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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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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Jeremy Frey: Woven is organized by the Portland Museum of Art, Maine.

We gratefully acknowledge lead support for Jeremy Frey: Woven provided by Pamela and David Hornik. Generous support provided by Leslie and George Hume. Additional support provided by Hilary Ley Jager and Edwin Jager. Sustained support generously provided by The Lynn Krywick Gibbons Gallery Exhibitions Fund and The Phyllis Wattis Program Fund.

IMAGE: Jeremy Frey (Passamaquoddy, born 1978), Observer, 2022, ash, sweetgrass, porcupine quill on birch bark, and dye, 13 1/2 x 10 1/2 x 10 1/2 inches. Collection of Carole Katz, California. © Jeremy Frey. Image courtesy Eric Stoner

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 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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The Cantor is honored to be the final—and only west coast—venue for this acclaimed exhibition organized by the Portland Museum of Art in Maine. Seventh-generation basket weaver Jeremy Frey (b. 1978) often remarks that the exhibition was “thousands of years in the making.” Wabanaki baskets have existed for more than thirteen thousand years in what is today known as Maine. The tradition was under threat when Frey, who is Passamaquoddy (one of four federally recognized Wabanaki tribes), began making baskets out of ash and sweetgrass in the early 2000s, helping to revitalize the art form.

Frey learned to weave from his mother Frances “Gal” Frey, an accomplished artist, and from important workshops offered by the Maine Indian Basketmakers Alliance to facilitate an intergenerational transfer of this knowledge. He began to attract national recognition for fine weave baskets that involve whittling down ash to nearly thread-like widths and for baskets in the shapes of sea urchins. Known for making his own tools, Frey also harvests his materials—from identifying promising ash trees in the woods to chop down, to pounding logs with the blunt end of an axe to loosen the growth rings that form the strands of each basket.

Jeremy Frey: Woven traces the artist’s development from the early 2000s to the present day, demonstrating the extent to which he continues to expand the possibilities of this woven art form. More than 30 baskets come together in a single gallery to showcase Frey’s vibrant color palette, distinctive patterns, and tremendous technical skill and ingenuity. Braiding natural growth cycles with his own ancestral history, Frey continues to add new letters to an ancient language, helping to ensure its future.

---

Public tours are free for all.

Image: Jeremy Frey (Passamaquoddy, born 1978), Observer (detail on the left), 2022, ash, sweetgrass, porcupine quill on birch bark, and dye, 13 1/2 x 10 1/2 x 10 1/2 inches. Collection of Carole Katz, California. © Jeremy Frey. Image courtesy Eric Stoner

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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!

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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

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This event is part of the 2026 Stanford Jazz Festival.

Admission Information

SJW Members: $54 | Children (17 and under) & Students: $12Non-Members: $62 | Children (17 and under) & Students: $20

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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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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

Jeremy Frey: Woven is organized by the Portland Museum of Art, Maine.

We gratefully acknowledge lead support for Jeremy Frey: Woven provided by Pamela and David Hornik. Generous support provided by Leslie and George Hume. Additional support provided by Hilary Ley Jager and Edwin Jager. Sustained support generously provided by The Lynn Krywick Gibbons Gallery Exhibitions Fund and The Phyllis Wattis Program Fund.

IMAGE: Jeremy Frey (Passamaquoddy, born 1978), Observer, 2022, ash, sweetgrass, porcupine quill on birch bark, and dye, 13 1/2 x 10 1/2 x 10 1/2 inches. Collection of Carole Katz, California. © Jeremy Frey. Image courtesy Eric Stoner

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.

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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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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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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Oral health is the gateway to your overall systemic wellness, and effective oral hygiene is a big part of that puzzle. If you are looking to elevate your daily routine from a chore to an intentional self-care ritual for overall wellness, then this webinar is for you!

We will start with the essentials, demystifying the foundational habits of effective at-home care. You will learn the "why" behind traditional techniques before we pivot into the cutting-edge world of dental innovation.

We will navigate the ever-growing “dental care” aisle of the pharmacy together, breaking down smart ingredients, modern technologies and innovations, and our deeper understanding of the oral microbiome - how to balance the "good" bacteria in your mouth for fresher breath and stronger enamel.

Whether you are looking to reverse years of sensitivity, prevent future dental work, or simply understand the labels on your products, this course provides the clarity you need. By the end, you’ll have a personalized, tech-forward toolkit to maintain a radiant smile for a lifetime.

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

To receive incentive points, attend at least 80% of the live session or listen to the entire recording within one week.

Request disability accommodations and access info.

Class details are subject to change.

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Speaker: Neeraj Pramodkumar, Senior Product Manager, Qualcomm

Abstract: As AI moves from reactive assistants toward proactive, context-aware systems, wearables are becoming an increasingly important interface between digital intelligence and human context. With continuous multimodal sensing, edge AI, and low-power connectivity, wearables are evolving from passive trackers into intelligent systems that can infer context in real time and deliver responsive, personalized, and privacy-aware experiences.

This talk examines the technologies enabling that shift through the lens of Qualcomm’s Snapdragon Wear Elite platform, the first wearable platform with an integrated Hexagon NPU for on-device AI. We will discuss how advances in sensor fusion, local inference, and efficient connectivity are enabling new classes of wearable experiences, from predictive wellness insights and natural voice interactions to proactive personal assistance. We will also explore emerging application directions in ambient and embodied AI, along with the practical design tradeoffs that shape real-world deployment.

Bio: Neeraj Pramodkumar is a Senior Product Manager at Qualcomm, where he leads AI and ecosystem partnerships for Snapdragon Wearables platforms. He brings more than a decade of experience across software development, AI/ML program and product management, and has led initiatives reaching over 1 billion connected devices globally.

