So many of Auguste Rodin’s forms seem to be characterized by what they are not: the woman with the stub of a shoulder and severed head, the backward curve of her back, suggesting what? A lover leaning over her, bestowing upon her (as I cannot cease imagining) a gentle caress? A strobe of sunlight dipping…
“Inside Rodin’s Hands: Art, Technology and Surgery,” a temporary exhibition at the Cantor Arts Center that opened last week, features Rodin hand sculptures which have been diagnosed for pathologies and virtually operated on. Anatomy texts published between the 16th and 19th centuries that illustrate the historical development of the study of anatomy are also on display, as are augmented reality installations that allow the public to view the anatomical structures that would lie inside some of the exhibited sculptures.
While “The Gates of Hell” might not sound like the ideal spot for a picnic, the bronze cast of Auguste Rodin’s 20-foot masterpiece is just one of 20 renowned sculptures on display at the Cantor Arts Center’s Rodin Sculpture Garden. The center’s must-see Rodin collection — the largest outside of Paris — also includes three galleries in the museum’s left wing, which together house 170 Rodin pieces. And it’s all free.
The Iris & B. Gerald Cantor Center for Visual Arts has appointed Connie Wolf ’81 its new director; she will replace current director Thomas Seligman when he retires Dec. 31 after 20 years at the helm of the museum.
To a casual passerby, the corner of Santa Teresa and Lomita Drive may appear to be an overgrown blight amid an otherwise perfectly manicured campus. However, a few steps down a rocky, dirt bike path reveal what is actually a culturally rich array of wooden and stone sculptures underneath a serene canopy of trees.
A regularly updated photo series covering summer on the Farm, produced by The Stanford Daily’s 2011 photography interns.
Part of a series by The Stanford Daily’s 2011 photography interns.