To find out more, please contact the Depression Research Clinic:
Maureen Chang
650-725-4620
mhchang@stanford.edu

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This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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In the 2025–2026 academic year, Branner Library’s exhibit series will explore Earth’s oceans’ complex biological and ecological systems that regulate climate and support life.

July–August’s exhibition explores the history, science, and technologies used to chart Earth’s largest environment. The collection highlights how cartographers, navigators, geologists, and oceanographers have transformed our understanding of the oceans, from mapping coastlines and trade routes to revealing underwater mountains, trenches, and habitats.

The exhibit is available for viewing Monday through Friday during regular library open hours.

Check out past exhibits and subscribe to the Branner Library Newsletter.

A current Stanford ID is needed to enter the library, visitors must present a valid, physical government-issued photo ID to sign-in at the front desk.

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

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Starting on Friday, May 1st, The Gear Hub will be
selling gear hub items for 20% off at the Arrillaga Center for Sports and Recreation.

SUID card and form of payment (credit card, debit, or ApplePay) is required at time of purchase.

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From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

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You Are Here is an exhibition that explores the unique relationship between transit maps and the identity of their subjects. A transportation system can become synonymous with a city or nation, reflecting its change over time, spearheading cartographic innovations, or reifying an entirely new vision for space and place. The individual maps in the exhibit serve as a window into the histories of the places they represent and the history of transit cartography as a whole.

Curated by the winner of the California Map Society Student Exhibition Competition Jayne Kilander, will be on view through Friday, August 21, 2026. It is also available to view digitally.

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

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The exhibition will be on view in the Wisch Family Gallery from April 2 – August 17, 2026

ABOUT THE ARTIST

Erika Chong Shuch is a choreographer, director, and performance maker whose work bridges experimental performance and social practice through inventive forms of audience engagement. Centering people and labor often overlooked, her projects reimagine where and how art-making begins. She is the founder of For You, a performance group that brings strangers together through experiences ranging from intimate encounters to large-scale public gatherings. Erika has been commissioned by the Oregon Shakespeare Festival, Court Theatre (Chicago), The Momentary, Cantor Arts Center, and Edge on the Square (San Francisco). Her work has been supported by Creative Capital, New England Foundation for the Arts, and the Gerbode Foundation. She was a 2022–23 Bay Area Fellow at Headlands Center for the Arts and is currently co-creating The Table with Mei Ann Tao and the San Francisco Civic Theater Project with Jonathan Moscone.

ACKNOWLEDGMENTS

1,000 Ways to Hold: A new work by Erika Chong Shuch is organized by the Anderson Collection at Stanford University in collaboration with the Office of the Vice President for the Arts. Thank you to the core team of individuals whose dedication and expertise were essential to the realization of this project, as well as to the incredible community whose hands shaped the work in this exhibition. We gratefully acknowledge generous support provided by the Harry W. and Mary Margaret Anderson Charitable Foundation, The Draper Foundation, Melissa and Trevor Fetter, Carloyn and William Langelier, William Reller and Kristin E. Klint, and the Office for Religious & Spiritual Life.

This exhibition was made possible through the significant commitment of the following individuals: Ellen Oh (producer), Edi Dai (producer), Hideo Mabuchi (ceramics management), Sean Riley (machine design), Crow Cianciola (machine fabrication), Werd Pace (sound design), Tiffany Steinwert (dialogic facilitator), Taylor Jones (videographer), Niharika Gunturu (lead electronics design), Eito Murakami (sound design), Xinyuan Pu (facilitation), Caitlin Main (dramaturg), Yinuo Yu (data specialist), Jason Wilson Navarro-Lopez (data specialist), Heechan Lim (videographer assistant), Miley Sinantha-Hu (project assistant), Jacob Eldred (mechanical design), and Lily Thai (electronics design assistant).

Ceramics production: Sally Jackson, Ryan Schnirel, Grace Potter, Sarah Logan, Scott Parady, Casey Beck, Joan Lin, and Phil Park.

Workshop coordination: Claudia Dorn, Tyler Brooks, Claire Kuan, Ilana Goldhaber-Gordon, Ken N. Lee, Jessica Castillo, Amara Tabor-Smith, Jazlyn Patricio-Archer, Benjamin Lundberg Torres Sanchez, Kim Beil, Michaela Hulstyn, Jessi Pipert, Jessica Gonzales Chu, Mushi Wooseong James, Craig Adams, Natasha Noel, Sophina McDaniel, Karina Kloos, and Ken Becker.

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Public Tours: Fridays and Saturdays at 11:30am

Admission Info

Tours do not require a reservation and are free of charge.

First come, first served!

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It's free, it's easy, and there's no wrong way to do it. All materials provided, all ages welcome, zero pressure.

Click the "+" to see more upcoming Drop-in Drawing dates.

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Date/Time: Friday, August 14, 2026, 12:00–3:30 p.m. PTLocation: Fisher Conference Center, Stanford Alumni CenterAbout the faculty speaker Lisa Goldman Rosas, PhD MPH is an Associate Professor in the Department of Epidemiology and Population Health and the Department of Medicine, Division of Primary Care and Population Health at Stanford School of Medicine. An epidemiologist by training, Dr. Goldman Rosas’ research focuses on addressing disparities in diet-related chronic diseases such as diabetes, heart disease, depression, and cancer especially for those who face food insecurity. This research features rigorous quantitative and qualitative methodologies, participatory qualitative approaches, and shared leadership with patient and community partners. She is passionate about integrating patients, caregivers, community organizations, and other key stakeholders in the research process in order to affect the greatest improvements in health and well-being.

Note: Photography and video will be captured for HumBio program communications (website, social media, newsletters, reports). By attending, you consent to this use. If you prefer not to be photographed, please tell HumBio staff upon arrival.

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In this noontime webinar, you will learn the signs and stages of CMS, review the relationship between blood pressure, cholesterol, glucose, and excess weight as it relates to this syndrome, and discover how a healthy lifestyle that includes regular exercise, healthy diet, regular sleep, not smoking, and stress reduction can greatly reduce your risk. Research has shown that improving cardiometabolic health reduces individual risk factors and reduces overall mortality, independent of weight.

This class will be recorded and a one-week link to the recording will be shared with all registered participants.

This class qualifies for double points as part of our August promotion. To receive 4,000 points, attend at least 80% of the live session or watch the entire recording within one week.

Request disability accommodations and access info.

Class details are subject to change.

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Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

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Abstract: Agrobacterium-mediated transformation (AMT) has become the principal method for delivering DNA payloads into plant cells over the last few decades, underpinning both fundamental research and crop improvement across a wide range of species. In my first project, I developed a synthetic genetic tool to measure the impact of different transformation variables on the outcome of AMT as a step towards efficient site-specific genome engineering. In my second project, I leveraged AMT to generate transgenic plants capable of controlling the activity of associated soil microbes.

Despite its versatility and utility, AMT has presented persistent problems for precision plant engineering. The integration locus of the transferred DNA (T-DNA) within the plant genome is effectively random, leading to variation in transgene expression strength, as well as potential knockout of native genes or even rearrangement of entire chromosomes. Thus, inhibiting non-specific T-DNA integration would greatly facilitate plant genome engineering. Site-specific approaches such as CRISPR editing cannot prevent this alone. We therefore developed T-SWITCH (T-DNA Sensing With Integrase Chassis) in the model organism Arabidopsis thaliana. Using the T-SWITCH system, we measured the effect of plant DNA repair factors, Agrobacterium virulence proteins, promoter choice, and binary vector architecture on T-DNA delivery efficiency and integration rate as distinct contributors to transformation efficiency. We found that most factors alter T-DNA delivery, but not integration. Finally, we leveraged T-SWITCH to achieve integration-free CRISPR editing in a single generation, introducing heritable mutations but not Cas9 T-DNA into the plant genome.

One application of genetically engineered plants that could enable a new generation of precision agricultural biotechnology is in controlling the activity of associated engineered microbes. Using O-methyl-L-tyrosine (OMY) as a model compound, we established non-canonical amino acids (ncAAs) as a tool for programming plant-microbe partnerships. We engineered plants to biosynthesize OMY for uptake by soil bacteria engineered via genetic code expansion for OMY-dependent protein synthesis. We showed that plant-derived OMY can stimulate gene expression in both model and wild soil bacteria while also demonstrating that inducible and tissue-specific expression of a single biosynthetic enzyme by the plant enables on-demand control over microbial activity.

Please contact Sofia Rakicevic-More for the Zoom link.

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You will also engage with your senses through mindful sketching and journaling, integrating these experiences into your personal resilience toolkit. Learn how to activate your vagus nerve, which plays a crucial role in stress regulation, and discover practical lifestyle strategies to promote restful states of mind.

This session will leave you feeling refreshed and equipped with skills to deepen your relaxation and well-being.

Enjoy this class on its own or attend more in our summer Coming Back to Your Senses series. The other two evenings in the series are Nourishing Calm on July 24 and Igniting Creativity and Joy on August 7. All three sessions are from 5:00-6:30 pm in person on Stanford Campus. Each of the three classes is offered independently, so you can sign up for just the topics that pique your interest and fit into your busy schedule. Join for one or for all! See details for the series here.

This is an in-person class and will not be recorded.

Attendance at the live session is required to receive incentive points. This class qualifies for double points (4,000 points) as part of our August promotion.

Request disability accommodations and access info.

Class details are subject to change.

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Developed by Stanford Registered Dietitians with support from Stanford Health Care Clinical Nutrition and the Stanford Nutrition Research Group, this video delivers practical, evidence-based guidance straight to your kitchen.

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To find out more, please contact the Depression Research Clinic:
Maureen Chang
650-725-4620
mhchang@stanford.edu

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This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

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From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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We welcome volunteers 10 years old and older. Those between 10 and 14 years old are required to have a guardian actively volunteering alongside them for the duration of the volunteer session.

We reserve the right to cancel volunteer sessions up to two hours in advance. Possible reasons for cancelation are a change in COVID-19 guidelines as outlined by the University or County Officials, excessive heat (90 degree and above), poor air quality, rain or other inclement weather.

We encourage all volunteers to carpool, bike, ride public transportation; there is a charge for parking on all Stanford property. The farm is not responsible for any tickets incurred while volunteering.

UPON ARRIVAL: ALL VOLUNTEERS MUST COMPLETE A SAFETY WAIVER

WHEN YOU ARRIVE AT THE FARM: Complete Waiver Form

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

View on site | Email this event

The exhibition will be on view in the Wisch Family Gallery from April 2 – August 17, 2026

ABOUT THE ARTIST

Erika Chong Shuch is a choreographer, director, and performance maker whose work bridges experimental performance and social practice through inventive forms of audience engagement. Centering people and labor often overlooked, her projects reimagine where and how art-making begins. She is the founder of For You, a performance group that brings strangers together through experiences ranging from intimate encounters to large-scale public gatherings. Erika has been commissioned by the Oregon Shakespeare Festival, Court Theatre (Chicago), The Momentary, Cantor Arts Center, and Edge on the Square (San Francisco). Her work has been supported by Creative Capital, New England Foundation for the Arts, and the Gerbode Foundation. She was a 2022–23 Bay Area Fellow at Headlands Center for the Arts and is currently co-creating The Table with Mei Ann Tao and the San Francisco Civic Theater Project with Jonathan Moscone.

ACKNOWLEDGMENTS

1,000 Ways to Hold: A new work by Erika Chong Shuch is organized by the Anderson Collection at Stanford University in collaboration with the Office of the Vice President for the Arts. Thank you to the core team of individuals whose dedication and expertise were essential to the realization of this project, as well as to the incredible community whose hands shaped the work in this exhibition. We gratefully acknowledge generous support provided by the Harry W. and Mary Margaret Anderson Charitable Foundation, The Draper Foundation, Melissa and Trevor Fetter, Carloyn and William Langelier, William Reller and Kristin E. Klint, and the Office for Religious & Spiritual Life.

This exhibition was made possible through the significant commitment of the following individuals: Ellen Oh (producer), Edi Dai (producer), Hideo Mabuchi (ceramics management), Sean Riley (machine design), Crow Cianciola (machine fabrication), Werd Pace (sound design), Tiffany Steinwert (dialogic facilitator), Taylor Jones (videographer), Niharika Gunturu (lead electronics design), Eito Murakami (sound design), Xinyuan Pu (facilitation), Caitlin Main (dramaturg), Yinuo Yu (data specialist), Jason Wilson Navarro-Lopez (data specialist), Heechan Lim (videographer assistant), Miley Sinantha-Hu (project assistant), Jacob Eldred (mechanical design), and Lily Thai (electronics design assistant).

Ceramics production: Sally Jackson, Ryan Schnirel, Grace Potter, Sarah Logan, Scott Parady, Casey Beck, Joan Lin, and Phil Park.

Workshop coordination: Claudia Dorn, Tyler Brooks, Claire Kuan, Ilana Goldhaber-Gordon, Ken N. Lee, Jessica Castillo, Amara Tabor-Smith, Jazlyn Patricio-Archer, Benjamin Lundberg Torres Sanchez, Kim Beil, Michaela Hulstyn, Jessi Pipert, Jessica Gonzales Chu, Mushi Wooseong James, Craig Adams, Natasha Noel, Sophina McDaniel, Karina Kloos, and Ken Becker.

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Public Tours: Fridays and Saturdays at 11:30am

Admission Info

Tours do not require a reservation and are free of charge.

First come, first served!

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IMAGE: Auguste Rodin (France, 1840–1917), The Age of Bronze (L’Âge d’airain), 1875-1876. Bronze, cast c. 1920. Gift of the B. Gerald Cantor Collection, 1983.300

Public Tours: Fridays and Saturdays at 11:30am

Admission Info

Tours do not require a reservation and are free of charge.

First come, first served!

View on site | Email this event

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Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

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Public Tours: Cantor Highlights

Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

View on site | Email this event

To find out more, please contact the Depression Research Clinic:
Maureen Chang
650-725-4620
mhchang@stanford.edu

View on site | Email this event

This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

View on site | Email this event

From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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The exhibition will be on view in the Wisch Family Gallery from April 2 – August 17, 2026

ABOUT THE ARTIST

Erika Chong Shuch is a choreographer, director, and performance maker whose work bridges experimental performance and social practice through inventive forms of audience engagement. Centering people and labor often overlooked, her projects reimagine where and how art-making begins. She is the founder of For You, a performance group that brings strangers together through experiences ranging from intimate encounters to large-scale public gatherings. Erika has been commissioned by the Oregon Shakespeare Festival, Court Theatre (Chicago), The Momentary, Cantor Arts Center, and Edge on the Square (San Francisco). Her work has been supported by Creative Capital, New England Foundation for the Arts, and the Gerbode Foundation. She was a 2022–23 Bay Area Fellow at Headlands Center for the Arts and is currently co-creating The Table with Mei Ann Tao and the San Francisco Civic Theater Project with Jonathan Moscone.

