The ���ϲ����� Art Museum will host a day of free programming on Nov. 9 celebrating prominent photographer, composer, author, poet and film director Gordon Parks.

The community is invited to spend the day learning about Gordon Parks through both the exhibition and the accompanying family guide. Additionally, among the featured programs is an artist talk with contemporary photographer Jarod Lew at 1 p.m., and a screening of the 2021 documentary, “A Choice of Weapons: Inspired by Gordon Parks,” at 2:30 p.m.

Throughout the day, the museum will also host a Community Arts Fair featuring local artists, community organizations and vendors in the galleria just outside the museum entrance. Local vendor Black Citizens Brigade will be hosting a pop-up store featuring a selection of books, magazines and records highlighting the work of Gordon Parks and his contemporaries.

Additionally, artist and educator Evan Starling-Davis will host a zine-making workshop where visitors can create their own eight-page zine (or booklet) based on personal photographs and archival and found images and text. Registration is required for the workshop. Interested participants can expect to spend at least 90 minutes creating their zine. .

Jess Myers

As the flagship program of , Exhibit Columbus is an exploration of community, architecture, art and design that activates the modern legacy of Columbus, Indiana. Through a two-year cycle of events, conversations are convened around innovative ideas, and then site-responsive installations are commissioned to create a free, public exhibition.

Now in its fifth cycle, this year’s theme, “,” invites contributors to explore the legacy of Columbus by adding to the multiple and overlapping lives of buildings and spaces. Originating in improv theater, “Yes And” is a technique for affirming and building upon an idea to create a shared narrative.

This year, University Design Research Fellowships were awarded through a national, open-call competition for full-time university and college professors whose work explores community-based urban design and the challenges facing activating historic downtowns. Applicants were asked to respond to the “Yes And” theme and work from existing material to shape positive change. UDR Fellows were then shortlisted and selected, from nearly 50 submissions, by the 2024-25 based on the Request for Qualifications process.

“The high level of research represented by these six University Design Research Fellows is inspiring and we are honored to showcase their work in this cycle of Exhibit Columbus. Together, these professors place emphasis on the curatorial theme, ‘Yes And,’ in their own way, and collectively allow us to build an exhibition that has curatorial depth across the country,” the five curatorial partners said in a joint statement.

Through a cycle of events, the fellows—along with four —will work with community members in Columbus to create installations at various locales, encouraging the public to collaborate in the creation of the ongoing performance of the city. Whether it’s recovering architectural remnants, reflecting on cultural legacy, staging a dramatic spectacle, or reimagining public play, “Yes And” invites everybody to the public spaces of Columbus to expand what forms of togetherness and collaboration are possible. Winning fellows can request a budget of up to $15,000 to support the realization of an installation during the three-month exhibition in downtown Columbus.

The of Myers, César A. Lopez (University of Virginia), Amelyn Ng (Columbia University), and Germán Pallares-Avitia (Rhode Island School of Design) bring a strong interdisciplinary track record in public installation and exhibition, material experimentation, and historical architectural research to the UDR Fellowship and the legacy of Exhibit Columbus.

Jess Myers (second from the left) is one of four faculty members to be named Exhibit Columbus University Design Research Fellows for 2024-25.

“What unites [us] is a commitment to leveraging our unique experiences and expertise to create impactful public installations that resonate with the community,” says the team. “As former architecture students turned educators, we are dedicated to learning about and shaping the built environment while inspiring future architects.”

Building upon Columbus’s exemplary modern architecture in conversation with its community, the team’s proposed project, “Public School Grounds,” aims to extend their admiration for modern architecture to children and the larger Columbus community by fostering an environment that encourages hands-on learning, imaginative exploration, and meaningful interactions for individuals of all ages.

The project installation will draw inspiration from the dynamic rooflines and material patterns found in mid-century modern-designed schools in Columbus. Throughout the fellowship, the team will work with the students, educators, and staff at these schools to scale down and collage these rooflines to create an engaging sensorial platform for children.

“Public School Grounds” will become a tactile experience, potentially constructed from reclaimed local brick or colorful recycled foam, drawing from the vast range of brickwork and bond patterns found across Columbus’ modern architectural landscape. By creating an interesting and interactive space at ground level, the new public space will showcase the influence of educational architecture on the city, highlight the significance of children in the community and prioritizing hands-on play as a learning tool.

Designing and planning for a longer life cycle for the project and its materials is a critical objective of the installation. By finding a reuse after the Exhibit Columbus programming concludes, the mission of exposing a broader community to the wonder and beauty of the built environment will have a longer legacy. Recognizing that not all schools have equal resources, the team aims to design their project in pieces or sections so that it can easily be assembled, disassembled, transported, and distributed to schools needing recreational equipment and/or to communities as public furniture. Alternatively, if the project is donated to a single school or after-care organization, the team hopes its design can be “re-collaged” in various configurations, rather than remaining in its original consolidated form, allowing the project to evolve according to the new client’s needs and contexts.

The built installation will be accompanied by a series of workshops and programs facilitated by the “Public School Grounds” team who will work directly with students, educators, and staff at select local schools through key partnerships with two related organizations—the Bartholomew Consolidated School Corporation (BCSC), ��which oversees the public schools in Columbus, and the Bartholomew Consolidated School Foundation (BCSF), which supports the learning experience of Columbus youth.

Myers, an urbanist whose practice includes work as an editor, writer, podcaster and curator, will bring her expertise in sound to the project and explore the sonic breaks and flows of a young student’s day.

“There is an auditory schedule that schoolchildren keep that vanished from the public soundscape during the COVID-19 lockdowns,” says Myers. “I will be researching the bells that organize quiet and frenzy, the many languages that Columbus students use and the organized bustle of drop-offs and pick-ups to develop a light, soothing soundscape that activates the physical playscape.”

Throughout these events and the Exhibit Columbus programming, the team will observe and document how children and community members engage with their project, with a goal of creating a series of diagrams that can inspire future educational spaces.

By using a collaborative and community-engaged approach, “Public School Grounds” seeks to bring the tactile and sensory elements that have enriched educational environments within schools to the broader public and inspire inquisitive play within the city of Columbus.

As University Design Research Fellows, Myers and her team recently attended the two-day where they were paired with BCSC’s and . Working at these unique sites, they will create an installation that will become a focal point during the 2025 Exhibit Columbus event in August 2025.

Aaron Sorkin

Sorkin, a graduate of the Department of Drama, was among 19 recipients that comprised the 2022 and 2023 cohorts of the National Humanities Medal, which honors an individual or organization whose work has deepened the nation’s understanding of the human experience, broadened citizens’ engagement with history or literature or helped preserve and expand Americans’ access to cultural resources. The manages the nominations process for the medal on behalf of the White House.

“The National Humanities Medal recipients have enriched our world through writing that moves and inspires us; scholarship that enlarges our understanding of the past; and through their dedication to educating, informing and giving voice to communities and histories often overlooked,” says NEH Chair Shelly C. Lowe (Navajo).

Sorkin’s early career began as a playwright. His stage play, “A Few Good Men,” caught the attention of a Hollywood producer, who bought the film rights before the play even premiered. Castle Rock Entertainment then hired Sorkin to adapt to film “A Few Good Men,” which went on to become a box office and critical success in 1992.

Sorkin’s 2010 feature film screenplay, “The Social Network,” earned him an Academy Award for Best Adapted Screenplay, and the film also garnered two additional Oscars and four Golden Globe Awards, including best picture and best screenplay. His other films include “Molly’s Game” (directorial debut), “The Trial of the Chicago 7” (Golden Globe Award), “Moneyball,” “Steve Jobs” (Golden Globe Award), “The American President” and “Malice.”

In 1998, Sorkin’s television career began when he created the comedy series “Sports Night” for the ABC network. His next TV series, the political drama “The West Wing,” debuted on the NBC network and would go on to win more than 20 Emmys, a Golden Globe for Best Television Drama Series, two consecutive Peabody Awards for Broadcast and Cable Excellence, and two Humanitas Prizes and Television Critics Awards. His other television series include “Studio 60 on the Sunset Strip” (NBC) and “The Newsroom” (HBO).

Aaron Sorkin (back row, third from left), Drama Department Chair Ralph Zito (back row, fourth from left) and 2024 Sorkin Week students

After more than a decade away from the theater, Sorkin returned to adapt for the stage his screenplay “The Farnsworth Invention” (2007). His stage adaptation of Harper Lee’s “To Kill a Mockingbird” debuted on Broadway in 2018 and received nine Tony Award nominations, winning one. He adapted the classic musical “Camelot” in 2023; the Broadway production received five Tony nominations, including Best Revival of a Musical.

In March 2006 Sorkin funded and launched the Sorkin in LA Learning Practicum—also known as “Sorkin Week”—which is a weeklong immersion experience for VPA drama students to meet with professionals working in all facets of the entertainment industry, including actors, writers, talent agents, directors and producers.

Sorkin is a member of the VPA Council and has received the University’s George Arents Pioneer Medal, the highest alumni honor awarded by the University. He delivered the University’s Commencement address in 2012 and received an honorary degree.

More than 60 pieces from the institutional collection are featured in the show, housed at the of the University’s Nancy Cantor Warehouse Building at 350 W. Fayette St. The show runs through Friday, Nov. 22. Admission is free and open to the public.

The exhibition, “Libro de Artista,” features more than 60 artists books from the collection at the Argentine National Museum. (Photo by Matias Roth)

The exhibition is a production of the University’s POC) gallery in partnership with the (MNBA) and the University’s in the .

