Marci Kwon got the idea for the initiative after creating a class she had always wanted to take but had never found in graduate school: one on Asian American art.
Part of the university’s Artists on the Future series pairing renowned artists with cultural thought leaders, this virtual event is free and open to the public.
Part of the university’s Artists on the Future series pairing famous artists with cultural thought leaders, this virtual event is free and open to the public.
Stanford University’s Global Medieval Sourcebook is a new online compendium of English translations for overlooked Middle Ages texts.
Since the 1990s, collector David Rumsey has digitized and made freely available his thousands of historical maps; his site has long been one of the best resources for cartography.
One of the most popular images of the 1876 Battle of the Little Bighorn is “Custer’s Last Stand” by Cassilly Adams, who ditched historical accuracy for a romanticized George Armstrong Custer standing tall against the encroaching horde of horseback warriors.
STANFORD, Calif. — A small gallery at Stanford’s Cantor Arts Center is currently offering a deeply personal glimpse into the life and work of Bay Area artist Richard Diebenkorn.
Bay Area artist Richard Diebenkorn kept sketchbooks for his entire career; they served as a sort of nomadic studio where he experimented with visuals that bridged figurative and abstract ideas.
Now you can go back to where the World Wide Web started in the United States with the country’s first website. Launched in December of 1991, the website for the Department of Energy’s SLAC National Accelerator Laboratory had little more than text and a few links.
At Stanford University’s Virtual Human Interaction Lab (VHIL), virtual reality is being researched as a means to make everything from climate change to deforestation a personal, impactful experience.
The Cantor Arts Center at Stanford University is opening an exhibition this week — Sympathy for the Devil: Satan, Sin and the Underworld — that explores the evocation of the devil over 500 years.
Back in the 1860s, the capital of the United States was glimpsing two visions of its country: one of brutality, and one of beauty. The latter was captured by Carleton Watkins in his photographs of an untouched wilderness in the West.