ACKNOWLEDGMENTS

1,000 Ways to Hold: A new work by Erika Chong Shuch is organized by the Anderson Collection at Stanford University in collaboration with the Office of the Vice President for the Arts. Thank you to the core team of individuals whose dedication and expertise were essential to the realization of this project, as well as to the incredible community whose hands shaped the work in this exhibition. We gratefully acknowledge generous support provided by the Harry W. and Mary Margaret Anderson Charitable Foundation, The Draper Foundation, Melissa and Trevor Fetter, Carloyn and William Langelier, William Reller and Kristin E. Klint, and the Office for Religious & Spiritual Life.

This exhibition was made possible through the significant commitment of the following individuals: Ellen Oh (producer), Edi Dai (producer), Hideo Mabuchi (ceramics management), Sean Riley (machine design), Crow Cianciola (machine fabrication), Werd Pace (sound design), Tiffany Steinwert (dialogic facilitator), Taylor Jones (videographer), Niharika Gunturu (lead electronics design), Eito Murakami (sound design), Xinyuan Pu (facilitation), Caitlin Main (dramaturg), Yinuo Yu (data specialist), Jason Wilson Navarro-Lopez (data specialist), Heechan Lim (videographer assistant), Miley Sinantha-Hu (project assistant), Jacob Eldred (mechanical design), and Lily Thai (electronics design assistant).

Ceramics production: Sally Jackson, Ryan Schnirel, Grace Potter, Sarah Logan, Scott Parady, Casey Beck, Joan Lin, and Phil Park.

Workshop coordination: Claudia Dorn, Tyler Brooks, Claire Kuan, Ilana Goldhaber-Gordon, Ken N. Lee, Jessica Castillo, Amara Tabor-Smith, Jazlyn Patricio-Archer, Benjamin Lundberg Torres Sanchez, Kim Beil, Michaela Hulstyn, Jessi Pipert, Jessica Gonzales Chu, Mushi Wooseong James, Craig Adams, Natasha Noel, Sophina McDaniel, Karina Kloos, and Ken Becker.

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

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Mend a Vessel, Make Something New

Using contemporary kintsugi techniques, participants will repair a ceramic piece with gold-dusted lacquer, learning the Japanese art of "golden joinery" hands-on. Bring a vessel you'd like to break and repair, or work with one provided. No experience necessary — you'll leave with a one-of-a-kind, beautifully restored piece.

This workshop will be offered twice on Sunday, August 16, 2026. Session #1 is from 1-2:30pm and Session #2 is from 3-4:30pm. Please register for only one session.

This workshop is offered alongside 1,000 Ways to Hold, Stanford Arts' 2025–26 Visiting Artist Erika Chong Shuch's participatory exhibition exploring care, connection, and the stories objects can hold. Like the bowls gathered in that exhibition, each kintsugi-repaired vessel becomes its own record of care — proof that what breaks can be remade, and that the act of repair can hold memory and connection just as well as the object itself.

About the Instructor

This workshop is led by Dr. Stephen Murphy-Shigematsu, a Stanford educator, psychologist, and author whose work bridges Japanese wisdom traditions, mindfulness, and the healing power of storytelling and art. Participants will leave with both a repaired object and a deeper sense of kintsugi's philosophy — embracing imperfection, compassion, and connection.

The 1,000 Ways to Hold will be on view in the Wisch Family Gallery from April 2 – August 17, 2026.

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Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

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Public Tours: 3rd Sunday of each month 2 pm; meet in front of museum, rain or shine

Admission Info

Tours do not require a reservation and are free of charge.

First come, first served!

View on site | Email this event

View on site | Email this event

Mend a Vessel, Make Something New

Using contemporary kintsugi techniques, participants will repair a ceramic piece with gold-dusted lacquer, learning the Japanese art of "golden joinery" hands-on. Bring a vessel you'd like to break and repair, or work with one provided. No experience necessary — you'll leave with a one-of-a-kind, beautifully restored piece.

This workshop will be offered twice on Sunday, August 16, 2026. Session #1 is from 1-2:30pm and Session #2 is from 3-4:30pm. Please register for only one session.

This workshop is offered alongside 1,000 Ways to Hold, Stanford Arts' 2025–26 Visiting Artist Erika Chong Shuch's participatory exhibition exploring care, connection, and the stories objects can hold. Like the bowls gathered in that exhibition, each kintsugi-repaired vessel becomes its own record of care — proof that what breaks can be remade, and that the act of repair can hold memory and connection just as well as the object itself.

About the Instructor

This workshop is led by Dr. Stephen Murphy-Shigematsu, a Stanford educator, psychologist, and author whose work bridges Japanese wisdom traditions, mindfulness, and the healing power of storytelling and art. Participants will leave with both a repaired object and a deeper sense of kintsugi's philosophy — embracing imperfection, compassion, and connection.

The 1,000 Ways to Hold will be on view in the Wisch Family Gallery from April 2 – August 17, 2026.

View on site | Email this event

Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

View on site | Email this event

This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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In the 2025–2026 academic year, Branner Library’s exhibit series will explore Earth’s oceans’ complex biological and ecological systems that regulate climate and support life.

July–August’s exhibition explores the history, science, and technologies used to chart Earth’s largest environment. The collection highlights how cartographers, navigators, geologists, and oceanographers have transformed our understanding of the oceans, from mapping coastlines and trade routes to revealing underwater mountains, trenches, and habitats.

The exhibit is available for viewing Monday through Friday during regular library open hours.

Check out past exhibits and subscribe to the Branner Library Newsletter.

A current Stanford ID is needed to enter the library, visitors must present a valid, physical government-issued photo ID to sign-in at the front desk.

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

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From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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The Stanford Medicine Leadership Intensive provides effective strategies for transforming organizations and patient care in today's healthcare landscape. Through research-driven frameworks, influence strategies, and practical tools, leaders learn to turn insight into measurable impact.

Developed by faculty from Stanford Medicine, the Graduate School of Business, and Stanford Law School, this five-day program prepares you to navigate system complexity and lead change in care delivery. You will work through expert-led sessions, real-world case studies, and a capstone project grounded in your own organization’s challenges.

WHY THIS PROGRAM

Leaders in healthcare today face an unrelenting combination of financial pressures, workforce strain, regulatory complexity, and rapid technological change. Understanding these challenges is necessary, but not enough.

This program moves you from diagnosis to action. You will develop a working knowledge of how health systems operate at the financial, regulatory, and organizational level, and build the leadership capabilities to influence culture, strategy, and execution from within.
You will leave Stanford with:

A clear framework for understanding what drives healthcare’s systemic challenges Confidence in your ability to lead change across clinical and administrative domains A concrete, implementable plan to create impact in your organizationWHO SHOULD ATTEND

This program is designed for mid-to-senior healthcare leaders who have established credibility in their organizations and are positioned, or aspiring, to influence organizational direction.

Physician Leaders Medical Directors, Service Line Leaders, and Department Chiefs who want to expand their impact in organizational strategy, culture change, and system improvement.Nursing and Advanced Practice Provider Leaders Chief Nursing Officers, Nurse Managers, and APP Directorswho need frameworks to advocate effectively and shape sustainable care models.Administrative and Operations Executives VPs of Strategy, Quality Leaders, and Finance Directors who want deeper insight into clinical environments and stronger partnerships with physician leaders.Innovation, Digital Health, and Population Health Leaders driving transformation who need to understand legacy system constraints and lead change across traditional boundaries.Ancillary and Support Service Leaders Pharmacy, Laboratory, and Operational Leaders looking to strengthen their strategic voice within the organization.

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On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

View on site | Email this event

The exhibition will be on view in the Wisch Family Gallery from April 2 – August 17, 2026

ABOUT THE ARTIST

Erika Chong Shuch is a choreographer, director, and performance maker whose work bridges experimental performance and social practice through inventive forms of audience engagement. Centering people and labor often overlooked, her projects reimagine where and how art-making begins. She is the founder of For You, a performance group that brings strangers together through experiences ranging from intimate encounters to large-scale public gatherings. Erika has been commissioned by the Oregon Shakespeare Festival, Court Theatre (Chicago), The Momentary, Cantor Arts Center, and Edge on the Square (San Francisco). Her work has been supported by Creative Capital, New England Foundation for the Arts, and the Gerbode Foundation. She was a 2022–23 Bay Area Fellow at Headlands Center for the Arts and is currently co-creating The Table with Mei Ann Tao and the San Francisco Civic Theater Project with Jonathan Moscone.

ACKNOWLEDGMENTS

1,000 Ways to Hold: A new work by Erika Chong Shuch is organized by the Anderson Collection at Stanford University in collaboration with the Office of the Vice President for the Arts. Thank you to the core team of individuals whose dedication and expertise were essential to the realization of this project, as well as to the incredible community whose hands shaped the work in this exhibition. We gratefully acknowledge generous support provided by the Harry W. and Mary Margaret Anderson Charitable Foundation, The Draper Foundation, Melissa and Trevor Fetter, Carloyn and William Langelier, William Reller and Kristin E. Klint, and the Office for Religious & Spiritual Life.

This exhibition was made possible through the significant commitment of the following individuals: Ellen Oh (producer), Edi Dai (producer), Hideo Mabuchi (ceramics management), Sean Riley (machine design), Crow Cianciola (machine fabrication), Werd Pace (sound design), Tiffany Steinwert (dialogic facilitator), Taylor Jones (videographer), Niharika Gunturu (lead electronics design), Eito Murakami (sound design), Xinyuan Pu (facilitation), Caitlin Main (dramaturg), Yinuo Yu (data specialist), Jason Wilson Navarro-Lopez (data specialist), Heechan Lim (videographer assistant), Miley Sinantha-Hu (project assistant), Jacob Eldred (mechanical design), and Lily Thai (electronics design assistant).

Ceramics production: Sally Jackson, Ryan Schnirel, Grace Potter, Sarah Logan, Scott Parady, Casey Beck, Joan Lin, and Phil Park.

Workshop coordination: Claudia Dorn, Tyler Brooks, Claire Kuan, Ilana Goldhaber-Gordon, Ken N. Lee, Jessica Castillo, Amara Tabor-Smith, Jazlyn Patricio-Archer, Benjamin Lundberg Torres Sanchez, Kim Beil, Michaela Hulstyn, Jessi Pipert, Jessica Gonzales Chu, Mushi Wooseong James, Craig Adams, Natasha Noel, Sophina McDaniel, Karina Kloos, and Ken Becker.

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

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Our storyteller, Maria, is a Visitor Experience Assistant and Museum Engagement Guide at the Anderson Collection. She brings a deep love of art, storytelling, and community to her work, and believes that every artwork — and every person — holds a story worth sharing. Outside the museum, she enjoys prioritizing wellness and slowing down with a good cup of tea.

No RSVP necessary, walk-ins welcome!

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Developed by Stanford Registered Dietitians with support from Stanford Health Care Clinical Nutrition and the Stanford Nutrition Research Group, this video delivers practical, evidence-based guidance straight to your kitchen.

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This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

The Stanford Medicine Leadership Intensive provides effective strategies for transforming organizations and patient care in today's healthcare landscape. Through research-driven frameworks, influence strategies, and practical tools, leaders learn to turn insight into measurable impact.

Developed by faculty from Stanford Medicine, the Graduate School of Business, and Stanford Law School, this five-day program prepares you to navigate system complexity and lead change in care delivery. You will work through expert-led sessions, real-world case studies, and a capstone project grounded in your own organization’s challenges.

WHY THIS PROGRAM

Leaders in healthcare today face an unrelenting combination of financial pressures, workforce strain, regulatory complexity, and rapid technological change. Understanding these challenges is necessary, but not enough.

This program moves you from diagnosis to action. You will develop a working knowledge of how health systems operate at the financial, regulatory, and organizational level, and build the leadership capabilities to influence culture, strategy, and execution from within.
You will leave Stanford with:

A clear framework for understanding what drives healthcare’s systemic challenges Confidence in your ability to lead change across clinical and administrative domains A concrete, implementable plan to create impact in your organizationWHO SHOULD ATTEND

This program is designed for mid-to-senior healthcare leaders who have established credibility in their organizations and are positioned, or aspiring, to influence organizational direction.

Physician Leaders Medical Directors, Service Line Leaders, and Department Chiefs who want to expand their impact in organizational strategy, culture change, and system improvement.Nursing and Advanced Practice Provider Leaders Chief Nursing Officers, Nurse Managers, and APP Directorswho need frameworks to advocate effectively and shape sustainable care models.Administrative and Operations Executives VPs of Strategy, Quality Leaders, and Finance Directors who want deeper insight into clinical environments and stronger partnerships with physician leaders.Innovation, Digital Health, and Population Health Leaders driving transformation who need to understand legacy system constraints and lead change across traditional boundaries.Ancillary and Support Service Leaders Pharmacy, Laboratory, and Operational Leaders looking to strengthen their strategic voice within the organization.

View on site | Email this event

On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

View on site | Email this event

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

View on site | Email this event

In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

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Stanford Web Services hosts office hours by appointment. During these half-hour appointments, we can assist you with editing existing content, creating new content, editing or adjusting site-wide options, and more!

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Refreshments will be provided starting at 2:45 pm. Share your feedback on the speakers for a chance to win a Coupa gift card!

Speaker Topics:

Yun Ni - A Robotic Approach for Real-Time Hybrid Simulation of Floating Offshore Wind Turbines

Abstract:

Floating offshore wind turbines (FOWTs) offer a pathway to unlock deep-water renewable energy, yet full-scale controlled testing remains impractical and small-scale experiments suffer from similitude distortions. Real-time hybrid simulation (RTHS) overcomes this limitation by coupling physical hydrodynamic experiments with numerically simulated aerodynamic loads through actuators and sensors. In this study, a lightweight industrial robotic arm driven by electric servomotors was adopted in place of conventional hydraulic actuators, offering a compact footprint and improved force resolution in low-load regimes. A model-free adaptive force control strategy was implemented to emulate 6-DOF aerodynamic loading on a small-scale FOWT specimen. As physical testing is costly and the multi-dynamical system exhibits uncertainty under wave disturbances, we further developed a virtual RTHS platform that integrates the robotic arm, floating specimen, hydrodynamics, mooring dynamics, and a numerical aerodynamic model. This digital environment enables researchers to rapidly pre-tune controllers prior to physical deployment. Experimental results demonstrate that the proposed robotic actuation system achieves satisfactory performance under operational wave conditions. Both the actuation system and virtual RTHS platform advance RTHS testing capabilities for FOWT, establishing a more viable tool for FOWT design validation and reducing the cost required to bring next-generation floating wind technology to the global grid.

Speaker bio:

Yun Ni is a fourth-year PhD candidate in Civil Engineering at Stanford University, where her research focuses on real-time hybrid simulation (RTHS) to enable cost-effective validation of next-generation renewable energy systems. Her work is highly multidisciplinary, bridging structural engineering, ocean engineering, robotics, and real-time control systems to accelerate the deployment of offshore wind and marine energy infrastructure. Prior to her doctoral studies, she earned her bachelor’s degree in Civil Engineering from the University of Canterbury and spent three years as a geotechnical engineer at Tonkin + Taylor, an environmental and engineering consultancy, in New Zealand. She is dedicated to advancing environmental sustainability and developing innovative, cross-disciplinary engineering solutions for resilient energy infrastructure.