He currently focuses on building exciting on-device AI experiences for Snapdragon Wear Elite, Qualcomm’s most advanced wearable AI platform. Previously, he led AI initiatives for Snapdragon-powered Copilot+ PCs, helping advance on-device inference capabilities.

He holds an M.S. in Electrical Engineering from Virginia Tech and an MBA from UCLA Anderson.

Fireside Chat with: Prof. Xiang Qian, MD, Stanford Medicine Endowed Director; Clinical Professor, Anesthesiology, Perioperative And Pain Medicine; Clinical Professor (By Courtesy), Neurosurgery, Stanford University

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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 event is part of the 2026 Stanford Jazz Festival.

Admission Information

SJW Members: $15 | Children (17 and under) & Students: $10Non-Members: $25 | Children (17 and under) & Students: $12

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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

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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In this interactive online class, you’ll learn why strength training is especially important in midlife, how to build a realistic routine you can stick with, and which nutrition strategies best support your changing body. We’ll also tackle common questions—like whether you really need to load up on protein shakes or start taking creatine—and separate fact from myth.

Come ready to engage, learn, and leave with tools to navigate menopause with confidence!

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

To receive incentive points, attend at least 80% of the live session or listen to the entire recording within one week.

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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This event is part of the 2026 Stanford Jazz Festival.

Admission Information

SJW Members: $54 | Children (17 and under) & Students: $12Non-Members: $62 | Children (17 and under) & Students: $20

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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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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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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 innocations, 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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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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Speaker: Prof. Laura Schaefer (Stanford/KIPAC)

Abstract: Can we learn about the history and geology of a rocky planet like Earth by measuring its atmosphere? In just a few decades, astronomers have gone from wondering whether planets exist around other stars to discovering thousands of them. Now the James Webb Space Telescope (JWST) is taking the next step: not just finding these worlds, but beginning to study what they’re like—including whether they have atmospheres at all, which are critical for planetary habitability. In this talk, we’ll meet the small, rocky exoplanets that are most like the inner planets of our own Solar System, and see how JWST looks for the faint chemical fingerprints of gases around distant worlds. We’ll also tour what JWST has discovered so far, what has surprised us, and why some planets seem to lose their atmospheres while others manage to hold on. Along the way, we’ll connect these observations to bigger questions about how planets evolve—and what it might take for a world to be truly Earth-like.

The livestream URL can be found at the bottom of the EventBrite registration confirmation email.

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This event is part of the 2026 Stanford Jazz Festival.

Admission Information

SJW Members: $44–$54 | Children (17 and under) & Students: $12Non-Members: $52–$62 | Children (17 and under) & Students: $20

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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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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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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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JANE! celebrates the aesthetic and affective excesses of Jane Stanford, the Gilded Age founder and matriarch of Stanford University. Bringing together precious keepsakes, souvenirs, archaeological detritus, and spooky messages from beyond the grave, the exhibition reveals the campy underside of a familiar biography and perhaps an even more familiar murder mystery.

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.

RSVP here.

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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). Please click here to view the disability parking and access points.

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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.

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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

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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!

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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 innocations, 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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​🚌 You may also take the Marguerite Shuttle with the Bechtel team to arrive to downtown Palo Alto so we can arrive to Salt and Straw together. More details to come!

🌍 Open to only to enrolled Stanford international students.

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This event is part of the 2026 Stanford Jazz Festival.

Admission Information

SJW Members: $44–$54 | Children (17 and under) & Students: $12Non-Members: $52–$62 | Children (17 and under) & Students: $20

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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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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

View on site | Email this event

View on site | Email this event

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 innocations, 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.

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.

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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In this noontime webinar, we will discuss the mind/body connection of breathing and learn how habitual breathing patterns and responses to stress can increase symptoms like anxiety, abdominal discomfort, neck pains, headaches, and more. You will also learn the practical application of breathing techniques that have been shown to reduce symptoms. With these practical tools, you will discover how to be more aware of your reactions to stress and shift your breathing patterns intentionally during the day to improve your well-being.

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

To receive incentive points, attend at least 80% of the live session or listen to the entire recording within one week.

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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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 2026 cohort is now closed. The KHS application to join the 2027 cohort will open in summer 2026.

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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Contemplative activities will invite you to listen to the melodies of bubbling fountains while resting in serene landscapes and delighting in the flavors of summer fruits. Guided practices will include soothing diaphragmatic breathing, a relaxing body scan, and evidence-based self-massage of hands, feet, ears, and face to quiet the mind and soothe the nervous system. You will also learn the neuroscience of sustaining well-being through natural sensory-based vagus nerve activation to nourish calm.

Come enjoy a rejuvenating experience and leave with practical tools to bring tranquility into your daily life.

Enjoy this class on its own or attend more in our summer Coming Back to Your Senses series. The other two other evenings in the series are Deepening Rest and Resilience on July 31 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.

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

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

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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This unique virtual training blends weekly didactic instruction with a supportive small-group format.

Program Dates:

Virtual Orientation (Start Date): July 25, 2026 from 9 AM - 3 PM PT

Graduation (End Date): December 5, 2026 (Time TBD)

Weekly Sessions:

Mondays 5 PM - 7 PM PT

Thursdays 5 PM - 7 PM PT

Saturdays 9 AM - 12 PM PT

Online 2-Day Intensive:

September 12-13, 2026 (Saturday and Sunday) from 9 AM - 4 PM PT

What You’ll Experience:

A holistic approach to teaching yoga in healthcare and community settings, including strategies for accessibility, equity, and inclusion.Mentorship and small group support to grow your confidence as a teacher.A service-based curriculum featuring a practicum design that equips you to become an integrated and holistic yoga teacher.This program is ideal for anyone ready to explore the intersection of ancient wisdom and modern science and bring the benefits of yoga to diverse communities.