Sergio Moscona’s “Personajes Diarios,” in ink, acrylic and collage, depicting the intervention of facsimile 1956 edition of “La Prensa,” a daily newspaper that was censored in 1951. (Photo by Matias Roth)

Latin American creators represented in the exhibition include artist books by Diana Dowek, Luis Felipe Noé, Lucrecia Orloff, Jacques Bedel, Daniel García, Miguel Harte, Carolina Antoniadis, Marcos López and Marcia Schvartz. The exhibition also includes the Agentinian ���ܲ���ܳ�’s latest accession to the collection, a piece co-authored by Argentine artists Pedro Roth and the late ���ϲ����� professor and POC founder Pedro Cuperman.

Juan Astica’s acrylic-on-paper piece, “Diversos Conjuros,” consists of 64 paintings. (Photo by Matias Roth)

“It is an honor to partner with MNBA in its first showing of the ‘Libro de Artista’ collection in the United States,” said , executive director of the Office of Cultural Engagement for the Hispanic Community at ���ϲ�����.

“Point of Contact worked in close collaboration with the Roth family of creators and with the National Ministry of Culture of Argentina in exhibitions at the New York Art Book Fair held at MoMA PS1 from 2012 to 2018. ‘Libro de Artista’ culminates such a project with this timely exhibit as we commemorate National Hispanic Heritage Month 2024,”she says.

Andrés Duprat, MNBA director, explains the art form. He says, “The artist book or Libro de Artista is generally not considered a work of art in itself, but for us, it holds great interest because it is in artist books where explorations, intentions, sketches, and even doubts and regrets or new searches are revealed.”

This foldable book in ink on paper, and bound in leather, is by artist Leonel Luna. It’s called “Genealogías del Arte Argentino.” (Photo by Matias Roth)

In terms of artist techniques, formats and materials, artist books take many forms on paper, cardboard, celluloid, acrylic, metal and other materials, transforming into boxes, intervened prints, collages and pop-up books.

One of the pieces in the show, “La Dama del Río,” is a collaborative work with original texts by Pedro Cuperman and illustrations by Pedro Roth. Pedro Roth is a recipient of the 2023 National Award for Artistic Trajectory, an honor bestowed by the National Ministry of Culture recognizing the exceptional path and contributions of living Argentine creators inducted to the National Gallery of Visual Arts.

Juan Pablo Ferlat’s digital print is titled “Golem.” (Photo by Matias Roth)

“Point of Contact, soon to commemorate its 50th anniversary, has much to celebrate with the accession of this piece to the MNBA’s permanent collection,” says Matias Roth, curator of the “Libro de Artista” Buenos Aires exhibition and an exhibiting artist in the show. “As a member of the Point of Contact board of directors and longtime collaborator of both POC and the National Museum, I greatly appreciate that this work will be preserved in Argentina’s National Art Collection.”

At Point of Contact’s exhibition opening are, from left, Tere Paniagua, gallery director; Matias Roth, Point of Contact board member and show curator; Museum Studies Professor Andrew Saluti and museum studies graduate students Paola Manzano and Molly Dano.

Carrie Mae Weems H’17 (Photo by Jerry Klineberg)

“Carrie Mae Weems’ commitment to telling the American story has secured her place among the greatest artists of our time,” says Chancellor Kent Syverud. “This extraordinary honor is a testament to her prolific and powerful work that has profoundly impacted the artistic community, contributed to cultural awareness and inspired change. ���ϲ����� is fortunate and proud to have such an accomplished artist as part of our community.”

The National Medal of Arts��is the highest award given to artists and arts patrons by the United States government. The medal is awarded by the president of the United States to individuals or groups who “are deserving of special recognition by reason of their outstanding contributions to the excellence, growth, support and availability of the arts in the United States.”

“As the first African American female visual artist to receive the National Medal of Arts in recognition for my contributions is profoundly humbling and a great honor,” says Weems.��“I��thank my colleagues, along with the many other great women artists of color who came before me, widened the path and took the heat, but unfortunately were not recognized for their tremendous achievements.”

Weems’ four decades of work, including groundbreaking and distinctive compositions of photography, text, audio, installation, video and performance art, depicts topics of race, gender, social injustice and economic inequity throughout American history to the present day.

She is the first African American woman to have a retrospective at the Guggenheim Museum, and she is represented in public and private collections around the world, including the Brooklyn Museum; Metropolitan Museum of Art; Museum of Fine Arts, Houston; Museum of Modern Art; Tate Modern; Whitney Museum of American Art; National Gallery of Canada; and Museum of Contemporary Art, Los Angeles.

In April, Weems reviewed the work of College of Visual and Performing Arts students in the studio arts program at the University’s Daniel and Gayle D’Aniello ���ϲ����� Program in Florence (Photo by Francesco Guazzelli)

Weems is a 2023��Hasselblad Award��laureate and has received numerous awards, grants and fellowships, including the��, the U.S. Department of State’s Medal of Arts, the Joseph H. Hazen Rome Prize Fellowship, the National Endowment of the Arts fellowship and the Louis Comfort Tiffany Award.

In April, Weems participated in the conference, organized in concert with the , and reviewed the work of College of Visual and Performing Arts students in the studio arts program at the University’s Daniel and Gayle D’Aniello ���ϲ����� Program in Florence.

Her solo exhibition, “The Shape of Things,” is currently running at the in New York City through Nov. 9.

As the University’s artist in residence, Weems engages with ���ϲ����� faculty and students in a number of ways, including working with students in the design, planning and preparation of exhibitions.

Candace Campbell Jackson, senior vice president and chief of staff, who co-created the Artist in Residence program with Academic Affairs leadership, says, “This well-deserved honor recognizes Carrie Mae Weems’ incredible cultural contributions as a groundbreaking and visionary artist. It also reminds us once again how proud we are to call her our artist in residence. Carrie’s longstanding connection with the University has been a source of inspiration to the arts on campus here and abroad and resulted in numerous one-of-a-kind opportunities for our students.”

Weems first came to ���ϲ����� in 1988 to participate in Light Work’s artist-in-residence program. Over the years, she has participated in several programs at Light Work and has a long history of engaging with students and the University community.

Weems taught at ���ϲ����� previously, and out of her two courses Art in Civic Engagement and Art and Social Dialogue came the innovative and popular . She previously was artist-in-residence in the College of Visual and Performing Arts (2005-06) and she was a distinguished guest of the University Lectures in 2014.

Weems also was bestowed an honorary doctorate by the University in 2017 (along with honorary degrees from Bowdoin College, the California College of Art, Colgate University, the New York School of Visual Arts, Maryland Institute College of Art and Smith College).

Emily Dittman

Following 17 years of service to the , Emily Dittman has been named director, effective Oct. 16. The announcement was made today by Associate Provost for Strategic Initiatives Elisa Dekaney.

“Emily’s steady, visionary leadership has already guided the ���ϲ����� Art Museum along a successful path and secured its place at the center of campus life,” Dekaney says. “I am excited to continue working with her to further expand and strengthen the museum as a resource for students, faculty, staff and the local community.”

Dittman has served as the ���ܲ���ܳ�’s interim director for two years, leading operations, financial and strategic planning, alumni relations, fundraising and communications and marketing, and managing a staff of six full-time and 14 part-time employees. Additionally, she directs the collections care team, overseeing cataloguing, storage, environmentals and the design and function of the collection database.

“I am thrilled to embark on the next chapter of my leadership journey with the arts at ���ϲ�����,” Dittman says. “The museum’s prestigious permanent collection, engaging exhibitions and dynamic programs inspire me daily with their potential to serve as transformative experiences for our community. I am excited for the opportunity to collaborate more closely with our students, faculty, artists and community members during this exciting period of growth for the museum as an arts destination that is welcoming and open to all.”

Dittman joined the Art Museum in 2007 as a collection and exhibition manager, a role she held for 11 years. In that capacity, she had oversight of the SUArt Traveling Exhibition program, the Campus Loan program, special exhibitions and photography exhibitions at ���ϲ����� Art Galleries. She also handled communications tasks, including gallery publications and media relations. She later served as associate director for four years.

Dittman has curated a number of exhibitions, including “Impact!: The Photo League and its Legacy,” “Wanderlust: Travel Photography,” “Everyday Art: Street Photography in the ���ϲ����� Art Collection” and “Pure Photography: Pictorial and Modern Photographs.” She serves on the board of and teaches museum studies courses in the .

Dittman earned an M.A. in museum studies and an M.S. in library and information science from ���ϲ����� and a B.A. in history from Allegheny College.

A former faculty member who is regarded as one of the world’s leading experts on the science of human happiness will return to ���ϲ����� later this month to outline a pathway by which individuals, communities and the governance of our nation can improve by learning how to live happier lives and committing to the greater well-being of others.

Arthur C. Brooks, a Harvard University professor and co-author of the New York Times bestseller ‘Build the Life You Want’ with Oprah Winfrey, will deliver remarks during an on-campus event on Oct. 30.

Arthur C. Brooks, a professor at Harvard University and best-selling author, will present “How to Get Happier in an Unhappy World” on Wednesday, Oct. 30 from 5 to 6:30 p.m. in the K.G. Tan Auditorium in the National Veterans Resource Center at The Daniel and Gayle D’Aniello Building.��The event is free and open to the University community and the general public. Advanced .

Brooks is the Parker Gilbert Montgomery Professor of the Practice of Public Leadership at Harvard Kennedy School and professor of management practice at Harvard Business School, where he teaches courses on leadership and happiness. He writes the popular weekly “How to Build a Life” column for The Atlantic, and he is the No. 1 New York Times bestselling author of 13 books, including “Build the Life You Want: The Art and Science of Getting Happier,” co-authored with Oprah Winfrey.

No stranger to ���ϲ�����, Brooks taught courses at Maxwell in policy analysis, microeconomics, public and nonprofit management and social entrepreneurship from 2001 to 2009, and he was the Louis A. Bantle Professor of Business and Government Policy starting in 2007. His work in the classroom earned him the school’s Daniel Patrick Moynihan Award for outstanding teaching, research, and service and the Birkhead-Burkhead Teaching Excellence Award.