Zhiqiao (Kate) Jiang - Two-Step Photon Absorbers for Obtaining High Solar-Cell Voltages with Low-Energy Photons

Abstract:

Expected to make up 50% of global renewable energy generation by 2030, solar cells are one of the most important sustainable pathways to produce clean electricity. Over the past decades, scientists have worked on improving solar-cell efficiencies while lowering production costs. Nevertheless, most of the high-efficiency solar cells require complicated designs and elevated costs. Solar-cell light absorbers that are designed to produce a high voltage in a device by harvesting blue light, waste the low-energy light (e.g., infrared light) that comprises much of the solar spectrum. Likewise, solar-cell absorbers that can use this low-energy light, cannot produce the high voltages we need. This talk presents a type of solar-cell absorber that can simultaneously harvest both ends of the solar spectrum to deliver high voltage and high efficiency. This solar cell architecture, called an intermediate band solar cell (IBSC), is achieved by introducing an intermediate energy band in an expanded 3D halide perovskite analog. Compared to other IBSCs that rely on sophisticated fabrication processes, our solar cells can be fabricated with low-cost solution-based methods that are already implemented in industry. We thus present a potentially lower-cost and higher-efficiency new IBSC design for the solar-cell community to produce useful electricity from otherwise wasted light.

Speaker bio:

Zhiqiao (Kate) Jiang is a fourth-year Ph.D. candidate in Materials Science and Engineering advised by Prof. Hema Karunadasa. Her research focuses on studying optoelectronic properties of halide perovskites and engineering semiconductor band structure for efficient solar-cell devices. Kate obtained her bachelor’s degrees in Chemistry as well as Materials Science and Engineering from the University of Pennsylvania through the Vagelos Integrated Program in Energy Research. Under the guidance of Prof. Chris Murray, her research focused on the synthesis and self-assembly of semiconducting nanoparticles.

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

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Join us for a hands-on workshop on Stanford campus celebrating the wonders of this delicious, nutritious fruit! We'll learn about some of the different types of strawberries and how to grow them, then do a taste test to compare the size, flavors, and textures of the different varieties. We’ll also explore recipes for new and interesting ways to capture that unique strawberry goodness. At the end of class, you will have the opportunity to create your own strawberry treat to take home and enjoy.

This class is part of our Summertime in the Garden series. We will meet at the O’Donohue Stanford Educational Farm on Stanford campus to explore strategies for taking the best advantage of all the health benefits the garden has to offer. Each of the two classes is offered independently, so you can sign up for just the topics that pique your interest and fit into your busy schedule. Join for one or for all!

This is an in-person class and will not be recorded.

Attendance at the live session is required to receive incentive points. This class qualifies for double points (4,000 points) as part of our August promotion.

Request disability accommodations and access info.

Class details are subject to change.

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This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

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The Stanford Medicine Leadership Intensive provides effective strategies for transforming organizations and patient care in today's healthcare landscape. Through research-driven frameworks, influence strategies, and practical tools, leaders learn to turn insight into measurable impact.

Developed by faculty from Stanford Medicine, the Graduate School of Business, and Stanford Law School, this five-day program prepares you to navigate system complexity and lead change in care delivery. You will work through expert-led sessions, real-world case studies, and a capstone project grounded in your own organization’s challenges.

WHY THIS PROGRAM

Leaders in healthcare today face an unrelenting combination of financial pressures, workforce strain, regulatory complexity, and rapid technological change. Understanding these challenges is necessary, but not enough.

This program moves you from diagnosis to action. You will develop a working knowledge of how health systems operate at the financial, regulatory, and organizational level, and build the leadership capabilities to influence culture, strategy, and execution from within.
You will leave Stanford with:

A clear framework for understanding what drives healthcare’s systemic challenges Confidence in your ability to lead change across clinical and administrative domains A concrete, implementable plan to create impact in your organizationWHO SHOULD ATTEND

This program is designed for mid-to-senior healthcare leaders who have established credibility in their organizations and are positioned, or aspiring, to influence organizational direction.

Physician Leaders Medical Directors, Service Line Leaders, and Department Chiefs who want to expand their impact in organizational strategy, culture change, and system improvement.Nursing and Advanced Practice Provider Leaders Chief Nursing Officers, Nurse Managers, and APP Directorswho need frameworks to advocate effectively and shape sustainable care models.Administrative and Operations Executives VPs of Strategy, Quality Leaders, and Finance Directors who want deeper insight into clinical environments and stronger partnerships with physician leaders.Innovation, Digital Health, and Population Health Leaders driving transformation who need to understand legacy system constraints and lead change across traditional boundaries.Ancillary and Support Service Leaders Pharmacy, Laboratory, and Operational Leaders looking to strengthen their strategic voice within the organization.

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On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

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We welcome volunteers 10 years old and older. Those between 10 and 14 years old are required to have a guardian actively volunteering alongside them for the duration of the volunteer session.

We reserve the right to cancel volunteer sessions up to two hours in advance. Possible reasons for cancelation are a change in COVID-19 guidelines as outlined by the University or County Officials, excessive heat (90 degree and above), poor air quality, rain or other inclement weather.

We encourage all volunteers to carpool, bike, ride public transportation; there is a charge for parking on all Stanford property. The farm is not responsible for any tickets incurred while volunteering.

UPON ARRIVAL: ALL VOLUNTEERS MUST COMPLETE A SAFETY WAIVER

WHEN YOU ARRIVE AT THE FARM: Complete Waiver Form

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

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In this one-hour noontime class, you will be introduced to the practice of Zentangle art and learn two basic patterns that you will use to create a Zentangle tile. You will leave the session with your own unique design and the tools to access this creative mindfulness process anytime, anywhere.

No experience is necessary. You will receive a list of simple supplies needed in your confirmation email.

This class will not be recorded.

This class qualifies for double points as part of our August promotion. To receive 4,000 points, attend at least 80% of the live session.

Request disability accommodations and access info.

Class details are subject to change.

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You Are Here is an exhibition that explores the unique relationship between transit maps and the identity of their subjects. A transportation system can become synonymous with a city or nation, reflecting its change over time, spearheading cartographic innovations, or reifying an entirely new vision for space and place. The individual maps in the exhibit serve as a window into the histories of the places they represent and the history of transit cartography as a whole.

Curated by the winner of the California Map Society Student Exhibition Competition Jayne Kilander, will be on view through Friday, August 21, 2026. It is also available to view digitally.

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This course is a combination of lecture and guided practice where you will learn how to tap into your body's own relaxation and restoration response via the parasympathetic nervous system. The physiological benefits of activating this part of the nervous system include slowing heart rate, dampening of the "fight or flight" hormones, deep relaxation, and improved sleep. In this state, the body is able to do what it is wired to do: rejuvenate, repair, and restore at a cellular and energetic level.

Please plan on being in a quiet and private space during the course where you can lie comfortably on your back or relax in a chair with back support. No experience is necessary.

This class will not be recorded.

This class qualifies for double points as part of our August promotion. To receive 4,000 points, attend at least 80% of the live session.

Request disability accommodations and access info.

Class details are subject to change.

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Developed by Stanford Registered Dietitians with support from Stanford Health Care Clinical Nutrition and the Stanford Nutrition Research Group, this video delivers practical, evidence-based guidance straight to your kitchen.

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Join us for this free webinar to connect with a supportive community, share experiences, and gain practical advice for achieving lasting diet and lifestyle changes. The Nourish to Flourish monthly webinar series, hosted by the Stanford Lifestyle and Weight Management Center, is open to all adults seeking to enhance their knowledge and tools for effective weight management and improved well-being. You don’t need to be a Stanford patient to participate—everyone is welcome!

This webinar will be presented by Marion Seabaugh, MPH, RD, who is a registered dietitian at Stanford’s Lifestyle and Weight Management Center.

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This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

View on site | Email this event

From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

The Stanford Medicine Leadership Intensive provides effective strategies for transforming organizations and patient care in today's healthcare landscape. Through research-driven frameworks, influence strategies, and practical tools, leaders learn to turn insight into measurable impact.

Developed by faculty from Stanford Medicine, the Graduate School of Business, and Stanford Law School, this five-day program prepares you to navigate system complexity and lead change in care delivery. You will work through expert-led sessions, real-world case studies, and a capstone project grounded in your own organization’s challenges.

WHY THIS PROGRAM

Leaders in healthcare today face an unrelenting combination of financial pressures, workforce strain, regulatory complexity, and rapid technological change. Understanding these challenges is necessary, but not enough.

This program moves you from diagnosis to action. You will develop a working knowledge of how health systems operate at the financial, regulatory, and organizational level, and build the leadership capabilities to influence culture, strategy, and execution from within.
You will leave Stanford with:

A clear framework for understanding what drives healthcare’s systemic challenges Confidence in your ability to lead change across clinical and administrative domains A concrete, implementable plan to create impact in your organizationWHO SHOULD ATTEND

This program is designed for mid-to-senior healthcare leaders who have established credibility in their organizations and are positioned, or aspiring, to influence organizational direction.

Physician Leaders Medical Directors, Service Line Leaders, and Department Chiefs who want to expand their impact in organizational strategy, culture change, and system improvement.Nursing and Advanced Practice Provider Leaders Chief Nursing Officers, Nurse Managers, and APP Directorswho need frameworks to advocate effectively and shape sustainable care models.Administrative and Operations Executives VPs of Strategy, Quality Leaders, and Finance Directors who want deeper insight into clinical environments and stronger partnerships with physician leaders.Innovation, Digital Health, and Population Health Leaders driving transformation who need to understand legacy system constraints and lead change across traditional boundaries.Ancillary and Support Service Leaders Pharmacy, Laboratory, and Operational Leaders looking to strengthen their strategic voice within the organization.

View on site | Email this event

On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

View on site | Email this event

View on site | Email this event

View on site | Email this event

View on site | Email this event

View on site | Email this event

Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

View on site | Email this event

View on site | Email this event

View on site | Email this event

In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

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The NeURO and NeURO-CC programs support undergraduate students from Stanford and from local community colleges—including De Anza, Foothill, and Mission—in conducting hands-on neuroscience research with Stanford faculty. This poster session is a chance to explore their exciting work, connect with the fellows, and celebrate the completion of their summer research journey.

Refreshments will be served.

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New works are featured each week! Meet at the top of the stairs.

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In this noontime webinar, you will learn the latest scientific research about three aging and chronic disease biomarkers: systemic inflammation, oxidative stress, and telomere length. Through practical insights and examples, you will discover how lifestyle factors like diet, movement, sleep, stress management, and attitudes about aging can slow the cellular aging process. Walk away with 1-2 actions you can start right away to improve the way you age moving forward, no matter how old you are today.

This class will be recorded and a one-week link to the recording will be shared with all registered participants.

This class qualifies for double points as part of our August promotion. To receive 4,000 points, attend at least 80% of the live session or watch the entire recording within one week.

Request disability accommodations and access info.

Class details are subject to change.

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New works are featured each week! Meet at the top of the stairs

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Stanford Web Services hosts office hours by appointment. During these half-hour appointments, we can assist you with editing existing content, creating new content, editing or adjusting site-wide options, and more!

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You Are Here is an exhibition that explores the unique relationship between transit maps and the identity of their subjects. A transportation system can become synonymous with a city or nation, reflecting its change over time, spearheading cartographic innovations, or reifying an entirely new vision for space and place. The individual maps in the exhibit serve as a window into the histories of the places they represent and the history of transit cartography as a whole.

Curated by the winner of the California Map Society Student Exhibition Competition Jayne Kilander, will be on view through Friday, August 21, 2026. It is also available to view digitally.

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"Drupallers Drop-in Web Help" is held every month on the Third Thursday for people to drop in and be helped with any Drupal, Stanford Sites, or other website questions they have (or to drop in and help others). We usually have helpers with experience of:

Stanford SitesDrupalBackdrop CMS (a fork of Drupal 7)React/Next.jsFlaskDjangostraight up HTML, CSS, PHP, and PythonWe meet using Zoom (SUNet or personal Zoom account login required). If we have more than one experienced person helping, we'll make use of Zoom's rooms feature to split into groups. As always, we encourage those waiting to be helped to listen in to others' questions & answers.

Everyone, novice or expert, is welcome to these free sessions. The idea is to help one another: learn from people more expert and help people less expert. So log in any time between 3 and 5 pm to help and/or be helped! Or just drop in to work on web stuff in congenial (virtual) company…

There will always be at least one (hopefully more) experienced volunteer** Stanford Drupaller available to answer questions on a one-to-one basis. No question is too basic (or too advanced —though we give no guarantees about being able to answer!)

Drupallers Drop-in Web Help is sponsored by Geballe Laboratory for Advanced Materials (GLAM) (who are very kindly sponsoring Sharon Krossa's SUNet ID for the 2025-2026 academic year)

**Note: Drupallers Drop-in Web Help is a volunteer giving-back-to-the-community effort, and not part of Stanford Web Services (SWS)

Can't make this session? See all future dates.

Admission Info

Free, all welcome. Zoom login required. Meeting URL: https://stanford.zoom.us/j/547426382
Password: 180620

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Join Maggie Dethloff, Assistant Curator of Photography and New Media, on this special highlights tour of Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto, the first large-scale solo museum exhibition of Manila-born, Los Angeles-based artist Miljohn Ruperto (b. 1971). RSVP HERE

Working across photography, video, animation, generative artificial intelligence, and other mediums, Ruperto explores the ways humans have understood their place in the world. From digitally-created fantastical botanical specimens printed as gelatin silver photographs to immersive apocalyptic landscapes experienced in VR, Ruperto’s artworks highlight the elusiveness of knowledge and unsettle what we think we know about nature.

Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto is organized by the Cantor Arts Center and curated by Maggie Dethloff, Assistant Curator of Photography and New Media.This exhibition is presented in conjunction with the museum’s Asian American Art Initiative (AAAI)

All public programs at the Cantor Arts Center are always free! Space for this program is limited; advance registration is recommended.

________

Parking

Paid visitor parking is available along Lomita Drive as well as on the first floor of the Roth Way Garage Structure, located at the corner of Campus Drive West and Roth Way at 345 Campus Drive, Stanford, CA 94305. From the Palo Alto Caltrain station, the Cantor Arts Center is about a 20-minute walk or there the free Marguerite shuttle will bring you to campus via the Y or X lines.

Disability parking is located along Lomita Drive near the main entrance of the Cantor Arts Center. Additional disability parking is located on Museum Way and in Parking Structure 1 (Roth Way & Campus Drive).

________

Accessibility Information or Requests

Cantor Arts Center at Stanford University is committed to ensuring our programs are accessible to everyone. To request access information and/or accommodations for this event, please complete this form at least one week prior to the event: museum.stanford.edu/access.

For questions, please contact disability.access@stanford.eduor fukunaga@stanford.edu.

Image: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

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This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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In the 2025–2026 academic year, Branner Library’s exhibit series will explore Earth’s oceans’ complex biological and ecological systems that regulate climate and support life.

July–August’s exhibition explores the history, science, and technologies used to chart Earth’s largest environment. The collection highlights how cartographers, navigators, geologists, and oceanographers have transformed our understanding of the oceans, from mapping coastlines and trade routes to revealing underwater mountains, trenches, and habitats.

The exhibit is available for viewing Monday through Friday during regular library open hours.

Check out past exhibits and subscribe to the Branner Library Newsletter.

