"200\" width=\"auto\" />",
"Artist": "Susan Schwartzenberg (U.S.A., b. 1951) and Tom Leader Studio",
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"Excerpt": "In 347 clear black granite panels etched with photos, drawings, diagrams, text and data, the Stanford Medical Narrative tells an interpretive history of the Stanford School of Medicine.",
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"description": "<img src=\"https://lh3.googleusercontent.com/drPd9XZlkurfX0yGuHhqK0QbDdrmBS9CIO9vdptFkInFE8DAJb28rX2XImGGhCcuQsWD0FXppg6sTy6lNq19mhnyKh-Z5X8oKST5XVlLety49DdPUmWhla2nfAYF-22B\" height=\"200\" width=\"auto\" /><br><br>Artist: Multiple<br>Date: Multiple<br>Media: Multiple<br>Content: Title - Codex (Individual panel titles: Genesis, Conquest and Slavery, Resistance and Revolution, Gemelos, El Futuro) Artist - Juana Alicia (U.S.A., b. 1953)<br>Date - 2012<br>Media - Watercolor and digital print<br><br>Title - Mayan Scribe<br>Artist - Juana Alicia (U.S.A., b. 1953)<br>Date - 2012<br>Media - Digital print and acrylic paint on canvas<br><br>Title - Nopal de Resistencia y Raices<br>Artist - Juana Alicia (U.S.A., b. 1953)<br>Date - 2012<br>Media - Digital print and acrylic paint on canvas<br><br>Title - Adelante Raza! Artist - Cesar Armando Torres (U.S.A., b. 1990) Date - 2010 Media - Acrylic on canvas Credit Line - Given to El Centro Chicano, 2010. Completed in conjunction with the Raza Day Conference on 17 April 2010<br><br>Title - Unknown<br>Artist - Pablo Soto<br>Date - 1988<br><br>The suite of four friezes in the entryway of Stanford's El Centro Chicano titled The Spiral Word: El Codex Estˆanfor honors, celebrates and stimulates historical consciousness of the narratives of Latin American peoples. In making the murals, Juana Alicia drew from the vast and rich history and literature of multiethnic indigenous Latin America. The works of Eduardo Galeano, including The Open Veins of Latin America and the Memories of Fire trilogy, inspired her more than the writings of any other author, so much so that she originally planned to include actual text from these works in the murals. We encourage you to visit Juana Alicia's website to learn more about the detailed narrative of each mural panel.<br><br>Adelante Raza! has its roots in the community-based construction of murals that arose from the Chicano Mural Movement of the 1970s. Inspired the mission of the Raza Day Conference to encourage Chican@s to pursue higher education, Cesar Armando Torres, BA/BS '13, composed the piece and painted it as a blue-wash. Directed by Aracely Mondrag„n, BA '13, and Sandra Rodriguez, '13, local high school students then applied the colored acrylic paint. The composition depicts the upward trajectory made possible by civil rights activism.<br><br>The lower level of El Centro Chicano also contains a 1988 mural by Pablo Soto.<br>Excerpt: The suite of four friezes in the entryway of Stanford's El Centro Chicano titled The Spiral Word: El Codex Estˆnfor honors, celebrates and stimulates historical consciousness of the narratives of Latin American peoples.<br>Credit Line: <br>Permalink: http://arts.stanford.edu/map/place/the-spiral-word/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/Maya-Scribe-Final-Magnolia-1-2.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/SGR1894-2.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/SGR1897-2.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Maya-Scribe-Final-Magnolia-1-11.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/SGR1894-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/SGR1891-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/SGR1897-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Juana-Alicia-at-Centro-Chicano-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Hallway-El-Centro-Chicano-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/El-Futuro-copy-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Conquest-and-Slavery-copy-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Bens-Codex-Actual-Size-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Maya-Scribe-Final-Magnolia-1-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Genesis-copy-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Gemelos-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Nopal-de-Resistencia-hi-res-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Detail-of-Mercedes-y-Gemelo-copy-1.jpg<br>Place categories: Public Art<br>Location Details: Hallway and lower level of El Centro Chicano<br>geo_latitude: 37.4253627<br>geo_longitude: -122.1697096<br>Website: http://juanaaliciaatcentro.wordpress.com<br>Contact: <br>Email: <br>Facebook: <br>Notes: <br><br><img src=\"https://lh3.googleusercontent.com/Fnji0PYmFAoT7PQvHSestxxBF2w3BKV4kH3P8bjrnQcuuXHhDe4KPglDxtPmYVsvNIz92PBmhR-dVq2tcXc8MyQnEiBxQXn5uZW5wu4jgyizO71ERkI8o2MYzqm7G9k\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh6.googleusercontent.com/cvnreke65_f_bYklzS9enLmtcFt1iUwpO7xL7i8oCPLk3LAS6Eu8HD0K6JtnHQ6l0NKSzhvc7Jmk86hxkIzwnHuyAx_ASW1-p1nDKmbxm62X4LzFo5a9yn-CG76M4-M\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh5.googleusercontent.com/jIS6-wlstlUaVW-ER36JlluETkwbHqY9s9_7h1Jq9LywdM-pJwxCBuUcacXTQnrSrVDGn8iz7g8O2csReC3XEHKN714PnZpTqwya4iISp20zJNYi-3rLLLkvs78TDN8\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh6.googleusercontent.com/83xjicsLUZmaAf2BUHN_yzM6WIl7hS0fCqPp5rwwji1TeRcuqPInrO_lf5AFY251WiHTBNt37WFAcLQTGHhNGzVfnvvAvhTwjQ54-9Zzg3in8rA9066ROaMlPM6e2aY\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh5.googleusercontent.com/atSX1gPZcIJpnH3F71oG3x5ZDxYooET_Ht3gTgfGEbyEyVBm8b33NFI-NOWwuTJnpwyABMT1ZlAFlwPr50QnnrroH0_JVO6c5tyDePCf_f7xLaM42ZiZDeRmaKGx9mDeCA\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh6.googleusercontent.com/-uMGvb3dqYqOkFHv66MTFc0sjYKNZvI9xXMmVnawCpjddfsDtk7o4QmQSELcq99stUDsFuV3kVhTVGdMwNIw--x3BnoCOHffyoF1q9JkMkNkCZbJoT0GRZqKW8iMbOw27w\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh5.googleusercontent.com/sFRv4jRru5miyl7gN8I9irDGEmNyOh2FuluryTRsUggo900tjJ9r7GcZ-C7kLW7fCFyU8WeiZMGZOB2EkoMe0-EXjbCrnZd0NYAqoeCNiCm9PJXIDYJzH4p7Td9KKBs\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh3.googleusercontent.com/YBAgOqo4C0Iu_-7xNrpdV3cMv9dOyi8Nn5OFbMmycB_C_wZu3PdI96gZzAzklaln0gx6Vz98dd7COtUbUuhzNBQC3e0EFKvMilYeWZ2t6WICtLcQL1XnkS6tbyAPzERP\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh6.googleusercontent.com/RyC_sD4Puq59DsHdveJyDgIRETt0TwdmsN4VgJrLRV1mTKm2D8iopfKtJqZMraVnm93UoYUEKNXWFsRf2CtKpmgsIYOg8kn_mpVTBxsfuusBr-edCzqlo-VNA3DnRS6q2A\" height=\"200\" width=\"auto\" />",
"Artist": "Multiple",
"Date": "Multiple",
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"Content": "Title - Codex (Individual panel titles: Genesis, Conquest and Slavery, Resistance and Revolution, Gemelos, El Futuro) Artist - Juana Alicia (U.S.A., b. 1953)\nDate - 2012\nMedia - Watercolor and digital print\n\nTitle - Mayan Scribe\nArtist - Juana Alicia (U.S.A., b. 1953)\nDate - 2012\nMedia - Digital print and acrylic paint on canvas\n\nTitle - Nopal de Resistencia y Raices\nArtist - Juana Alicia (U.S.A., b. 1953)\nDate - 2012\nMedia - Digital print and acrylic paint on canvas\n\nTitle - Adelante Raza! Artist - Cesar Armando Torres (U.S.A., b. 1990) Date - 2010 Media - Acrylic on canvas Credit Line - Given to El Centro Chicano, 2010. Completed in conjunction with the Raza Day Conference on 17 April 2010\n\nTitle - Unknown\nArtist - Pablo Soto\nDate - 1988\n\nThe suite of four friezes in the entryway of Stanford's El Centro Chicano titled The Spiral Word: El Codex Estˆanfor honors, celebrates and stimulates historical consciousness of the narratives of Latin American peoples. In making the murals, Juana Alicia drew from the vast and rich history and literature of multiethnic indigenous Latin America. The works of Eduardo Galeano, including The Open Veins of Latin America and the Memories of Fire trilogy, inspired her more than the writings of any other author, so much so that she originally planned to include actual text from these works in the murals. We encourage you to visit Juana Alicia's website to learn more about the detailed narrative of each mural panel.\n\nAdelante Raza! has its roots in the community-based construction of murals that arose from the Chicano Mural Movement of the 1970s. Inspired the mission of the Raza Day Conference to encourage Chican@s to pursue higher education, Cesar Armando Torres, BA/BS '13, composed the piece and painted it as a blue-wash. Directed by Aracely Mondrag„n, BA '13, and Sandra Rodriguez, '13, local high school students then applied the colored acrylic paint. The composition depicts the upward trajectory made possible by civil rights activism.\n\nThe lower level of El Centro Chicano also contains a 1988 mural by Pablo Soto.",
"Excerpt": "The suite of four friezes in the entryway of Stanford's El Centro Chicano titled The Spiral Word: El Codex Estˆnfor honors, celebrates and stimulates historical consciousness of the narratives of Latin American peoples.",
"Credit Line": "",
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"Place categories": "Public Art",
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"Website": "http://juanaaliciaatcentro.wordpress.com",
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"Notes": "",
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"description": "<img src=\"https://lh3.googleusercontent.com/vMUV88bDXUt0BfJqnn6WMkk6sKPxOpsoWcS2RGcIl2F3j1ssRiyM2HgctZlYYezmhjc6OBrzQHomzPiG8u-FURz0VESjrENMfex8lrJl2XmQqZIpiUNCZnWdc9LS5oQ\" height=\"200\" width=\"auto\" /><br><br>Artist: Unknown<br>Date: Unknown<br>Media: Unknown<br>Content: The Native American Cultural Center totem pole stands proudly outside the entrance to the NACC in the Old Union Clubhouse.<br>Excerpt: The Native American Cultural Center totem pole stands proudly outside the entrance to the NACC in the Old Union Clubhouse.<br>Credit Line: <br>Permalink: http://arts.stanford.edu/map/place/native-american-cultural-center-totem-pole/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/SGR1910-2.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/SGR1910-1.jpg<br>Place categories: Public Art<br>Location Details: Near entrance to Native American Cultural Center<br>geo_latitude: 37.4248062<br>geo_longitude: -122.1701702<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: <br><br><img src=\"https://lh5.googleusercontent.com/JnLzvOp2FasSzvg1qGHm1zMR0el1wnc-WCu740ugX4y-6JoE6DBYMym9aTQbKwIMeh7aWwqw5MvFrjXe09rue-5SAQk3UA04ocRrGUF5aW7DaIWmoO1M3imsHzYNai4\" height=\"200\" width=\"auto\" />",
"Artist": "Unknown",
"Date": "Unknown",
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"Content": "The Native American Cultural Center totem pole stands proudly outside the entrance to the NACC in the Old Union Clubhouse.",
"Excerpt": "The Native American Cultural Center totem pole stands proudly outside the entrance to the NACC in the Old Union Clubhouse.",
"Credit Line": "",
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"properties": {
"name": "Monument to Change as it Changes",
"styleUrl": "#icon-1899-E65100",
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"description": "<img src=\"https://lh3.googleusercontent.com/Mokmp94H6ttyJAxe7TTRHVbzoTlRKg6jt7BG9nqbvJajvhyNkH5ynBOijy_eiSNgMnzqynecGB1RzmVyRJ0Nu_6znn9TWZb6jeU-K3t_j85gM1FDAptAJ0vrPB9YiBcQ\" height=\"200\" width=\"auto\" /><br><br>Artist: Peter Wegner (U.S.A., b. 1963)<br>Date: 2011<br>Media: Steel, polycarbonate, time<br>Content: The colored cards in the 2,048 flip-digit modules that comprise Monument to Change as it Changes cycle endlessly, making a satisfying fluttering sound, the individual modules functioning as physical pixels in a great movie about color and pattern. Peter Wegner first got the idea to create an artwork using these computer-controlled flip-digits while standing on a train platform in Berlin, mesmerized by the changing digits on the signage. But unlike the train signs, Monument to Change as it Changes never rests on a particular pattern, but continually evolves, never repeating itself within an eight-hour period. The perpetual evolution is meant to underscore the Graduate School of Business' commitment to effecting change.<br><br>The wall of Zambrano Hall had to be re-engineered and reinforced with steel to support the weight of the 3-ton installation. A company based outside of Bern, Switzerland, manufactured the components and an animator in Long Beach helped Wegner program the color sequences. Wegner spent months refining the 80 colors on each flip-digit module and developing the sequences in the cycle. There is no particular logic or algorithm behind the patterns except Wegner's own natural biases and fascination with color.<br>Excerpt: The colored cards in the 2,048 flip-digit modules that comprise Monument to Change as it Changes cycle endlessly, making a satisfying fluttering sound, the individual modules functioning as physical pixels in a great movie about color and pattern.<br>Credit Line: <br>Permalink: http://arts.stanford.edu/map/place/monument-to-change-as-it-changes/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/knight_monument_to_change_as_it_changes-1.jpg<br>Place categories: Public Art<br>Location Details: Faade of Zambrano Hall, Knight Management Center<br>geo_latitude: 37.4284864<br>geo_longitude: -122.1630504<br>Website: http://peterwegner.com<br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "Peter Wegner (U.S.A., b. 1963)",
"Date": "2011",
"Media": "Steel, polycarbonate, time",
"Content": "The colored cards in the 2,048 flip-digit modules that comprise Monument to Change as it Changes cycle endlessly, making a satisfying fluttering sound, the individual modules functioning as physical pixels in a great movie about color and pattern. Peter Wegner first got the idea to create an artwork using these computer-controlled flip-digits while standing on a train platform in Berlin, mesmerized by the changing digits on the signage. But unlike the train signs, Monument to Change as it Changes never rests on a particular pattern, but continually evolves, never repeating itself within an eight-hour period. The perpetual evolution is meant to underscore the Graduate School of Business' commitment to effecting change.\n\nThe wall of Zambrano Hall had to be re-engineered and reinforced with steel to support the weight of the 3-ton installation. A company based outside of Bern, Switzerland, manufactured the components and an animator in Long Beach helped Wegner program the color sequences. Wegner spent months refining the 80 colors on each flip-digit module and developing the sequences in the cycle. There is no particular logic or algorithm behind the patterns except Wegner's own natural biases and fascination with color.",