Learn more and apply at: https://www.yogaxteam.com/200hr

Have Questions?

Join us for an upcoming YogaX Information Session!

📌 June 8, 2026: https://stanford.zoom.us/meeting/register/nGQ5RQ_TTcCX4u9B-vzefw

📌 June 22, 2026: https://stanford.zoom.us/meeting/register/_8gFOk2hQpWfAQVKHX81Xw

If you have any questions, please reach out to our team at yogaxteam@stanford.edu.

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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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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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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 event is part of the 2026 Stanford Jazz Festival.

Admission Information

SJW Members: $44–$54 | Children (17 and under) & Students: $12Non-Members: $52–$62 | Children (17 and under) & Students: $20

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

Admission Info

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

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.

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

This event is part of the 2026 Stanford Jazz Festival.

Admission Information

SJW Members: $54 | Children (17 and under) & Students: $12Non-Members: $62 | Children (17 and under) & Students: $20

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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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.

View on site | Email this event

View on site | Email this event

View on site | Email this event

View on site | Email this event

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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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In this online cooking demonstration, you’ll learn practical strategies for preparing satisfying dinners without complicated recipes or long prep times. The class highlights simple techniques and ingredient combinations that deliver strong flavor, balanced nutrition, and flexibility throughout the week.

You’ll watch weeknight-friendly dishes come together step by step while learning ways to streamline prep, build flavor quickly, and use health-promoting ingredients such as vegetables, legumes, whole grains, herbs, and spices. After class, you’ll receive a full set of recipes and practical tips to help make nourishing weeknight cooking easier, more consistent, and more enjoyable.

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

To receive incentive points, attend at least 80% of the live session or listen to the entire recording within one week.

Request disability accommodations and access info.

Class details are subject to change.

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Moderator

Eli Cahan, MD

Award-winning investigative health journalist, Stanford neonatal intensive care fellow, CIGH postdoctoral affiliate, director of the Stanford Health Media Fellowship

Panelists

Neha Mukherjee

2024-25 Global Health Media Fellow, Medical student, Icahn School of Medicine at Mt. Sinai

Neha Mukherjee was the 2024-2025 Stanford Global Health Media Fellow and is a third-year medical student at the Icahn School of Medicine at Mount Sinai. In 2022, Neha graduated from Brown University with degrees in Public Health and Journalism. Her work has been featured in CNN, where she helped lead coverage of the 2025 measles outbreak in Texas, NBC News, WIRED, the San Francisco Chronicle, and the Philadelphia Inquirer.

Gabriella Stern

Recently retired Director of Communications, World Health Organization

Gabriella Stern is a research fellow at the Harvard Center for International Development at Harvard Kennedy School, and a senior communications adviser at Harvard T.H. Chan School of Public Health, where she is also a journalist in residence at the Center for Health Communication. In addition, Gabby serves as an external adviser at the Stanford Center for Innovation in Global Health. She retired as Director of Communications at the World Health Organization on Sept. 30, 2025 after 6 1/2 years in the role. She led the organization’s global communications strategy, managed a team of communications professionals, and served as spokesperson for the Director-General. She joined WHO in March 2019 after more than three years as Director of Media & External Relations at the Bill & Melinda Gates Foundation. Before that, she spent almost 25 years at The Wall Street Journal in various editing and reporting roles in the United States, Europe, and Asia.

Omar Ceesay

2026-27 Global Health Media Fellow and Medical Student, University of Nebraska Medical Center

Omar Ceesay is a medical student and aspiring neurosurgeon at the University of Nebraska Medical College and the incoming 2026-27 Global Health Media Fellow. His desire to reach underserved populations through quality health care and communication was shaped by personal experiences growing up in The Gambia, including surviving a malaria infection and witnessing his father’s preventable death due to a lack of available neurosurgery in his home country. His desire to address significant gaps in health communication, especially for Black communities, deepened during his medical training in the rural US. Ceesay is committed to rebuilding trust in healthcare through innovative approaches, including using social media to create engaging narratives that simplify complex medical information while building connection and trust.

Ben Johnson, PhD

Chief Editor, Nature Health

Ben Johnson is Chief Editor of Nature Health, a new journal of public, global and population health from the Nature Portfolio. Ben has a PhD in infectious diseases and has conducted virology and vaccine research at Public Health England and Imperial College London, before moving into academic publishing. Ben has more than 15 years of experience in publishing, journalism, communications and engagement, including as an Associate Publisher at BMC, Head of Communities & Engagement at Springer Nature and Senior Magazine Editor at Nature Medicine, with responsibility for news and opinion content. He has a strong interest in research conducted in resource-limited settings, including in the global south, in how research influences health policy and in equitable strategies to involve patients and communities in research.

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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 event is part of the 2026 Stanford Jazz Festival.

Admission Information

SJW Members: $39 | Children (17 and under) & Students: $10Non-Members: $47 | Children (17 and under) & Students: $18

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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

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.

View on site | Email this event

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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:

Adam Potter - Breaking properties tradeoffs for the next generation of high-temperature hydrogen catalysts

Abstract:

Hydrogen is a carbon-free fuel with the potential to replace fossil fuels in industries such as transportation, metallurgy, fertilizer production, and sustainable fuels. Electrolyzers, devices that produce hydrogen from water using electricity, offer a pathway to zero-emission hydrogen production anywhere in the world, but they must improve both efficiency and durability to become economically competitive. High-temperature steam electrolysis is currently the most energy-efficient hydrogen production method known, but operating at temperatures up to 800°C requires advanced electrode materials that can maintain high performance while resisting long-term degradation.