“We are delighted to host our friend and former colleague Arthur Brooks for what is sure to be an insightful talk about an important subject for each of us,” says Maxwell Dean David M. Van Slyke. “There are so many ways that we measure success in our society, yet one of the most elusive and hardest to obtain is this notion of happiness. I look forward to hearing Arthur’s thoughts on this, and how to strengthen our lives and the resilience and opportunities of our communities. The effectiveness of our democracy depends on healthy and happy individuals that can work together for the common good. I encourage everyone who can to attend.”

Brooks left Maxwell in 2009 to become the eleventh president of the American Enterprise Institute, a private, nonpartisan, nonprofit think tank in Washington, D.C. He joined the faculty of Harvard in July of 2019.

Prior to joining academia, Brooks spent 12 years as a professional musician, holding positions with the Barcelona Symphony and other ensembles. He earned a master of arts degree in economics from Florida Atlantic University in 1994 and a Ph.D. and M.Phil. in public policy analysis from the RAND Graduate School of Policy Studies in 1998.

Brooks’ talk is sponsored by the D’Aniello Family Foundation, the Louis A. Bantle Chair in Business-Government Policy and the Howard G. and S. Louise Phanstiel Chair in Leadership.

Susannah Sayler

The $8,000 unrestricted cash grant, administered by the , is open to New York State photography artists living and working anywhere in the following regions of New York State: Western New York, Finger Lakes, Southern Tier, Central New York, North Country, Mohawk Valley, Capital District, Hudson Valley and Long Island. The support for this funding is provided by����(JGS), a not-for-profit organization dedicated to the photographic arts.

“Edifice II” by Susannah Sayler, 2023. This work is drawn from a series of photographic collages that consider how to represent the Amazonian rainforest. It is part of a larger body of work titled “The Crystal Forest” (2019-2024), that also includes a video essay.

Sayler works with a variety of media including photography, video, writing and installation—often in collaboration with others, to deepen our understanding of ecology and the poetics of relation. Her work has been exhibited in diverse venues from art museums to public spaces and interdisciplinary institutions such as science museums, history museums and anthropology museums, including MASS MoCA, North Adams, Massachusetts; The Momentary @ Crystal Bridges, Bentonville, Arkansas; Kunsthal Rotterdam, the Netherlands; North Carolina Museum of Art, Raleigh, North Carolina; and The American Writers Museum and Museum of Science and Industry, Chicago. She has been awarded the Guggenheim Fellowship (2023), New York Artist Fellowship (2016), the Smithsonian Artist Research Fellowship (2014), the Center for Art and Environment Research Fellowship (2013) and the Loeb Fellowship at Harvard Graduate School of Design (2008).

In 2006, with her longtime collaborator, Edward Morris, Sayler co-founded The Canary Project, a collective project to produce art and media that cultivate emotional understanding of the climate crisis. In 2020, she co-founded a new long-term project in Hudson, New York, called Toolshed, which gathers and shares tools that empower individuals and communities to live ecologically. ’ archives are collected by The Center for Art and Environment at the Nevada Museum of Art, Reno, Nevada.

In this fourth edition of the competition, sponsored by , architects, designers and visionaries from around the world were asked to redefine the future of residential architecture by designing a dwelling for the year 2124 that focused on innovation, sustainability and adaptability.

With issues like climate change, urbanization and technological advancements at the forefront, the competition invited participants to think beyond the conventional and explore the uncharted territories of architectural design by pushing the boundaries, challenging preconceptions and creating visionary concepts for homes that will define the 22nd century.

Guided by Marcos Parga, associate professor at the School of Architecture, the ���ϲ����� student team of Yifan (Ivan) Chen ’25 and Yue Zhuo ’25 designed “The Domestic Nomad,” a project that, rather than a housing solution, serves as a statement and provocation that redefines nomadism at a contemporary, domestic scale to address the rigidity of private enclosures promoted by the capitalist market.

“The Domestic Nomad”

Inspired by Gilles Deleuze’s notion of nomadism in “A Thousand Plateaus,” the team proposed a radical rethinking of residential spaces and household activities, prioritizing public, communal living over private ownership—even in cold climates like Chicago, their chosen site. Their project manifests as a versatile framework of four distinct levels, each offering unique combinations of height, light, acoustics and thermal properties designed to foster shared experiences and reduce the requirement for extensive private areas.

The design of “The Domestic Nomad” promotes efficient use of resources and energy, enhancing adaptability by allowing domestic activities to shift between indoor and outdoor settings. Sustainability and thermal consideration drive the formal output of the building. Throughout the project, tested building technologies and passive thermal systems that support dynamic living configurations are deployed on different levels, unified by a 22nd-century “hearth,” as theorized by Semper in his “The Four Elements of Architecture,” 1851, that serves as both a heat chimney and a vertical transport system.

Modular, multi-functional ‘creatures,’ a tribute to Hejduk’s “Victims,” 1984, become the catalysts for domestic mobility and community engagement by carrying practical function (sleeping, dining, etc.) and migrating to different levels through the “hearth.” Moving as shared infrastructure between the indoors and outdoors depending on the time and season, these nomadic apparatuses redefine interaction with the neighborhood and challenge the constructed borders of space, enclosure, program and privacy on a domestic scale.

Overall, “The Domestic Nomad” encapsulates a proactive approach to residential architecture by blurring the boundaries between private versus public living. The project invites residents to rethink their interactions with space and aims to set a precedent for how homes can evolve to foster a communal life in the century ahead.

“We wanted to use the Home2124 competition as an opportunity to present our thoughts on the future of living in a communal way and exhibit how novel spatial relationships and technologies could foster alternative forms of a collective domestic life,” says Shen.

After being critiqued by a jury of leading architects, designers and academicians of international repute, the ���ϲ����� team’s project was selected to receive the competition’s first-place prize. Shen and Zhuo were awarded a certificate of recognition, interviewed by competition organizers, and their project will be included in an upcoming publication.

In addition to winning the Home2124 international award, “The Domestic Nomad” received the overall design prize in the Spring 2024 competition at ���ϲ�����’s School of Architecture competition at ���ϲ�����’s School of Architecture.

“Shen and Zhuo’s project successfully merged creative freedom and real constraints, two critical challenges of my Integrated Design Studio course: it demonstrates an absolute commitment to experimentation and uses constructive imagination to celebrate an unapologetic approach to tectonics,” says Parga. “Their project encourages us to look closely at the dwelling spaces we live in and think deeply about the domestic landscape we would like to see in the future.”

“The Domestic Nomad” was also recently selected for a student design award from the American Institute of Architects Central New York Chapter (AIA CNY), which will be presented to Shen and Zhuo at the event on Friday, Nov. 15.

“We hope “The Domestic Nomad” will be remembered for its legible approach that not only redefines living spaces but also inspires a new generation of architects and students to think critically about the role of design in society’s progression,” says Shen.

“Pippin,” the Tony Award-winning musical, runs Oct. 11-20 in the Storch Theatre at the ���ϲ����� Stage/SU Drama Complex.��

Heir to the Frankish throne, the young prince Pippin is in search of the secret to true happiness and fulfillment. He seeks it in the glories of the battlefield, the temptations of the flesh and the intrigues of political power (after disposing of his father, King Charlemagne the Great). In the end, though, Pippin finds that happiness lies not in extraordinary endeavors, but rather in the unextraordinary moments that happen every day.

“We have assembled an extraordinary artistic team–composed of award-winning creators, distinguished faculty, and accomplished alumni–to help us re-imagine and re-invigorate this timeless story of the search for purpose,” says Ralph Zito, professor and chair of the department of drama. “As always, our students have embraced the task with distinction, and we look forward to sharing the results of their creative work.”

Originally premiering on Broadway in 1972, “P����辱��” takes audiences on a magical and miraculous journey, while encouraging us all to find our own “Corner of the Sky.”

DETAILS

‘P����辱��’

• Book by Roger O. Hirson
• Music and lyrics by Stephen Schwartz
• Directed by Torya Beard
• Choreography and associate direction by Kevin Boseman
• Music direction by Brian Cimmet
• Additional choreography by Adesola Osakalumi
• Scenic design by Ningning Yang
• Costume design by Jessica Crawford
• Lighting design by Andy LiDestri
• Sound design by Kevin O’Connor
• Wig design by Dylinn Andrew
• Dramaturgy by Molly Evert
• Stage managed by Maya Rose Zepeda

Cast

• Pippin: Connor English
• Leading Player: Kendall Stewart and Gwendalyn Rose Díaz
• Fastrada: Lili Williams
• Catherine: Emily Pellecchia
• Charles: Nyobi Boddie
• Bertha: Izzy Scampoli

Ensemble

• Samantha Jade Berman
• Emily Castillo-Langley
• Michael DiLeo
• Malvina Lucchini
• Caroline Marchetti
• Justin Roach
• Tobias Rytting
• Bridgette Sanders (Theo)
• Nicolette Smith
• Gillian Stoltz
• Truman Tinius (Lewis)

Swings

• Mallika Jain Cadin
• Cate Gould
• Evan Leone
• Declan Paul McMahon
• Katie Wood

Additional Credits

• Co-Dance Captains: Mallika Jain Cadin, Nicolette Smith
• Assistant Director: Ella Claudine Femino
• Associate Choreographer: Nicolette Smith
• Assistant Scenic Designer: Luke Daniel Blumencranz
• Assistant Lighting Designer: Harry Mullin, Reyna Sanchez
• Assistant Stage Managers: Katrina Barrett, Fotini Lambridis
• Rehearsal Pianist: Dan Williams

Pop star Dua Lipa (right) holding a copy of George Saunders’ book, “Lincoln in the Bardo.” The book is her October book of the month for her 87.5 million followers on Instagram.