A current Stanford ID is needed to enter the library, visitors must present a valid, physical government-issued photo ID to sign-in at the front desk.

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

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Starting on Friday, May 1st, The Gear Hub will be
selling gear hub items for 20% off at the Arrillaga Center for Sports and Recreation.

SUID card and form of payment (credit card, debit, or ApplePay) is required at time of purchase.

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From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

The Stanford Medicine Leadership Intensive provides effective strategies for transforming organizations and patient care in today's healthcare landscape. Through research-driven frameworks, influence strategies, and practical tools, leaders learn to turn insight into measurable impact.

Developed by faculty from Stanford Medicine, the Graduate School of Business, and Stanford Law School, this five-day program prepares you to navigate system complexity and lead change in care delivery. You will work through expert-led sessions, real-world case studies, and a capstone project grounded in your own organization’s challenges.

WHY THIS PROGRAM

Leaders in healthcare today face an unrelenting combination of financial pressures, workforce strain, regulatory complexity, and rapid technological change. Understanding these challenges is necessary, but not enough.

This program moves you from diagnosis to action. You will develop a working knowledge of how health systems operate at the financial, regulatory, and organizational level, and build the leadership capabilities to influence culture, strategy, and execution from within.
You will leave Stanford with:

A clear framework for understanding what drives healthcare’s systemic challenges Confidence in your ability to lead change across clinical and administrative domains A concrete, implementable plan to create impact in your organizationWHO SHOULD ATTEND

This program is designed for mid-to-senior healthcare leaders who have established credibility in their organizations and are positioned, or aspiring, to influence organizational direction.

Physician Leaders Medical Directors, Service Line Leaders, and Department Chiefs who want to expand their impact in organizational strategy, culture change, and system improvement.Nursing and Advanced Practice Provider Leaders Chief Nursing Officers, Nurse Managers, and APP Directorswho need frameworks to advocate effectively and shape sustainable care models.Administrative and Operations Executives VPs of Strategy, Quality Leaders, and Finance Directors who want deeper insight into clinical environments and stronger partnerships with physician leaders.Innovation, Digital Health, and Population Health Leaders driving transformation who need to understand legacy system constraints and lead change across traditional boundaries.Ancillary and Support Service Leaders Pharmacy, Laboratory, and Operational Leaders looking to strengthen their strategic voice within the organization.

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On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

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You Are Here is an exhibition that explores the unique relationship between transit maps and the identity of their subjects. A transportation system can become synonymous with a city or nation, reflecting its change over time, spearheading cartographic innovations, or reifying an entirely new vision for space and place. The individual maps in the exhibit serve as a window into the histories of the places they represent and the history of transit cartography as a whole.

Curated by the winner of the California Map Society Student Exhibition Competition Jayne Kilander, will be on view through Friday, August 21, 2026. It is also available to view digitally.

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

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Public Tours: Fridays and Saturdays at 11:30am

Admission Info

Tours do not require a reservation and are free of charge.

First come, first served!

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IMAGE: Auguste Rodin (France, 1840–1917), The Age of Bronze (L’Âge d’airain), 1875-1876. Bronze, cast c. 1920. Gift of the B. Gerald Cantor Collection, 1983.300

Public Tours: Fridays and Saturdays at 11:30am

Admission Info

Tours do not require a reservation and are free of charge.

First come, first served!

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The long-run thermal and energy performance of buildings and outdoor spaces is influenced by local wind velocity fields. These flow fields govern whether occupants can rely on natural ventilation, and whether pedestrians experience comfortable streets. Yet fluid-dynamical information typically enters the architectural design process at later stages, only once geometry has been cemented. Flow fields thus serve as a check of design decisions, rather than a driver. Bringing velocity data into early-stage design could enable long-term thermal performance to materially shape design intent. A challenge of incorporating velocity data is that early-stage design requires iteration over flexible, under-resolved geometries at a pace incompatible with high-fidelity simulation.

This thesis proposes two physics-aware workflows for early-stage design, each illustrating a different approach to reduced-order modeling. The first, AURA, enables designers to convert sketches into building energy models with low effort, exposing the physics-based Airflow Network for pressure-driven analysis of natural ventilation. In a case study of three apartment floor plans, switching layouts shifted the plan-averaged temperature by 0.32 °C, an effect comparable to or larger than that of changing window sizes and constructions, highlighting the value of resolving geometrical layouts from sketches. AURA is then applied to a dataset of 500+ floor plans to derive generalizable rules to inform natural-ventilation plan design. The second approach enables representations of urban geometry and geometric interventions as 2D polygons in a CFD domain. A data-driven surrogate model can then quickly be learned from snapshots of the flow, with sufficient expressiveness to find new optimal designs not in the training data.

Together, these approaches demonstrate the viability of using reduced-order modeling, whether physics-based or data-driven, in early-stage design to drive decision-making. This public defense will be of particular interest to building scientists, architects, and urban designers interested in advancing sustainable built environments; however, all are welcome.

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Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

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Join us for a guided tour of the David Rumsey Map Center at Stanford Libraries. Upon arrival, you'll be greeted by one of our knowledgeable staff members for an immersive experience.

30-Minute Overview: Dive deep into the history, collections, and special exhibitions of the David Rumsey Map Center, enriched with insights and stories from our passionate team.Interactive Experience: After the guided portion, we invite you to explore the digital collections on our state-of-the-art large touch screen monitors. Feel the past come alive at your fingertips!Exhibition Exploration: Take your time to peruse our rotating exhibition, showcasing rare and fascinating maps from various eras and regions.Connect with Experts: Our friendly staff will be around for a chat, ready to share their knowledge and answer any questions you might have.✍️ Registration Details

🔗 Register for the tour here

Deadline: Registration closes at 4:00pm on the Thursday before the tour.Note: Tours without registrants by the deadline will be canceled.Drop-in Visitors: Not registered? No problem! We welcome and encourage visitors to explore the David Rumsey Map Center, its exhibitions, and technology at their own pace.

🚫 Please Note

No food, drink, or pen/ink is allowed inside the Center to protect our collections.Photography: Feel free to capture your memories! Personal photography without flash is permitted.Discover the stories maps can tell at the David Rumsey Map Center. See you there!

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About Knight-Hennessy Scholars

Knight-Hennessy Scholars is a multidisciplinary, multicultural graduate scholarship program. Each Knight-Hennessy scholar receives up to three years of financial support to pursue graduate studies at Stanford while participating in engaging experiences that prepare scholars to be visionary, courageous, and collaborative leaders who address complex challenges facing the world.

Eligibility

You are eligible to apply to the 2027 cohort of Knight-Hennessy Scholars if you earned (or will earn) your bachelor's degree in 2020 or later. For military (active or veteran) applicants, you are eligible if you earned your bachelor's degree in 2018 or later. Additionally, current Stanford PhD students in the first year of enrollment may apply if starting at KHS in the second year of PhD enrollment.

Deadline

The KHS application to join the 2027 cohort is now open. The application to join the 2027 cohort closes on October 6, 2026, at 1 pm, Pacific Time.

Parking

Parking at Stanford University is free after 4:00 pm Monday-Friday. We recommend you use the Tressider Lot or street parking. Please visit Stanford Transportation for more information.

You will receive details on how to join the event by email following registration.

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Developed by Stanford Registered Dietitians with support from Stanford Health Care Clinical Nutrition and the Stanford Nutrition Research Group, this video delivers practical, evidence-based guidance straight to your kitchen.

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This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

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From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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Each year, community members come together for potentially life-saving and culturally tailored education, resources, and support. National and local experts — including healthcare providers, researchers, cancer survivors, caregivers, and patient advocates — lead dynamic, interactive sessions designed to inform, connect, and inspire. Centered on the theme “Helping Communities Better Help Themselves,” the conference equips participants with trusted information and practical tools to make informed health decisions, foster sustainable change, and strengthen the overall well-being of their families and communities. The conference also features an on-site health and wellness resource fair, breast cancer care kits for those undergoing treatment, continental breakfast and complimentary lunch, along with meaningful wellness takeaways for attendees.

Register here

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Join this in-person class to discover the art of forest bathing and experience the benefits of being in nature through a guided sensory immersion. Led by a certified forest therapy guide, you will have the opportunity to awaken your senses and connect with nature in a deeper and more meaningful way.

The guided experience will take place at the Stanford Campus in the Papua New Guinea Sculpture Garden. Whether you’re a nature enthusiast or simply looking for a fresh perspective in your life, this class is the perfect opportunity to recharge and refresh your mind, body, and soul.

This is an in-person class and will not be recorded.

This class qualifies for double points as part of our August promotion. To receive 4,000 points, attend at least 80% of the live session.

Request disability accommodations and access info.

Class details are subject to change.

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We welcome volunteers 10 years old and older. Those between 10 and 14 years old are required to have a guardian actively volunteering alongside them for the duration of the volunteer session.

We reserve the right to cancel volunteer sessions up to two hours in advance. Possible reasons for cancelation are a change in COVID-19 guidelines as outlined by the University or County Officials, excessive heat (90 degree and above), poor air quality, rain or other inclement weather.

We encourage all volunteers to carpool, bike, ride public transportation; there is a charge for parking on all Stanford property. The farm is not responsible for any tickets incurred while volunteering.

UPON ARRIVAL: ALL VOLUNTEERS MUST COMPLETE A SAFETY WAIVER

WHEN YOU ARRIVE AT THE FARM: Complete Waiver Form

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

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Public Tours: Fridays and Saturdays at 11:30am

Admission Info

Tours do not require a reservation and are free of charge.

First come, first served!

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IMAGE: Auguste Rodin (France, 1840–1917), The Age of Bronze (L’Âge d’airain), 1875-1876. Bronze, cast c. 1920. Gift of the B. Gerald Cantor Collection, 1983.300

Public Tours: Fridays and Saturdays at 11:30am

Admission Info

Tours do not require a reservation and are free of charge.

First come, first served!

View on site | Email this event

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Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

View on site | Email this event

View on site | Email this event

Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

View on site | Email this event

This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

View on site | Email this event

From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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Public Tours: Fourth Sunday of each month at 11:30am, rain or shine.

Admission Info

Tours do not require a reservation and are free of charge.

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

View on site | Email this event

View on site | Email this event

Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

View on site | Email this event

View on site | Email this event

This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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In the 2025–2026 academic year, Branner Library’s exhibit series will explore Earth’s oceans’ complex biological and ecological systems that regulate climate and support life.

July–August’s exhibition explores the history, science, and technologies used to chart Earth’s largest environment. The collection highlights how cartographers, navigators, geologists, and oceanographers have transformed our understanding of the oceans, from mapping coastlines and trade routes to revealing underwater mountains, trenches, and habitats.

The exhibit is available for viewing Monday through Friday during regular library open hours.

Check out past exhibits and subscribe to the Branner Library Newsletter.

A current Stanford ID is needed to enter the library, visitors must present a valid, physical government-issued photo ID to sign-in at the front desk.

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

View on site | Email this event

From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

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On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

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If you are curious about the science of nutrition and its role in the most common health issues that affect women, this webinar is for you! Topics will include the role of nutrition in the prevention and management of migraines, iron deficiency anemia, polycystic ovarian syndrome, metabolic associated fatty liver disease, dysmenorrhea, breast cancer prevention, infertility, pregnancy, lactation, osteoporosis and menopause.

Led by a practicing physician with a doctorate in nutrition, the session will illustrate intricate and fascinating explanations for how nutrition influences these conditions, alongside historical anecdotes and most importantly, practical information about how to eat to prevent or manage these issues. This is not about fad-diets or one-size-fits-all approaches. Instead, you will learn about the most important principles of healthy eating and their relevance for the full spectrum of issues that affect women.

This class will be recorded and a one-week link to the recording will be shared with all registered participants.

This class qualifies for double points as part of our August promotion. To receive 4,000 points, attend at least 80% of the live session or watch the entire recording by 12 pm Pacific Time on August 31. You can still receive 2,000 points if you watch the recording after August 31 and before the expiration date.

Request disability accommodations and access info.

Class details are subject to change.

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Developed by Stanford Registered Dietitians with support from Stanford Health Care Clinical Nutrition and the Stanford Nutrition Research Group, this video delivers practical, evidence-based guidance straight to your kitchen.

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

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On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

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Date & Time: Tuesday, August 25, 2026 (from 8 AM — 9 AM)

Location: Online via Zoom

Moderator & Presenter: Dr. Allison Thompson, Clinical Professor of Psychiatry & Behavioral Sciences & Associate Dean for Academic Affairs

Q&A Session Moderator: Dr. Pedro Tanaka, Clinical Professor of Anesthesia & Associate Dean for Academic Affairs

Speakers: Dr. Janice Lowe, Clinical Professor of Pediatrics, Dr. Ann Caroline Fisher Clinical Professor of Ophthalmology, and Dr. Christina Khan, Clinical Professor of Psychiatry

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

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IT Career Pathways highlights the wide range of roles across our IT community. It connects you with people in those roles and points you to the skills, experiences, and resources that can help you get there.

This session focuses on the dynamic world of DevOps. Ever wondered what a day in the life of a DevOps engineer looks like, or how to pivot into the field? Our panel of IT experts will share candid stories—from first steps to current projects—and offer practical insight into DevOps culture, tools, and opportunities. Bring your questions and leave inspired!

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It is time to see ourselves in a different and more accurate light. Join us for this noontime webinar to dismantle conventional ideas and re-envision the meaning of self-worth. You will learn powerful tools and insights informed by ancient philosophy on the true meaning of inherent value and discover the importance of protecting our minds from negative self-messaging.

We will discuss the relation of low self-worth and social justice and the additional messages of unworthiness experienced by people with minority identities. By defining what really matters to you, you can construct and employ personalized methods for increasing your experience of your inherent value and develop behavioral tools for practicing self-worth.

This class will be recorded and a one-week link to the recording will be shared with all registered participants.

This class qualifies for double points as part of our August promotion. To receive 4,000 points, attend at least 80% of the live session or watch the entire recording by 12 pm Pacific Time on August 31. You can still receive 2,000 points if you watch the recording after August 31 and before the expiration date.

Request disability accommodations and access info.

Class details are subject to change.

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Stanford Web Services hosts office hours by appointment. During these half-hour appointments, we can assist you with editing existing content, creating new content, editing or adjusting site-wide options, and more!

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

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On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

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Sebastian Heilpern, "Evaluating carbon, water, and biodiversity tradeoffs of co-locating data centers and pumped storage hydropower in the United States"Carlos Diaz Marin, "Cooling and Waste Heat Utilization Co-Design for Sustainable Data Centers"Alice Siu, "Data Center Deliberation: Streamlining development with AI-driven stakeholder engagement"Edgar Virguez, "A decision-informed tool for reliable, affordable, secure, and sustainable power for AI"Learn more about recent seed grants from the Precourt Institute for Energy.

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We welcome volunteers 10 years old and older. Those between 10 and 14 years old are required to have a guardian actively volunteering alongside them for the duration of the volunteer session.

We reserve the right to cancel volunteer sessions up to two hours in advance. Possible reasons for cancelation are a change in COVID-19 guidelines as outlined by the University or County Officials, excessive heat (90 degree and above), poor air quality, rain or other inclement weather.