"Excerpt": "The colored cards in the 2,048 flip-digit modules that comprise Monument to Change as it Changes cycle endlessly, making a satisfying fluttering sound, the individual modules functioning as physical pixels in a great movie about color and pattern.",
"Credit Line": "",
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"Place categories": "Public Art",
"Location Details": "Faade of Zambrano Hall, Knight Management Center",
"geo_latitude": "37.4284864",
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"Website": "http://peterwegner.com",
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"Facebook": "",
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"Artist": "Peter Wegner (U.S.A., b. 1963)",
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"Content": "A large, glossy black wall filled with LED-lit adverbs, Monument to Change as a Verb asks the viewer to defocus on the ostensible goals of a process of change and reflect on the process itself. The alphabetized words light up in both visually and verbally meaningful patterns: in one sequence, the shape of lit words reduces from the entire panel to a central few; other phases highlight groups of synonyms or antonyms. With its linguistic diversity (some of the words are \"diabolically,\" \"half-jokingly,\" and \"faintly\"), the monument seems to emphasize the wide variety of processes captured by the word \"change,\" from the positive to the deleterious, and from the consequential to the everyday.",
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"description": "<img src=\"https://lh5.googleusercontent.com/krSIu56reZHRnXllFJdzi1i6-6gYYWoM1UZuUTz0rgIopwXZqWcozNIPBhBMhmOLjTikZCPBJnXdNebYIXsUvEiCZ5M7E7K35luBYTgj9zIHWfTZ9r1JLrxUfoVTQ_0\" height=\"200\" width=\"auto\" /><br><br>Artist: Peter Wegner (U.S.A., b. 1963)<br>Date: 2011<br>Media: Stone, language, imagined events, time<br>Content: Monument to the Future of Dreams, the cornerstone of the Knight Management Center, reads, \"Dedicated to the things that haven't happened yet and the people who are about to dream them up...\" With this work, Peter Wegner sought to upend the traditional function of the cornerstone, to memorialize the past, and create a cornerstone that instead looked to the future and its triumphs. Its focus on change echoes the school's mantra, which is \"Change lives. Change organizations. Change the world.\"<br>Excerpt: With this work, Peter Wegner sought to upend the traditional function of the cornerstone, to memorialize the past, and create a cornerstone that instead looked to the future and its triumphs.<br>Credit Line: <br>Permalink: http://arts.stanford.edu/map/place/monument-to-the-future-of-dreams/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/SGR1780-1.jpg<br>Place categories: Public Art<br>Location Details: Southwest entrance to Knight Management Center<br>geo_latitude: 37.4280825<br>geo_longitude: -122.1615019<br>Website: http://peterwegner.com<br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "Peter Wegner (U.S.A., b. 1963)",
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"Content": "Monument to the Future of Dreams, the cornerstone of the Knight Management Center, reads, \"Dedicated to the things that haven't happened yet and the people who are about to dream them up...\" With this work, Peter Wegner sought to upend the traditional function of the cornerstone, to memorialize the past, and create a cornerstone that instead looked to the future and its triumphs. Its focus on change echoes the school's mantra, which is \"Change lives. Change organizations. Change the world.\"",
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"description": "<img src=\"https://lh3.googleusercontent.com/uh3Tz2MNxQW0u-UV_e965lUOVOEZfeiJBXRZX3-nvqBB44LHlHskAeVL98gBbAUb72bB8x_7J7Ag4X3onJKCypwAUrEw0Y1_BNw6hBLucT1gnfCX-uTtPVXn1OXRxp3P\" height=\"200\" width=\"auto\" /><br><br>Artist: Peter Wegner (U.S.A., b. 1963)<br>Date: 2011<br>Media: Wood, steel, mathematics, other<br>Content: Peter Wegner's Monument to the Unknown Variables celebrates unknown factors in projects and in life and provides a quiet, inviting place to ponder them. The piece consists of wooden benches in the shape of the mathematical variables \"x\" and \"y\", with each variable enclosed by square brackets. Nestled in a courtyard surrounded by faculty buildings, the work is also a nod to the quantitative tools used in faculty research.<br>Excerpt: Nestled in a courtyard surrounded by faculty buildings, Peter Wegner's Monument to the Unknown Variables both celebrates unknown factors and provides a quiet, inviting place to ponder them.<br>Credit Line: <br>Permalink: http://arts.stanford.edu/map/place/monument-to-the-unknown-variables/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/SGR1793-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/SGR1798-1.jpg<br>Place categories: Public Art<br>Location Details: McCoy Family Courtyard, Knight Management Center<br>geo_latitude: 37.428126<br>geo_longitude: -122.161582<br>Website: http://peterwegner.com<br>Contact: <br>Email: <br>Facebook: <br>Notes: <br><br><img src=\"https://lh5.googleusercontent.com/UYoL3OZbEqLGWLab6iuQ7ua_vcB866gMh-a9xm102WBoghYqsivC1IHKsfTmV7ZTf3y0YIg9cUbjPtjmtIj8pHjBLPWRzE_fv32Q3vI8C0wof1pKKaFHtfGztWQLsuD5YQ\" height=\"200\" width=\"auto\" />",
"Artist": "Peter Wegner (U.S.A., b. 1963)",
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"Media": "Wood, steel, mathematics, other",
"Content": "Peter Wegner's Monument to the Unknown Variables celebrates unknown factors in projects and in life and provides a quiet, inviting place to ponder them. The piece consists of wooden benches in the shape of the mathematical variables \"x\" and \"y\", with each variable enclosed by square brackets. Nestled in a courtyard surrounded by faculty buildings, the work is also a nod to the quantitative tools used in faculty research.",
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"name": "Monument to Your Future Collaborators",
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"description": "<img src=\"https://lh3.googleusercontent.com/BGydWzzIiPamEkWOgvDYpk0pDNdOcQ3f6X9rbKQYOTGlw0j9UtAoT0wD_6gRNBdtiHFsBl-J9OcFo3-pxtA1gPMP6fWdfJpI0fTL5__573Xgp7QsS-U-QNvWxXdPpy7S\" height=\"200\" width=\"auto\" /><br><br>Artist: Peter Wegner (U.S.A., b. 1963)<br>Date: 2011<br>Media: Cement, steel, conversation, time<br>Content: Peter Wegner created Monument to Your Future Collaborators, a set of anonymous footprints set in cement, as a riff off of the paver in the center of the complex engraved with an inspirational quote from Phil Knight and embedded with his distinctive waffle-soled footprints.<br>Excerpt: Peter Wegner created Monument to Your Future Collaborators, a set of anonymous footprints set in cement, as a riff off of the paver, in the center of campus, engraved with an inspirational quote from Phil Knight and embedded with his distinctive waffle-soled footprints.<br>Credit Line: <br>Permalink: http://arts.stanford.edu/map/place/monument-to-your-future-collaborators/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/SGR1786-1.jpg<br>Place categories: Public Art<br>Location Details: In front of the Bass Center, Knight Management Center<br>geo_latitude: 37.4283216<br>geo_longitude: -122.1623024<br>Website: http://peterwegner.com<br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "Peter Wegner (U.S.A., b. 1963)",
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"Media": "Cement, steel, conversation, time",
"Content": "Peter Wegner created Monument to Your Future Collaborators, a set of anonymous footprints set in cement, as a riff off of the paver in the center of the complex engraved with an inspirational quote from Phil Knight and embedded with his distinctive waffle-soled footprints.",
"Excerpt": "Peter Wegner created Monument to Your Future Collaborators, a set of anonymous footprints set in cement, as a riff off of the paver, in the center of campus, engraved with an inspirational quote from Phil Knight and embedded with his distinctive waffle-soled footprints.",
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"description": "<img src=\"https://lh3.googleusercontent.com/1uVG1yMZGArwXWnJB-M8FzN9iy2mJzAUms5H4gcc4FKydW2v_0WqXsno_9nCU9LQIj14eZeRhThCZ_ETC5NTKw_L8XVEgOFfSody6Dk1BZKLP-jkdAKbdwc9J2XoPN4\" height=\"200\" width=\"auto\" /><br><br>Artist: Willem de Kooning (U.S.A., b. the Netherlands, 1904-1997)<br>Date: 1969-1983<br>Media: Bronze<br>Content: The abstract expressionist painter Willem de Kooning, best known for his frenetic, provocative depictions of women, also created a number of rough-hewn, sensual sculptures. His foray into sculpture began during a vacation in Rome in the summer of 1969, when by chance he met an old friend, Herzl Emanuel, an established sculptor, who invited de Kooning to use his studio space and bronze-casting foundry.<br><br>In a burst of creative energy, seemingly inspired by the ancient architecture surrounding him and the excitement of trying something new, de Kooning created 13 small sculptures in clay. He envisioned these works as part of a tableau of beach-goers. Created with his eyes closed, the figures express the physicality of the body rather than its appearance. De Kooning relished working with clay because he could use it to directly translate his intuitive sense of the body and because it was pliable for so long and he could re-work a piece upon fresh inspiration.<br><br><br><br>Upon returning to the United States, de Kooning had one of the small sculptures, Seated Woman, enlarged to monumental scale. Reclining Figure, however, was not enlarged until the early 1980s, when de Kooning's dealer, Xavier Fourcade, exhibited a collection of his sculptures.<br>Excerpt: The abstract expressionist painter Willem de Kooning, best known for his frenetic, provocative depictions of women, also created a number of rough-hewn, sensual sculptures.<br>Credit Line: On loan to the Graduate School of Business from the de Kooning Foundation through 2017<br>Permalink: http://arts.stanford.edu/map/place/reclining-figure/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/SGR1776-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/SGR1769-1.jpg<br>Place categories: Public Art<br>Location Details: Knight Management Center<br>geo_latitude: 37.4280708<br>geo_longitude: -122.1631122<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: <br><br><img src=\"https://lh3.googleusercontent.com/GXQvQO7rav9xvatXUKFLK0rLqaxHelFC-IwT7rKQJvr5a_rIDpcJ0oG4JeVzwnKiIRro-BFK5rc3W7qQx8bLlgR60pCEIHDTj53l1gRglFXp3UFRdrKeCMXDLV31qQ0r\" height=\"200\" width=\"auto\" />",
"Artist": "Willem de Kooning (U.S.A., b. the Netherlands, 1904-1997)",
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"description": "<img src=\"https://lh3.googleusercontent.com/qWfLo-5IijOHZhgwBPJBSNDCTZQGcImsqJ-L-SEZbBstmBa5XWhQxD12lfZUTOqEjD30v-jFbdwzRzDYAnbYZcyUnBEmojrgqaXoBYzLSgchKqgpfnCmZZeyO_lydiyf\" height=\"200\" width=\"auto\" /><br><br>Artist: Phillip Wayland Zonne (U.S.A., 1917-2006)<br>Date: 1987<br>Media: Bronze<br>Content: Stanford's Angelo \"Hank\" Luisetti (1916-2002) revolutionized basketball in the 1930s by popularizing the running one-handed shot in an era when everyone was taking two-handed, flat-footed shots. His 15 points for Stanford helped the team dominate 45-31 over Long Island University in a landmark game at Madison Square Garden on December 30, 1936, which got the country talking about college basketball and his new technique. Luisetti, son of Italian immigrants to San Francisco, developed the shot out of necessity as a kid when other players easily blocked his two-handed shots.<br><br>Phil Zonne '40 (general engineering) created this statue to honor his teammate in 1987. Zonne became a full-time artist and sculptor at 60 after retiring from a career as an engineer, during which he founded his own firm, American Electronics. He said of Luisetti, \"I was lucky to play with him. He made you look good. Without a doubt, he was the Michael Jordan of his day.\" Commissioned by Stanford trustee Rudy Munzer, the sculpture was restored in 2001 after vandals sawed off the left arm and cracked the right arm right before Big Game. Another teammate, Bob Oakford, initiated the repairs, which were paid for by donations.<br>Excerpt: Stanford's Angelo \"Hank\" Luisetti (1916-2002) revolutionized basketball in the 1930s by popularizing the running one-handed shot in an era when everyone was taking two-handed, flat-footed shots.<br>Credit Line: Major donor Rudy Munzer<br>Permalink: http://arts.stanford.edu/map/place/angelo-hank-luisetti-originator-one-handed-shot/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/Hank_Luisetti-3-2.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Hank_Luisetti-2-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Hank_Luisetti-3-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/hank_luisetti-1.jpg<br>Place categories: Public Art<br>Location Details: North side of Maples Pavilion<br>geo_latitude: 37.4299747<br>geo_longitude: -122.1603191<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: <br><br><img src=\"https://lh6.googleusercontent.com/gtfa-IhyOLAEfLdv7r_r_7oNkApSRPz3Ey18k7BQ1ZIwW6-5k0W3D3H_tXetM_ggNm31-ellsQL34gMXZLAC_BfFdgp-Vcyjv-luU3dK0jYtW2vdHGJSSY3CkFDRqgM\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh6.googleusercontent.com/hJcDmYkYevUY-wR8K4tSjpPO6CevTZiDBkc8vJi5nfGw1TRwgu04UHOp62zr24LthEGhyifohHNlLIqVLNFiPQ0lRjUySYLA3KJtReod5kVL_4YB2xQsI-LZszenLTyw\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh3.googleusercontent.com/i_FuXqUFbqjRYCEGDmts4ZljR7ykXodjSRraoMeQI3AMz99RHgqRVOnUQZPP0MCuQZV86kF3g-br0B4WnXsV_ZNpBdUrm2OpoBA1CiWvoRxtt9MCVSUHkc1fcsEXQD0M\" height=\"200\" width=\"auto\" />",