Discovering improved materials has been a slow process because researchers must simultaneously optimize several tightly connected properties, where improving one often worsens another. For example, increasing ionic conductivity can improve device performance but often reduces mechanical stability, leading to cracking and failure over time. As the field has advanced, many of these tradeoffs have been linked to fundamental physical mechanisms.

My research focuses on high-entropy materials, which mix five or more elements in a single crystal site, creating unexpected physical effects that can break the expected property tradeoffs. My talk will focus on how key material properties enable affordable hydrogen production, the physics underlying their tradeoffs, and the new mechanisms we have discovered in high-entropy materials that undermine these tradeoffs.

Speaker bio:

Adam Potter is a Ph.D. candidate in Mechanical Engineering at Stanford University, working in the Z-Energy Lab under Prof. Xiaolin Zheng where he studies advanced materials for clean energy technologies. His research focuses on designing more efficient and durable oxide electrode materials for high-temperature fuel cells and electrolyzers by testing key material properties, discovering trends with data modeling, and determining the underlying physical mechanism with machine-learning accelerated simulations. Adam’s work aims to accelerate the discovery of next-generation tunable materials, particularly for high-temperature energy technologies. He earned his B.S. in Mechanical Engineering with a minor in Energy Studies from the Massachusetts Institute of Technology.

Taeho Kim - Controlling Earthquakes and Fractures for Next-Generation Geothermal Energy

Abstract:

At a depth of 6–7 km, the subsurface of the contiguous United States holds enough geothermal heat to power the entire nation. Unlike solar and wind, geothermal energy delivers consistent, near-zero-emissions baseload power that is insensitive to daily and seasonal climate variations, at a fraction of the land footprint. Whether we can safely tap this immense resource depends on our ability to reliably predict and control the growth of subsurface fractures. Conventionally, fractures and pre-existing faults have been avoided due to earthquake risk and the inability to monitor deformation underground. Recent advances in earthquake science and fiber optic seismic monitoring now enable us to seriously pursue next-generation geothermal systems. In this presentation, I argue for a paradigm shift in our perspective on pre-existing faults to unlock geothermal energy at scale: from treating them as a liability to recognizing them as a central design variable. I present the theoretical models, simulations, and field analyses that are needed, including a recent analysis of the largest enhanced geothermal system (EGS) in the world. The analysis suggests that earthquake-enhanced geothermal systems may already exist, and that we can learn to engineer them deliberately, setting up geothermal as a cornerstone of a decarbonized grid.

Speaker bio:

Taeho Kim is a postdoctoral scholar at Stanford University in the Department of Energy Science & Engineering, working with Professor Eric Dunham in the Department of Geophysics. His research focuses on developing numerical simulations of enhanced geothermal systems, with an emphasis on the interactions between hydraulic fractures, pre-existing faults, and fluid migration. He also works with Professor Hamdi Tchelepi on developing theoretical and computational models of geomechanics and multiphase flow in the context of geological carbon sequestration.

Prior to Stanford, he received his B.S. in Civil Engineering from the University of Michigan and his M.S. and Ph.D. in Applied Mechanics from Caltech. His doctoral thesis, Modeling Frictional Processes in the Presence of Fluids: From Earthquakes in the Laboratory to Induced Seismicity in Geothermal Reservoirs, received the Demetriades Award for Outstanding Thesis in Seismo-Engineering, Prediction, and Protection.

He currently serves as co-leader of the Southern California Earthquake Center's (SCEC) initiative on Advancing Simulations of Earthquakes and Aseismic Slip, where he leads community efforts to develop numerical benchmark problems for fault slip coupled with pressure diffusion driven by subsurface fluid injection.

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This event is part of the 2026 Stanford Jazz Festival.

Admission Information

SJW Members: $44–$54 | Children (17 and under) & Students: $12Non-Members: $52–$62 | Children (17 and under) & Students: $20

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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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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 innocations, 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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AI technology may be able to process data and draft content – but it cannot provide the presence of mind required to authentically build trust, pivot to the needs of the moment, tap into imagination, or find a creative path forward when there is no map. These fundamentally human skills can be cultivated and enhanced through the art of improvisation.

Join us for an interactive three-part online series, where you will practice core improv concepts to enhance cognitive ability and emotional intelligence while reducing stress and anxiety. Improv skills include thinking on your feet, building strong relationships, unleashing your inherent creativity, communicating your ideas, telling stories that influence your listener, and co-creating with a team. The goal of this class is not shining on stage in a comedy troupe, but rather deepening essential skills in a fun and impactful way.

Each session will feature high-energy games that improv performers use to stay grounded under pressure. Whether you're brand new to improv or a seasoned pro, this series will help you build the mental muscle to find inspiration in life – no matter what comes your way.

This class will not be recorded.

Attendance requirement for incentive points - at least 80% of all 3 sessions.

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 event is part of the 2026 Stanford Jazz Festival.

Admission Information

SJW Members: $34–$44 | Children (17 and under) & Students: $10Non-Members: $42–$52 | Children (17 and under) & Students: $18

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

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In this webinar, you’ll learn how you can support your gut and improve your overall health. We’ll explore the interaction between the nervous system in the gut and central nervous system and the importance of the microbiome. Our main focus will be practical tips - integrative strategies to support your gut health through lifestyle, nutrition, supplements, and other holistic approaches.

Join us to receive the tools you need to listen to your gut, optimize your digestion, and reclaim balance.

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

To receive incentive points, attend at least 80% of the live session or listen to 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!