We encourage all volunteers to carpool, bike, ride public transportation; there is a charge for parking on all Stanford property. The farm is not responsible for any tickets incurred while volunteering.

UPON ARRIVAL: ALL VOLUNTEERS MUST COMPLETE A SAFETY WAIVER

WHEN YOU ARRIVE AT THE FARM: Complete Waiver Form

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

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Schedule: The Symposium will kick off with a keynote address by Professor Jamie Zeitzer, PhD. Following that, our Wu Tsai Performance Undergraduate Scholars will share 1-minute lightning talks about their human performance research, and then you will have the opportunity to explore their research in more depth at the poster and demo session.

Please share this with any other members of your lab and RSVP by Monday, August 17.

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The opening of Iraq's Ba'th Party archives revolutionized the study of Iraqi politics and history, offering scholars unprecedented access to the inner workings of one of the world's most impenetrable autocracies. This volume brings together leading scholars to take stock of what we have learned from over a decade of research using the Ba'thist archives, contributing to a new understanding of Iraq's history, with wider implications for understanding authoritarianism in general.

The contributors show how research in these unique archives challenges previous assumptions about Ba'thist Iraq and the workings of authoritarian regimes. Their chapters provide fresh insights into how Saddam Hussein's regime functioned both at the elite level and through everyday bureaucratic practices, shedding light on state power, social relations, and international politics of the Middle East. The volume also critically reflects on the ethical questions posed by the archives, including their origins, the impact of their removal from Iraq, and access barriers for local scholars. Rich in empirical detail yet framed by cutting-edge theoretical questions, this book demonstrates how the Iraqi archives have reshaped debates about authoritarianism, governance, repression, and state-society relations well beyond the Iraqi case.

This book relied on Ba'th Arab Socialist Party of Iraq parties held at the Hoover Institution Library & Archives.

RSVP here.

ABOUT THE SPEAKERS

Lisa Blaydes is Professor of Political Science and Senior Fellow at the Freeman Spogli Institute for International Studies at Stanford University. Most recently, she is the author of State of Repression: Iraq under Saddam Hussein (2018).

Samuel Helfont is Associate Professor of Strategy and Policy in the Naval War College Program at the Naval Postgraduate School in Monterey, California. He is the author of Iraq against the World: Saddam, America, and the Post-Cold War Order (2023).

Stephen Kotkin is the Kleinheinz Family Senior Fellow at the Hoover Institution and a senior fellow at Stanford’s Freeman Spogli Institute for International Studies. He is also the Birkelund Professor in History and International Affairs emeritus at the Princeton School of Public and International Affairs.

Eric Wakin is a research fellow, the deputy director of the Hoover Institution, and the Everett and Jane Hauck Director of the Institution’s Library and Archives, overseeing their strategic direction and operations.

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Developed by Stanford Registered Dietitians with support from Stanford Health Care Clinical Nutrition and the Stanford Nutrition Research Group, this video delivers practical, evidence-based guidance straight to your kitchen.

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This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

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From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

View on site | Email this event

View on site | Email this event

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

View on site | Email this event

View on site | Email this event

In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

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Founded in 2018 by Stanford art history professor Marci Kwon and Cantor associate curator of modern and contemporary art Aleesa Pitchamarn Alexander, the AAAI is one of the nation's leading museum initiatives dedicated to Asian American art. What began with approximately 30 works by Asian American artists has grown to more than 800 through acquisitions, exhibitions, publications, archival research, and community collaboration.

Rather than presenting a single definition of Asian American art, In Focus highlights its remarkable breadth. Spanning generations, media, and artistic approaches, the exhibition brings together works by artists of Asian descent working in the United States whose practices reflect a wide range of histories, perspectives, and creative concerns. Featuring works by Pacita Abad, Ching Ho Cheng, Tseng Kwong Chi, Young Joon Kwak, Masami Teraoka, and Rupy C. Tut, among others.

IMAGE: Pacita Abad (American, born in the Philippines, 1946–2004), If My Friends Could See Me Now, 1993. Lithograph with pulp-painted chine-collé and metallic powder on handmade paper. Cantor Arts Center, Stanford University. Robert E. and Mary B. P. Gross Fund, 2023.113. © Pacita Abad Art Estate LLC

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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In this engaging webinar, you'll explore the science behind how these toxins enter our bodies and why they matter for your health. We'll focus on what the evidence actually says, so you can make confident, practical decisions rather than feeling overwhelmed by alarming headlines.

Key takeaways include simple swaps for common household items and personal products, how to read labels and identify problematic ingredients, and a prioritized action plan so you know where your efforts will have the greatest impact. You'll leave with reference guides to use at home and in the store.

This class will be recorded and a one-week link to the recording will be shared with all registered participants.

This class qualifies for double points as part of our August promotion. To receive 4,000 points, attend at least 80% of the live session or watch the entire recording by 12 pm Pacific Time on August 31. You can still receive 2,000 points if you watch the recording after August 31 and before the expiration date.

Request disability accommodations and access info.

Class details are subject to change.

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New works are featured each week! Meet at the top of the stairs.

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New works are featured each week! Meet at the top of the stairs

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Stanford Web Services hosts office hours by appointment. During these half-hour appointments, we can assist you with editing existing content, creating new content, editing or adjusting site-wide options, and more!

View on site | Email this event

View on site | Email this event

This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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In the 2025–2026 academic year, Branner Library’s exhibit series will explore Earth’s oceans’ complex biological and ecological systems that regulate climate and support life.

July–August’s exhibition explores the history, science, and technologies used to chart Earth’s largest environment. The collection highlights how cartographers, navigators, geologists, and oceanographers have transformed our understanding of the oceans, from mapping coastlines and trade routes to revealing underwater mountains, trenches, and habitats.

The exhibit is available for viewing Monday through Friday during regular library open hours.

Check out past exhibits and subscribe to the Branner Library Newsletter.

A current Stanford ID is needed to enter the library, visitors must present a valid, physical government-issued photo ID to sign-in at the front desk.

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

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Starting on Friday, May 1st, The Gear Hub will be
selling gear hub items for 20% off at the Arrillaga Center for Sports and Recreation.

SUID card and form of payment (credit card, debit, or ApplePay) is required at time of purchase.

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From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

View on site | Email this event

On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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The Stanford Orthopaedic Trauma Symposium brings together high-volume trauma faculty for a focused, case-driven weekend. The format covers what matters in practice: emergency room management, challenging fractures, and the decision-making that defines good trauma care. Didactics, debates, case presentations, and interactive breakout sessions.

Registration
Early Bird Rates until 07/1/26

Physicians: $649Nurses / Physician Associate: $549Non-Industry Allied Health Professionals: $549Residents/Fellows/Trainees - $229Industry: $699 - Limited Capacity.Regular Rates as of 07/1/26

Physicians: $749Nurses / Physician Associate: $649Non-Industry Allied Health Professionals: $649Residents/Fellows/Trainees - $329Industry: $799 - Limited Capacity.

Credits
AMA PRA Category 1 Credits™ (8.25 hours), AAPA Category 1 CME credits (8.25 hours), ANCC Contact Hours (8.25 hours), Non-Physician Participation Credit (8.25 hours)

Target Audience
Specialties - Orthopedics & Sports Medicine, Surgery

Professions - Non-Physician, Nurse, Physician, Physician Associate, Registered Nurse (RN)

Objectives
At the conclusion of this activity, learners should be able to:

1. Recognize and manage high-stakes on-call issues including compartment syndrome, open fractures, and infection
2. Develop comprehensive treatment plans for common extremity fractures, including clavicle, proximal humerus, elbow, wrist, hip, femur, tibia, and ankle fractures — integrating preoperative, intraoperative, and postoperative strategies
3. Review current evidence and clinical guidelines for geriatric fractures and develop practical strategies for a growing patient population
4. Apply case-based decision-making frameworks to on-call dilemmas and open fractures, reinforcing evidence-based practice

Accreditation
In support of improving patient care, Stanford Medicine is jointly accredited by the Accreditation Council for Continuing Medical Education (ACCME), the Accreditation Council for Pharmacy Education (ACPE), and the American Nurses Credentialing Center (ANCC), to provide continuing education for the healthcare team.

Credit Designation
American Medical Association (AMA)
Stanford Medicine designates this Live Activity for a maximum of 8.25 AMA PRA Category 1 CreditsTM. Physicians should claim only the credit commensurate with the extent of their participation in the activity.

American Nurses Credentialing Center (ANCC)
Stanford Medicine designates this Live Activity activity for a maximum of 8.25 ANCC contact hours.

American Academy of PAs (AAPA)
Stanford Medicine has been authorized by the American Academy of PAs (AAPA) to award AAPA Category 1 CME credit for activities planned in accordance with AAPA CME Criteria. This live activity is designated for 8.25 AAPA Category 1 CME credits. PAs should only claim credit commensurate with the extent of their participation.

Interprofessional Continuing Education (IPCE)
This activity was planned by and for the healthcare team, and learners will receive 8.25 Interprofessional Continuing Education (IPCE) credits for learning and change.

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

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Founded in 2018 by Stanford art history professor Marci Kwon and Cantor associate curator of modern and contemporary art Aleesa Pitchamarn Alexander, the AAAI is one of the nation's leading museum initiatives dedicated to Asian American art. What began with approximately 30 works by Asian American artists has grown to more than 800 through acquisitions, exhibitions, publications, archival research, and community collaboration.

Rather than presenting a single definition of Asian American art, In Focus highlights its remarkable breadth. Spanning generations, media, and artistic approaches, the exhibition brings together works by artists of Asian descent working in the United States whose practices reflect a wide range of histories, perspectives, and creative concerns. Featuring works by Pacita Abad, Ching Ho Cheng, Tseng Kwong Chi, Young Joon Kwak, Masami Teraoka, and Rupy C. Tut, among others.

IMAGE: Pacita Abad (American, born in the Philippines, 1946–2004), If My Friends Could See Me Now, 1993. Lithograph with pulp-painted chine-collé and metallic powder on handmade paper. Cantor Arts Center, Stanford University. Robert E. and Mary B. P. Gross Fund, 2023.113. © Pacita Abad Art Estate LLC

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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IMAGE: Auguste Rodin (France, 1840–1917), The Age of Bronze (L’Âge d’airain), 1875-1876. Bronze, cast c. 1920. Gift of the B. Gerald Cantor Collection, 1983.300

Public Tours: Fridays and Saturdays at 11:30am

Admission Info

Tours do not require a reservation and are free of charge.

First come, first served!

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Public Tours: Fridays and Saturdays at 11:30am

Admission Info

Tours do not require a reservation and are free of charge.

First come, first served!

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You will learn how nutrition science is translated into public policy, where the evidence is strong, and where uncertainty remains. We’ll unpack why topics like protein, ultra-processed foods, and plant-based diets have become so polarized, and highlight the many surprising areas of agreement that support better long-term health.

We’ll also explore how ultra-processed foods are defined and why that can be challenging, along with what the evidence says about protein needs, fiber intake, and nutrient density across the lifespan.

By the end of the session, you’ll have a clearer understanding of what truly matters for building a balanced, sustainable dietary pattern, along with practical strategies to cut through nutrition noise and make informed, enjoyable food choices that support your health.

This class will be recorded and a one-week link to the recording will be shared with all registered participants.

This class qualifies for double points as part of our August promotion. To receive 4,000 points, attend at least 80% of the live session or watch the entire recording by 12 pm Pacific Time on August 31. You can still receive 2,000 points if you watch the recording after August 31 and before the expiration date.

Request disability accommodations and access info.

Class details are subject to change.

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It's free, it's easy, and there's no wrong way to do it. All materials provided, all ages welcome, zero pressure.

Click the "+" to see more upcoming Drop-in Drawing dates.

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Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

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Join us for a guided tour of the David Rumsey Map Center at Stanford Libraries. Upon arrival, you'll be greeted by one of our knowledgeable staff members for an immersive experience.

30-Minute Overview: Dive deep into the history, collections, and special exhibitions of the David Rumsey Map Center, enriched with insights and stories from our passionate team.Interactive Experience: After the guided portion, we invite you to explore the digital collections on our state-of-the-art large touch screen monitors. Feel the past come alive at your fingertips!Exhibition Exploration: Take your time to peruse our rotating exhibition, showcasing rare and fascinating maps from various eras and regions.Connect with Experts: Our friendly staff will be around for a chat, ready to share their knowledge and answer any questions you might have.✍️ Registration Details

🔗 Register for the tour here

Deadline: Registration closes at 4:00pm on the Thursday before the tour.Note: Tours without registrants by the deadline will be canceled.Drop-in Visitors: Not registered? No problem! We welcome and encourage visitors to explore the David Rumsey Map Center, its exhibitions, and technology at their own pace.

🚫 Please Note

No food, drink, or pen/ink is allowed inside the Center to protect our collections.Photography: Feel free to capture your memories! Personal photography without flash is permitted.Discover the stories maps can tell at the David Rumsey Map Center. See you there!

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Join us for a hands-on workshop on Stanford campus that will help you hone your close observation skills, practice being curious on purpose, and deepen your relationship with nature through nature journaling.

We'll engage with some icebreaker activities in our sketchbook and learn some foundational prompts and techniques to tap into our sense of awe in nature before finding our own sit-spots to journal in. We will end by coming together for a journal share. You will leave this class with some prompts and tools to help you get started and continue on your own afterwards.

No prior art or writing experience is necessary—this activity is meant for everyone. All materials are provided, but you are welcome to bring your own sketchbook and writing and drawing supplies if you’d like.

This is an in-person class and will not be recorded.

This class qualifies for double points as part of our August promotion. To receive 4,000 points, attend at least 80% of the live session.

Request disability accommodations and access info.

Class details are subject to change.

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Developed by Stanford Registered Dietitians with support from Stanford Health Care Clinical Nutrition and the Stanford Nutrition Research Group, this video delivers practical, evidence-based guidance straight to your kitchen.

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This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

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From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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The Stanford Orthopaedic Trauma Symposium brings together high-volume trauma faculty for a focused, case-driven weekend. The format covers what matters in practice: emergency room management, challenging fractures, and the decision-making that defines good trauma care. Didactics, debates, case presentations, and interactive breakout sessions.

Registration
Early Bird Rates until 07/1/26

Physicians: $649Nurses / Physician Associate: $549Non-Industry Allied Health Professionals: $549Residents/Fellows/Trainees - $229Industry: $699 - Limited Capacity.Regular Rates as of 07/1/26

Physicians: $749Nurses / Physician Associate: $649Non-Industry Allied Health Professionals: $649Residents/Fellows/Trainees - $329Industry: $799 - Limited Capacity.