Bestselling author and professor of English G’88 has received numerous accolades in his literary career. His book, “Lincoln in the Bardo,” won the 2017 Man Booker Prize; his most recent work, “Liberation Day,” was chosen as one of President Barack Obama’s favorite books of 2022; and earlier this year, three of his books were included in The New York Times list of .

Now, Saunders’ work is reaching an even broader audience as his “Lincoln in the Bardo” takes center stage as Grammy-winning superstar Dua Lipa’s October book club pick.

Lipa’s monthly book club is part of her global platform, , which provides fans with a curation of lists, stories, perspectives and conversations with the world’s most compelling voices. Club members are invited to read a different book each month and engage with content centered around the author, including discussion guides, author Q&As and further reading lists. She amplifies that content to her millions of social media followers around the world.

“Lincoln in the Bardo” was Saunders’ first novel and debuted at number one on The New York Times Bestseller List. The book is Saunders’ conception of a visit by President Abraham Lincoln to the cemetery where his deceased 11-year-old son, Willie, is buried. The experimental novel explores Abraham Lincoln’s grief for the loss of his son alongside a cast of narrating ghosts who are in the “bardo” — a limbo state between death and the afterlife.

The global acclaim for “Lincoln in the Bardo” demonstrates the profound impact that creative writing can have in uncovering fresh insights on history, while also nurturing readers’ emotional and intellectual growth.

When asked why she loved the book, Dua Lipa said in an article on , “There is no one writing today who can match George Saunders for compassion and empathy. The very last page still replays in my mind. The voices of these spirits — the wretched and the brave, and the dead boy Willie Lincoln —will stay with me forever.”

Throughout October, the Service95 Book Club will offer exclusive insights, interviews and articles from Lipa and Saunders.

Service95 content includes:

The MOST’s giant ear exhibition is visited by the author’s daughter, DuRi Kang, in August 2024.

But its depiction of one organ—the skin—was not as encompassing as it could be.

Now, the has received a much-needed inclusive makeover, thanks to a professor, ., who also is a dual professor in the and an associated professor in the , and his former student, Karyn Meyer-Berthel G’21.

Preserving art

For close to 30 years, Meyer-Berthel has worked as a professional artist, becoming known for her ability to combine paint colors into perfect matches to any skin tone.

This skill came over time, she says. Her start was painting theater sets.

For theater, she painted backdrops and scenery, primarily for opera and musicals. “Musical theater was my favorite to paint because it was usually really dramatic and full of character,” Meyer-Berthel says, who had to stop after an injury. “That kind of work is heavy labor—you’re carrying five-gallon buckets of paint; you’re standing on your feet all day. I loved it, but having that injury, I had to give it up. So that led to a world of figuring out all these different jobs in the arts.”

A slew of roles followed, including working for three different art material manufacturers, as well as a year as a Mellon intern, where she assisted in the conservation department at the National Gallery of Art.

“The work I did there was on painting conservation and understanding what materials last a really long time,” Meyer-Berthel explains. She learned not only how to preserve art for future generations but also how museums can protect pieces from the public, learning which materials work best to seal historic treasures, especially from the oils on little fingers that crave to touch them.

According to her former arts education teacher, this notable professional background combined with her art materials expertise made her a perfect fit to help complete a needed update to the MOST’s human body exhibition.

Rolling—who has taught arts education at ���ϲ����� since 2007 and serves as interim chair of the Department of African American Studies in the College of Arts and Sciences—also runs JHRolling Arts, Education, Leadership Strategies, a DEI consultant entity. In his role as consultant, he was tapped to help the MOST make improvements to its exhibitions, with an eye toward equity and inclusion.

Creative placemaking

MOST staff identified models in the Upstate Medical University Life Sciences exhibition as a key area where improvements in representation could be made.

“Our main objective with this project was to better fulfill our core values by making sure that the models and images in our exhibitions reflect the people who visit them,” says Emily Stewart, Ph.D., senior director of education and curation. “Our community is dynamic and diverse, and our exhibitions should be too.”

This led the MOST to Rolling because his consultancy utilizes the concept of “,” a way of transforming a lived environment so it is accessible, inviting, and representative of the community. “That life sciences exhibition was over 10 years old, and it’s striking that there were no persons of color represented,” Rolling says. “Out of all those body parts—none.”

Karyn Meyer-Berthel G’21 helped transform the MOST body exhibition to make it more inclusive.

The Upstate exhibition explores the science of human anatomy with larger-than-life body parts, including a heart visitors can walk through, a brain that lights up and a giant ear, nose, lips and more.

Rolling immediately thought of his former student, connecting the MOST to Meyer-Berthel, due to her materials and preservation skill, unique background and understanding of inclusivity, .

Perfect balance

Meyer-Berthel and staff settled on the MOST’s giant ear display to receive the upgrade. “Different ethnicities have different shape ears, certainly, but this anatomy is a little more streamlined across the globe, so an adjustment with paint can change the representation,” she says. “The ear was the clearest choice, because changing the shape of something might actually mean completely rebuilding the object, and that part wasn’t quite in my wheelhouse.”

But the skill Meyer-Berthel does excel at is combining colors to match skin tone. “No matter the ethnicity, every skin tone includes blue, red and yellow,” she explains. “You can often tell by looking at a person’s wrist what their undertones are … Finding the perfect blend and balance is the joy.”

Because 28% of ���ϲ�����’s population is African American, the MOST wanted to change the ear to a brown skin tone, but the answer wasn’t as simple as mixing up a batch of paint and applying it.

Other factors Meyer-Berthel had to consider were the ���ܲ���ܳ�’s lighting and how this would impact the hue, and how well the paint would hold up to being touched. “The beauty of this exhibition is being able to touch it,” she says, noting that the paint needed to adhere to the material already coating the ear, the composition of which she and the MOST did not know.

After testing samples under the ���ܲ���ܳ�’s warm lighting, Meyer-Berthel first cleaned the existing model, using a micro sanding product to help her paint layer adhere. She chose acrylic paints, because she finds these to be the most versatile, and utilized Golden Artist Colors, a New Berlin, New York-based manufacturer of professional artist paints best known for its acrylics, where she also worked as a commercial applications specialist for three years.

“While house paint is wonderful for painting a house, it’s not going to be good for a museum because it has too many fillers in it, like chalk,” Meyer-Berthel explains. “For a museum model, a piece that needs to be so brilliantly colored, you don’t want much in it besides pigment and resin.”

Lastly, Meyer-Berthel coated the paint with a sealant because of how much the ear is touched, protecting it from absorbing oils and dirt from hands.

“We are so thrilled with the work she has done,” says Stewart. “Her thoughtful consideration and expertise helped us to identify the right paint colors, finishes and techniques to give our older anatomical model a new life.”

Story by Ashley Kang ’04, G’11

London Ladd

An illustrator of nearly 20 books, School of Art Assistant Teaching Professor����recently celebrated the release of two picture books, “” (Harper Collins) and “” (Philomel Books).

Using acrylic paint, cut paper and tissue paper, Ladd employs a ��for his work. Nurturing the talents of rising illustrators, he became a full-time faculty member this year at the , where he earned a B.F.A. and M.F.A.in illustration and previously taught part time.

Motivated by the “beauty of Black life,” he draws a spotlight on relatable subjects. His picture book “” (Harper Collins), a celebration of Black children, was nominated for an NAACP Image Award in 2023.

Exploring the beauty of Black hair, Ladd presents people viewers can identify with in “My Hair is a Book.”

“My greatest joy is when somebody says, ‘That looks like my niece’ or ‘That looks like me as a child,’” says Ladd. “I want people to see themselves, or somebody they know, and connect with it.”

Early in his career, Ladd focused heavily on historical subjects, particularly those from the American Civil War and Civil Rights eras. He has since shifted away from these subjects but made an exception for Myrlie Evers-Williams, a civil rights activist.

“I have tremendous respect for her,” Ladd says. After her husband was shot and killed, “instead of regressing back into anonymity, she made her own name. She’s carried on the legacy that started when her and her husband began.”

Ladd has another book release, “”��(Holiday House), on the horizon. He is also working on illustrations for three other books.

With his sights on the future, Ladd has plans to write his own picture book, branching out into a different art form.

“I’m excited about the writing element,” he says. “That’s the last frontier for me in picture books.”

Story by Mikayla Heiss

They were also witnesses to major political events, such as President Richard Nixon stepping down after the Watergate scandal and President Gerald Ford taking office (and being memorably lampooned the next year on new television program “Saturday Night Live”). At ���ϲ�����, a less known yet still consequential development occurred.

That year, the department that became����was born.

On July 1, five College of Arts and Sciences departments came together to become “one new department under the chairmanship of Louis W. Roberts,” according to a press release from the time. The Department of Foreign Languages and Literatures unified the former individual departments of classics, German, linguistics, Romance languages and Slavic languages and literatures to create, as then-Dean Kenneth Goodrich noted, “a needed synthesis of the traditional and the progressive in the field of foreign language and literature education.”

Excerpt from the 1974 news release creating LLL’s forerunner (Photo courtesy of the Special Collections Research Center)

The department’s name was changed under Dean Robert Jensen to “Languages, Literatures and Linguistics” in 1995 to recognize the breadth of world languages and cultures being taught and the strength of the linguistics program.

As part of celebrating its 50 years as a multilingual, multicultural department, the Department of Languages, Literatures and Linguistics (LLL) is hosting a film series this semester, including a discussion evening on Oct. 30. “Film is a critical medium through which students can develop cultural and linguistic competencies,” says , professor of Spanish and LLL chair.

The films span genres, cultures and times, reflecting the department’s commitment to global perspectives and the exploration of language through art.