"Artist": "Phillip Wayland Zonne (U.S.A., 1917-2006)",
"Date": "1987",
"Media": "Bronze",
"Content": "Stanford's Angelo \"Hank\" Luisetti (1916-2002) revolutionized basketball in the 1930s by popularizing the running one-handed shot in an era when everyone was taking two-handed, flat-footed shots. His 15 points for Stanford helped the team dominate 45-31 over Long Island University in a landmark game at Madison Square Garden on December 30, 1936, which got the country talking about college basketball and his new technique. Luisetti, son of Italian immigrants to San Francisco, developed the shot out of necessity as a kid when other players easily blocked his two-handed shots.\n\nPhil Zonne '40 (general engineering) created this statue to honor his teammate in 1987. Zonne became a full-time artist and sculptor at 60 after retiring from a career as an engineer, during which he founded his own firm, American Electronics. He said of Luisetti, \"I was lucky to play with him. He made you look good. Without a doubt, he was the Michael Jordan of his day.\" Commissioned by Stanford trustee Rudy Munzer, the sculpture was restored in 2001 after vandals sawed off the left arm and cracked the right arm right before Big Game. Another teammate, Bob Oakford, initiated the repairs, which were paid for by donations.",
"Excerpt": "Stanford's Angelo \"Hank\" Luisetti (1916-2002) revolutionized basketball in the 1930s by popularizing the running one-handed shot in an era when everyone was taking two-handed, flat-footed shots.",
"Credit Line": "Major donor Rudy Munzer",
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"Place categories": "Public Art",
"Location Details": "North side of Maples Pavilion",
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"Website": "",
"Contact": "",
"Email": "",
"Facebook": "",
"Notes": "",
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"name": "Stanford Equestrian Center parking lot",
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"description": "<img src=\"https://lh4.googleusercontent.com/bJIqWM3_beNJn5Bq3t5EuX6d4C8w0tUulhgYnr05P599uSUzKP6f3z8NxxGmi_pHFMkRWd9MKsT280Fg4RPe5GxqXKWVTqsIE2j8NQvHaXsPzHPYLAa7TaRfOH-4uZEi\" height=\"200\" width=\"auto\" /><br><br>Artist: Multiple<br>Date: Multiple<br>Media: Bronze<br>Content: Title - Horse in Motion<br>Artist - Sherry Wolfenbarger Cagan (U.S.A., b. 1959)<br>Date - 2007 Media - Bronze<br>Credit Line - Donated by the Cagan family<br><br>Title - Untitled (Sherwood)<br>Artist - Unknown<br>Date - c. 1870<br>Media - Bronze<br>Credit Line - Donated by Mr. Timothy Hopkins<br><br>Sherry Wolfenbarger Cagan, artist and World Champion Equestrian, created the vividly realistic Horse in Motion to commemorate the photographs commissioned by Leland Stanford and taken by Eadweard Muybridge to establish whether or not a horse has an airborne moment during its gait. A demonstration in 1878 at the Palo Alto Stock Farm with Stanford's prize trotting horse, Abe Edgington, laid the question to rest (yes, a horse is completely aloft at a point in the middle of its gait), and produced a series of time-lapse photographs that was the forerunner to the motion picture.<br><br>The bronze statue of an Arabian horse with a plaque that reads \"Sherwood\" marks the burial place of a number of Leland Stanford's most esteemed trotters. California Governor Milton S. Latham purchased the statue in 1872 in Paris and brought it to his Menlo Park estate, which was later purchased by Mr. and Mrs. Mark Hopkins. They named the estate Sherwood Lodge (Sherwood was Mrs. Hopkins' maiden name) and installed the plaque on the statute. Timothy Hopkins, one of Stanford's earliest trustees, inherited the estate and donated the statue to the University in 1926.<br>Excerpt: Sherry Wolfenbarger Cagan created the vividly realistic Horse in Motion to commemorate the photographs commissioned by Leland Stanford and taken by Eadweard Muybridge to establish whether or not a horse has an airborne moment during its gait.<br>Credit Line: <br>Permalink: http://arts.stanford.edu/map/place/horse-in-motion/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0131-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0137-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0134-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0138-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0139-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/Horse-in-Motion-1.jpg<br>Place categories: Public Art<br>Location Details: Stanford Equestrian Center parking lot<br>geo_latitude: 37.4240152<br>geo_longitude: -122.1853374<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: <br><br><img src=\"https://lh4.googleusercontent.com/V_OlYn5NvuIe8MlBPKITQkea_tKcVs4BgCKZil9SJhmdQwx293nPo7iInCPJuvhXXsy-tlHtNQrgxwrRpOifn4ZTo-Axy83dxN2lmPgECn8zbUJFfTRbeL6r6LoWiY_SZg\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh5.googleusercontent.com/kz2b8z17QNT-3kpqQdFD7hncp2XSgxi9QEO3iopNc_q_HOeRyzmdiExGAwtTVU7L8FlYyitd48pOlvebTpnBppVTVOKPSA33S50Jpr60J_YAqBpUwT1odMVpRhK7K_nOIQ\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh4.googleusercontent.com/5uZL_V9dYFv2FFBQtUBbkgmJ3RL_Yaovylh6IpgieMXuR2kkNnDrdpd91mml-uGxHKpKd1L5ElTplBk7USWABekqNSb2HsvW7tFi_CiX9LJZrqhGw41m_oJCHvEArGaI\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh3.googleusercontent.com/9-UwNrhuWNxU-AsRxBUDyaRL9nUFE_ROHjgCUX3mqTe_rBh7uVpl37qRr8qIDdArVfG2FdpU_mGukEAUP-zZ-jjPxLdhI0AQtPit8oZB9Np1kLChcurrZRzLakKqEADIYw\" height=\"200\" width=\"auto\" />",
"Artist": "Multiple",
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"Content": "Title - Horse in Motion\nArtist - Sherry Wolfenbarger Cagan (U.S.A., b. 1959)\nDate - 2007 Media - Bronze\nCredit Line - Donated by the Cagan family\n\nTitle - Untitled (Sherwood)\nArtist - Unknown\nDate - c. 1870\nMedia - Bronze\nCredit Line - Donated by Mr. Timothy Hopkins\n\nSherry Wolfenbarger Cagan, artist and World Champion Equestrian, created the vividly realistic Horse in Motion to commemorate the photographs commissioned by Leland Stanford and taken by Eadweard Muybridge to establish whether or not a horse has an airborne moment during its gait. A demonstration in 1878 at the Palo Alto Stock Farm with Stanford's prize trotting horse, Abe Edgington, laid the question to rest (yes, a horse is completely aloft at a point in the middle of its gait), and produced a series of time-lapse photographs that was the forerunner to the motion picture.\n\nThe bronze statue of an Arabian horse with a plaque that reads \"Sherwood\" marks the burial place of a number of Leland Stanford's most esteemed trotters. California Governor Milton S. Latham purchased the statue in 1872 in Paris and brought it to his Menlo Park estate, which was later purchased by Mr. and Mrs. Mark Hopkins. They named the estate Sherwood Lodge (Sherwood was Mrs. Hopkins' maiden name) and installed the plaque on the statute. Timothy Hopkins, one of Stanford's earliest trustees, inherited the estate and donated the statue to the University in 1926.",
"Excerpt": "Sherry Wolfenbarger Cagan created the vividly realistic Horse in Motion to commemorate the photographs commissioned by Leland Stanford and taken by Eadweard Muybridge to establish whether or not a horse has an airborne moment during its gait.",
"Credit Line": "",
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"Place categories": "Public Art",
"Location Details": "Stanford Equestrian Center parking lot",
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"Website": "",
"Contact": "",
"Email": "",
"Facebook": "",
"Notes": "",
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"name": "Electioneer",
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"description": "<img src=\"https://lh4.googleusercontent.com/YVNnLQHBLhfMSTUMLsWy--XpBzMxIP3YuA7IPeluQjHK50A1F-E-5ymA2wtEsERyYFQPETYGIFZJVLutyZ2i931FfGVDAbTc7_RaWHMk2X01F9uISQkBLqRyYmtL05I\" height=\"200\" width=\"auto\" /><br><br>Artist: Dian Weeks (U.S.A., b. 1953)<br>Date: 1985<br>Media: Bronze<br>Content: In 1876, Leland Stanford purchased Electioneer for $12,000, when the stallion was an unraced 9-year-old, against the advice of experts. In the next 14 years, Electioneer would go on to sire 166 colts that could trot a mile in less than 2.5 minutes, including nine of the Palo Alto Stock Farm's 13 world champions. Electioneer's skeleton was preserved in the Stanford Museum until it was destroyed in the 1906 earthquake. Subsequently, his remains were buried in the equine cemetery, which is marked by the horse statue with the plaque that reads \"Sherwood.\"<br><br>The Northern California artist Dian Weeks creates jewelry, sculpture and home accents that depict human, animal and plant forms realistically and with impeccable detail.<br>Excerpt: In 1876, Leland Stanford purchased Electioneer for $12,000, when the stallion was an unraced 9-year-old, against the advice of experts.<br>Credit Line: Gift of the Mr. and Mrs. L. W. Lane, Jr. Family<br>Permalink: http://arts.stanford.edu/map/place/other-horse-sculpture-2/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/040905-081-2.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/W574-1-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0128-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0129-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/040905-081-1.jpg<br>Place categories: Public Art<br>Location Details: Entrance to Stanford Equestrian Center<br>geo_latitude: 37.425271<br>geo_longitude: -122.184881<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: <br><br><img src=\"https://lh5.googleusercontent.com/ojFZb1UgUTwPoByTIWlYRjkqV_HedPJsG9_PZjaWerbXLACZ7qzA37GhJ_9gc7h0qaCGPcCvFNSBU79l9cC8Z-hq9FMavRq9TsqtS2p9ubstYQaVgdghI1AeUWsMVTms\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh3.googleusercontent.com/MzVnW6Vao75Fre8dJOzWCofxeP8pDiUlQ2MO44CUDG5cmVTA8ZIqi8frHSi5jKFzOYRpMAwkJMb-MWPpIwNJPPK55W61Xc02OdFIBzOD5ifa8i_dV_qZ5Ps6aWRJB6k-7w\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh6.googleusercontent.com/6jpMGypTo0BtnJkn10RFzCjFo2qHmK7nirg5Ugu9pWaPAj1GtQlzMcqew5_Nk3c7_QHJx2Fu3PUSdJgBY1F0VmYM9xVKB5jDX7d0Aj7sku5OjZ093plIUJ95UMJJGkdpUA\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh3.googleusercontent.com/5pa4RCTEIjN0iIXArCAgaEUPwPVW-sq15oJkCyyikIvOJfwYvUe7SHX99GWxgyRC3dVkidBXaD-zTIzD1xRb16zCyupq0GMNc2fTUm3EgYM9MXqM1PibRwaXWQxmEokj\" height=\"200\" width=\"auto\" />",
"Artist": "Dian Weeks (U.S.A., b. 1953)",
"Date": "1985",
"Media": "Bronze",
"Content": "In 1876, Leland Stanford purchased Electioneer for $12,000, when the stallion was an unraced 9-year-old, against the advice of experts. In the next 14 years, Electioneer would go on to sire 166 colts that could trot a mile in less than 2.5 minutes, including nine of the Palo Alto Stock Farm's 13 world champions. Electioneer's skeleton was preserved in the Stanford Museum until it was destroyed in the 1906 earthquake. Subsequently, his remains were buried in the equine cemetery, which is marked by the horse statue with the plaque that reads \"Sherwood.\"\n\nThe Northern California artist Dian Weeks creates jewelry, sculpture and home accents that depict human, animal and plant forms realistically and with impeccable detail.",
"Excerpt": "In 1876, Leland Stanford purchased Electioneer for $12,000, when the stallion was an unraced 9-year-old, against the advice of experts.",
"Credit Line": "Gift of the Mr. and Mrs. L. W. Lane, Jr. Family",
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"Place categories": "Public Art",
"Location Details": "Entrance to Stanford Equestrian Center",
"geo_latitude": "37.425271",
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"Website": "",
"Contact": "",
"Email": "",
"Facebook": "",
"Notes": "",
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"description": "<img src=\"https://lh3.googleusercontent.com/DQEzFq-J8VRUJWnjAaIHUsUYz1ny80IqxR5t9Uz5T5Gp9M31y0g4LNVxr_A6f1j_6Uu_98n0Aq7LF_gJIkSi1k2prDD86QwpB6Jdt6cXu6lIFiFockMVqS21n3WGe8pY\" height=\"200\" width=\"auto\" /><br><br>Artist: Artists - Paul DeMarinis (U.S.A., b. 1948) and Enrique Chagoya (U.S.A., b. Mexico 1953)<br>Date: 2003<br>Media: Etchings on glass and electronic sound<br>Content: A collaboration between Stanford Art & Art History Department professors Enrique Chagoya and Paul DeMarinis, Rebus combines images of things commonly encountered on campus with the sounds those things produce. Represented are objects and animals including ducks, birds, bikes, cats, tennis racquets, trains and basketballs. The images are etched on 20 glass panels created by Chagoya and installed as part of the walls surrounding the staircase and elevator entrances to the parking garage. When visitors enter or exit on foot, they trigger sensor-activated recordings of sounds that correspond to the images, like the squeak of shoes on a court, a train whistle or the pounding hoof beats of a galloping horse.<br><br>The artists intended for people using the parking lot to eventually put the visual imagery together with the sound, like solving a kind of puzzle. Their hope was that Rebus could \"kind of wake people up out of the place they are in. Hopefully it will make them listen and see in a more open way and help them think about the place they are in,\" DeMarinis said (P. DeMarinis, quoted in Palmer, Barbara. \"Cardinal Chronicle.\" Stanford Report 8 Oct. 2003: 12. Web. 26 July 2013.<br>Excerpt: A collaboration between Stanford Art & Art History Department professors Enrique Chagoya and Paul DeMarinis, Rebus combines images of things commonly encountered on campus with the sounds those things produce.<br>Credit Line: <br>Permalink: http://arts.stanford.edu/map/place/rebus/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0115-2.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0114-2.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0110-2.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0106-2.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0115-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0114-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/06/DSC_0110-1.jpg <br>Place categories: Public Art<br>Location Details: Walking entrance to Stanford Hospital underground parking garage near the corner of Pasteur and Blake Wilbur drives, ground level<br>geo_latitude: 37.4336497<br>geo_longitude: -122.177539<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: <br><br><img src=\"https://lh3.googleusercontent.com/7k3Y3yDSmB785nfHvUeMm_OrZQwEUJGkSJ7om3LzP-GaadTHaLXgUhqetBMu3wrOd8ZJpNAQ33E08uFJrGi1IjlqLW_qDv_36tNGIknfcYDyoUwKZCZfwf2n7NenIkk4AQ\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh5.googleusercontent.com/9oJuTLsRzj38azlFQlf0S9jLwGnZgFEoVEO1n1DyuVUsJ2zu6HnxKYusAM8aZyz9DEZAyjLhelwxKokvTXyg3X3xHY4XZnd2YBGqrv3tMEMfsYkUn3SNG1Xc5wygyB4\" height=\"200\" width=\"auto\" /><br><br><img src=\"https://lh3.googleusercontent.com/ELhnjpOz1Q7cagn04EltHIqyItr0afeTu1lccrGcpthicT-9PWsAP3HTlKngmMW0Xhev3K_nlr_UKWIE6wZolu2dNwzISSlGiPfd8UPXhuOBpVe_4YwLkBSZurbWyRI\" height=\"200\" width=\"auto\" />",