Credits
AMA PRA Category 1 Credits™ (8.25 hours), AAPA Category 1 CME credits (8.25 hours), ANCC Contact Hours (8.25 hours), Non-Physician Participation Credit (8.25 hours)

Target Audience
Specialties - Orthopedics & Sports Medicine, Surgery

Professions - Non-Physician, Nurse, Physician, Physician Associate, Registered Nurse (RN)

Objectives
At the conclusion of this activity, learners should be able to:

1. Recognize and manage high-stakes on-call issues including compartment syndrome, open fractures, and infection
2. Develop comprehensive treatment plans for common extremity fractures, including clavicle, proximal humerus, elbow, wrist, hip, femur, tibia, and ankle fractures — integrating preoperative, intraoperative, and postoperative strategies
3. Review current evidence and clinical guidelines for geriatric fractures and develop practical strategies for a growing patient population
4. Apply case-based decision-making frameworks to on-call dilemmas and open fractures, reinforcing evidence-based practice

Accreditation
In support of improving patient care, Stanford Medicine is jointly accredited by the Accreditation Council for Continuing Medical Education (ACCME), the Accreditation Council for Pharmacy Education (ACPE), and the American Nurses Credentialing Center (ANCC), to provide continuing education for the healthcare team.

Credit Designation
American Medical Association (AMA)
Stanford Medicine designates this Live Activity for a maximum of 8.25 AMA PRA Category 1 CreditsTM. Physicians should claim only the credit commensurate with the extent of their participation in the activity.

American Nurses Credentialing Center (ANCC)
Stanford Medicine designates this Live Activity activity for a maximum of 8.25 ANCC contact hours.

American Academy of PAs (AAPA)
Stanford Medicine has been authorized by the American Academy of PAs (AAPA) to award AAPA Category 1 CME credit for activities planned in accordance with AAPA CME Criteria. This live activity is designated for 8.25 AAPA Category 1 CME credits. PAs should only claim credit commensurate with the extent of their participation.

Interprofessional Continuing Education (IPCE)
This activity was planned by and for the healthcare team, and learners will receive 8.25 Interprofessional Continuing Education (IPCE) credits for learning and change.

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We welcome volunteers 10 years old and older. Those between 10 and 14 years old are required to have a guardian actively volunteering alongside them for the duration of the volunteer session.

We reserve the right to cancel volunteer sessions up to two hours in advance. Possible reasons for cancelation are a change in COVID-19 guidelines as outlined by the University or County Officials, excessive heat (90 degree and above), poor air quality, rain or other inclement weather.

We encourage all volunteers to carpool, bike, ride public transportation; there is a charge for parking on all Stanford property. The farm is not responsible for any tickets incurred while volunteering.

UPON ARRIVAL: ALL VOLUNTEERS MUST COMPLETE A SAFETY WAIVER

WHEN YOU ARRIVE AT THE FARM: Complete Waiver Form

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

View on site | Email this event

Founded in 2018 by Stanford art history professor Marci Kwon and Cantor associate curator of modern and contemporary art Aleesa Pitchamarn Alexander, the AAAI is one of the nation's leading museum initiatives dedicated to Asian American art. What began with approximately 30 works by Asian American artists has grown to more than 800 through acquisitions, exhibitions, publications, archival research, and community collaboration.

Rather than presenting a single definition of Asian American art, In Focus highlights its remarkable breadth. Spanning generations, media, and artistic approaches, the exhibition brings together works by artists of Asian descent working in the United States whose practices reflect a wide range of histories, perspectives, and creative concerns. Featuring works by Pacita Abad, Ching Ho Cheng, Tseng Kwong Chi, Young Joon Kwak, Masami Teraoka, and Rupy C. Tut, among others.

IMAGE: Pacita Abad (American, born in the Philippines, 1946–2004), If My Friends Could See Me Now, 1993. Lithograph with pulp-painted chine-collé and metallic powder on handmade paper. Cantor Arts Center, Stanford University. Robert E. and Mary B. P. Gross Fund, 2023.113. © Pacita Abad Art Estate LLC

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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IMAGE: Auguste Rodin (France, 1840–1917), The Age of Bronze (L’Âge d’airain), 1875-1876. Bronze, cast c. 1920. Gift of the B. Gerald Cantor Collection, 1983.300

Public Tours: Fridays and Saturdays at 11:30am

Admission Info

Tours do not require a reservation and are free of charge.

First come, first served!

View on site | Email this event

Public Tours: Fridays and Saturdays at 11:30am

Admission Info

Tours do not require a reservation and are free of charge.

First come, first served!

View on site | Email this event

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Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

View on site | Email this event

View on site | Email this event

Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

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It’s Cardinal Kids Day at Stanford Stadium, presented by Stanford Children’s Health! Fans can secure up to four (4) free youth tickets with the purchase of one paid adult ticket.

Looking for the ultimate season-kickoff package? Lock in four (4) tickets and a parking pass starting at just $48 with a Home Opener 4-Pack!

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This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

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From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

View on site | Email this event

The Stanford Orthopaedic Trauma Symposium brings together high-volume trauma faculty for a focused, case-driven weekend. The format covers what matters in practice: emergency room management, challenging fractures, and the decision-making that defines good trauma care. Didactics, debates, case presentations, and interactive breakout sessions.

Registration
Early Bird Rates until 07/1/26

Physicians: $649Nurses / Physician Associate: $549Non-Industry Allied Health Professionals: $549Residents/Fellows/Trainees - $229Industry: $699 - Limited Capacity.Regular Rates as of 07/1/26

Physicians: $749Nurses / Physician Associate: $649Non-Industry Allied Health Professionals: $649Residents/Fellows/Trainees - $329Industry: $799 - Limited Capacity.

Credits
AMA PRA Category 1 Credits™ (8.25 hours), AAPA Category 1 CME credits (8.25 hours), ANCC Contact Hours (8.25 hours), Non-Physician Participation Credit (8.25 hours)

Target Audience
Specialties - Orthopedics & Sports Medicine, Surgery

Professions - Non-Physician, Nurse, Physician, Physician Associate, Registered Nurse (RN)

Objectives
At the conclusion of this activity, learners should be able to:

1. Recognize and manage high-stakes on-call issues including compartment syndrome, open fractures, and infection
2. Develop comprehensive treatment plans for common extremity fractures, including clavicle, proximal humerus, elbow, wrist, hip, femur, tibia, and ankle fractures — integrating preoperative, intraoperative, and postoperative strategies
3. Review current evidence and clinical guidelines for geriatric fractures and develop practical strategies for a growing patient population
4. Apply case-based decision-making frameworks to on-call dilemmas and open fractures, reinforcing evidence-based practice

Accreditation
In support of improving patient care, Stanford Medicine is jointly accredited by the Accreditation Council for Continuing Medical Education (ACCME), the Accreditation Council for Pharmacy Education (ACPE), and the American Nurses Credentialing Center (ANCC), to provide continuing education for the healthcare team.

Credit Designation
American Medical Association (AMA)
Stanford Medicine designates this Live Activity for a maximum of 8.25 AMA PRA Category 1 CreditsTM. Physicians should claim only the credit commensurate with the extent of their participation in the activity.

American Nurses Credentialing Center (ANCC)
Stanford Medicine designates this Live Activity activity for a maximum of 8.25 ANCC contact hours.

American Academy of PAs (AAPA)
Stanford Medicine has been authorized by the American Academy of PAs (AAPA) to award AAPA Category 1 CME credit for activities planned in accordance with AAPA CME Criteria. This live activity is designated for 8.25 AAPA Category 1 CME credits. PAs should only claim credit commensurate with the extent of their participation.

Interprofessional Continuing Education (IPCE)
This activity was planned by and for the healthcare team, and learners will receive 8.25 Interprofessional Continuing Education (IPCE) credits for learning and change.

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Founded in 2018 by Stanford art history professor Marci Kwon and Cantor associate curator of modern and contemporary art Aleesa Pitchamarn Alexander, the AAAI is one of the nation's leading museum initiatives dedicated to Asian American art. What began with approximately 30 works by Asian American artists has grown to more than 800 through acquisitions, exhibitions, publications, archival research, and community collaboration.

Rather than presenting a single definition of Asian American art, In Focus highlights its remarkable breadth. Spanning generations, media, and artistic approaches, the exhibition brings together works by artists of Asian descent working in the United States whose practices reflect a wide range of histories, perspectives, and creative concerns. Featuring works by Pacita Abad, Ching Ho Cheng, Tseng Kwong Chi, Young Joon Kwak, Masami Teraoka, and Rupy C. Tut, among others.

IMAGE: Pacita Abad (American, born in the Philippines, 1946–2004), If My Friends Could See Me Now, 1993. Lithograph with pulp-painted chine-collé and metallic powder on handmade paper. Cantor Arts Center, Stanford University. Robert E. and Mary B. P. Gross Fund, 2023.113. © Pacita Abad Art Estate LLC

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

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Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

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Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

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This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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In the 2025–2026 academic year, Branner Library’s exhibit series will explore Earth’s oceans’ complex biological and ecological systems that regulate climate and support life.

July–August’s exhibition explores the history, science, and technologies used to chart Earth’s largest environment. The collection highlights how cartographers, navigators, geologists, and oceanographers have transformed our understanding of the oceans, from mapping coastlines and trade routes to revealing underwater mountains, trenches, and habitats.

The exhibit is available for viewing Monday through Friday during regular library open hours.

Check out past exhibits and subscribe to the Branner Library Newsletter.

A current Stanford ID is needed to enter the library, visitors must present a valid, physical government-issued photo ID to sign-in at the front desk.

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

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Featured Classes

FREE Pilates
Thursdays | 1:00 p.m.
Mind and Body StudioFREE Aqua Fitness
Tuesdays | 5:10 p.m.
Rooftop PoolNo advance registration is required—simply show up and get moving!

For program-related questions, contact srwcrecreation@stanford.edu. For disability-related accommodations, contact recreation@stanford.edu.

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From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

View on site | Email this event

Founded in 2018 by Stanford art history professor Marci Kwon and Cantor associate curator of modern and contemporary art Aleesa Pitchamarn Alexander, the AAAI is one of the nation's leading museum initiatives dedicated to Asian American art. What began with approximately 30 works by Asian American artists has grown to more than 800 through acquisitions, exhibitions, publications, archival research, and community collaboration.

Rather than presenting a single definition of Asian American art, In Focus highlights its remarkable breadth. Spanning generations, media, and artistic approaches, the exhibition brings together works by artists of Asian descent working in the United States whose practices reflect a wide range of histories, perspectives, and creative concerns. Featuring works by Pacita Abad, Ching Ho Cheng, Tseng Kwong Chi, Young Joon Kwak, Masami Teraoka, and Rupy C. Tut, among others.

IMAGE: Pacita Abad (American, born in the Philippines, 1946–2004), If My Friends Could See Me Now, 1993. Lithograph with pulp-painted chine-collé and metallic powder on handmade paper. Cantor Arts Center, Stanford University. Robert E. and Mary B. P. Gross Fund, 2023.113. © Pacita Abad Art Estate LLC

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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Developed by Stanford Registered Dietitians with support from Stanford Health Care Clinical Nutrition and the Stanford Nutrition Research Group, this video delivers practical, evidence-based guidance straight to your kitchen.

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On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

View on site | Email this event

View on site | Email this event

On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

View on site | Email this event

View on site | Email this event

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

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Empowered Relief® was developed by Beth Darnall, PhD, and has been embedded into clinical pathways at Stanford University since 2013. Early positive scientific results led to major NIH funding to further study the benefits and mechanisms of the single-session pain relief class. In August 2021, JAMA Network Open published results for the NIH-funded randomized trial conducted in adults with chronic low back pain (read the full scientific report here). Findings suggest that the single-session class conferred broad and clinically meaningful benefits across multiple outcomes at 3 months post-treatment (pain intensity, pain interference, pain catastrophizing, pain bothersomeness, anxiety, depression, sleep disturbance, and fatigue).

Empowered Relief® is manualized, research-grade, and ready for immediate implementation into your clinic or research study.

Empowered Relief® may only be delivered by certified instructors.

Licensed healthcare clinicians of any discipline may join our two-day workshop and become a certified Empowered Relief instructor.

Please visit the Empowered Relief® Clinician Certification webpage for details regarding the CME approved for this workshop.

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We welcome volunteers 10 years old and older. Those between 10 and 14 years old are required to have a guardian actively volunteering alongside them for the duration of the volunteer session.

We reserve the right to cancel volunteer sessions up to two hours in advance. Possible reasons for cancelation are a change in COVID-19 guidelines as outlined by the University or County Officials, excessive heat (90 degree and above), poor air quality, rain or other inclement weather.

We encourage all volunteers to carpool, bike, ride public transportation; there is a charge for parking on all Stanford property. The farm is not responsible for any tickets incurred while volunteering.

UPON ARRIVAL: ALL VOLUNTEERS MUST COMPLETE A SAFETY WAIVER

WHEN YOU ARRIVE AT THE FARM: Complete Waiver Form

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CDI participants will apply current research on teaching and learning to the development of a syllabus, make strategic decisions about class activities, and work with colleagues from across Stanford.

Open to Stanford faculty and lecturers from all academic disciplines. Those in their first three years of teaching at Stanford will benefit most, though aspects of CDI may also be useful to seasoned instructors who would appreciate teaching support or who are taking on a new or substantially revised course project.

The CDI will be held in person, on campus from 10 a.m. to 3 p.m. PT on Wednesday, September 2 through Friday, September 4, 2026.

The due date for applications this year is Monday, June 29 at 5:00 p.m.

For accomondations or questions contact Kenny Ligda, associate director of Faculty and Lecturer Programs, at kenligda@stanford.edu.

View on site | Email this event

In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

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RegistrationRegistration for all practitioners - free

To register for this activity, please click HERE.

CreditsAMA PRA Category 1 Credits™ (1.00 hours), AAPA Category 1 CME credits (1.00 hours), ANCC Contact Hours (1.00 hours), Non-Physician Participation Credit (1.00 hours)

Target AudienceSpecialties - Family Medicine & Community Health, PediatricsProfessions - Advance Practice Nurse (APN), Fellow/Resident, Non-Physician, Nurse, Physician, Physician Associate, Registered Nurse (RN) ObjectivesAt the conclusion of this activity, learners should be able to:
1. Identify the components of pulmonary function testing
2. Describe the utility of spirometry, lung volumes, diffusion, and airway resistance
3. Discuss when to use post-bronchodilator challenge testing
4. Review the different kinds of exercise testing
5. Define the American Thoracic Society criteria for valid pulmonary function testing

AccreditationIn support of improving patient care, Stanford Medicine is jointly accredited by the Accreditation Council for Continuing Medical Education (ACCME), the Accreditation Council for Pharmacy Education (ACPE), and the American Nurses Credentialing Center (ANCC), to provide continuing education for the healthcare team.

Credit Designation
American Medical Association (AMA)
Stanford Medicine designates this Live Activity for a maximum of 1.00 AMA PRA Category 1 CreditsTM. Physicians should claim only the credit commensurate with the extent of their participation in the activity.

American Nurses Credentialing Center (ANCC)
Stanford Medicine designates this Live Activity activity for a maximum of 1.00 ANCC contact hours.

American Academy of Physician Associates (AAPA) - Live
Stanford Medicine has been authorized by the American Academy of PAs (AAPA) to award AAPA Category 1 CME credit for activities planned in accordance with AAPA CME Criteria. This live activity is designated for 1.00 AAPA Category 1 CME credits. PAs should only claim credit commensurate with the extent of their participation.