The film series includes the following screenings:

October

• “” (Italy, 1994)—Oct. 9, 5:30 p.m., Kittredge Auditorium
• “” (France, 2023)—Oct. 10, 7 p.m., Kittredge Auditorium
• “” (France, 2011)—Oct. 17, 7 p.m., Kittredge Auditorium
• “” (Lebanon, 2018)—Oct. 18, 2 p.m., 341 Eggers
• “” (Italy, 1975)—Oct. 23, 5:30 p.m., Kittredge Auditorium
• “” (France, 2012)—Oct. 24, 7 p.m., Kittredge Auditorium
• “” (Taiwan, 2010)—Oct. 28, 7 p.m., 113 Eggers
• —Oct. 30, 5:30-10 p.m., Kittredge Auditorium:
  • “There’s Still Tomorrow” (Italy, 2023)
  • “Perfect Days” (Germany, Japan, 2023)

November

• “” (Germany, 2012)—Nov. 4, 6:45 p.m., Kittridge Auditorium
• “” (Italy, 2023)—Nov. 14, 6:30 p.m., Kittredge Auditorium
• “” (Soviet Union, Japan, 1977)—Nov. 21, 11 a.m., 107 Huntington Hall
• “Mal-Mo-E: The Secret Mission” (Korea, 2019)—TBD

For more information about the film series, contact��Gail Bulman.

Other events celebrating LLL’s 50th anniversary in 2024 included the annual Wor(l)ds of Love Valentine’s Day poetry festival in February, Women across the World events in March, theater and musical performances, an LLL majors and minors’ celebration and the department’s annual Culture(s) on the Quad in April.

Spring 2025 event dates will be announced at a later time.

Margot Wendice is happily married to Tony, and the couple share a charming life and a modest flat in 1950s London. But not all is as it seems—Margot has been involved with the famous American crime writer Maxine Hadley and is being blackmailed by a mysterious stranger who threatens to expose the affair to her husband. But Tony already knows, and he has just hatched a plot of deadly revenge.

“I’m thrilled to direct our season opening production of ‘Dial M for Murder,’” says Robert Hupp, artistic director. “I am a huge fan of this genre, and we had so much fun creating last season’s ‘Agatha Christie’s Murder on the Orient Express’ that I couldn’t wait to kill off more characters on our stage.”

Written by Frederick Knott in 1952, “Dial M for Murder” was adapted into a 1954 Alfred Hitchcock film starring Grace Kelly, and again in 1998 as the loose remake “A Perfect Murder” with Gwenyth Paltrow as the unsuspecting wife. Hatcher’s adaptation, which premiered at San Diego’s Old Globe in 2022, gives Knott’s clever original a fresh coat of paint, notably infusing the script with a touch of light comedy and a swifter pace for modern audiences.

Says Hupp, “‘Dial M’ is less of a murder mystery and more of a psychological thriller. While the setting, 1950s London, remains the same as the Knott play and the Hitchcock film, our playwright, Jeffrey Hatcher, updates the storyline to raise the stakes and create even more tension in this powerful, suspenseful story. I think our audience will love the cast we’ve assembled for ‘Dial M,’ and I can’t wait to share this deliciously dangerous play with everyone in Central New York.”

“Dial M for Murder” features (assistant professor in the College of Visual and Performing Arts’ Department of Drama) as Margot Wendice, Avery Clark as her scheming husband Tony and Krystel Lucas as Maxine Hadley. The ensemble rounds out with J.D. Webster as Inspector Hubbard and John Long as the killer-for-hire Lesgate. The design team includes sets by Stanley Meyer, costumes by Lux Haac, lighting design by Dawn Chiang, sound design by Tony Award nominee John Gromada (“The Trip to Bountiful”) and hair and wigs by Brittany Hartman, with fight choreography by D.C. Wright. Blake Segal serves as the production’s dialect coach and Yvonne Perry as the intimacy coordinator.

Born in China to missionary parents in 1916, Knott studied law at Cambridge University and achieved the rank of major in the British Army before finding fame with 1952’s “Dial ‘M’ for Murder.” The play aired on the BBC before critically acclaimed productions in London’s West End and on Broadway. Called “notoriously unprolific” in a 2002 obituary, Knott only wrote three other plays during his lifetime—“Mr. Fox of Venice” (1959), “Write Me a Murder (1961) and “Wait Until Dark” (1966)—but made enough from his work to live comfortably in Manhattan with his wife, actress Ann Hillary. Knott’s intricately plotted mystery plays continue to entertain audiences throughout the world with revival productions and new adaptations, including American playwright Hatcher’s stylish updates of “Wait Until Dark” and “Dial M for Murder”.

All evening performances begin at 7:30 p.m. while all matinee performances begin at 2 p.m. Tickets start at $25 with discounts available for students and groups. Tickets may be purchased online at , by phone at 315.443.3275 or in person at the ���ϲ����� Stage Box Office. Pay-what-you-will performances for “Dial M for Murder” are Oct. 16-20 inclusive; prologue conversations, three pre-show discussions, take place one hour before curtain on Oct. 20, 26 and 31; the post-show Talkback will take place on Sunday, Oct. 20, after the 7:30 p.m. performance. ���ϲ����� Stage has its open-captioned performances scheduled for Oct. 23 and Nov. 2 at 2 p.m. and Oct. 29 at 7:30 p.m. The performance on Sunday, Nov. 2, at 2 p.m. is an audio described performance with Spanish language open captioning. The sensory friendly/relaxed performance of “Dial M for Murder” is scheduled for Tuesday, Oct. 29, at 7:30 p.m.

Support for the 2024/25 season includes season sponsors the Slutzker Family Foundation, the Dorothy and Marshall M. Reisman Foundation and Advance Media New York. The community partner for “Dial M for Murder” is the ���ϲ����� International Film Festival.

Under the new banner Arts at ���ϲ�����, are top-notch museums and galleries, active maker spaces, robust community centers and a myriad of creative events and programs.

The new name is part of a rebranding and profile-boosting effort to highlight the University’s arts offerings and strengthen and grow awareness of its diverse group of centers and programs, says , assistant provost for arts and community programming.

The initiative includes the , which comprehensively illustrates the range of arts centers and programming available to students, faculty, staff and community members. The site also includes a dedicated that highlights events, ongoing programs and exhibitions.

Spaces and programs include , , , , , , at ���ϲ����� Libraries, , the , ���ϲ����� Artist-in-Residence Program and the in New York City.

Outdoor visual displays are conducted at the Urban Video Project.

New ideas about how academic and community arts programming and experiences are presented to a range of constituencies—students, faculty, staff and the general public—and as part of student experiential learning, teaching activities and individual entertainment and enjoyment resulted from a year-long planning process spearheaded by the , Traudt says.

Miranda Traudt

“This is much more than a name change. It’s a true rethinking of the arts at ���ϲ�����,” she says. “We purposefully considered how all the individual units and centers that are doing such fantastic work on their own could band together to have greater overall impact and visibility and to create wider local, regional, national and international awareness of these exceptional offerings.”

In addition to enhancing the visibility of the separate arts programs and centers, Arts at ���ϲ����� highlights how, grouped together, the units offer distinctive experiential learning opportunities for students that are typically available only at much larger national and international venues, Traudt says.

���ϲ����� Stage puts students and their artistic presentations at the center of downtown ���ϲ����� and hosts theater offerings that are enjoyed by all of Central New York.

“The ���ϲ����� Art Museum has one of the largest university-owned art collections in the country. La Casita, as a vital part of the ���ϲ����� Near West Side community, is the only Latin cultural center in this part of New York state. The Community Folk Art Center is a vibrant seat of community programming for people of all ages. Light Work’s renowned Artist-in-Residence Program has hosted more than 400 artists coming from every U.S. state and 15-plus countries. Urban Video Project is an important international venue for the public presentation of video and electronic arts and one of the few projects in the U.S. dedicated to continuous and ongoing video art projections. Exhibitions of nationally and internationally known artists hosted here mean you don’t have to travel to New York City to see that kind of artistic excellence.”

Elisa Dekaney

Elisa Dekaney, associate provost for strategic initiatives, makes this comparison. “We pride ourselves on the fact that the University’s study-abroad programs utilize their locations as classrooms. We say, ‘Florence is our classroom; London is our classroom’ because of what these cities offer in the arts and cultural experiences. But we can also say ‘���ϲ����� is our classroom’ because of the rich arts programming the University offers right here.”

Other goals defined in the strategic operating plan include serving as an international model of arts and humanities engagement for institutions of higher education; expanding community partnerships; growing reciprocal relationships with local, regional, national and international arts and strategic partners; increasing faculty, alumni and donor engagement with the arts programs and centers.

The is pleased to announce the 2024/25 season, consisting of six productions: “P����辱��” (Oct. 11 – 20), “Twelfth Night” (Nov. 15 – 23), “Rodgers & Hammerstein’s Cinderella” (Nov. 22 – Jan. 5 and co-produced with ���ϲ����� Stage), “A Walrus in the Body of the Crocodile” (Feb. 21 – March 9), “What the Moon Saw, or I Only Appear to Be Dead” (March 28 – April 6) and “Little Women” (May 2 – 10). All productions will run in the Storch Theatre, with the exception of “Rodgers & Hammerstein’s Cinderella,” which will be held in the Archbold Theatre. Tickets are available through the by phone at 315.443.3275 or in person at the ���ϲ����� Stage / SU Drama Complex, 820 East Genesee St.

“Each of these plays explores the fundamental question of how we become the person we are meant to become,” says Department of Drama Chair Ralph Zito. “Over the course of the season, an exciting combination of student, faculty and guest artists will bring their considerable talents to bear on a collection of stories both familiar and unfamiliar, examining them in fresh and exciting ways.”

Featuring music and lyrics by Grammy and Oscar-winning composer Stephen Schwartz with a book by Roger O. Hirson, “Pippin” opens the Department of Drama season this fall. Originally premiering on Broadway in 1972, “P����辱��” introduces audiences to a mysterious troupe of actors as they tell the story of a young prince setting off on a magical and miraculous journey to find his own “Corner of the Sky.” Directed by Torya Beard, who describes the production as an examination of “the ways young people interact with the tools they have” to “learn more about themselves,” this Tony Award-winning musical runs Oct. 11 to 20.