"Artist": "Artists - Paul DeMarinis (U.S.A., b. 1948) and Enrique Chagoya (U.S.A., b. Mexico 1953)",
"Date": "2003",
"Media": "Etchings on glass and electronic sound",
"Content": "A collaboration between Stanford Art & Art History Department professors Enrique Chagoya and Paul DeMarinis, Rebus combines images of things commonly encountered on campus with the sounds those things produce. Represented are objects and animals including ducks, birds, bikes, cats, tennis racquets, trains and basketballs. The images are etched on 20 glass panels created by Chagoya and installed as part of the walls surrounding the staircase and elevator entrances to the parking garage. When visitors enter or exit on foot, they trigger sensor-activated recordings of sounds that correspond to the images, like the squeak of shoes on a court, a train whistle or the pounding hoof beats of a galloping horse.\n\nThe artists intended for people using the parking lot to eventually put the visual imagery together with the sound, like solving a kind of puzzle. Their hope was that Rebus could \"kind of wake people up out of the place they are in. Hopefully it will make them listen and see in a more open way and help them think about the place they are in,\" DeMarinis said (P. DeMarinis, quoted in Palmer, Barbara. \"Cardinal Chronicle.\" Stanford Report 8 Oct. 2003: 12. Web. 26 July 2013.",
"Excerpt": "A collaboration between Stanford Art & Art History Department professors Enrique Chagoya and Paul DeMarinis, Rebus combines images of things commonly encountered on campus with the sounds those things produce.",
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"description": "<img src=\"https://lh3.googleusercontent.com/6KIk55vQJrx_SaFlKQeHdxfaUJgND9Fyv_2AKZnIt3RudP3ZLNZJm55jbQrbB9OTVA9wXqPVrHhLjBNK3T9R_JLoqqXwmFfDwm5b6KZWkWe5I82HTeZNCoaWr8k6ZVuq\" height=\"200\" width=\"auto\" /><br><br>Artist: Andy Goldsworthy (England, b. 1956)<br>Date: 2001<br>Media: Sandstone<br>Content: The British sculptor Andy Goldsworthy harnesses nature and the environment to shape his art. For instance, Stone River is constructed from sandstone that was salvaged from Stanford University buildings destroyed in the 1906 and 1989 earthquakes. In situating the work like an archaeological excavation, Goldsworthy makes reference to the stone's earthly origin. The artist notes, \"I strive to make connections between what we call nature and what we call man-made. I hope that this sculpture will reside somewhere between a building and a quarry. It will bring together the stone's geological and social nature ... I liken this relationship to the past life of a material - of one hand placed upon another.\"<br><br>The work was constructed by eight experienced dry-stone masons who traveled to Stanford from Great Britain. They worked six days a week, 11 hours a day, for three-and-a-half weeks in August 2001 to complete the project. Stone River is composed of 6,000 stones, weighing approximately 128 tons, including 700 triangular top stones cut to fit specific places in the wall.<br>Excerpt: The British sculptor Andy Goldsworthy harnesses nature and the environment to shape his art. Thus, Stone River was constructed from sandstone salvaged from Stanford University buildings destroyed in the 1906 and 1989 earthquakes.<br>Credit Line: Given in honor of Gerhard Casper, Stanford president, 1992 - 2000, for his vision and commitment to making the arts an integral component of university life, by the Robert and Ruth Halperin Foundation, 2001.46<br>Permalink: http://arts.stanford.edu/map/place/stone-river/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/2001.46_CDP-1_CDP-pub.jpg<br>Place categories: Public Art<br>Location Details: Cantor Arts Center<br>geo_latitude: 37.4332523<br>geo_longitude: -122.1693135<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "Andy Goldsworthy (England, b. 1956)",
"Date": "2001",
"Media": "Sandstone",
"Content": "The British sculptor Andy Goldsworthy harnesses nature and the environment to shape his art. For instance, Stone River is constructed from sandstone that was salvaged from Stanford University buildings destroyed in the 1906 and 1989 earthquakes. In situating the work like an archaeological excavation, Goldsworthy makes reference to the stone's earthly origin. The artist notes, \"I strive to make connections between what we call nature and what we call man-made. I hope that this sculpture will reside somewhere between a building and a quarry. It will bring together the stone's geological and social nature ... I liken this relationship to the past life of a material - of one hand placed upon another.\"\n\nThe work was constructed by eight experienced dry-stone masons who traveled to Stanford from Great Britain. They worked six days a week, 11 hours a day, for three-and-a-half weeks in August 2001 to complete the project. Stone River is composed of 6,000 stones, weighing approximately 128 tons, including 700 triangular top stones cut to fit specific places in the wall.",
"Excerpt": "The British sculptor Andy Goldsworthy harnesses nature and the environment to shape his art. Thus, Stone River was constructed from sandstone salvaged from Stanford University buildings destroyed in the 1906 and 1989 earthquakes.",
"Credit Line": "Given in honor of Gerhard Casper, Stanford president, 1992 - 2000, for his vision and commitment to making the arts an integral component of university life, by the Robert and Ruth Halperin Foundation, 2001.46",
"Permalink": "http://arts.stanford.edu/map/place/stone-river/",
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"Place categories": "Public Art",
"Location Details": "Cantor Arts Center",
"geo_latitude": "37.4332523",
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"properties": {
"name": "Retrofut_e",
"styleUrl": "#icon-1899-E65100",
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"description": "<img src=\"https://lh6.googleusercontent.com/2OeG3QWLoMbsdrdhJXJlIRZ_Npd_K64jM0AzD2d8okuL-_xm0mKqutY_jar54cihcz6RmTK-4yNgNyVy5nlheCKc6acV-zSyysbjhzqHrIQ60RVQcvQh0oMiuQQwUDLw\" height=\"200\" width=\"auto\" /><br><br>Artist: Antoine Poncet (France, b. 1928)<br>Date: 1969<br>Media: Marble (blanc arni)<br>Content: From 1952 to 1955, Antoine Poncet worked as a student and assistant to French painter and sculptor Jean Arp. During those years, Poncet assisted Arp in molding and polishing his large sculptures. It is not surprising that Poncet's sculpture Retrofut_e resembles Arp's smooth abstract forms. Carved from a single block of marble, Retrofut_e displays simplicity of rhythm and line. It was one of 20 sculptures commissioned by investor and philanthropist Nathan Cummings. To produce this group, Poncet was given total creative freedom and worked in the Italian quarries of Carrara and Querceta for three years.<br>Excerpt: Carved from a single block of marble, Retrofut_e displays simplicity of rhythm and line.<br>Credit Line: Gift of Nathan Cummings, 1972.36<br>Permalink: http://arts.stanford.edu/map/place/retrofutee/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/1972.36_AA-6-src.jpg<br>Place categories: Public Art<br>Location Details: Dohrmann Redwood Grove<br>geo_latitude: 37.4285014<br>geo_longitude: -122.167524<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "Antoine Poncet (France, b. 1928)",
"Date": "1969",
"Media": "Marble (blanc arni)",
"Content": "From 1952 to 1955, Antoine Poncet worked as a student and assistant to French painter and sculptor Jean Arp. During those years, Poncet assisted Arp in molding and polishing his large sculptures. It is not surprising that Poncet's sculpture Retrofut_e resembles Arp's smooth abstract forms. Carved from a single block of marble, Retrofut_e displays simplicity of rhythm and line. It was one of 20 sculptures commissioned by investor and philanthropist Nathan Cummings. To produce this group, Poncet was given total creative freedom and worked in the Italian quarries of Carrara and Querceta for three years.",
"Excerpt": "Carved from a single block of marble, Retrofut_e displays simplicity of rhythm and line.",
"Credit Line": "Gift of Nathan Cummings, 1972.36",
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"Website": "",
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"Notes": "",
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"properties": {
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"description": "<img src=\"https://lh6.googleusercontent.com/-QcZssqy0dMS92Rtp7qaEgaXkkf0IsHVdmw-aLP7bYruRpe2QSIeC1P2ZcgiWrjavS41zHau7W_Ty7Rg4V8vDjHLI7IIY3kqk8FVLXxnQT7HWpoZ5HLZ0Abl4cog6fVH\" height=\"200\" width=\"auto\" /><br><br>Artist: Antonio Frilli (Italy, 1835-1892)<br>Date: c. 1980<br>Media: Marble<br>Content: <br>Excerpt: <br>Credit Line: Stanford Family Collections, 1999.77-78<br>Permalink: http://arts.stanford.edu/map/place/faith-meander/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/1999.77_Frilli_TKS-1-src.jpg<br>Place categories: Public Art<br>Location Details: Cantor Arts Center<br>geo_latitude: 37.4330041<br>geo_longitude: -122.170383<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "Antonio Frilli (Italy, 1835-1892)",
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"Credit Line": "Stanford Family Collections, 1999.77-78",
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"description": "<img src=\"https://lh6.googleusercontent.com/x5tq-SY65lcJMztJBdPb1HK5KO-Ff8naACp7aC-WQwqJCPqXkyQdqYDxNPQCGJa25hDX9L-pcXPNIOT8cm2T3gwfbErJ9Yf4PAwk-_oUT039KW26unK100zAsdGs_k8R\" height=\"200\" width=\"auto\" /><br><br>Artist: Aristides Demetrios (U.S.A., b. 1932)<br>Date: 1964<br>Media: Bronze and copper<br>Content: Over the years, White Memorial Fountain by California-based sculptor Aristides Demetrios has taken on particular significance to the Stanford student community. Affectionately known as \"MemClaw\" or simply as \"The Claw,\" this sculptural fountain was commissioned to memorialize two brothers who died in separate accidents before graduating from Stanford University.<br><br>Demetrios draws on the sculpture's two contrasting elements-metal and water-to tell the story of the students' unknown potential. He describes his inspiration: \"The tragedy of someone dying so young is that you never know what he/she might have become. The fountain is a metaphor for that. It starts in bronze-which is firm, durable and set in place. It terminates in water patterns that are diaphanous and mutable-the very reverse of anything solid. It speaks to what they might have become.\"<br>Excerpt: White Memorial Fountain was commissioned to memorialize two brothers who died in separate accidents before graduating from Stanford University.<br>Credit Line: Given in memory of John Barber White II and William Nicholas White by Mr. and Mrs. Raymond B. White, 1993.63<br>Permalink: http://arts.stanford.edu/map/place/white-memorial-fountain/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/1993.63_Demetrios-3-thumb.jpg<br>Place categories: Fountain<br>Location Details: White Plaza<br>geo_latitude: 37.4249814<br>geo_longitude: -122.1693854<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "Aristides Demetrios (U.S.A., b. 1932)",
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"Media": "Bronze and copper",
"Content": "Over the years, White Memorial Fountain by California-based sculptor Aristides Demetrios has taken on particular significance to the Stanford student community. Affectionately known as \"MemClaw\" or simply as \"The Claw,\" this sculptural fountain was commissioned to memorialize two brothers who died in separate accidents before graduating from Stanford University.\n\nDemetrios draws on the sculpture's two contrasting elements-metal and water-to tell the story of the students' unknown potential. He describes his inspiration: \"The tragedy of someone dying so young is that you never know what he/she might have become. The fountain is a metaphor for that. It starts in bronze-which is firm, durable and set in place. It terminates in water patterns that are diaphanous and mutable-the very reverse of anything solid. It speaks to what they might have become.\"",
"Excerpt": "White Memorial Fountain was commissioned to memorialize two brothers who died in separate accidents before graduating from Stanford University.",
"Credit Line": "Given in memory of John Barber White II and William Nicholas White by Mr. and Mrs. Raymond B. White, 1993.63",
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"properties": {
"name": "Cube",
"styleUrl": "#icon-1899-E65100",
