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
SJC redesign – inspired by bold ‘Mod’ textiles, rooted in the London-based 1960’s ‘Mod’ fashion and music subculture centered around modern jazz.
2016
Graphic Design and Print
By Tyler Su '20This is a collective of poems written while contemplating the relationship between the natural, humans, death, continuity, carnage, and hope.
Link to Artwork
2023
Poetry
By Brooklynn LiCastro '23You have pomegranate trees in your backyard, well so do I. Your family can’t afford to live in the Bay Area, well neither can mine…You’re just like me
2024
Oil on canvas
By Aileen Rubio '26This is a photograph taken of me practicing golf! I particularly enjoy the lighting and the visual interplay between the golf ball and the clubface.
2018
Photograph of Athletics
By Christian Ostberg '20Indigo mountains and a somber gray sky are reflected in the clear water of Lake Tahoe.
2022
Oil paint on canvas
By Christina Kent '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 '24Vero is a UG2 custodial worker on campus who I tutor through habla. I hoped to display her as I have grown to know her: strong and compelling.
2018
Oil Paint on Canvas
By Lorena Diosdado '21This series is meant to bring inspiration, energy and presence to the broader community during a difficult time of shelter-in-place and quarantine.
2020
Acrylic gouache on Yupo Polypropylene Paper
By Sonia Garcia '21Fog drapes over the breathtaking mountain tops and diffuses across the road of Icefields Parkway in Banff National Park, creating a sense of quietude.
2019
Acrylic on Canvas
By Sarah Dong '26A mixed-media interactive piece installed at Stanford’s annual “Frost Festival”. The piece embodies Stanford’s goals of inclusion and diversity.
2018
Acrylic, Spray Paint, Vinyl, Sticker on Canvas
By Nick Love '20India to America. When the kids go to school everyday, they can see our own school, and not feel so far, despite being halfway around the world.
2017
Enamel Paint
By Tyler Su '20An ode to a few of many meaningful moments shared with friends over a cafe drink – Coffee at Peet’s, Chai by Meyer Green, and Matcha over Zoom.
2024
Gouache on Paper
By Arethea Lim '24How does the lover’s gaze interpret and transform the body? What does it mean to paint the beloved intimately yet leave them unidentifiable?
2022
Acrylic on canvas
By Victoria Hill '20Commenting on our smallness in comparison to all we have to face – be it a pandemic, the vastness of the ocean, or history. Our smallness is humbling
2020
acrylic on cardboard
By Helena Zhang '22These works were primarily crafted from fashion, science, and interior design magazines ranging from the early 90s to present.
2019
Collage, ink pen
By Kyle Cromer '20