Up next is Shakespeare’s delicious comedy “Twelfth Night.” Set on the island paradise of Illyria, the play follows shipwrecked Viola as she befriends a duke, a lady and a parade of rascals while searching for her twin brother Sebastian, who was lost at sea. Disguised as the dashing Cesario, Viola becomes entwined in the island’s drama, discovering the power (and lunacy) of love in its many forms. Directed by Will Pomerantz, “Twelfth Night” runs Nov. 15 to 23.

Celebrate the holidays with this season’s annual co-production with ���ϲ����� Stage, “Rodgers & Hammerstein’s Cinderella,” with music by Richard Rodgers, book and lyrics by Oscar Hammerstein II and adapted for the stage by Tom Briggs from the teleplay by Robert L. Freedman. Forced to satisfy the whims of her cruel stepmother and stepsisters while dreaming of a better life, Cinderella is given a chance at happiness when a Fairy Godmother transforms her into a princess and whisks her to the Royal Ball. Featuring additional music from the 1997 television film starring Brandy and Whitney Houston, this “enchanted” production of the classic musical is directed by Melissa Rain Anderson, with music direction by Brian Cimmet and choreography by Jessica Chen, and will run Nov. 22 to Jan. 5.

The spring semester begins with “A Walrus in the Body of a Crocodile,” a zany, constantly evolving exploration of language, gender, and identity by MJ Kaufman. A lonely subway car, a crowded support group, a stifling writers’ workshop and a raucous frat house serve as the ever-changing backdrop in this nesting doll of a play about the identities we choose to share and the ones we’re forced to hide, even from ourselves. Directed by Daniella Caggiano, “A Walrus in the Body of a Crocodile” runs Feb. 21 to Mar. 1.

Next is “What the Moon Saw, or I Only Appear to Be Dead,” a fantastical collage of Hans Christian Andersen’s fairy tales told through a post-9/11 lens, by Stephanie Fleishman. Traveling to Shanghai to celebrate his 200th birthday, Andersen encounters mermaids, a street urchin, a supermodel, teenagers in love, a cabdriver, firemen and husks of humans who appear as ghouls in this “kaleidoscopic meditation on how we move through calamity” inspired by Andersen’s fragile, timeless tales. Directed by Danyon Davis, “What the Moon Saw” runs Mar. 28 to Apr. 6.

The season concludes with “Little Woman,” with a book by Allan Knee, lyrics by Mindi Dickstein and music by Jason Howland. Following the adventures of Jo, Meg, Beth, Amy and their beloved mother Marmee, this Tony Award-winning musical tells of the March sisters’ adventures during the American Civil War as they discover their passions, endure heartache, and find the courage to persevere in this ultimate coming of age story. Based on the celebrated novel by Louisa May Alcott and directed by David Lowenstein, “Little Women” runs May 2 to 10.

Five-play subscriptions are or by calling ���ϲ����� Stage Box Office at 315.443.3275. Subscribers have access to discounted tickets for “Rodgers & Hammerstein’s Cinderella” which is not part of 5-play subscription packages. Single tickets for all shows are also available.

DETAILS

“P����辱��”
Based on original story and characters by Damon Runyon
Music and lyrics by Stephen Schwartz
Book by Roger O. Hirson
Directed Torya Beard
Oct. 11-20

“Twelfth Night”
By William Shakespeare
Directed by Will Pomerantz
Nov. 15-23

“Rodgers & Hammerstein’s Cinderella”
Music by Richard Rodgers
Book and lyrics by Oscar Hammerstein II
Adapted for the stage by Tom Briggs
From the teleplay by Robert L. Freedman
Directed by Melissa Rain Anderson
Co-produced with ���ϲ����� Stage
Nov. 22 through Jan. 5

“A Walrus in the Body of the Crocodile”
By MJ Kaufman
Directed by Daniella Caggiano
Feb. 21 through March 1

“What the Moon Saw, or I Only Appear to Be Dead”
By Stephanie Fleishman
Directed by Danyon Davis
March 28 through April 6

“Little Women”
Book by Allan Knee
Lyrics by Mindi Dickstein
Music by Jason Howland
Directed by David Lowenstein
May 2-10

This annual celebration provides opportunities for students, faculty and staff to learn about the history, culture and contributions of Americans whose ancestry can be traced to over 20 Spanish-speaking countries in Latin America, including Mexico, Central and South America and the Caribbean, as well as international students who hail directly from these countries and contribute to our rich and diverse campus.

Members of RSO La LUCHA at the 2023 Latine Heritage Month information fair (Photo by Marilyn Hesler)

“We, as the Latine Heritage Month committee, have engaged with countless campus partners, recognized student organizations and Greek life to create a dynamic Latine Heritage Month that encompasses the cultures of the Latine community here at ���ϲ�����,” says Cydavia Patterson, program coordinator at the , department co-chair for this year’s festivities. “Our hope with Latine Heritage Month is to establish a unified network of resources, information and community, highlighting the Latine community at ���ϲ�����.”

The theme of this year’s Latine Heritage Month celebration on campus is “Fronteras Sin Limites: Embracing our Borderless Cultures.” The planning committee and its partners centered events on exploring the experiences of Latine communities who live along and across borders, both physical and cultural, and highlighting the resilience and adaptability of the Latine community who navigate multiple identities and spaces.

Highlights of this year’s celebrations include:

• An , in the Schine Student Center atrium. Kicking off at 2 p.m., there will be tabling by recognized student organizations (RSOs), special performances and more. (Co-sponsored by Student Association)
• The 6th annual (soccer tournament), to be held at the Women’s Building Field on Saturday, Sept. 21; teams can through Sept. 18. (Co-sponsored by the Barnes Center at The Arch, South American and Latine Student Association and Lambda Theta Alpha)
• , a joyful and inclusive student/faculty mixer featuring delicious handcrafted mocktails inspired by diverse Latine cultures, at the Barner-McDuffie House on Thursday, Sept. 26. (Co-sponsored by the Office of Diversity and Inclusion and Caribbean Students Association)
• Arts and cultural exhibitions, including “WEIRD Barrio” by ���ϲ�����-based Puerto Rican artist Manuel Matías (opening at La Casita Cultural Center) and featuring more than 60 pieces from The Artist Book Collection (opening Oct. 11 at Punto de Contacto-Point of Contact).
• Live DJ sets, panel discussions, roller skating, comedy, paint night and more!

Visit the for the full lineup and links to further information on each event.

Players at the 2023 Torneo de Fútbol (Photo by Julie Herman)

The planning and coordination of Latine Heritage Month is led by BIPOC Student Success, Programs and Services and Student Association. Co-sponsors include , , , , , , , , and .

Additional programming support is offered by University Union, South American and Latine Student Association, Delsol Magazine, National Association of Hispanic Journalists-���ϲ����� Chapter, Latin American Law Student Association, CitrusTV Noticias, Latino-Latin American studies program in the College of Arts and Sciences, College of Law, Maxwell School of Citizenship and Public Affairs and several external academic contributors.

The 2023 Latine Heritage Month opening ceremony (Photo by Marilyn Hesler)

Eduardo Kac

, an internationally recognized contemporary artist and poet, will speak on��, at 4:30 p.m. in the Life Sciences Complex atrium. His talk, “Rockets for the Sake of Poetry,” will feature highlights of his 40-year artistic career, his development of bio art and insights about his space artworks. This year’s lecture is hosted by the and its research focus group.

‘Bio Art’ Developer

Kac uses biotechnology and genetics to create and explore scientific techniques. In the early 1980s he created digital, holographic and online works that anticipated today’s global culture of information that is constantly in flux. In 1997, he coined the term “bio art,” which launched a new art form.

“GFP Bunny,” a rabbit bred to glow a fluorescent color under special lights

Among his famous works are the transgenic rabbit , for which he used and a jellyfish protein to create a live rabbit that glows a fluorescent green color under blue light.��In “,” he combined his own��DNA with that of a petunia flower to form a new “plantimal.”

“Natural History of the Enigma,” transgenic flower with artist’s own DNA expressed in the red veins

His pieces have been shown around the world and, in one��instance, out of this world: his , “,” was . Kac’s “” was also realized in outer space with assistance from French astronaut Thomas Pesquet.

His career also spans poetry, performance, drawing, printmaking, photography, artist’s books, early digital and online works, holography, telepresence and space art. He is a professor of art and technology at the and a Ph.D. research fellow at the Centre for Advanced Inquiry in Interactive Arts at the University of Wales in Newport, Wales.

BioInspired Focus

As an institute for material and living systems, BioInspired hosts researchers who examine topics in complex biological systems and develop and design programmable smart materials to address global challenges in health, medicine and materials innovation. They include faculty, undergraduate and graduate students, and postdoctoral scholars from life sciences, engineering, physics and chemistry who work in three focus areas: �� and��

Last year, the institute added a fourth focus area, Posthumanities: Arts and Sciences, to push the boundaries of traditional scientific inquiry through activities and collaborations between the arts and humanities and the science-based disciplines.

The Posthumanities’ focus area coleaders, Boryana Rossa, of the College of Visual and Performing Arts, and G. Douglas Barrett, of the S.I. Newhouse School of Public Communications, spearheaded the proposal to invite Kac as the 2024 Wali Lecture keynote. They worked with BioInspired leaders Jay Henderson, institute director; Heidi Hehnly-Chang, associate director, and Jeremy Steinbacher, operations director.

The Wali Lecture represents a partnership of the Department of and the ���ϲ����� . It is part of the 2024-25 ���ϲ����� Symposium “.”