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"description": "<img src=\"https://lh4.googleusercontent.com/C1yeVcE95Bln4aqpIWAsRQBiuhgtrDh_lUnH7z0vob9ONW3V-ejJcGkz9rJRnVYphRdiskY0qXqXgUTXQnVxh14XgNSbNut-MSpcCeAAVUxnnWISewPixPLp7aKXEpQ\" height=\"200\" width=\"auto\" /><br><br>Artist: Arnaldo Pomodoro (Italy, b. 1926)<br>Date: 1964-1967<br>Media: Bronze<br>Content: Italian sculptor Arnaldo Pomodoro's monumental columns, discs, spheres and cubes appear fractured and eroded, with cavities exposing intricate interiors. His work conveys veneration for ideals of the past combined with ambivalent feelings about technology and the societal repercussions of technological advance. The artist said, \"I was really overwhelmed by the laser reactor I first saw in action at Stanford University in 1966, because I realized that in the long run it is the scientists who have the power to discover the mysteries of life and matter. After that experience it took me a long time to get over a crisis regarding the meaning of my work.\"<br><br>Carl Djerassi is emeritus professor of chemistry, a novelist and a playwright, best known for his contribution to the development of oral contraceptive pills. He met Pomodoro when the sculptor was an artist-in-residence at Stanford in 1966-1967. Djerassi purchased this second cast of Cube in 1968 and installed it in his garden in Portola Valley. In 1978, Djerassi donated the sculpture to the University, where it was installed in front of the Leland Stanford Jr. Museum (now the Cantor Arts Center). In 1999, the sculpture moved to its current location of the indoor atrium of the Keck Chemistry Building.<br>Excerpt: Italian sculptor Arnaldo Pomodoro's monumental columns, discs, spheres and cubes appear fractured and eroded, with cavities exposing intricate interiors. <br>Credit Line: Emeritus Professor of chemistry Carl Djerassi, in memory of his daughter, Pamela Djerassi, 1971<br>Permalink: http://arts.stanford.edu/map/place/cube/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/06/cube.png<br>Place categories: Public Art<br>Location Details: Keck Chemistry Building, atrium<br>geo_latitude: 37.4317171<br>geo_longitude: -122.171711<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "Arnaldo Pomodoro (Italy, b. 1926)",
"Date": "1964-1967",
"Media": "Bronze",
"Content": "Italian sculptor Arnaldo Pomodoro's monumental columns, discs, spheres and cubes appear fractured and eroded, with cavities exposing intricate interiors. His work conveys veneration for ideals of the past combined with ambivalent feelings about technology and the societal repercussions of technological advance. The artist said, \"I was really overwhelmed by the laser reactor I first saw in action at Stanford University in 1966, because I realized that in the long run it is the scientists who have the power to discover the mysteries of life and matter. After that experience it took me a long time to get over a crisis regarding the meaning of my work.\"\n\nCarl Djerassi is emeritus professor of chemistry, a novelist and a playwright, best known for his contribution to the development of oral contraceptive pills. He met Pomodoro when the sculptor was an artist-in-residence at Stanford in 1966-1967. Djerassi purchased this second cast of Cube in 1968 and installed it in his garden in Portola Valley. In 1978, Djerassi donated the sculpture to the University, where it was installed in front of the Leland Stanford Jr. Museum (now the Cantor Arts Center). In 1999, the sculpture moved to its current location of the indoor atrium of the Keck Chemistry Building.",
"Excerpt": "Italian sculptor Arnaldo Pomodoro's monumental columns, discs, spheres and cubes appear fractured and eroded, with cavities exposing intricate interiors. ",
"Credit Line": "Emeritus Professor of chemistry Carl Djerassi, in memory of his daughter, Pamela Djerassi, 1971",
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"Artist": "Art Thompson (Canada, 1948-2003)",
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"Media": "Western red cedar pole with pigments",
"Content": "Nuu-chah-nulth artist Art Thompson created the Boo-Qwilla totem pole in the Northwest coastal art tradition of displaying history and status of families. At the top is the Thunderbird, a symbol of power reserved for high-ranking individuals. Thunderbird towers overhead with wings outstretched. He perches on top of Raven, the Creator of Earth, Light and Consciousness. Raven's wings encompass the headdress of Boo-Qwilla, a person of knowledge, wisdom and achievement. Legend affirms Raven's most prized creation to be this ancestral human, who is charged with the safekeeping of knowledge and the preservation of the earth. At the base, a supernatural Killer Whale is transforming into Wolf. This creature possesses magical healing powers, which aid humankind.",
"Excerpt": "Nuu-chah-nulth artist Art Thompson created the Boo-Qwilla totem pole in the Northwest coastal art tradition of displaying history and status of families.",
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"Artist": "Auguste Rodin (1840-1917)",
"Date": "1962",
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"Content": "An artist of prodigious energy and creativity, the French sculptor Auguste Rodin (1840-1917) left a rich and influential artistic legacy. His innovative use of the partial figure and revolutionary ideas regarding \"finish\" reformed the classical and Renaissance tradition. Although controversial in his day, his work has since achieved an unprecedented level of international acclaim and influence.\n\nIn 1985, the Rodin Sculpture Garden was dedicated to B. Gerald Cantor, the primary donor of the Center's Rodin collection. Twenty bronzes, including The Gates of Hell, on which Rodin worked for two decades, are outside and accessible year-round, free of charge.",
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"Artist": "Auguste Rodin (1840-1917)",
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"Content": "Auguste Rodin's Burghers of Calais recounts an event that occurred during the Hundred Years War, when England held the port town of Calais under siege. At the time, the citizens of Calais were suffering from starvation, so King Edward III declared that he would stop the siege if six prominent burghers of the city would surrender themselves. They were Eustache de St. Pierre, Jean de Fiennes, Pierre de Wissant, Andrieu d'Andres, Jean d'Aire, and Jacques de Wissant.\n\nRodin's Burghers of Calais communicates, through body language, the pain, despair and determination of these six men who were willing to sacrifice their lives for the citizens of Calais. The artist captured their heroism according to his own vision and stylistic techniques, incorporating draped clothing and nooses with some of these larger-than-life figures.",
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"description": "<img src=\"https://lh4.googleusercontent.com/-bCQHotfw3OPOtBROjHrroW0zNQoTs9Dv79Q1D9UaaydfPr_cW2jFkZbaZozOf-t_0ROUguxDaTjYJ7MkpfKMFJn09fRYisLJ_UpkeH7cRqKlDtVGUKY0oQ3rhwtPNRJUg\" height=\"200\" width=\"auto\" /><br><br>Artist: Beniamino Bufano (U.S.A., b. Italy, 1898-1970)<br>Date: 1935<br>Media: Black Belgian granite<br>Content: <br>Excerpt: <br>Credit Line: Leon Liebes Bequest, 1952.506<br>Permalink: http://arts.stanford.edu/map/place/shadows-of-the-future/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/1952.506-3_Bufano_TKS.jpg<br>Place categories: Public Art<br>Location Details: Tressider Student Union, patio<br>geo_latitude: 37.4240958<br>geo_longitude: -122.1712227<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
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"Credit Line": "Leon Liebes Bequest, 1952.506",
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"description": "<img src=\"https://lh6.googleusercontent.com/F55UksNJvj2FGs7uQ9iXi9LT9WNn5aWu5KI_QVlYCsO_OxOSNoXA370kn8jvLAY7x89EM49h9MKr6R4MCPqflyF1HHsvdSBdDdj0lwxCDragCpebRXkwiG3dOxfzah_z\" height=\"200\" width=\"auto\" /><br><br>Artist: Beverly Pepper (U.S.A., b. 1924)<br>Date: 1990, cast 2002<br>Media: Bronze<br>Content: While living in Italy, Beverly Pepper became fascinated by monumental and historical ruins, which inspired her to create monolithic and totemic sculptures. Bedford Sentinels, for instance, consists of three columns that together impart powerful and contemplative qualities reminiscent of ceremonial and ritual objects. The link between such emotions and the artist's use of abstraction is revealed in her writing: \"The abstract language of form that I have chosen has become a way to explore an interior life of feeling ... I wish to make an object that has a powerful presence, but is at the same time inwardly turned, seemingly capable of intense self-absorption.\"<br>Excerpt: The Bedford Sentinels consists of three columns that together impart powerful and contemplative qualities reminiscent of ceremonial and ritual objects.<br>Credit Line: Gift of Peter and Kirsten Bedford, 2002.81.a-c<br>Permalink: http://arts.stanford.edu/map/place/bedford-sentinels/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/2002.81.a-c_Pepper-10-src.jpg<br>Place categories: Public Art<br>Location Details: Corner of Serra Street and Galvez Street<br>geo_latitude: 37.4280917<br>geo_longitude: -122.1644498<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "Beverly Pepper (U.S.A., b. 1924)",
"Date": "1990, cast 2002",
"Media": "Bronze",
"Content": "While living in Italy, Beverly Pepper became fascinated by monumental and historical ruins, which inspired her to create monolithic and totemic sculptures. Bedford Sentinels, for instance, consists of three columns that together impart powerful and contemplative qualities reminiscent of ceremonial and ritual objects. The link between such emotions and the artist's use of abstraction is revealed in her writing: \"The abstract language of form that I have chosen has become a way to explore an interior life of feeling ... I wish to make an object that has a powerful presence, but is at the same time inwardly turned, seemingly capable of intense self-absorption.\"",
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"Artist": "Bruce Beasley (U.S.A., b. 1939)",
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"Artist": "Charles Ginnever (U.S.A., b. 1931)",
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"Credit Line": "Gift of Rita and Toby Schreiber, 2003.47",
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"description": "<img src=\"https://lh3.googleusercontent.com/f48MT2ZbRuLJ8YGOlJrKqIMsB9GK-H9qOIaY3nOZTMnDwycuS_QGCt5ZnqaqHPmsddS0uMmRkujfPyiQTK3PVM192ottU-w787MF9cFIFYJithU7CBDf9g80tZ-F-VA\" height=\"200\" width=\"auto\" /><br><br>Artist: Charles Ginnever (U.S.A., b. 1931)<br>Date: 1982<br>Media: Cor-Ten steel<br>Content: Sculptures by Charles Ginnever toy with the simplicities of shape to defy physical and angular logic. He mirrors, echoes, flips and reverses a single form to build complexities as well as unity in his three-dimensional work. Luna Moth Walk I is a product of this repetitive process. To avoid closing off the form, Ginnever fuses three planes together by bending a single piece of steel. This sculpture comes from his Origami Series, named after the Japanese art of folding paper. The result is a form that seems to pirouette on a narrow central axis, appearing meditative and delicate even though it is made of heavy steel.<br>Excerpt: Luna Moth Walk comes from Charles Ginnever's Origami Series, named after the Japanese art of folding paper.<br>Credit Line: Gift of Shirley Ross Davis and Thomas J. Davis Jr., 1996.73<br>Permalink: http://arts.stanford.edu/map/place/luna-moth-walk-i/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/1996.73_Ginnever_TKS-src.jpg<br>Place categories: Public Art<br>Location Details: Between Meyer Library and School of Law<br>geo_latitude: 37.425173<br>geo_longitude: -122.1679269<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "Charles Ginnever (U.S.A., b. 1931)",
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"Media": "Cor-Ten steel",
"Content": "Sculptures by Charles Ginnever toy with the simplicities of shape to defy physical and angular logic. He mirrors, echoes, flips and reverses a single form to build complexities as well as unity in his three-dimensional work. Luna Moth Walk I is a product of this repetitive process. To avoid closing off the form, Ginnever fuses three planes together by bending a single piece of steel. This sculpture comes from his Origami Series, named after the Japanese art of folding paper. The result is a form that seems to pirouette on a narrow central axis, appearing meditative and delicate even though it is made of heavy steel.",
"Excerpt": "Luna Moth Walk comes from Charles Ginnever's Origami Series, named after the Japanese art of folding paper.",
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"properties": {
"name": "The Stanford Legacy",
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"description": "<img src=\"https://lh6.googleusercontent.com/9PNc26IPQJgxLzUDkSyJk8wQSuqws9rppagiEXBjS0d4lQO5_IAJ05M6UakiIX5-q5Ya3zlTvIG5QwdCnUF-llm49MT-okhctUhcKtLt0vtlaCjJu0R8REBbDtajLckb\" height=\"200\" width=\"auto\" /><br><br>Artist: Don Yeomans (Canada, b. 1958)<br>Date: 2002<br>Media: Western red cedar and pigments<br>Content: Clan or family crests and other forms of emblematic representation are central elements among the Haida people of the Northwest coast of North America. These symbolic ensembles commemorate and honor family histories. With that in mind, The Stanford Legacy was dedicated to the University's founders.<br><br>This 40-foot tall totem pole was conceived collaboratively by the sculpture's donors and Haida artist Don Yeomans. It reads as a visual narrative that tells of the tragic loss of Leland Stanford Jr.-the event that inspired Leland and Jane Stanford to establish this university. Toward the bottom of this pole carved from a 400-year-old cedar tree, Yeomans depicted Leland Stanford Sr. as a chief holding a copper shield as a symbol of power and shared wealth. Below him, a bear holds a half-human being that represents the unfulfilled; between its ears, a figure reaches up to accept the chief's gift. Above the chief sits a woman, said to be Jane Stanford, whose tears have turned into ropes for a pair of children to cling to, which may also be interpreted as enlightenment and hope. Finally, the Raven, an image of the Creator-spirit, is crowned by a child with angel wings - a tribute to the young boy whose death inspired his parents' dream.<br>Excerpt: This 40-foot tall totem pole reads as a visual narrative of the tragic loss of Leland Stanford Jr.-the event that inspired Leland and Jane Stanford to establish Stanford University. <br>Credit Line: Gift of Marcia and Fred Rehmus Family, 2002.28<br>Permalink: http://arts.stanford.edu/map/place/the-stanford-legacy/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/2002.28_Yeomans_CS-3-src.jpg<br>Place categories: Public Art<br>Location Details: Between Meyer Library and School of Law<br>geo_latitude: 37.4246788<br>geo_longitude: -122.1675221<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "Don Yeomans (Canada, b. 1958)",