View on site | Email this event

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 innocations, 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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Tacos + tips + financial know-how? Count us in! 😀

Join us on Thursday, July 30th, from 3:3-5:30 PM at Bechtel for a fun and informative Taco Thursday in collaboration with Stanford Financial Wellness and SFCU, where you’ll learn the basics of navigating finances in the U.S., from banking and credit to building financial confidence, all while enjoying delicious tacos and agua fresca! 🌮

🎟️ RSVP required! Sign up through the link in our bio while spots remain.

🌍 This event is open to enrolled Stanford international students. We can’t wait to see you there!

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This event is part of the 2026 Stanford Jazz Festival.

Admission Information

SJW Members: $44–$54 | Children (17 and under) & Students: $12Non-Members: $52–$62 | Children (17 and under) & Students: $20

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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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

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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 innocations, 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.

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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Please join us for a memorial event celebrating the life of acclaimed Iranian writer Shahrnush Parsipur with in person and virtual presentations in English and Persian. The event will be both in person and livestreamed on Zoom. Limited seating is available in person, and once the registration is full all additional attendees will be directed to join the Zoom webinar.

In person and virtual speakers include Shirin Neshat, Abbas Milani, Farzaneh Milani, Mojdeh Shamsaie, Maryam Zandi, and Mandana Zandian.

Register for in person attendance

Register for Zoom attendance

Shahrnush Parsipur (1946-2026) was born in Tehran, Iran in 1946 and started her literary career when she was just 16, writing short stories and articles. She wrote her first novel, The Dog and the Long Winter, at 28. That same year, she was imprisoned for several months after protesting the execution of two journalist-poet activists. She left Iran to study Chinese philosophy and language in France. There, she wrote her second novel, The Plain and Small Adventures of the Spirit of the Tree in 1977.

Due to the problems associated with the Islamic Revolution in 1979, she could not complete her education in France, and had to return to Iran. As a result of a misunderstanding, she was imprisoned in the Islamic Republic of Iran's political prison for four and a half years. She later wrote a memoir recalling her time in prison—translated as Kissing the Sword. As soon as she was released from jail, she published her novel Touba and the Meaning of Night in 1989. In 1990 she wrote Women Without Men, a collection of short stories. As a result of openly referring to the subject of virginity in the collection, she ended up in prison again on two separate occasions.

Her work inspired the art of many world class artists and her collaboration with Shirin Neshat led to the prize winning film based on her novel Women without Men in 2009. The film was awarded the Silver Lion of the Venice Film Festival. Ms. Neshat also created a film project based on Touba and the Meaning of Night (2002).

Ms. Parsipur was awarded the Premio Feronia literary prize; the Statue of Arash from the Tirgan Festival; the Hellman-Hammett grant twice; the honorary tablet of Cyrus the Great from the Encyclopedia Iranica Foundation; and the ninth Bita Prize in Persian Arts from Stanford University. She holds an Honorary Doctorate from Brown University in Providence, RI, and was recently nominated for the Booker International Prize. Her books have been translated into several languages. She has also written more than 400 articles about modern Iranian literature in different literary publications.

Stanford is committed to ensuring its facilities, programs and services are accessible to everyone. To request access information and/or accommodations for this event, please complete https://tinyurl.com/AccessStanford at the latest one week before the event.

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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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In this engaging, evidence-based webinar, we will explore the four common chronotypes, also known as the Lion, Bear, Wolf, and Dolphin, and what they reveal about our daily energy patterns. You will learn how chronotypes shape sleep, mood, focus, appetite, and productivity throughout the day, and why understanding your natural rhythm can help you work smarter, feel better, and improve overall well-being.

This session will also examine how sleep changes across the lifespan and offer practical strategies to improve sleep efficiency and align daily habits with your body’s internal clock.

Whether you’re an early-rising Lion, a midday Bear, a late night Wolf, or a light-sleeping Dolphin, this session will help you better understand your body’s unique rhythm and how to work with it instead of against it.

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

To receive incentive points, attend at least 80% of the live session or listen to 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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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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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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Program

Ethel Smyth – Overture to The WreckersStanford Summer SymphonyPaul Phillips, conductorShawn Kirchner – Heavenly HomeStanford Summer ChorusRafael Ornes, conductorFelix Mendelssohn – Lobgesang (Hymn of Praise)Stanford Summer Symphony & ChorusEsther Tonea, soprano IJennie Yukyung Byun, soprano IIChance Jonas-O'Toole, tenorPaul Phillips, conductorAdmission Information

General – $37 | Seniors (65+) and Non-Stanford Students – $32
Price shown reflects total cost including $4 online processing fee.FREE admission for Stanford University students. One ticket per ID, available beginning one hour prior to curtain at the venue.

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This event is part of the 2026 Stanford Jazz Festival.

Admission Information

SJW Members: $44–$54 | Children (17 and under) & Students: $12Non-Members: $52–$62 | Children (17 and under) & Students: $20

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The Stanford Advanced Practice Provider Leadership Certificate Program is your opportunity to unlock your leadership potential and transform healthcare delivery. Designed for early to mid-career Advanced Practice Providers (APPs), this 4-month program combines evidence-based learning with practical tools to help you lead strategically, foster collaboration, and create lasting impact in your organization. Led by expert faculty and healthcare leaders, the program offers a flexible and immersive experience that includes psychometric assessments, personalized coaching, live virtual sessions, and self-paced modules.

Emerge with the skills and confidence to navigate complex challenges, inspire your team, and drive meaningful change in patient care. Build lifelong connections with a dynamic, diverse cohort of peers who share your passion for advancing healthcare.

