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Anatomy of the Vogue is a portraiture study of clinical anatomy that bridges human and corpse through a play on the fashion industry.
2016
Colored Pencil
By Meagan Wu '18
Often, I find myself missing the changing of seasons. But if I just look closely, signs of autumn are all around.
2019
Nature Photography
By Renata Starbird '21
Taken at Felt Lake during one of the field trips of MI 70Q: Photographing Nature, featuring IntroSem students and Continuing Studies students.
2019
Photograph
By Yifei He '22
While at SFMOMA with Stanford’s ITALIC program, I created this self-portrait to explore the merging of technology with my image of self.
2017
Photograph
By Julianna Yonis '21
This is a “still life” of the fish market at my local Chinese grocery store. It is a wet, slimy, strange, intimidating, and magnificent place.
2023
Acrylic on Canvas
By Sharon Zhang '27
A 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 '20
A medium exploration of painting on windows screens.
2018
window screens, oil paint
By Vivienne Le '19
Commenting 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 '22
The 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 '21
This piece depicts a fictionalized memory of my grandfather, who I only knew through his woven hats and birds passed down through my family.
2023
Oil Paint on Canvas
By Kea Kahoilua Clebsch '26
Impressions of animal magnetism and the collective unconscious.
2017
Digital Visual Art
By Andrew Lesh '19
This work converts content into physical form. Charlie Chan, played by white actors in yellowface, investigates murders. But who is he really hurting?
2017
Ink and print on wood
By Olivia Popp '20
Taken 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
These sculptures are abstract representations of my reflections on intimacy as being fluid, not rooted in rigid definitions.
2022
Wood sculpture
By Bryan Defjan '24