Kameshwar C. Wali

The lecture was established in 2008 by his daughters to commemorate Wali’s vision and leadership to recognize their parents’ dedication and contributions to the University and the greater community. Wali was the Steele Professor of Physics Emeritus in the College of Arts and Sciences and internationally recognized as a theorist for research on the symmetry properties of fundamental particles and their interactions, as well as for his work as an author. He joined the University in 1969. He previously was at Harvard and Northwestern Universities, the University of Chicago, Ben-Gurion University of the Negev in Israel, Institut des Hautes Études Scientifiques in France and the International Center for Theoretical Physics in Italy. As a fellow of the American Physical Society, whose India Chapter named him Scientist of the Year in 2022, he received ���ϲ�����’s Chancellor’s Citation for exceptional academic achievement and was one of the founding members of the .

Selected from submissions made at the foundation’s annual application deadline in February 2024, these projects—exhibitions, publications and other public presentations—expand understanding, methods and platforms of contemporary architecture discourse and feature work by architects, archivists, artists, curators, designers, educators and other professionals working with organizations worldwide in cities such as Johannesburg, Cape Town, Pittsburgh, New Orleans, Nashville, Athens, New York and Chicago, where the Graham Foundation is based.

‘Ethical Narratives: Essays by Richard Ingersoll (1949–2021)’

Richard Ingersoll

School of Architecture faculty , associate professor (lead editor), and , architecture field studies coordinator at ���ϲ����� Abroad Florence; along with , and have been awarded funding to support their publication, “Ethical Narratives: Essays by Richard Ingersoll (1949–2021).”

The book, under contract with Actar Publishers, assembles key texts, drawings and images by and of Richard Ingersoll, the prominent architectural historian, critic and educator who wrote prolifically for the world’s leading architectural publications from the 1980s until his passing in 2021.

Ingersoll was a rare voice in the field, admired for his global and ethical perspective that relentlessly challenged architects and students to consider the environmental and social impacts of their work. He rigorously contextualized his topics within larger historical and cultural frameworks, tying them to today’s pressing ecological and political imperatives.

“Ingersoll’s writing was characterized by its gentle persistence and foresight, setting him apart in his field. This book seeks not only to capture his nimble intellect but also aims to underscore the creative, playful and generous aspects of his life and personality,” says Davis.

This compilation of more than 30 of Ingersoll’s most impactful texts (selected from over 350 essays and lectures) are organized thematically, centered on Ingersoll’s primary polemics, including social justice and climate change. Observations and recollections offered by his colleagues, friends and students, including Margaret Crawford, Luis Fernandez-Galiano, Liane Lefaivre, Pippo Ciorra and others, offer additional insight into the extraordinary man behind the words.

Richard Ingersoll, “Istanbul,” ca. 1982. Watercolor on paper, 18 x 12 inches (Photo courtesy of the Ingersoll Estate)

“Professor Ingersoll, a long-time faculty member of our Florence program, was an impressive intellectual figure and this collection of essays—which also includes reflections by some of the most important architects and critics in contemporary architecture—will be of great interest to anyone interested in architecture’s ethical and political impact on late 20th and early 21st century culture,” says Michael Speaks, dean of the School of Architecture.

“Congratulations to Associate Professor Lawrence Davis and the entire team of architects and editors on receiving a prestigious Graham Foundation organizational grant to support the publication of this important collection of essays by Richard Ingersoll,” says Speaks.

“Our international editorial team is extremely grateful for this vital funding from the Graham Foundation,” says Davis. “The book editors would also like to thank Caroline Bowling, graduate research and design intern, for her ongoing work and Dean Speaks for his support.

The new grantees join a worldwide network of organizations and individuals that the has supported over the past 68 years. In that time, the Foundation has awarded more than 44 million dollars in direct support to over 5,100 projects by individuals and organizations around the world.

Directed by School of Education Professor , Breedlove Readers encourages girls ages 13 through 17 to celebrate black girl stories through reading, writing and creating in the community.

For the , the club will explore ideas around identity and coming-of-age, two themes that the Art Museum addresses in its latest exhibition, “.”

Book club participants will read a novel that resonates with the life and works of Gordon Parks—a pioneering Black photographer, poet and musician—and then visit the Art Museum to explore connections between the novel and his photographs.

As a photographer, Parks worked in a variety of styles, including fashion photography, celebrity portraiture and social justice subjects. Parks famously called his camera a “tool of social consciousness” and a “weapon against poverty, against racism, against all sorts of social wrongs.” The exhibition includes photographs from Parks’ full body of work, which spans decades of his career.

About the Breedlove Readers Fall 2024 Program

• Meeting Dates: Saturday, Nov. 2 (���ϲ����� Art Museum) and Saturday, Dec. 7 (���ϲ����� MakerSpace)
• Applications close Tuesday, Oct 1. .
• Space is limited to 10 participants per cohort, ages 13-17.
• All programming is free of charge.
• Transportation is available.
• If accepted, participants must commit to attending all meetings.

“We’re kicking off this season with rollicking comedy,” says Robert Hupp, artistic director for the production. “We thought this was the best possible choice to welcome back audiences to ���ϲ����� Stage. Nobody does comedy better than The Second City because every show is different: From their greatest hits sketches to on-the-spot improv, the audience gets to join in the fun at every performance. We invite folks to take a break from their routine and join us for a good laugh at ���ϲ����� Stage.”

Directed by Marla Cáceres with music direction by Kai Elise, “The Second City 65th Anniversary Show” features songs, sketches and characters written by some of Second City’s illustrious alumni—including Tina Fey, Keegan-Michael Key, Stephen Colbert, Bill Murray, Eugene Levy and many more—and is brought hilariously to life by an all-star ensemble including Tina Arfaee, Cat McDonnell, Zoe McKee, Bill Leitz, Preston Parker and Cassidy Russell.

Rooted in the groundbreaking improvisational games pioneered by Viola Spolin, The Second City opened its doors on a snowy Chicago night in December of 1959, and a comedy revolution began. Today, The Second City is a world-class entertainment company—with a touring company, training programs and live theatres in Chicago, Toronto and New York City—and continues to be at the forefront of improv and sketch comedy while bringing laughs to more than one million audience members a year.

Evening performances begin at 7:30 p.m. while all matinee performances begin at 2 p.m. Performances on Friday, Sept. 27 and Saturday, Sept. 28 begin at 6:30 p.m. with a second show scheduled for 9:30 p.m. Tickets start at $30 with discounts available for students and groups. Tickets may be purchased online at , by phone at 315.443.3275 or in person at the ���ϲ����� Stage Box Office. Pay-What-You-Will performances for “The Second City 65th Anniversary Show” are Sept. 18-29 inclusive; Trivia Night, hosted by “Jeopardy!” champion Dillon Hupp will take place on Thursday, Sept. 19, before the 7:30 p.m. performance; and a Happy Hour event on Thursday, Sept. 26, prior to the 7:30 p.m. performance. ���ϲ����� Stage has its ASL-interpreted performance scheduled for Saturday, Sept. 28, at 6:30 p.m.

“The Second City 65th Anniversary Show”

Directed by: Marla Cáceres
Music direction by: Kai Elise
Stage management by: Indigo Coar

Cast (in alphabetical order)

• Tina Arfaee
• Cat McDonnell
• Zoe McKee
• Bill Letz
• Preston Parker
• Cassidy Russell

Understudies

• Zoe Agapinan
• Holly Barras
• Deb Duncan
• Eric Greenbaum
• Dani James
• Maz Lazerine
• Katie Dreher

Sinead Feeney O’Connor performing in her class’s production of A Midsummer Night’s Dream.

When enrolling in an English class about Shakespeare, you might imagine that the course will involve reading, writing and discussing the famous playwright and his plays. In professor of English�� class, ENG 411: Doing Shakespeare, which was offered in Spring 2024, this was just the beginning. Shirilan wanted students to explore for themselves how theatrical practice and production generate different modes of inquiry than text study alone. By engaging in hands-on and active learning, the experience aimed to enhance students’ problem-solving abilities, boost their confidence and encourage their creativity—soft skills which are crucial for success after graduation.

“The idea of the course, simply, is that students learn Shakespeare by ‘doing Shakespeare,’” says Shirilan. “I issued an invitation to make of this course what they willed, and what they willed was a full production of a play chosen, as we strove to do with every decision, collectively.”

Learning by Doing

Shirilan’s inspiration for this course draws from the educational technique of “learning by doing,” a teaching methodology where students retain information through active learning and hands-on experience. In “Doing Shakespeare,” students were presented with a full range of options for the scale and scope of production to pursue.

“They chose to mount a full show, or aim towards it, understanding that we would be working collaboratively and distributing the labors across as many hands as were able and willing,” says Shirilan. “Everyone was involved in multiple areas of production. Everyone acted, most students took responsibility for a production element, including props, costume and sound design.”

Together the students conceived of, organized and performed a full theatrical production of Shakespeare’s “A Midsummer Night’s Dream.” The crew, many of whom had little to no prior theater experience, included Tate Abrahmason, Maurissa DEmello, Sinead Feeney O’Connor, Anderson Fuentes, Valerie Goldstein, Eva Greene, Victoria Lafarge, Jenny Lee, Ailis McVearry, Blair Seaman, Alexandra Steward and Cricket Withall.

Before moving into production, students spent the first half of the semester largely devoted to text study, table work, vision work and research. During the second half of the semester, the team went into production mode, blocking, rehearsing and producing the play. The semester concluded with a full theatrical performance at ���ϲ����� Stage.

Professor Stephanie Shirilan reviewing the script during a rehearsal.

Wearing Many Hats

“Doing Shakespeare” offered students a unique opportunity to have a hand in every aspect of the performance, from design to direction.

Valerie Goldstein ’24, who majored in policy studies in the College of Arts and Sciences | Maxwell School of Citizenship and Public Affairs and minored in applied data analytics in the School of Information Studies, went into the experience thinking it would mostly involve acting, but was delighted to discover the wide range of skills she would ultimately utilize.