Program Details

Applications Open: February 1, 2026
Applications Close: June 30, 2026

Price: $3,600
Commitment: 4 Months
Coaching: 3+ Hours

Application Review

Applications are reviewed on a rolling basis.
Admission is offered as space allows.
Early submission is encouraged.

Format

Online

Credits

19.5 CE

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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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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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RegistrationPhysicians: $750
Residents: $150
**Course is limited to 8 physicians and 8 Residents**

CreditsAMA PRA Category 1 Credits™ (6.50 hours), Non-Physician Participation Credit (6.50 hours)

Target AudienceSpecialties - Orthopedics & Sports Medicine, Surgery, Surgery, Thoracic SurgeryProfessions - Fellow/Resident, Non-Physician, Physician ObjectivesAt the conclusion of this activity, learners should be able to:
1. Describe indications for surgical stabilization of traumatic rib and sternal fractures
2. Demonstrate how to safely stabilize rib and sternal fractures using open and intrathoracic techniques
3. Perform pain control adjuncts
4. List potential complications after surgical stabilization of rib fractures and how to manage them

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 6.50 AMA PRA Category 1 CreditsTM. Physicians should claim only the credit commensurate with the extent of their participation in the activity.

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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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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!

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

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Program

Ethel Smyth – Overture to The WreckersStanford Summer SymphonyPaul Phillips, conductorShawn Kirchner – Heavenly HomeStanford Summer ChorusRafael Ornes, conductorFelix Mendelssohn – Lobgesang (Hymn of Praise)Stanford Summer Symphony & ChorusEsther Tonea, soprano IJennie Yukyung Byun, soprano IIChance Jonas-O'Toole, tenorPaul Phillips, conductorAdmission Information

General – $37 | Seniors (65+) and Non-Stanford Students – $32
Price shown reflects total cost including $4 online processing fee.FREE admission for Stanford University students. One ticket per ID, available beginning one hour prior to curtain at the venue.Livestream

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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

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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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.

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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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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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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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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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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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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Join this three-session online course that will introduce you to straightforward ways to reflect, identify what you want, and implement your goals so you can move toward the personal and professional life you want. This interactive and engaging class series will include research-based inquiry, small group breakout discussions, and action planning tailored to your goals and aspirations.

We will explore personal vision as a lever for change and reflective coaching activities as a catalyst for action. You will REFLECT on what you want and what might be getting in the way, REACH to set your goals and build your toolbox, and RISE to implement the actions and commitments to take your goals forward.

By the end of the series, you will have a clearer path to greater fulfillment in your work and personal life. Please come with an openness to immersing yourself in reflection, exploration, and action.

This class will not be recorded.

Attendance requirement for incentive points - at least 80% of all 3 sessions.

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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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 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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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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Join us for a three-part series designed to help you understand and reshape your eating habits through a lens of biology, practicality, and mindfulness. We’ll begin by exploring how the modern food environment is designed to override our natural signals and create cycles of craving and disconnection. From there, we’ll dive into strategies that make home cooking more approachable—like batch prepping and easy go-to meals—and help make the nourishing choice the easy choice. Finally, we’ll turn inward to examine how emotions and stress influence our food decisions and how to cultivate awareness, compassion, and practical tools for mindful nourishment.

Whether you’re looking to improve your habits, feel more at ease in the kitchen, or better understand the emotional drivers behind your eating, this class will meet you where you are and support you in moving toward a more grounded, nourishing relationship with food.

This class will not be recorded.

Attendance requirement for incentive points - at least 80% of all 3 sessions.

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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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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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 instructor will share practical tips to bring evidence-based nutrition into your seasonal cooking while preparing a full menu of seasonal dishes, all with skin, gut, and brain boosting benefits. A guide of summer foods with anti-inflammatory benefits will be included in the presentation.

Recipes with detailed instructions, ingredients, and equipment lists will be provided after the class for you to recreate at home. Ingredient substitutions will be suggested to accommodate most dietary restrictions.

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

To receive incentive points, attend at least 80% of the live session or listen to the entire recording within one week.

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 innocations, 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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Image Credit: Michael Spencer

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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.

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

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

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

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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JANE! celebrates the aesthetic and affective excesses of Jane Stanford, the Gilded Age founder and matriarch of Stanford University. Bringing together precious keepsakes, souvenirs, archaeological detritus, and spooky messages from beyond the grave, the exhibition reveals the campy underside of a familiar biography and perhaps an even more familiar murder mystery.

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.

RSVP here.

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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). Please click here to view the disability parking and access points.

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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.

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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

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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

View on site | Email this event

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

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 innocations, 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.

View on site | Email this event

Through the rich lenses of myth, mindset, and creative exploration, you will learn how personal narratives shape your perception of reality. By reframing your story, you can awaken resilience, invite possibility, and cultivate a sense of agency in your life. Supported by research showcasing the therapeutic benefits of creative practices on mental and physical well-being, this course harmoniously blends dynamic discussions, hands-on creative projects, reflective writing exercises, and storytelling techniques to facilitate meaningful inward exploration.

Whether you are navigating a significant life transition, seeking a refreshing perspective on your challenges, or simply ready to embark on the next chapter of your life, this course warmly invites you to cross the threshold and wholeheartedly say “yes” to your personal journey of transformation. Answer the call of your inner hero. Step boldly into your narrative. Uncover the hero that resides within!

This class will not be recorded.

Attendance requirement for incentive points - at least 80% of all 3 sessions.

Request disability accommodations and access info.

Class details are subject to change.