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Bio: Dr. David A. Spain is the David L. Gregg, MD Professor and Chief of Acute Care Surgery. His clinical areas of specialty are emergency and elective general surgery, trauma and critical care. His research focus is assessment of clinical care, systems of care and assessment of stress response and PTSD after trauma. He is the current President-elect of the American Association for the Surgery of Trauma and a Director of the American Board of Surgery. He is the editor of the new textbook Scientific American’s Critical Care of the Surgical Patient.

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AGENDA

12:00–1:00 PM Poster Registration

1:00–1:15 PM Opening Remarks – Michael C. Jewett, Professor of Bioengineering

1:15–1:45 PM Keynote Talk – Drew Endy, Associate Professor of Bioengineering

Ex Uno Plures -- Life Beyond SpudCell - Synthetic Cells via Bottom-up Bioengineering

1:45–2:15 PM Lightning Talks

• Xiaojing Gao, Assistant Professor of Chemical Engineering

• Leah Bushin, Assistant Professor of Chemistry

• Patrick Hsu, Assistant Professor of Pathology Co-Founder of the Arc Institute

2:15–2:30 PM Break

2:30–3:00 PM Lightning Talks

• Jenn Brophy, Assistant Professor of Bioengineering

• Christopher Lowe, Associate Professor of Biology, Hopkins Marine Station

• Zina Good, Assistant Professor of Medicine, Immunology and Rheumatology

3:00–3:30 PM Student and Postdoc Poster Pitches

3:30–3:50 PM Closing Remarks

3:50–5:00 PM Poster Session

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Image Credit: Michael Spencer

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We are living through a time of increasing velocity of change driven by technology. Mitigating the ethical, legal and social issues it creates for human beings is the work in front of us.

The program will begin with a keynote address by Dr. Tamali Sen Gupta, Author of Tech, Law & Trust: India’s Path to Sovereign IP. Dr. Sen Gupta will focus on the impact of AI on the 8.3+ billion population of the planet and the intersection with existing social social constructs.

Following the keynote, our diverse group of panelists will discuss the innovation across the deep tech stack - and the hardware beneath - and its impact on the social contract, IP, and the legal system.

Program Agenda:

4:30 PM Opening Remarks4:35 PM Keynote Address by Dr. Tamali Sen Gupta, Author of Tech, Law & Trust: India’s Path to Sovereign IP4:55 PM Q&A with Dr. Sen Gupta5:05 PM Panel DiscussionPanelists:Dr. Pushkar Apte, Strategic Technology Advisor, SEMI; Stanford PhD '93Sanjay Bhatnagar, Founder & CEO, THOT Capital Group; Stanford MS '89Prof. Henry (Hank) Greely, Deane F. and Kate Edelman Johnson Professor of Law, Stanford UniversityDr. Ajit Paranjpe, Managing Member, Prima Innotech LLC; Stanford PhD '89Dr. Tamali Sen Gupta, Author and Founder & Managing Partner, T. Sen Gupta and AssociatesModerated by Dr. Richard Dasher, Director, US-Asia Technology Management Center, Stanford University5:45 PM Networking over light refreshmentsRegistration:

For in-person attendance, please RSVP here.This is an in-person event only.

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Developed by Stanford Registered Dietitians with support from Stanford Health Care Clinical Nutrition and the Stanford Nutrition Research Group, this video delivers practical, evidence-based guidance straight to your kitchen.

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This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

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From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

View on site | Email this event

View on site | Email this event

View on site | Email this event

Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

View on site | Email this event

View on site | Email this event

CDI participants will apply current research on teaching and learning to the development of a syllabus, make strategic decisions about class activities, and work with colleagues from across Stanford.

Open to Stanford faculty and lecturers from all academic disciplines. Those in their first three years of teaching at Stanford will benefit most, though aspects of CDI may also be useful to seasoned instructors who would appreciate teaching support or who are taking on a new or substantially revised course project.

The CDI will be held in person, on campus from 10 a.m. to 3 p.m. PT on Wednesday, September 2 through Friday, September 4, 2026.

The due date for applications this year is Monday, June 29 at 5:00 p.m.

For accomondations or questions contact Kenny Ligda, associate director of Faculty and Lecturer Programs, at kenligda@stanford.edu.

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Empowered Relief® was developed by Beth Darnall, PhD, and has been embedded into clinical pathways at Stanford University since 2013. Early positive scientific results led to major NIH funding to further study the benefits and mechanisms of the single-session pain relief class. In August 2021, JAMA Network Open published results for the NIH-funded randomized trial conducted in adults with chronic low back pain (read the full scientific report here). Findings suggest that the single-session class conferred broad and clinically meaningful benefits across multiple outcomes at 3 months post-treatment (pain intensity, pain interference, pain catastrophizing, pain bothersomeness, anxiety, depression, sleep disturbance, and fatigue).

Empowered Relief® is manualized, research-grade, and ready for immediate implementation into your clinic or research study.

Empowered Relief® may only be delivered by certified instructors.

Licensed healthcare clinicians of any discipline may join our two-day workshop and become a certified Empowered Relief instructor.

Please visit the Empowered Relief® Clinician Certification webpage for details regarding the CME approved for this workshop.

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

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Founded in 2018 by Stanford art history professor Marci Kwon and Cantor associate curator of modern and contemporary art Aleesa Pitchamarn Alexander, the AAAI is one of the nation's leading museum initiatives dedicated to Asian American art. What began with approximately 30 works by Asian American artists has grown to more than 800 through acquisitions, exhibitions, publications, archival research, and community collaboration.

Rather than presenting a single definition of Asian American art, In Focus highlights its remarkable breadth. Spanning generations, media, and artistic approaches, the exhibition brings together works by artists of Asian descent working in the United States whose practices reflect a wide range of histories, perspectives, and creative concerns. Featuring works by Pacita Abad, Ching Ho Cheng, Tseng Kwong Chi, Young Joon Kwak, Masami Teraoka, and Rupy C. Tut, among others.

IMAGE: Pacita Abad (American, born in the Philippines, 1946–2004), If My Friends Could See Me Now, 1993. Lithograph with pulp-painted chine-collé and metallic powder on handmade paper. Cantor Arts Center, Stanford University. Robert E. and Mary B. P. Gross Fund, 2023.113. © Pacita Abad Art Estate LLC

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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In this session, Global Risk will cover

high-level travel risk overview and mitigations

current events impacting travel

traveling as a non-U.S. citizen

traveling to destinations with

restrictive privacy laws

data security concerns

elevated medical and security risks

incident response processes and resources

campus services available to support them, their research, and their work.

The session will be 30 minutes, with the option to remain for an optional Q&A.

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This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

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Starting on Friday, May 1st, The Gear Hub will be
selling gear hub items for 20% off at the Arrillaga Center for Sports and Recreation.

SUID card and form of payment (credit card, debit, or ApplePay) is required at time of purchase.

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From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

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RegistrationProgram Schedule

Friday, September 4, 2026: 8:00am - 4:30pm PT

Saturday, September 5, 2026: 8:30am - 11:30am PT

Registration is required. Registration fees for all practitioners: $400.00

STAP-eligible employees can use STAP funds towards the registration fees for this activity. Complete the STAP Reimbursement Request Form and submit to your department administrator.

Please note: Registration closes on Thursday, September 3, 2026 at 8:00am PT.

CreditsAMA PRA Category 1 Credits™ (9.75 hours), APA Continuing Education credits (9.75 hours), Non-Physician Participation Credit (9.75 hours)

Target AudienceSpecialties - Non-clinicalProfessions - Fellow/Resident, Non-Physician, Physician, Psychologist, Student ObjectivesAt the conclusion of this activity, learners should be able to:
1. Apply key principles of competency-based education in graduate medical education training programs
2. Utilize skills in Fair Assessment and Coaching
3. Build an effective assessment program by choosing and applying appropriate assessment tools
4. Employ effective practices in work-based assessment
5. Develop a personal action plan for change in their own residency or fellowship program

AccreditationIn support of improving patient care, Stanford Medicine is jointly accredited by the Accreditation Council for Continuing Medical Education (ACCME), the Accreditation Council for Pharmacy Education (ACPE), and the American Nurses Credentialing Center (ANCC), to provide continuing education for the healthcare team.

Credit Designation
American Medical Association (AMA)
Stanford Medicine designates this Live Activity for a maximum of 9.75 AMA PRA Category 1 CreditsTM. Physicians should claim only the credit commensurate with the extent of their participation in the activity.

American Psychological Association (APA)
Continuing Education (CE) credits for psychologists are provided through the co-sponsorship of the American Psychological Association (APA) Office of Continuing Education in Psychology (CEP). The APA CEP Office maintains responsibility for the content of the programs.

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CDI participants will apply current research on teaching and learning to the development of a syllabus, make strategic decisions about class activities, and work with colleagues from across Stanford.

Open to Stanford faculty and lecturers from all academic disciplines. Those in their first three years of teaching at Stanford will benefit most, though aspects of CDI may also be useful to seasoned instructors who would appreciate teaching support or who are taking on a new or substantially revised course project.

The CDI will be held in person, on campus from 10 a.m. to 3 p.m. PT on Wednesday, September 2 through Friday, September 4, 2026.

The due date for applications this year is Monday, June 29 at 5:00 p.m.

For accomondations or questions contact Kenny Ligda, associate director of Faculty and Lecturer Programs, at kenligda@stanford.edu.

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

View on site | Email this event

Founded in 2018 by Stanford art history professor Marci Kwon and Cantor associate curator of modern and contemporary art Aleesa Pitchamarn Alexander, the AAAI is one of the nation's leading museum initiatives dedicated to Asian American art. What began with approximately 30 works by Asian American artists has grown to more than 800 through acquisitions, exhibitions, publications, archival research, and community collaboration.

Rather than presenting a single definition of Asian American art, In Focus highlights its remarkable breadth. Spanning generations, media, and artistic approaches, the exhibition brings together works by artists of Asian descent working in the United States whose practices reflect a wide range of histories, perspectives, and creative concerns. Featuring works by Pacita Abad, Ching Ho Cheng, Tseng Kwong Chi, Young Joon Kwak, Masami Teraoka, and Rupy C. Tut, among others.

IMAGE: Pacita Abad (American, born in the Philippines, 1946–2004), If My Friends Could See Me Now, 1993. Lithograph with pulp-painted chine-collé and metallic powder on handmade paper. Cantor Arts Center, Stanford University. Robert E. and Mary B. P. Gross Fund, 2023.113. © Pacita Abad Art Estate LLC

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

IMAGE: Auguste Rodin (France, 1840–1917), The Age of Bronze (L’Âge d’airain), 1875-1876. Bronze, cast c. 1920. Gift of the B. Gerald Cantor Collection, 1983.300

Public Tours: Fridays and Saturdays at 11:30am

Admission Info

Tours do not require a reservation and are free of charge.

First come, first served!

View on site | Email this event

Public Tours: Fridays and Saturdays at 11:30am

Admission Info

Tours do not require a reservation and are free of charge.

First come, first served!

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To facilitate formation of the group, registrants will receive an email requesting a brief description of their loss prior to the first meeting.

Help Center Facilitator:

Robin Ginsberg, Licensed Marriage and Family Therapist

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Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

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Developed by Stanford Registered Dietitians with support from Stanford Health Care Clinical Nutrition and the Stanford Nutrition Research Group, this video delivers practical, evidence-based guidance straight to your kitchen.

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Join the Cardinal for a Friday night fight against the College Football Playoff runner-up Miami and one-of-a-kind halftime performance by E-40 inside Stanford Stadium, celebrating the culture, creativity, and community that makes the Bay Area unlike anywhere else!

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This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

View on site | Email this event

From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

View on site | Email this event

View on site | Email this event

View on site | Email this event

RegistrationProgram Schedule

Friday, September 4, 2026: 8:00am - 4:30pm PT

Saturday, September 5, 2026: 8:30am - 11:30am PT

Registration is required. Registration fees for all practitioners: $400.00

STAP-eligible employees can use STAP funds towards the registration fees for this activity. Complete the STAP Reimbursement Request Form and submit to your department administrator.

Please note: Registration closes on Thursday, September 3, 2026 at 8:00am PT.

CreditsAMA PRA Category 1 Credits™ (9.75 hours), APA Continuing Education credits (9.75 hours), Non-Physician Participation Credit (9.75 hours)

Target AudienceSpecialties - Non-clinicalProfessions - Fellow/Resident, Non-Physician, Physician, Psychologist, Student ObjectivesAt the conclusion of this activity, learners should be able to:
1. Apply key principles of competency-based education in graduate medical education training programs
2. Utilize skills in Fair Assessment and Coaching
3. Build an effective assessment program by choosing and applying appropriate assessment tools
4. Employ effective practices in work-based assessment
5. Develop a personal action plan for change in their own residency or fellowship program

AccreditationIn support of improving patient care, Stanford Medicine is jointly accredited by the Accreditation Council for Continuing Medical Education (ACCME), the Accreditation Council for Pharmacy Education (ACPE), and the American Nurses Credentialing Center (ANCC), to provide continuing education for the healthcare team.

Credit Designation
American Medical Association (AMA)
Stanford Medicine designates this Live Activity for a maximum of 9.75 AMA PRA Category 1 CreditsTM. Physicians should claim only the credit commensurate with the extent of their participation in the activity.

American Psychological Association (APA)
Continuing Education (CE) credits for psychologists are provided through the co-sponsorship of the American Psychological Association (APA) Office of Continuing Education in Psychology (CEP). The APA CEP Office maintains responsibility for the content of the programs.

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We welcome volunteers 10 years old and older. Those between 10 and 14 years old are required to have a guardian actively volunteering alongside them for the duration of the volunteer session.

We reserve the right to cancel volunteer sessions up to two hours in advance. Possible reasons for cancelation are a change in COVID-19 guidelines as outlined by the University or County Officials, excessive heat (90 degree and above), poor air quality, rain or other inclement weather.

We encourage all volunteers to carpool, bike, ride public transportation; there is a charge for parking on all Stanford property. The farm is not responsible for any tickets incurred while volunteering.

UPON ARRIVAL: ALL VOLUNTEERS MUST COMPLETE A SAFETY WAIVER

WHEN YOU ARRIVE AT THE FARM: Complete Waiver Form

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In honor of the centenary of Allen Ginsberg’s birth on June 3, 1926, Stanford University Libraries will host its first-ever exhibition of Ginsberg, exploring his complex legacy as a poet, activist, promoter, traveler, spiritual seeker, and teacher. The exhibition will draw upon the extensive array of notebooks, diaries, manuscripts, photos, and other items from the Allen Ginsberg Papers, a collection acquired by the Department of Special Collections at Stanford in 1995.

Allen Ginsberg’s poem “Howl for Carl Solomon” launched the Beat Generation to fame and notoriety upon its publication in Howl and Other Poems by City Lights Books in 1956. Following an infamous obscenity trial in San Francisco, Ginsberg embraced his role as a free speech advocate and deftly managed his newfound media celebrity. An out gay man over a decade before Stonewall and a public advocate for drug experimentation, he became a spokesperson for rebellion against the conformity of the postwar Eisenhower era. Ginsberg also assiduously promoted the work of his fellow writers, shopping their work to mainstream and underground publishers, defending them from censorship, and bolstering the appeal and notoriety of the Beat Generation. In the 1960s, Ginsberg transformed himself into an irreverent guru to the youth counterculture, appearing at many of the decade’s seminal events, including the Human Be-In, held in San Francisco’s Golden Gate Park in January of 1967, a prelude to the Summer of Love. During this time, he also became a prominent public figure for the antiwar movement, participating in protests in the Bay Area and at the Democratic National Convention in Chicago.