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"Media": "Western red cedar and pigments",
"Content": "Clan or family crests and other forms of emblematic representation are central elements among the Haida people of the Northwest coast of North America. These symbolic ensembles commemorate and honor family histories. With that in mind, The Stanford Legacy was dedicated to the University's founders.\n\nThis 40-foot tall totem pole was conceived collaboratively by the sculpture's donors and Haida artist Don Yeomans. It reads as a visual narrative that tells of the tragic loss of Leland Stanford Jr.-the event that inspired Leland and Jane Stanford to establish this university. Toward the bottom of this pole carved from a 400-year-old cedar tree, Yeomans depicted Leland Stanford Sr. as a chief holding a copper shield as a symbol of power and shared wealth. Below him, a bear holds a half-human being that represents the unfulfilled; between its ears, a figure reaches up to accept the chief's gift. Above the chief sits a woman, said to be Jane Stanford, whose tears have turned into ropes for a pair of children to cling to, which may also be interpreted as enlightenment and hope. Finally, the Raven, an image of the Creator-spirit, is crowned by a child with angel wings - a tribute to the young boy whose death inspired his parents' dream.",
"Excerpt": "This 40-foot tall totem pole reads as a visual narrative of the tragic loss of Leland Stanford Jr.-the event that inspired Leland and Jane Stanford to establish Stanford University. ",
"Credit Line": "Gift of Marcia and Fred Rehmus Family, 2002.28",
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"properties": {
"name": "Kryeti-Aekyad #3",
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"description": "<img src=\"https://lh3.googleusercontent.com/s4Fc0vwvvKkW8D4EXi_sG8H1FJAjOhAbw2wTc3Js-kbwYs089W-Mq2FU449Ns_AFsgxhZmgPEr2PQh0tmHCU_r9d9etg9oRs6--UOhhc53fHLeegNcn1wvxA_N6eSeKB\" height=\"200\" width=\"auto\" /><br><br>Artist: Douglas Abdell (U.S.A., b. 1947)<br>Date: 1980<br>Media: Welded bronze<br>Content: <br>Excerpt: <br>Credit Line: Gift of Doris and Donald Fisher, 2004.49<br>Permalink: http://arts.stanford.edu/map/place/kryeti-aekyad-3/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/2004.49_AA-2-src.jpg<br>Place categories: Public Art<br>Location Details: SLAC National Accelerator Laboratory<br>geo_latitude: 37.4196569<br>geo_longitude: -122.2051169<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
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"Credit Line": "Gift of Doris and Donald Fisher, 2004.49",
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"name": "Plate Drawing #12, Phase II",
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"description": "<img src=\"https://lh5.googleusercontent.com/XOFRE-fLmsI4Qp73fNJrJpO4m52YcN0lATlVbhwWys4_sYnCWy1EDjcQZ-Iz8g0fPl5zJlo5ErCmIqBDjtvnQLk5cph9F-DK_RmmoMnIgXt3GFACf8jvkYYbFOQgftxQ\" height=\"200\" width=\"auto\" /><br><br>Artist: Fletcher Benton (U.S.A., b. 1931)<br>Date: 1987<br>Media: Steel<br>Content: After earning his BFA from Miami University in Oxford, Ohio, Fletcher Benton moved to California and found work as a sign painter - a profession that influenced the geometric shapes that would later appear in his work. Typical of Benton's constructivist approach, Plate Drawing #12, Phase II consists of rectangular panels, cylindrical rods and a series of repeating triangles forming a staircase of welded steel. This work is related to Benton's small-scaled series Plate Drawings and Steel Drawings from the 1980s that rigidly adhered to a basic formula for their construction-a square steel frame attached to a metal rod. According to Benton, \"Other than the poet and the artist, I don't know of anybody else who has total control. The artist is the creator, the worker, the judge or the destroyer... and control is very important in my art.\"<br>Excerpt: Plate Drawing #12 is related to Benton's small-scaled series Plate Drawings and Steel Drawings from the 1980s that rigidly adhered to a basic formula for their construction-a square steel frame attached to a metal rod.<br>Credit Line: Gift of Paula and Phillip Kirkeby, 2000.115<br>Permalink: http://arts.stanford.edu/map/place/plate-drawing-12-phase-ii/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/2000.115_Benton_TKS-3-src.jpg<br>Place categories: Public Art<br>Location Details: Statistics Building Garden<br>geo_latitude: 37.4287839<br>geo_longitude: -122.1722697<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "Fletcher Benton (U.S.A., b. 1931)",
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"Excerpt": "Plate Drawing #12 is related to Benton's small-scaled series Plate Drawings and Steel Drawings from the 1980s that rigidly adhered to a basic formula for their construction-a square steel frame attached to a metal rod.",
"Credit Line": "Gift of Paula and Phillip Kirkeby, 2000.115",
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"description": "<img src=\"https://lh3.googleusercontent.com/R72KoCj37JNSzlPwbZHDKAfqAZLh-voaIZKDDpCQng0nyw00Ky4K0w164Bl54D1HUyKIKqQwxHiuKnmAfWLMmgLssGeQmlemBPMl6sAU6NGtEe3d_UuWEmhbEbcSK6JJ\" height=\"200\" width=\"auto\" /><br><br>Artist: Franois Stahly (France, b. Germany, 1911)<br>Date: 1960<br>Media: Bronze<br>Content: <br>Excerpt: <br>Credit Line: Gift of Mr. and Mrs. William L. Lowe, 1993.65<br>Permalink: http://arts.stanford.edu/map/place/the-unicorn-la-licorne/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/1993.65_Stahly-src.jpg<br>Place categories: Public Art<br>Location Details: The Stanford Faculty Club<br>geo_latitude: 37.4237023<br>geo_longitude: -122.1720172<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
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"Artist": "Franois Stahly (France, b. Germany, 1911)",
"Date": "1961",
"Media": "Bronze",
"Content": "As with many of his sculptures, including The Flame Birds, French sculptor Franois Stahly often derived inspiration from the natural world based on his fascination with obscure forms and patterns. Stahly was an artist in residence at Stanford in 1964. His bronze work from this period captures the stunning effects of light and shade through modulations in the height of relief. The Flame Birds illustrates Stahly's interplay of massive volumes and airy spaces, creating complex relationships of vacancy and mass.",
"Excerpt": "The Flame Birds illustrates Franois Stahly's interplay of massive volumes and airy spaces, creating complex relationships of vacancy and mass.",
"Credit Line": "Gift of Mr. and Mrs. William L. Lowe, 1993.64",
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"properties": {
"name": "Gay Liberation",
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"description": "<img src=\"https://lh3.googleusercontent.com/sAbsPgLDfubTdj0m_gQIolpULFCWd8FFRlnoEp08S5yol-zGgs1LqhroPzm58t8iEHkx0JsRK1V0b_nkBk6e6jdRRVSIYCyjHJ7VQY6jmx6pwGuBEdqeHc8xSdR3Ito\" height=\"200\" width=\"auto\" /><br><br>Artist: George Segal (U.S.A., 1924-2000)<br>Date: 1980<br>Media: Bronze and paint<br>Content: American painter and sculptor George Segal created Gay Liberation as a monument and memorial of New York City's Stonewall Rebellion in 1969. At the time, the Stonewall Inn was one of the few places that allowed openly gay people to dance in New York. One night, the inn became the site of a police raid and riots, which marked the start of a militant gay rights movement.<br><br>Gay Liberation incorporates four life-size bronze figures, paired off in couples, and actual steel benches from a park near Stonewall Inn. Through his cast figures, Segal translates human emotion using the subtle touch between the figures. In doing so, the artist embraces the charged subject matter and the struggle that openly gay people faced during the 1960s and 1970s.<br>Excerpt: George Segal created Gay Liberation as a monument and memorial of New York City's Stonewall Rebellion in 1969.<br>Credit Line: Gift of the Mildred Andrews Fund, 1993.72<br>Permalink: http://arts.stanford.edu/map/place/gay-liberation/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/1993.72_Segal-5-src.jpg<br>Place categories: Public Art<br>Location Details: Lomita Mall<br>geo_latitude: 37.4283215<br>geo_longitude: -122.1716044<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "George Segal (U.S.A., 1924-2000)",
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"Media": "Bronze and paint",
"Content": "American painter and sculptor George Segal created Gay Liberation as a monument and memorial of New York City's Stonewall Rebellion in 1969. At the time, the Stonewall Inn was one of the few places that allowed openly gay people to dance in New York. One night, the inn became the site of a police raid and riots, which marked the start of a militant gay rights movement.\n\nGay Liberation incorporates four life-size bronze figures, paired off in couples, and actual steel benches from a park near Stonewall Inn. Through his cast figures, Segal translates human emotion using the subtle touch between the figures. In doing so, the artist embraces the charged subject matter and the struggle that openly gay people faced during the 1960s and 1970s.",
"Excerpt": "George Segal created Gay Liberation as a monument and memorial of New York City's Stonewall Rebellion in 1969.",
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"properties": {
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"description": "<img src=\"https://lh4.googleusercontent.com/YIujc0yNyv3X2DIYL--nepY5Z-NwbRHHgyDxUtW40pWjYGulOIfz3NCw9TPlaA1HXjuUfUJlv1UrRZUQ4QCcJS2JpvGPX0aewM8SVz9FDVzpImMK2BeEfAUF6SQKIow\" height=\"200\" width=\"auto\" /><br><br>Artist: J.B. Blunk (U.S.A., 1926-2002)<br>Date: 1992-1993<br>Media: Stone - ground, chiseled and polished<br>Content: American sculptor J.B. Blunk received much acclaim as a woodworker, but in addition created an extensive body of work in clay, carved stone and bronze. Known for his tendencies to blur the categories of furniture and non-functional sculpture, Blunk was commissioned by the Graduate School of Business' class of 1992 to create a sculpture that would be artistically interesting while also providing a gathering spot and seating area for students and visitors.<br><br>Both aesthetic and functional, Group of Six is an abstract arrangement of large stones gathered from a riverbed near the artist's studio in western Marin County. The stones were then ground and chiseled to their desired shapes, and later polished to be deliberately roughened. The final sculpture is a simple configuration of several stools and a bench, which reference the object's origins and sources while also revealing a sense of the sculptural transcendence of natural materials.<br>Excerpt: Both aesthetic and functional, Group of Six is an abstract arrangement of large stones gathered from a riverbed near the artist's studio in western Marin County. <br>Credit Line: Gift of the Class of 1992, Graduate School of Business, Stanford University, 1993.3<br>Permalink: http://arts.stanford.edu/map/place/group-of-six/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/1993.3_Blunk-1-src.jpg<br>Place categories: Public Art<br>Location Details: Littlefield Center<br>geo_latitude: 37.4300363<br>geo_longitude: -122.1674292<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "J.B. Blunk (U.S.A., 1926-2002)",
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"name": "Big Ram Skull and Horn, January",
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"description": "<img src=\"https://lh3.googleusercontent.com/EiV0DBqsXN9Se8J1_cHcQlfHBwIa6hklTOPxlh38fAWk2PJPA0byYhrjRRHGoVowpVH3AVCmmPk183HrdLk2C0bAEv1PGzXw4yIvOYs-tQ8u6tuv6ydFHghbMZrFJxtA\" height=\"200\" width=\"auto\" /><br><br>Artist: Jack Zajac (U.S.A., b. 1929)<br>Date: 1976<br>Media: Bronze<br>Content: In 1956 Jack Zajac began studying the forms of sheep and goats. He saw these animals as traditional symbols of fertility and sacrifice and used them as metaphors for confronting death. Big Ram Skull and Horn, January is from a series of colossal skull and horn fragments that Zajac included in a 69-piece, open-air show in Orvieto, Italy. While the presumption of death is apparent, the form brings forth a living presence as well, one which speaks of the vitality of life forces both biomorphic and organic.<br>Excerpt: Big Ram Skull and Horn, January speaks of the vitality of life forces both biomorphic and organic.<br>Credit Line: General Plant Improvement Fund, 1993.73<br>Permalink: http://arts.stanford.edu/map/place/big-ram-skull-and-horn/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/1993.73_Zajac-4-src.jpg<br>Place categories: Public Art<br>Location Details: Green Library<br>geo_latitude: 37.4264253<br>geo_longitude: -122.1662148<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "Jack Zajac (U.S.A., b. 1929)",
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"Media": "Bronze",
"Content": "In 1956 Jack Zajac began studying the forms of sheep and goats. He saw these animals as traditional symbols of fertility and sacrifice and used them as metaphors for confronting death. Big Ram Skull and Horn, January is from a series of colossal skull and horn fragments that Zajac included in a 69-piece, open-air show in Orvieto, Italy. While the presumption of death is apparent, the form brings forth a living presence as well, one which speaks of the vitality of life forces both biomorphic and organic.",
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"properties": {