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

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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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Day 1 Program of Events

8:30am – Registration

9:00am – Welcome from GPRM committee

9:30am – Marc Widuch
The Welte recording Studios in Freiburg and Leipzig

10:00am – Sebastian Bausch
Deciphering the Hupfeld DEA Expression System

10:30am – Break

10:50am – Hermann Gottschewski
Roll Editors in the Earliest Years of Welte Mignon Piano Rolls: The case of WM0198 in the Condon Collection

11:20am – Artis Wodehouse, Bill Ooms, Peter Phillips
Transcribing Mahler’s performance captured in 1905 on WM 769: Symphony #5 Trauermarsch

12:05pm – Lunch

1:30pm – Carmen Romero-Valencia
A Comparative Computational Study of the 1950–2018 Transfers of Manuel de Falla’s 1912 Welte-Mignon Piano Rolls: Towards a Reliable Reference for Performance Analysis

2:00pm – Manuel Bärtsch
Enlarging performance analysis: What shall we do with dynamics in roll research?

2:20pm – Pedro Blundi d’Avila
“Expression” between intent, technology and roll mastering: Observations on recordings of Joself Hofmann

2:40pm – Cecilia Facchini
A complicated mirror: dynamics in recorded sources vs. written evidence

3:10pm – Break

3:45pm – Joerg Holzman
Benjamin, Boym and Becoming a Phonola Player

4:15pm – Darius Kucinskas (Berkman Tribute talk)
Bob Berkman and Ethnic Piano Rolls in the United States

4:45pm – Break

5:15pm – Concert 1: Berkman Tribute Concert: Julian Dyer, pianola

6:30pm – End of conference day

Admission Information

Delegates: $110 – Includes paper presentation, attendance at special sessions, three lunches, coffee/tea breaks, access to optional tours.General Admission (auditor): Free – registration requiredHourly paid parking is available in Tresidder Parking Lot More info on the GPRM conferences can be found at gprm.net

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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 innocations, 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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Join us for this noontime webinar to explore mindfulness tools and practices and learn how to incorporate them into our daily lives. You will be introduced to the basic tenets from Compassion Cultivation Training (CCT), Mindfulness Based Stress Reduction (MBSR), Mind-Body Training and Mindful Self-Compassion in order to design your own mindful self-care vision and goals. The session will include live exercises to practice in the moment as well as practical skills and tools to incorporate into your daily life.

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

To receive incentive points, attend at least 80% of the live session or listen to 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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This event will bring together Stanford-affiliated researchers in cardiothoracic surgery and cardiovascular medicine—including faculty, fellows, residents, postdoctoral scholars, students, and research associates—to share the latest science in the field. This symposium provides an excellent opportunity to showcase your cardiovascular research, network with colleagues, and attend lectures from distinguished speakers.

Additionally, we invite all Stanford cardiothoracic surgery-affiliated researchers —including faculty, fellows, residents, postdoctoral scholars, students, and research associates — to submit abstracts for consideration for presentation. Learn more.

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This class fosters a sense of awe and joy while exploring the neuroscience of creative expression and its connection to sensory experiences. You'll learn practical techniques to cultivate creative flow and wise, compassionate awareness for individual and collective well-being that you can carry into your daily life.

Leave with renewed inspiration and actionable strategies to enhance your overall happiness and creativity.

Enjoy this class on its own or attend more in our summer Coming Back to Your Senses series. The other two other evenings in the series are Nourishing Calm on July 24 and Igniting Creativity and Deepening Rest and Resilience on July 31. 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.

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

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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Day 2 Program of Events:

9:30am – Neal Peres da Costa
From Classical to Modern: 30 years of reproducing piano rolls, 130 years of performance practice

10:00am – Akiko Washino
Unequal Left-Hand Accompaniments: Performances of Classical Works by Carl Reinecke, Fritz von Bose, and Frederic Lamond

10:30am – Break

11:00am – Erinn Knyt
Beyond the Score: Ferrucio Busoni’s Reshaping of the Compositions of Franz Liszt

11:30am – Laura Granero
De-competing Chopin: Chopin on Piano Rolls

12:00pm – Lunch

1:30pm – Katarzyna Hatalak
Theodor Leschetizky's interpretations in recordings for Welte-Mignon: Wolfgang Amadeus Mozart’s Fantasy in C minor, KV 475 and Frédéric Chopin’s Nocturne in D- flat major, Op. 27 No. 2

2:00pm – Jeffrey Swinkin
Performative Structure, Analytical Structure: Leschetizky’s Roll of Mozart’s Fantasy, K. 475

2:30pm – Break

3:00pm – Petra Kirchner
Interplay across centuries: Reinecke’s voice in Mozart’s Phantasie K 475 – Galant schemata and 19th -century performance aesthetics

3:30pm – Kawa Mateusz
The Recordings from the Zamoyski-Collection as well as Wanda Landowska’s Interpretation of Mozart’s Sonata K. 576. Social, Aesthetic, and Technical Contexts

4:00pm – Break

4:30pm – Antonio Simon
(Lecture-recital) Beethoven’s Op. 111 and the Romantic Paradigm: From Reconstruction to Re-Creation

5:15pm – Break

5:30pm – Concert 2: Performance and rolls

6:30pm – End of conference day​​​​​​​

Admission Information

Delegates: $110 – Includes paper presentation, attendance at special sessions, three lunches, coffee/tea breaks, access to optional tours.General Admission (auditor): Free – registration requiredHourly paid parking is available in Tresidder Parking Lot More info on the GPRM conferences can be found at gprm.net

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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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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!

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

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

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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.

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We are inviting IDA alumni and Stanford alumni to submit proposals for installations that reimagine rooms or spaces within Harmony House as part of a speculative future arts institution in the year 2100. Selected artists will develop an installation, participate in approximately two talks or public programs, and be available in the Bay Area for key installation and programming dates between March 1 and May 30.