As a young man, Ginsberg experienced a series of mystical visions that impressed upon him the vast, eternal nature of human consciousness. To rekindle these visions, he experimented with drugs as a means of expanding consciousness and explored Eastern religion as a way of attaining enlightenment. A seeker for much of his life, Ginsberg also traveled the world for poetry readings, concerts, and lectures, championing the nonconformity and poetic exuberance of the American underground. These travels profoundly shaped Ginsberg’s poetry and built an international audience for his work and that of his fellow Beat writers.

This exhibition is curated by Rebecca Wingfield, Curator of American and British Literature, Humanities Resource Group, Stanford University Libraries. Produced and designed by Deardra Fuzzell, with assistance from Elizabeth Fischbach, Kylee Diedrich, and Pasha Tope.

Ginsberg at 100: Selections from the Allen Ginsberg Papers at Stanford will be open to the public. Registration with a valid government ID is required to enter the Cecil H. Green Library and view the exhibit.

View on site | Email this event

Founded in 2018 by Stanford art history professor Marci Kwon and Cantor associate curator of modern and contemporary art Aleesa Pitchamarn Alexander, the AAAI is one of the nation's leading museum initiatives dedicated to Asian American art. What began with approximately 30 works by Asian American artists has grown to more than 800 through acquisitions, exhibitions, publications, archival research, and community collaboration.

Rather than presenting a single definition of Asian American art, In Focus highlights its remarkable breadth. Spanning generations, media, and artistic approaches, the exhibition brings together works by artists of Asian descent working in the United States whose practices reflect a wide range of histories, perspectives, and creative concerns. Featuring works by Pacita Abad, Ching Ho Cheng, Tseng Kwong Chi, Young Joon Kwak, Masami Teraoka, and Rupy C. Tut, among others.

IMAGE: Pacita Abad (American, born in the Philippines, 1946–2004), If My Friends Could See Me Now, 1993. Lithograph with pulp-painted chine-collé and metallic powder on handmade paper. Cantor Arts Center, Stanford University. Robert E. and Mary B. P. Gross Fund, 2023.113. © Pacita Abad Art Estate LLC

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

IMAGE: Auguste Rodin (France, 1840–1917), The Age of Bronze (L’Âge d’airain), 1875-1876. Bronze, cast c. 1920. Gift of the B. Gerald Cantor Collection, 1983.300

Public Tours: Fridays and Saturdays at 11:30am

Admission Info

Tours do not require a reservation and are free of charge.

First come, first served!

View on site | Email this event

Public Tours: Fridays and Saturdays at 11:30am

Admission Info

Tours do not require a reservation and are free of charge.

First come, first served!

View on site | Email this event

Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

View on site | Email this event

Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

View on site | Email this event

This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

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From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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Founded in 2018 by Stanford art history professor Marci Kwon and Cantor associate curator of modern and contemporary art Aleesa Pitchamarn Alexander, the AAAI is one of the nation's leading museum initiatives dedicated to Asian American art. What began with approximately 30 works by Asian American artists has grown to more than 800 through acquisitions, exhibitions, publications, archival research, and community collaboration.

Rather than presenting a single definition of Asian American art, In Focus highlights its remarkable breadth. Spanning generations, media, and artistic approaches, the exhibition brings together works by artists of Asian descent working in the United States whose practices reflect a wide range of histories, perspectives, and creative concerns. Featuring works by Pacita Abad, Ching Ho Cheng, Tseng Kwong Chi, Young Joon Kwak, Masami Teraoka, and Rupy C. Tut, among others.

IMAGE: Pacita Abad (American, born in the Philippines, 1946–2004), If My Friends Could See Me Now, 1993. Lithograph with pulp-painted chine-collé and metallic powder on handmade paper. Cantor Arts Center, Stanford University. Robert E. and Mary B. P. Gross Fund, 2023.113. © Pacita Abad Art Estate LLC

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

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First come, first served. Tours do not require a reservation and are free of charge.

Tours may be subject to change, we appreciate your understanding.

1st Sunday of each month from 2 pm – 3:30 pm, rain or shine.

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Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

View on site | Email this event

This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

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From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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Founded in 2018 by Stanford art history professor Marci Kwon and Cantor associate curator of modern and contemporary art Aleesa Pitchamarn Alexander, the AAAI is one of the nation's leading museum initiatives dedicated to Asian American art. What began with approximately 30 works by Asian American artists has grown to more than 800 through acquisitions, exhibitions, publications, archival research, and community collaboration.

Rather than presenting a single definition of Asian American art, In Focus highlights its remarkable breadth. Spanning generations, media, and artistic approaches, the exhibition brings together works by artists of Asian descent working in the United States whose practices reflect a wide range of histories, perspectives, and creative concerns. Featuring works by Pacita Abad, Ching Ho Cheng, Tseng Kwong Chi, Young Joon Kwak, Masami Teraoka, and Rupy C. Tut, among others.

IMAGE: Pacita Abad (American, born in the Philippines, 1946–2004), If My Friends Could See Me Now, 1993. Lithograph with pulp-painted chine-collé and metallic powder on handmade paper. Cantor Arts Center, Stanford University. Robert E. and Mary B. P. Gross Fund, 2023.113. © Pacita Abad Art Estate LLC

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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Developed by Stanford Registered Dietitians with support from Stanford Health Care Clinical Nutrition and the Stanford Nutrition Research Group, this video delivers practical, evidence-based guidance straight to your kitchen.

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On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

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This academic year’s speakers have studied the moon, informed decisions at the highest levels of government, and advanced emerging technologies. Drawing on their research, experiences, and personal stories, they will help students explore the technological and policy questions shaping our future.

We hope you will join us for these lively and illuminating discussions.

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Join us Tuesday, September 8, 4-5 p.m., at Munzer Auditorium, Beckman Center, or Zoom for a presentation by Raymond Deshaies, PhD, former senior vice president of global research and distinguished fellow at Amgen.

The event is open to Stanford faculty, trainees, students, and staff.

Registration is encouraged.

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On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

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We welcome volunteers 10 years old and older. Those between 10 and 14 years old are required to have a guardian actively volunteering alongside them for the duration of the volunteer session.

We reserve the right to cancel volunteer sessions up to two hours in advance. Possible reasons for cancelation are a change in COVID-19 guidelines as outlined by the University or County Officials, excessive heat (90 degree and above), poor air quality, rain or other inclement weather.

We encourage all volunteers to carpool, bike, ride public transportation; there is a charge for parking on all Stanford property. The farm is not responsible for any tickets incurred while volunteering.

UPON ARRIVAL: ALL VOLUNTEERS MUST COMPLETE A SAFETY WAIVER

WHEN YOU ARRIVE AT THE FARM: Complete Waiver Form

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Bio: Dr. Stephanie Chao, MD is a general surgery specialist in Stanford, CA. She is affiliated with medical facilities Good Samaritan Hospital and Lucile Packard Children’s Hospital Stanford.

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Developed by Stanford Registered Dietitians with support from Stanford Health Care Clinical Nutrition and the Stanford Nutrition Research Group, this video delivers practical, evidence-based guidance straight to your kitchen.

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This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

View on site | Email this event

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From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

View on site | Email this event

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

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Founded in 2018 by Stanford art history professor Marci Kwon and Cantor associate curator of modern and contemporary art Aleesa Pitchamarn Alexander, the AAAI is one of the nation's leading museum initiatives dedicated to Asian American art. What began with approximately 30 works by Asian American artists has grown to more than 800 through acquisitions, exhibitions, publications, archival research, and community collaboration.

Rather than presenting a single definition of Asian American art, In Focus highlights its remarkable breadth. Spanning generations, media, and artistic approaches, the exhibition brings together works by artists of Asian descent working in the United States whose practices reflect a wide range of histories, perspectives, and creative concerns. Featuring works by Pacita Abad, Ching Ho Cheng, Tseng Kwong Chi, Young Joon Kwak, Masami Teraoka, and Rupy C. Tut, among others.

IMAGE: Pacita Abad (American, born in the Philippines, 1946–2004), If My Friends Could See Me Now, 1993. Lithograph with pulp-painted chine-collé and metallic powder on handmade paper. Cantor Arts Center, Stanford University. Robert E. and Mary B. P. Gross Fund, 2023.113. © Pacita Abad Art Estate LLC

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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This presentation is part of the monthly Diabetes Wellness Group webinar series from the Stanford Medicine Diabetes Care Program. Webinars are free and open to adults with diabetes and their families. You don’t need to be a Stanford patient to join.

Marina Basina, MD, is a clinical endocrinologist and clinical researcher with a focus on diabetes management, thyroid, and adrenal conditions. Her primary interests are in type 1 diabetes, diabetes technology, and diabetes in pregnancy. Dr. Basina is board certified in endocrinology and internal medicine.

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This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

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Starting on Friday, May 1st, The Gear Hub will be
selling gear hub items for 20% off at the Arrillaga Center for Sports and Recreation.

SUID card and form of payment (credit card, debit, or ApplePay) is required at time of purchase.

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From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

View on site | Email this event

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Contact Fidelity directly to schedule an appointment with a representative to review your current and future retirement savings options:

Fidelity appointment scheduler(800) 642-7131

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Founded in 2018 by Stanford art history professor Marci Kwon and Cantor associate curator of modern and contemporary art Aleesa Pitchamarn Alexander, the AAAI is one of the nation's leading museum initiatives dedicated to Asian American art. What began with approximately 30 works by Asian American artists has grown to more than 800 through acquisitions, exhibitions, publications, archival research, and community collaboration.

Rather than presenting a single definition of Asian American art, In Focus highlights its remarkable breadth. Spanning generations, media, and artistic approaches, the exhibition brings together works by artists of Asian descent working in the United States whose practices reflect a wide range of histories, perspectives, and creative concerns. Featuring works by Pacita Abad, Ching Ho Cheng, Tseng Kwong Chi, Young Joon Kwak, Masami Teraoka, and Rupy C. Tut, among others.

IMAGE: Pacita Abad (American, born in the Philippines, 1946–2004), If My Friends Could See Me Now, 1993. Lithograph with pulp-painted chine-collé and metallic powder on handmade paper. Cantor Arts Center, Stanford University. Robert E. and Mary B. P. Gross Fund, 2023.113. © Pacita Abad Art Estate LLC

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

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IMAGE: Auguste Rodin (France, 1840–1917), The Age of Bronze (L’Âge d’airain), 1875-1876. Bronze, cast c. 1920. Gift of the B. Gerald Cantor Collection, 1983.300

Public Tours: Fridays and Saturdays at 11:30am

Admission Info

Tours do not require a reservation and are free of charge.

First come, first served!

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Public Tours: Fridays and Saturdays at 11:30am

Admission Info

Tours do not require a reservation and are free of charge.

First come, first served!

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It's free, it's easy, and there's no wrong way to do it. All materials provided, all ages welcome, zero pressure.

Click the "+" to see more upcoming Drop-in Drawing dates.

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Explore the highlights of the Cantor's permanent collection on a public tour that leads you through a selection of works spanning varied cultures and time periods.

Admission Info

Please confirm all tours with our Visitor Services staff when you check in at the information desk. Tours may be subject to change or cancellation.

Scheduled Public Tours are first come, first served. They do not require separate advance registration.Scheduled Public Tours are between forty-five minutes and one hour long, free of charge, and meet in the lobby unless otherwise noted.

View on site | Email this event

Developed by Stanford Registered Dietitians with support from Stanford Health Care Clinical Nutrition and the Stanford Nutrition Research Group, this video delivers practical, evidence-based guidance straight to your kitchen.

View on site | Email this event

This exhibition is presented as part of the museum’s Asian American Art Initiative (AAAI). It is accompanied by a publication featuring short essays by Ruperto, providing expanded context for the artist’s collaborative practice, and an essay by exhibition curator Maggie Dethloff elucidating the conceptual underpinnings of the artist’s wide-ranging artistic output.

We gratefully acknowledge generous support for Animal, Vegetable, nor Mineral: Works by Miljohn Ruperto provided by the Minami Fund for the Arts and Sue and John Diekman, with additional support provided by Amy Corton and Carl Eibl, and Genie Dethloff. Sustained support generously provided by Megan O'Reilly Lewis and Todd Lewis, The Darle and Patrick Maveety Fund for Asian Art, The Constance Corcoran Miller Fund for Academic Initiatives, The Khoan and Michael Sullivan Fund, and The Phyllis Wattis Program Fund.

IMAGE: Miljohn Ruperto, What God Hath Wrought (Kairos), from the series The Great Disappointment, in progress. Three animations with VR (color, sound). Courtesy of the artist and Micki Meng Gallery, San Francisco.

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

Made in collaboration with dancer Jerron Herman and poet and artist Joselia Rebekah Hughes, the central work, Leans, Reverses (2022), emerges from the relationship between a dance performance, its recording, and transcription (a choreographic score, captions, and audio description). The installation includes two additional works which are created anew at each showing based on the artist’s instructions. Institutional Seat (2022) modifies a standard bench from the museum’s galleries into a version that is more comfortable for all museum visitors. Surround Sound (2022) attends to the floor of the gallery with dance-floor materials. Over the course of the exhibition, this floor will collect marks made by visitors’ shoes, strollers, and wheelchair treads, like another form of tally or notation.

Carolyn Lazard (b. 1987) is a New York-based artist whose primary medium is iteration. They also work across video, sculpture, installation, and performance. Their practice remembers the generative incapacity of debility.

Carolyn Lazard: Long Take is organized by the Cantor Arts Center, presenting work originally co-commissioned by the Walker Art Center in Minneapolis; the Institute of Contemporary Art, University of Pennsylvania; and Nottingham Contemporary, and is curated by Christina Linden, Director of Academic and Public Programs. We gratefully acknowledge support from The Lynn Krywick Gibbons Gallery Exhibitions Fund at the Cantor Arts Center.

View on site | Email this event

From her elegant French gowns to a colossal painting of her jewels, from the Egyptian artifacts she acquired for her fledgling museum to a Hawaiian skirt she may or may not have purchased immediately before her suspicious death, Jane! presents various idiosyncratic artifacts of Stanford lore—many shown for the very first time, and very likely for the last.

IMAGE: Napoleon T. Sarony, Portrait of Jane Lathrop Stanford, 1871. Photograph with charcoal touch up, 55 ½ x 45 in. Cantor Arts Center, Stanford University, Stanford Family Collections, JLS.18217

MUSEUM HOURS
Mon & Fri: 11 AM–6 PM
Thurs: 11 AM–8 PM
Sat & Sun: 10 AM–5 PM
CLOSED: Tues and Wed
We’re always free! Come visit us, https://museum.stanford.edu/visit

View on site | Email this event

On view at the East Asia Library from May 29, 2026 through September 20, 2026.

Curated by Joshua Capitanio, Zhaohui Xue, Jee-Young Park, and Regan Murphy Kao.

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