"name": "Song of the Vowels",
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"description": "<img src=\"https://lh5.googleusercontent.com/3ZDgQ6sYLtzU2tZIh0thO9JC0UmwLwqobl_1rpgDn55yOTMv173OocY-Cd7I-6tSBjJlYzmvsIdNbXXK3n3vvLAKqWY6sEVH7CPdPG888PSS-NJOma1VnXtJv1uS5PSOjg\" height=\"200\" width=\"auto\" /><br><br>Artist: Jacques Lipchitz (U.S.A., b. Lithuania, 1891-1973)<br>Date: 1931<br>Media: Aluminum<br>Content: While in Paris to study at the ’_cole des Beaux-Arts and the Acad_mie Julian, Jacques Lipchitz met Cubist artists Pablo Picasso and Georges Braque. Such influences are seen fully realized in this monumental study of geometric forms that are at once animated, energetic and airborne. Lipchitz created Song of the Vowels in a limited edition of seven casts in which he continued to explore the motif of the harp. He explains the confluence of imagery and ideas: \"I was entranced by the location, a vineyard with mountains at the background, and, since I was still obsessed with the idea of the harp, I decided to attempt a monument suggesting the power of man over nature. I had read somewhere about a papyrus discovered in Egypt having to do with a prayer that was a song composed only of vowels and designed to subdue the forces of nature ... I cannot explain why the image of the harp and the Song of the Vowels should have come together except that both of them were in my mind at the same moment.\"<br>Excerpt: Jacques Lipchitz created Song of the Vowels in a limited edition of seven casts in which he explored the motif of the harp. <br>Credit Line: Given in memory of Dr. Henry Kaplan and purchased with funds from the Medical School and the Provost, 1993.71<br>Permalink: http://arts.stanford.edu/map/place/song-of-the-vowels/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/1993.71_Lipchitz-src.jpg<br>Place categories: Public Art<br>Location Details: Medical Center<br>geo_latitude: 37.4335094<br>geo_longitude: -122.1767551<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "Jacques Lipchitz (U.S.A., b. Lithuania, 1891-1973)",
"Date": "1931",
"Media": "Aluminum",
"Content": "While in Paris to study at the ’_cole des Beaux-Arts and the Acad_mie Julian, Jacques Lipchitz met Cubist artists Pablo Picasso and Georges Braque. Such influences are seen fully realized in this monumental study of geometric forms that are at once animated, energetic and airborne. Lipchitz created Song of the Vowels in a limited edition of seven casts in which he continued to explore the motif of the harp. He explains the confluence of imagery and ideas: \"I was entranced by the location, a vineyard with mountains at the background, and, since I was still obsessed with the idea of the harp, I decided to attempt a monument suggesting the power of man over nature. I had read somewhere about a papyrus discovered in Egypt having to do with a prayer that was a song composed only of vowels and designed to subdue the forces of nature ... I cannot explain why the image of the harp and the Song of the Vowels should have come together except that both of them were in my mind at the same moment.\"",
"Excerpt": "Jacques Lipchitz created Song of the Vowels in a limited edition of seven casts in which he explored the motif of the harp. ",
"Credit Line": "Given in memory of Dr. Henry Kaplan and purchased with funds from the Medical School and the Provost, 1993.71",
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"name": "Column I",
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"description": "<img src=\"https://lh5.googleusercontent.com/5u2zmPJt6GYzhnIWb7Dax5R4A38yxo3ZEAMOerfovpfS-XxkS2sFXv0mz_fFGm0PAm1ZvHkj-sabCP4GiEU4yc_pXE7r0Y8QKAJeBxtEqliDo9Q_ZlPkJ9O6phfHtbGE\" height=\"200\" width=\"auto\" /><br><br>Artist: James Rosati (U.S.A., 1911-1988)<br>Date: 1983-1984<br>Media: Stainless steel<br>Content: James Rosati was a sculptor who learned how to weld while working in an airplane factory during World War II. As one of the last sculptures Rosati made during his lifetime, Column I signifies a landmark in the artist's five-decade career.<br><br>Column I stands 30 feet tall with tapered ends as if to emulate towering trees. By flaring and curving the top edge of this stainless steel column, Rosati imparts an uplifting effect of monumental elegance. Column I's soaring construction corresponds with Rosati's passion for simplicity in geometric form. When asked about the intended meaning of his artworks, Rosati often replied that we do not ask of flowers, for example, what they mean. Instead, he hoped the sculpture would \"cause you to stop, look, return and enjoy.\"<br>Excerpt: Column I's soaring construction corresponds with James Rosati's passion for simplicity in geometric form.<br>Credit Line: In memory of Albert Elsen, 1927-1995, Professor of Art History, Stanford University, 1968-1995. Teacher, scholar, and guiding spirit of Stanford's outdoor art collection. Given by his family, friends, the Estate of James Rosati, and The Contemporary Collectors Circle of The Committee for Art, 1996.15<br>Permalink: http://arts.stanford.edu/map/place/column-i/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/1996.15_Rosati-src.jpg<br>Place categories: Public Art<br>Location Details: Between Meyer Library and School of Law<br>geo_latitude: 37.4248146<br>geo_longitude: -122.1679551<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "James Rosati (U.S.A., 1911-1988)",
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"Media": "Stainless steel",
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"name": "Fragment: The Hidden Sea (Island of Refuge)",
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"description": "<img src=\"https://lh6.googleusercontent.com/2rTdTtn0XPpe4Kf60J3iU8VcqnwbTECl2_qgKBsCwV9lcyLzGGNPJ2Uu3Cr4aPHMdmUwZOUebkho0LJMCRhGaf1O8xBDhItDcRpk2TrefPPDhHbYoDWuSwtIs2YyLto\" height=\"200\" width=\"auto\" /><br><br>Artist: John Scott Roloff (U.S.A., b. 1947)<br>Date: 1993<br>Media: Site-specific earth sculpture<br>Content: John Roloff's environmental installation Fragment: The Hidden Sea refers in its form and title to the earth's ancient past. From the front, this site-specific sculpture appears cut from the earth around it, revealing the cross-section of a hill. Its hand-polished faade exposes layers of rarely seen marine shells and fossils that make up the region's topography. When seen from the rear, Fragment: The Hidden Sea resembles a grassy knoll, complete with many plantings native to Northern California whose fern-like properties recall ancient times.<br>Excerpt: John Roloff's environmental installation Fragment: The Hidden Sea refers in its form and title to the earth's ancient past.<br>Credit Line: General Plant Improvement Fund, 1993.50<br>Permalink: http://arts.stanford.edu/map/place/fragment-the-hidden-sea-island-of-refuge/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/1993.50_Roloff-src.jpg<br>Place categories: Public Art<br>Location Details: Rains Graduate Housing Complex<br>geo_latitude: 37.4214229<br>geo_longitude: -122.1592661<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "John Scott Roloff (U.S.A., b. 1947)",
"Date": "1993",
"Media": "Site-specific earth sculpture",
"Content": "John Roloff's environmental installation Fragment: The Hidden Sea refers in its form and title to the earth's ancient past. From the front, this site-specific sculpture appears cut from the earth around it, revealing the cross-section of a hill. Its hand-polished faade exposes layers of rarely seen marine shells and fossils that make up the region's topography. When seen from the rear, Fragment: The Hidden Sea resembles a grassy knoll, complete with many plantings native to Northern California whose fern-like properties recall ancient times.",
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"Artist": "Josef Albers (U.S.A., b. Germany, 1888-1976)",
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"Media": "Brick, steel, and granite",
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"Artist": "Kenneth Snelson (U.S.A., b. 1927)",
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"Media": "Stainless steel",
"Content": "While studying at Black Mountain College in North Carolina, Kenneth Snelson met Buckminster Fuller, whose theories on structural design led Snelson to pursue sculpture instead of painting. Exposure to Fuller's early experiments with the geodesic dome along with encouragement by Josef Albers spurred Snelson's inquiry of constructive techniques as seen in Mozart I's stainless steel geometric structure.\n\nMozart I consists of 18 polished metal tubes, suspended by steel cables that radiate from each end. Instead of focusing on weight and balance, Snelson experimented with new physical forms held in equilibrium. He likened the connections of Mozart I to objects as vast as solar systems because, like galaxies, Mozart I is at once a grand complicated matrix and a unified, interdependent system in space.",
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"description": "<img src=\"https://lh6.googleusercontent.com/UdwN1CTd03v5F1UGSaEvPecjyOAUNDcDOHJJUMtviuMQuKN6pqXPsm2aCkx0cCWLkI5Gaf3Hx0bRGhrwSAgXhjGvjf8mtrL2h4Q6bYE0vntKhYy_3JvGoS-aQHHWd3Tqpg\" height=\"200\" width=\"auto\" /><br><br>Artist: Lee Kelly (U.S.A., b. 1932)<br>Date: 1972<br>Media: Stainless steel<br>Content: As an avid traveler, Lee Kelly often drew on his experiences in Mexico, Tibet and New Guinea for inspiration. Kelly's abstract steel sculptures appear to echo the ruins of the Yucatan Peninsula and the temples of Nepal. He often refers to his sculptures as \"alternative architecture\" because the shapes suggest windows, arches and doors. Stainless Garden consists of three separate forms, which resemble a doorway, a wall and an altar. Seen here, Kelly transforms steel into abstract edifices that rise from the landscape like eroded ruins, evoking both the timelessness and fragility of the natural world.<br>Excerpt: Lee Kelly often refers to his sculptures as \"alternative architecture\" because the shapes suggest windows, arches and doors. <br>Credit Line: Gift of Mr. and Mrs. John Freidenrich, 1996.267.a-c<br>Permalink: http://arts.stanford.edu/map/place/stainless-garden/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/1996.267.a-c_Kelly_TKS-4-src.jpg<br>Place categories: Public Art<br>Location Details: Serra Mall, between Galvez & Lasuen Malls<br>geo_latitude: 37.4280374<br>geo_longitude: -122.1659675<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "Lee Kelly (U.S.A., b. 1932)",
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"description": "<img src=\"https://lh3.googleusercontent.com/Nt5zuHuaa63tY3ARmqZvuu3W28XQP3_niP75kMFwz6m-aOl57ebsFiuHWg-eAD-c-oYhc9eZgchjGup4K8si2JR4S5ehDfn8k7JSSkGVkwCgM3heQV7SOST7ro0HM1LT\" height=\"200\" width=\"auto\" /><br><br>Artist: Linda Fleming (U.S.A., b. 1945)<br>Date: 1997<br>Media: Steel<br>Content: Linda Fleming is an artist best known for her large-scale sculptures that deal in space and transparency. Space Lace consists of large concentric steel rings that encompass four elongated cubes. When lit by the sun or streetlamps, the overlapping steel bars create shadows and patterns that become essential parts of this sculpture, suggesting dynamic movement in a static form. Space Lace reveals, on the intuitive level, a new world to the viewer. The reality of the physical world and the mysteries of the universe are brought together through the vision of the artist. Fleming says her works \"hint at the co-existence of the mundane and the cosmological where two realities simultaneously exist, including the possibility that the past is also present.\"<br>Excerpt: Linda Fleming is an artist best known for her large-scale sculptures that deal in space and transparency. <br>Credit Line: Modern and Contemporary Art Fund, Outdoor Art Fund, Committee for Art Acquisitions Fund, and Milton D. Tarlow Memorial Fund, 1997.76<br>Permalink: http://arts.stanford.edu/map/place/space-lace/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/1997.76_Fleming_TKS-6-src.jpg<br>Place categories: Public Art<br>Location Details: Encina Commons<br>geo_latitude: 37.4271543<br>geo_longitude: -122.1654235<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "Linda Fleming (U.S.A., b. 1945)",
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"Artist": "Mark di Suvero (U.S.A., b. China, 1933)",
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"Media": "Stainless steel and paint",
"Content": "By the early 1960s, abstract expressionist sculptor Mark di Suvero had developed a signature style of transforming industrial materials such as steel beams into works of art. Although massive in scale, his sculptures remain approachable to audiences, often because of their ledges, swings and other kinetic elements that invite play and public participation. In the case of The Sieve of Eratosthenes, di Suvero recognizes the importance of the viewer's experience to the completion of the work. By siting the sculpture at ground level, he encourages viewers to walk around, under and between the red I-beams. The artwork's title, on the other hand, reflects di Suvero's interest in philosophy. As an ode to the Greek philosopher, geographer and mathematician Eratosthenes (c. 275-194 B.C.), the sculpture's title \"sieve\" refers to the scholar's formula for filtering out integers in order to identify prime numbers.",
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"Artist": "Mark di Suvero (U.S.A., b. China, 1933)",