Selected artists will receive an award of $1,500.

Applications close on August 9 at 11:59 PM Pacific Time.

For more information and to apply, please visit the open call form HERE

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Day 3 Program of Events:

9:30am – Grace Chan
Edwin Lemare’s Welte-Mignon and Aeolian player organ rolls: contextualising his influence on contemporary organ performance culture

10:00am – Joyce Tang
Playing the Piano: Between Human and Machine in Harry Gill’s Caprice

10:30am – Break

11:00am – Peter Broadwell
How to Share Playable Roll Scans with the Global Community: Lessons from the Stanford University Piano Roll Archive

11:30am – Freja Cole and Kevin Kishimoto
WikiProject Piano Rolls: Introducing a Collaborative Data Model for Piano Rolls

12:00pm – Lunch

1:30pm – Lourdes Rebollo
The Pleyela Roll Collection of the National Library of Spain – BNE

2:00pm – Esther Burgos Bordonau
Spanish and Latin American rolls in the Denis Condon collection

2:30pm – Break

3:00pm – Julian Dyer
George Gale Foster – the man who gave us the Ampico and modernised the American piano industry

3:30pm – Scott Brown
Piano Roll King — The Historical Importance of James P. Johnson’s Music Rolls

4:00pm – Break

4:30pm – Paul Johnson
An interview with Richard Riley - recut roll and Disklavier producer

5:00pm – Peter Phillips
Popular music on reproducing piano rolls

5:45pm – Concert 3: Disklavier Roll Concert

6:30pm – End of Conference

Admission Information

Delegates: $110 – Includes paper presentation, attendance at special sessions, three lunches, coffee/tea breaks, access to optional tours.General Admission (auditor): Free – registration requiredHourly paid parking is available in Tresidder Parking Lot More info on the GPRM conferences can be found at gprm.net

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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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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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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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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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1,000 Ways to Hold is the culmination of a year-long participatory project by Stanford Arts’ 2025–26 Visiting Artist Erika Chong Shuch, rooted in conversation and clay. Developed in response to a moment shaped by loneliness, fragmentation, and uncertainty, the project proposes a tender, human-scale intervention: two people at a time sit together, shape ceramic bowls in pairs, and reflect on the question, What have you held, and what has held you? Created across campus in classrooms, community spaces, and everyday gathering sites, the bowls are embedded with digital traces that capture the intimacy of these shared encounters. In this exhibition at the Anderson Collection, the bowls are gathered and activated, inviting visitors to listen, touch, and engage with a living archive of connection. Together, they form both an artwork and a collective portrait—evidence of how small acts of making and listening can hold memory, care, and community.

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

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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.

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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), Non-Physician Participation Credit (1.00 hours)

Target AudienceSpecialties - Allergy, Immunology, and Rheumatology, Otolaryngology (ENT)Professions - Non-Physician, Physician ObjectivesAt the conclusion of this activity, learners should be able to:
1. Describe structural and preservation techniques that support both function and aesthetics in rhinoplasty.
2. Identify key preoperative factors that influence airway outcomes and revision risk.
3. Name different underlying factors that can lead to chronic sinusitis
4. Review why some surgeries fail and others resolve chronic sinusitis symptoms

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.

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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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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.

Request disability accommodations and access info.

Class details are subject to change.

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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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In this noontime webinar, you'll explore the essential skill of setting healthy boundaries to protect your well-being and take back control of your time, energy, and personal space. You'll gain a clear understanding of what boundaries are, why they matter, and how to recognize when they’re needed.

We’ll explore the common challenges that make setting boundaries difficult and practical strategies to overcome them. We’ll also examine different types of boundaries—including those at work—and discuss how to approach them with clarity and confidence.

By the end of the session, you’ll be invited to commit to one meaningful action that brings you closer to setting (or strengthening) a boundary that supports your mental and emotional health. Create the space you need to thrive—starting now.

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

To receive incentive points, attend at least 80% of the live session or listen to the entire recording within one week.

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 innocations, 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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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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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

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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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The Black Staff Alliance and the Faculty Staff Help Center extend the theme of wellness throughout the year with the offering of monthly, mental wellness drop-in groups that center the experiences of faculty, staff, retirees, and postdocs. This group aims to create a welcoming and inclusive space for employees of Stanford to share their experiences, strengths, and hope in managing some of the unique stressors of being Black. Join us as we discuss historical contexts of mental wellness in the community, systems of continued support and resources, and how to implement all of this. This group is open, and we encourage participation from all faculty, staff, retirees, and postdocs.

Facilitators

John Brown: LMFT, ICF Certified Coach

Kellianne Webster: PsyD

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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!

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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 innocations, 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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Built in 2018 specifically to house Knight-Hennessy Scholars, Denning House provides an inspiring venue for scholars, staff, and visitors, and a magnificent setting for art. A gift from Roberta Bowman Denning, '75, MBA '78, and Steve Denning, MBA '78, made the building possible. Read more about Denning House in Stanford News.

Tour size is limited. Registration is required to attend a tour of Denning House.

Note: Most parking at Stanford is free of charge after 4 pm. Denning House is in box J6 on the Stanford Parking Map. Please see Stanford Parking for more information on visitor parking at Stanford. Tours last approximately 30 minutes.

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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.

Sandy Sallam, PharmD, BCACP, CDCES, is a clinical pharmacist and certified diabetes care and education specialist at Stanford Health Care.

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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 innocations, 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 CenterRSVP now below! (note: each attendee must submit their own RSVP; this form will take less than 5 mins to complete) RSVP NOW HERE

About 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.

To receive incentive points, attend at least 80% of the live session or listen to 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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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.

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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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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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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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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