Gerardo Aldana
Photo by Xuan Li
Lan Li
Miljohn Ruperto
Contact:
Stanford Arts Institute
artsinstitute@stanford.edu
Gerardo Aldana is a professor of Chicana/o Studies at the University of California, Santa Barbara. His research takes a history of science and indigenous studies approach to exploring Mayan hieroglyphic history, with a focus on astronomy. Throughout his research, for example in The Apotheosis of Janaab Pakal: Science, History and Religion at Classic Maya Palenque and Calculating Brilliance: an intellectual history of Mayan Astronomy at Chich’en Itza, he investigates cases of historically contingent invention and discovery within indigenous Mayan scientific practice.
Recently, my research has led me to further explore what I’ve referred to as “oracular science” within ancient Mesoamerican astronomical practice. At the core of this exploration is a 14th century indigenous Mayan hieroglyphic manuscript comprising primarily divination almanacs and astronomical tables. By focusing on an underlying oracular epistemology within both types of content, I suggest that Mayan scientific endeavor differed substantially from its popular portrayal as proto-(Western-)scientific.

Photo by Xuan Li

Full Manchu man, Qing dynasty (1644-1912). Unknown illustrator, woodblock print
Meridian men largely remained consistent as a visual genre. They established a graphic lineage to which authors, illustrators, and editors understood themselves as contributing. The 14 meridian series always showed 14 individual meridian men in the same order, with bladder man appearing seventh.
From Hua Boren (滑伯仁), Guben jiaozhu, Shisi jing fahui, 1969, 39

Intercostal nerves (detail), 17th century. Unknown engraver, engraving
Intercostal nerves, engraving detail. Willis visualized the nerves as a living, rooted entities in constant proliferation. Inset: enlargement of the improvised rendering of the intercostal nerves labeled A, B, C, D.
From Thomas Willis (1621–1675), Cerebri Anatome, 1663, 435, table 10
Stanford Arts Institute
artsinstitute@stanford.edu
This is a painting I did for the Congressional Art Competition. The painting is of my mother’s horse JR on my last ride on him before he died.
2014
Acrylic on canvas 24″x 24″
By Alexis Ivec '21Indigo mountains and a somber gray sky are reflected in the clear water of Lake Tahoe.
2022
Oil paint on canvas
By Christina Kent '22Exploring the weary determination of an aged subject shouldering generational burdens. Experimented with earthier and darker tones, deconstruction, an
2022
Oil Paint on Canvas
By Apoorva Panidapu '27A self-portrait composed of identity objects: rings from my mother, the teapot on my coffee table, the graphic on my favorite t-shirt, etc.
2020
Digital Collage
By Phoebe Kimm '20The rising sun in the bay turns typically unaesthetic man-made transmission towers into a beautiful contrast of light and dark.
2020
Photography
By Melissa Boswell '21I created this piece in order to show a city full of life in contrast to one that is merely an outline.
2016
Acrylic on Paper
By Amelia Talkington '22This symbolizes unity, being made by members of the Black Community. South African word, Umbutu, translates to togetherness or “I am because we are”
2023
Acrylic on Paper
By Sky Walker '24A medium exploration of painting on windows screens.
2018
window screens, oil paint
By Vivienne Le '19I took this photograph in a forrest in Germany. I wonder what the dog is doing right now.
2016
Color Film
By Chase Porter '17This work is based off a creative non-fiction short story I wrote about my childhood relationship with my father.
2017
Oil on Canvas
By Francesca Colombo '19This piece explores duality in behavior: relaxing the tongue can provide a positive experience during kissing, but can prove deadly with sleep apnea.
Link to Artwork
2022
Writing
By Tyler Newman '25I made these photos at the abandoned Oppenheimer film set in Ghost Ranch, NM. Downwinders in NM harmed by test radiation remain uncompensated by RECA.
2023
35mm Photography
By Weston Keller '27Who are our parents before our births? I wanted to use painting to meditate on loss concretized as memory.
2019
Oil on Canvas
By Regina Kong '22The central focus of these prints is the vibrant potato starch granule depicted under polarized light and how its shape and colors are manipulated.
2023
Algorithmic Art made with Processing
By Krystal Li '26Isolation, fear, and uncertainty are themes that come up more in our lives, seen through nighttime photos taken in the woods.
2020
Photography
By Nicholas Robles '20Forms of intimacy—emotional, physical, intellectual, spiritual—overlap in these abstract shapes. Intimacy is fluid, not rooted in rigid definitions.
2022
Wood Sculpture
By Bryan Defjan '24Taken on a Sophomore College trip to Tanzania, a Maasai junior warrior dons the traditional post-circumcision black robes and white face paint.
2017
Photograph
By Donovan Tokuyama '20