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"description": "<img src=\"https://lh3.googleusercontent.com/e2W-DMpSmZR9NeaDzfkf5qQXcmv2wXliTLEyk9XmJqPRJIsoajds07jdfBryyzXqxeEjvymCAdWOxGcTtshU5VGoxrtkcQBwwwEEdrPsEhHgTkNJn6_BfXd3PscJgUM\" height=\"200\" width=\"auto\" /><br><br>Artist: Membor Apokiom, Teddy Balangu, Jacob Elliot, David Kapa Kaipuk, Yatai Latai, Yarume Mambegawi, Gutok Yantaka, Naui Saunambui, Jo Mare Wakundi, Simon Gambulo Marmos, and David Yamanapi<br>Date: 1994<br>Media: Carved wood, polychrome wood, and pumice<br>Content: Created on-site at Stanford by artists from Papua New Guinea, the 40 sculptures of the Papua New Guinea Sculpture Garden illustrate creation stories and cultural traditions through depictions of people, animals, and magical beings. The garden was the result of a collaborative project led by former anthropology graduate student Jim Mason, who invited ten artists from the Sepik River area to campus for a five-month residency program in 1994. The creation and installation of the garden was uniquely community-focused, with daily tours, weekly lectures, Friday night barbecues, and musical jam sessions that took place throughout the artists' stay.<br><br>Interestingly, a couple of works included in the Papua New Guinea Sculpture Garden complement those in the Rodin Garden across campus. Inspiration from Rodin can be seen in two recent interpretations of The Gates of Hell and The Thinker by Sepik River artists. In these sculptures, artists from the Sepik River area of Papua New Guinea incorporated both traditional lore and their experience of Stanford's sculpture into works of wood and pumice stone.<br>Excerpt: Created on-site at Stanford by artists from Papua New Guinea, the 40 sculptures of the Papua New Guinea Sculpture Garden illustrate creation stories and cultural traditions through depictions of people, animals, and magical beings. <br>Credit Line: Various, 1996.362.1-40<br>Permalink: http://arts.stanford.edu/map/place/papua-new-guinea-sculpture-garden/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/09/1996.362.1_Kura-src.jpg<br>Place categories: Public Art<br>Location Details: Santa Teresa Street and Lomita Drive<br>geo_latitude: 37.4248616<br>geo_longitude: -122.1737209<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "Membor Apokiom, Teddy Balangu, Jacob Elliot, David Kapa Kaipuk, Yatai Latai, Yarume Mambegawi, Gutok Yantaka, Naui Saunambui, Jo Mare Wakundi, Simon Gambulo Marmos, and David Yamanapi",
"Date": "1994",
"Media": "Carved wood, polychrome wood, and pumice",
"Content": "Created on-site at Stanford by artists from Papua New Guinea, the 40 sculptures of the Papua New Guinea Sculpture Garden illustrate creation stories and cultural traditions through depictions of people, animals, and magical beings. The garden was the result of a collaborative project led by former anthropology graduate student Jim Mason, who invited ten artists from the Sepik River area to campus for a five-month residency program in 1994. The creation and installation of the garden was uniquely community-focused, with daily tours, weekly lectures, Friday night barbecues, and musical jam sessions that took place throughout the artists' stay.\n\nInterestingly, a couple of works included in the Papua New Guinea Sculpture Garden complement those in the Rodin Garden across campus. Inspiration from Rodin can be seen in two recent interpretations of The Gates of Hell and The Thinker by Sepik River artists. In these sculptures, artists from the Sepik River area of Papua New Guinea incorporated both traditional lore and their experience of Stanford's sculpture into works of wood and pumice stone.",
"Excerpt": "Created on-site at Stanford by artists from Papua New Guinea, the 40 sculptures of the Papua New Guinea Sculpture Garden illustrate creation stories and cultural traditions through depictions of people, animals, and magical beings. ",
"Credit Line": "Various, 1996.362.1-40",
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"name": "Large Metamorphic Venus",
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"Artist": "William Turnbull (Scotland, b. 1922)",
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"Content": "Scottish-born painter and sculptor William Turnbull found himself attracted to the artistic representations in African and Mesoamerican artifacts. In the 1980s, his interest in reductive figuration grew and he began work on his Venus sculptures. Large Metamorphic Venus is relatively a late work - his last Venus and the last of Turnbull's large-scale bronzes. Delicate lines that cut into the stingray-like structure of the sculpture allude to arms, eyes and even a navel. This treatment blends traditional conventions of painting and sculpture by creating an undeniable front view as if Large Metamorphic Venus were a canvas and not a three-dimensional object.",
"Excerpt": "William Turnbull found himself attracted to the artistic representations in African and Mesoamerican artifacts, and in the 1980s, his interest in reductive figuration grew and he began work on his Venus sculptures.",
"Credit Line": "Given in honor of Milton Tarlow (1889-1967), Max Kriss (1889-1941), and Joseph Kriss (1916-1989) by the Kriss Kamily, 1993.75",
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"properties": {
"name": "El Centro Chicano Faade Mural",
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"description": "<img src=\"https://lh5.googleusercontent.com/9BH1xvE11HZmunCB_LY58QVGQ8zxJwVZ7WN8G1Skdmk1H5dVear2cXkkU2oBN_453gABtJjcgsjRGnXMQqGz3etvG-1Lr4P_urNrNBXhgrYmGYJ1ZRR9zJfmvYH_mn0\" height=\"200\" width=\"auto\" /><br><br>Artist: Malaquias Montoya (U.S.A., b. 1938)<br>Date: 1981<br>Media: Acrylic on wood<br>Content: Malaquias Montoya, professor emeritus of art and Chicana/o studies at the University of California-Davis, designed and painted the 52-by-4-foot mural on the faade of El Centro Chicano in 1981 with seven students who participated in his Stanford mural-painting class in the spring of 1980. Montoya was an artist-in-residence at Casa Zapata, Stern Hall, and a guest professor of the associated students at Stanford at the time.<br><br>The first Chicano mural approved for outdoor display at Stanford, the mural depicts the heritage and experiences of Chicano students, focusing thematically on the roles of educators and workers in effecting social change. Montoya included elements representing both past (the Indian and conquistador) and future (students entering the educational system and job market). However, \"the focus of the mural is on the man and the woman in the middle. They are the workers who emerge after being educated. Their hands on the levers of the cogs are meant to show the system works for everyone or it doesn't work at all,\" said Montoya (M. Montoya, quoted in \"New mural highlights experiences of Chicano students.\" Campus Report, Oct. 7, 1981). Montoya's son, Maceo Montoya, also an artist and professor of Chicano/a studies at UC-Davis, restored the mural in 2008.<br>Excerpt: The first Chicano mural approved for outdoor display at Stanford, the mural depicts the heritage and experiences of Chicano students, focusing thematically on the roles of educators and workers in effecting social change.<br>Credit Line: <br>Permalink: http://arts.stanford.edu/map/place/el-centro-chicano-facade-mural/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/08/SGR1880-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/08/00385_s_12ahxbjqtj0385_b-1.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/07/00385_s_12ahxbjqtj0385_b.jpg http://arts.stanford.edu/map/wp-content/uploads/2013/07/00384_s_12ahxbjqtj0384.jpg<br>Place categories: Public Art<br>Location Details: 514 Lasuen Mall, Building 590 (Old Union)<br>geo_latitude: 37.4253695<br>geo_longitude: -122.1696134<br>Website: <br>Contact: <br>Email: <br>Facebook: https://www.facebook.com/pages/El-Centro-Chicano/8461242807<br>Notes: <br><br><img src=\"https://lh3.googleusercontent.com/WnMic1auhwUHu6W8GUzvcD9JE5jX-dkh2M0g40dIKl7GwgektnAm9WftU1QrOKCE7nYvlqUEBhSuRA0Ztb8ZQtCwgr6kr9C-MGY-SyCqjMFqh14dqw67SMsU2HwmM6mP\" height=\"200\" width=\"auto\" />",
"Artist": "Malaquias Montoya (U.S.A., b. 1938)",
"Date": "1981",
"Media": "Acrylic on wood",
"Content": "Malaquias Montoya, professor emeritus of art and Chicana/o studies at the University of California-Davis, designed and painted the 52-by-4-foot mural on the faade of El Centro Chicano in 1981 with seven students who participated in his Stanford mural-painting class in the spring of 1980. Montoya was an artist-in-residence at Casa Zapata, Stern Hall, and a guest professor of the associated students at Stanford at the time.\n\nThe first Chicano mural approved for outdoor display at Stanford, the mural depicts the heritage and experiences of Chicano students, focusing thematically on the roles of educators and workers in effecting social change. Montoya included elements representing both past (the Indian and conquistador) and future (students entering the educational system and job market). However, \"the focus of the mural is on the man and the woman in the middle. They are the workers who emerge after being educated. Their hands on the levers of the cogs are meant to show the system works for everyone or it doesn't work at all,\" said Montoya (M. Montoya, quoted in \"New mural highlights experiences of Chicano students.\" Campus Report, Oct. 7, 1981). Montoya's son, Maceo Montoya, also an artist and professor of Chicano/a studies at UC-Davis, restored the mural in 2008.",
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"properties": {
"name": "The Falcon (Le Faucon)",
"styleUrl": "#icon-1899-E65100",
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"description": "<img src=\"https://lh5.googleusercontent.com/TqC_9oK54E-TgsZgLfUBLf6yhfZpHa2kTsKaLgzKqI9jdX6JjRLx195XCFcKNkGnVkQanZyOrem5_jeaC-TJgOqdwnLlEE_TF6pynuRCztCw_SOcGJHTtwSPVO8dCtg\" height=\"200\" width=\"auto\" /><br><br>Artist: Alexander Calder (U.S.A., 1898-1976)<br>Date: 1963<br>Media: Steel and paint<br>Content: During the 1960s and 1970s, American sculptor Alexander Calder created stationary, abstract sculptures known as stabiles for public sites worldwide. Although earthbound, these monumental sculptures reflect the dynamism of his smaller mobiles-kinetic sculptures that are suspended in space by wire.<br><br>Created at a steelworks in Tours, France, The Falcon was a favorite of Calder and stood in front of his studio for many years, where it perched on the brow of a low hill as if ready to take flight. Today, The Falcon sits as the centerpiece of the Cooley Courtyard with its arching forms and dynamic surfaces providing the perfect complement to the angularity of modern architecture. The central courtyard provides public access to the sculpture, allowing it to be read from many different angles. From the back The Falcon is said to resemble a dragon.<br>Excerpt: Created at a steelworks in Tours, France, The Falcon was a favorite of Calder and stood in front of his studio for many years, where it perched on the brow of a low hill as if ready to take flight.<br>Credit Line: Gift of Mr. and Mrs. Richard E. Lang, 1993.62<br>Permalink: http://arts.stanford.edu/map/place/the-falcon-2/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/08/falcon_crop1.jpg<br>Place categories: Public Art<br>Location Details: School of Law, Cooley Courtyard<br>geo_latitude: 37.424312<br>geo_longitude: -122.167916<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
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"name": "Oiseau (Bird)",
"styleUrl": "#icon-1899-E65100",
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"description": "<img src=\"https://lh3.googleusercontent.com/jf4uhZb0bbAHijX56LR8hG3L8UUp8GYOxVdq8TNimPCTXFxSai-TcV0W5Uei-aKcvQ-OoH2_0BZ1pfTEbVGeP-u--kU5AWPg8C7tizZS2V6bgF_AgWGwynvR2hxfLX-f\" height=\"200\" width=\"auto\" /><br><br>Artist: Joan Mir„ (Spain, 1893-1983)<br>Date: 1973<br>Media: Bronze<br>Content: Surrealist artist Joan Mir„ worked in an array of media throughout his lifetime. Mir„'s desire to escape from the reality of World War II led him to create a language of symbols relating to women, birds and celestial bodies. Oiseau reflects the artist's desire for innocence and simplicity. The sculpture's animated features and bulbous shape are typical of Mir„'s cartoon-like characters, amusing creatures of the artist's imagination. When the sculpture was initially cast in 1973, it was mounted on the chimney of Mir„'s home. The installation was not only indicative of his playful attitude toward art, but also of Mir„'s dislike for sculpture on a conventional pedestal.<br>Excerpt: Mir„'s desire to escape from the reality of World War II led him to create a language of symbols relating to women, birds and celestial bodies. Oiseau, meaning bird in French, reflects the artist's desire for innocence and simplicity.<br>Credit Line: Anonymous gift, 1983.55<br>Permalink: http://arts.stanford.edu/map/place/oiseau-bird/<br>Image URL: http://arts.stanford.edu/map/wp-content/uploads/2013/08/1983.55_Miro_TKS-3-src-3.jpg <br>Place categories: Public Art<br>Location Details: Cummings Art Building, sunken patio<br>geo_latitude: 37.4278282<br>geo_longitude: -122.1679006<br>Website: <br>Contact: <br>Email: <br>Facebook: <br>Notes: ",
"Artist": "Joan Mir„ (Spain, 1893-1983)",
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"Media": "Bronze",
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"Artist": "Patricia Sherwood (U.S.A., b. 1933)",
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"Content": "Title - East Bay Hills  Artist - Patricia Sherwood (U.S.A., b. 1933) Date - 2000         Media - Oil on canvas Credit Line - On loan to the School of Education                                                                                                                 Title - Early Flight Artist - Patricia Sherwood (U.S.A., b. 1933) Date - 2002 Media - Oil on canvas Credit Line - On loan to the School of Education. Patricia Sherwood painted East Bay Hills for a show at Museum West Gallery in Palo Alto. Early Flight was exhibited as part of a 2002 show, Pat Sherwood: Leaving, at the Triton Museum of Art in Santa Clara. In its sensitive depiction of a young woman's departure from a previous home, and perhaps from a previous life, Early Flight exudes all the tumultuous raw emotions of a break-up. \"It is a cold morning, yet she does not want to wait inside for the taxi to carry her away. The paper has just arrived; she has tried to read the paper, but cannot concentrate. She is stunned, but hoping that he will come out of the house and ask her to stay.\"",
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