“I played Bottom and Oberon and was an assistant director, producer, projections designer and did other odd jobs like creating the daily rehearsal schedule, carpool system and tech to-do lists,” says Goldstein. “There were so many lessons in problem-solving and actually following through and creating something that I never would have learned in a traditional classroom.”

After graduation, Goldstein accepted a position with��. As she embarks on a career in teaching and education policy, she says taking part in a course involving performance-based learning—where students apply their knowledge and skills to execute a task—will inform her own instructional techniques.

Valerie Goldstein (right) playing the role of Bottom during the class’s performance of A Midsummer Night’s Dream.

“I think there are better ways to engage students than having them study something abstractly all the time,” says Goldstein. “This class gave me an opportunity to explore a new pedagogy that I may be able to implement in my own profession.”

Blair Seaman ’24, who majored in broadcast and digital journalism in the Newhouse School of Public Communications, was an assistant director and played Titania and Hippolyta in the production. Rounding out her time at ���ϲ����� with an acting role in a Shakespeare play marked a full circle moment for her as she had previously participated in a children’s Shakespeare troupe in her hometown.

“The theater had a huge impact on me deciding to come to ���ϲ����� to study journalism, as I wanted to fuse my love for storytelling with a passion for helping others,” says Seaman. “As much as I loved my degree, I had truly missed performing, and so, I eagerly jumped at the chance to take a class called ‘Doing Shakespeare.’”

She notes that the class was the perfect way to end her four years at ���ϲ�����, and on a more personal level, provided an opportunity to memorialize her mother, who passed away when Seaman was a sophomore at ���ϲ�����.

“[My mother] always sat front row in every production I had previously been a part of, and in a way, it felt like a gift to her to perform in one last show,” Seaman says. “As I said goodbye to my college experience, I was able to return to a passion of mine that was built up through her love.”

Honoring a Classmate

While the performance marked a time to celebrate the culmination of the team’s hard work, it also presented a moment to honor a classmate who gave so much to the production but was unable to participate in the finale due to health reasons. Ailis McVearry ’24 assumed various duties during the semester, from working as an assistant director to head of costuming to starring as Oberon and Theseus.

In support of their classmate, students collected contributions and donated proceeds from the final performance to defray transportation and other costs related to her care.

“Our final production honored her and the beautiful work she poured into this class both on and off the stage,” says Shirilan. “We hope that the money we raised can be used to provide comfort to her during this difficult time, assisting with medical bills and other essentials.”

A Performance for the Ages

According to Shirilan, the culminating performance marked a milestone for the English department and the College of Arts and Sciences (A&S), as it was likely the first full theatrical performance put on by an A&S class at ���ϲ����� Stage. A testament to their hard work, shows were nearly sold out before opening night.

“The final performance was truly a triumph,” recalls Shirilan. “I was consistently amazed by the insights and discoveries made through this process, a success that reflects the astonishing commitment, capability and courage of this team.”

With the high level of interest shown by students for this class, Shirilan is exploring possibilities for expanding the course as a 6-credit offering to facilitate running it as another full production experience. She is scheduled to teach it in Spring 2025 as a 3-credit course, for which students will collectively decide the scope and scale of production.

Watch the class’s performance of “.”

“WEIRD Barrio” depicts the Latino barrio experience in intricate detail. At its core, it is a testament to the power of storytelling and visual representation in shaping collective identity and fostering a sense of belonging within marginalized communities. By intricately depicting familiar settings, Westside neighborhood streets, community buildings, home environments and conceptual representations of a unique and distinctive character, Matías invites viewers to immerse themselves in the rich tapestry of life in the barrios, capturing the essence of kinship and cultural pride that define these neighborhoods.

“WEIRD Barrio” (Photo by Daniela Dorado)

This project actively engaged with local youth through a series of summer artmaking workshops facilitated by Matías. Some of these pieces, created by children at La Casita and at the Everson Museum, will also be part of the show.

“The Westside reminds me a lot about the barrios where I grew up, between Mayagüez, Puerto Rico and the Lower East Side in New York City, ” says Matías. “I love working in miniature scale and seeing how something so tiny can have such a huge impact, like our barrios and our children. I want them to know how much they are valued and how unique and beautiful they are.”

This program is part of the 2024-25 ���ϲ����� Symposium on “Community” co-produced with . Support for the WEIRD Barrio youth summer workshops at La Casita comes from the Jim and Juli Boeheim Foundation.

“WEIRD Barrio” will be on view through April 2025.

Story by Daniela Dorado

“WEIRD Barrio” (Photo by Daniela Dorado)

Nicholas Mueller, “Untitled, Marseille,” 2022. Courtesy of the artist

In this exhibition, Muellner offers up photographs depicting people pantomiming in a verdant landscape made complex with surreal lighting; these images are paired with an issue of Contact Sheet that serves as a guidebook to the exhibition. The text in Contact Sheet is wryly poetic and succinct, and loosely leads us from picture to picture. “Asea” takes us somewhere without making its destination specific, setting a tone and mood that guides our desire for meaning but refuses to precisely locate it.

The exhibition conveys a type of suspended drama via an installation that divides the gallery into two rooms, creating an atmosphere in which viewers float, both in space and time. The majority of the portraits are of people connected to the maritime economy and all of the photographs were made in a landscape or setting that the subjects live in: Marseille, Odesa, Milan, Long Beach. The subjects gesture toward the camera, holding the invisible tools of their respective trades, and suggesting an estrangement from their concrete identities.

With “Asea,” Muellner projects a state of limbo and a search for personal meaning within photography’s inevitable narrative limits. We are asked to ponder alone, in a subjective state that is not fixed but which hovers within the parameters established by the photographs and text. Ultimately, we engage with “Asea” because it is at once thoughtful, beautiful and curious.

Artist Bio

Muellner is an artist and writer whose books include “Lacuna Park: Essays and Other Adventures in Photography,” “The Amnesia Pavilions” and “In Most Tides an Island,” which was shortlisted for the Paris Photo–Aperture PhotoBook Award and named a Best Book of the Year in Artforum. In addition to solo exhibitions in the United States and Europe, his writing has been published by MACK/SPBH, Aperture, Radius, Triple Canopy, Foam, and Routledge, among others. Muellner has performed slide lectures internationally, including at MoMA PS1, Carnegie Museum, The Photographers’ Gallery and the Museum of Contemporary Photography. His work has been supported by a 2018 Guggenheim Fellowship in Photography, a John Gutmann Fellowship and residencies at the MacDowell and Yaddo colonies. Muellner received a B.A. in comparative literature from Yale University and an M.F.A. from Temple University. He is the founding co-director of the Image Text MFA and ITI Press at Cornell University.

Erin Cuevas

The has announced that architect Erin Cuevas is the Harry der Boghosian Fellow for 2024-25. Cuevas will succeed current fellow, Christina Chi Zhang.

The Boghosian Fellowship at the School of Architecture—established in early 2015 in memory of Harry der Boghosian ’54 by his sister Paula der Boghosian ’64—is a one-of-a-kind program designed to give emerging independent creatives the opportunity to spend a year developing a body of design research based on an area of interest while teaching at the School of Architecture.

Fellows play a significant role at the school by enhancing student instruction and faculty discourse while supporting both research and the development of research-related curriculum valuable to architectural education and the discipline.

During the 2024-25 school year, Cuevas will teach an architecture studio and two professional electives focusing on her research project, Redefining Performance, which aims to advance independent, progressive and emerging design practice, stretching architecture into adjacent artistic realms and localities, bridging disciplines and communities alike. Students will push boundaries of animated mixed media representation and discover design opportunities within the unique Venn diagrams of their own interests.

‘Redefining Performance is a growing body of scenographic practice at the intersection of performance art, interactive digital media and architectural installation, participating in the evolution of theater into immersive experiences that blur the line between audience and performer,” says Cuevas. “The interdisciplinary and highly collaborative nature of the research embodies collective creativity and thought exchange between diverse participants across phases of researching, designing, capturing and experiencing the work.”

Like the eight previous Boghosian Fellows, Cuevas will work closely not only with faculty and students at the School of Architecture but will also explore interdisciplinary collaborations within the University and its various centers and colleges. Her research will culminate in a participatory public performance, expanding the School of Architecture beyond traditional bounds of the studio environments, activating spaces on campus, and engaging students, faculty and local artists and communities in a collective scenography.

Dismantling the privileged view in lieu of a shared stage, advances the inclusive potential of scenography by employing storytelling of underrepresented voices, site-specific public community events and accessible emerging technology. Often in collaboration with Jana Masset Collatz, as part of their co-founded design practice, CMLA, Cuevas’s work has been showcased in venues such as L.A. Dance Project Studios, the A+D Architecture and Design Museum, ACADIA and Architektur Galerie Berlin. Her practice has also received recognition through residencies, grants and published work spanning disciplines, including the Northwest ByDesign Film Festival, Cultured Magazine’s Young Architects list, Goldsmiths’ motion capture residency program and the World Stage Design conference, where CMLA received the first-place design award in 2022.

Prior to joining ���ϲ����� Architecture, Cuevas was the director of global retail story design at Nike Inc. in Beaverton, Oregon, where she provided design direction of new global retail and seasonal concepts—most recently focusing on the installation for the 2024 Olympic Games. She received a graduate degree with distinction from the Harvard Graduate School of Design, and a bachelor’s degree from the University of Southern California (USC). Cuevas taught architecture and digital media at the USC School of Architecture from 2017-2022.

“Having followed the work of Boghosian Fellows over the past years, I am inspired by the program’s dedication to elevating diverse emerging talent and fostering new perspectives in the field of architecture,” says Cuevas. “The Boghosian Fellowship is an opportunity for me to expand the traditional architectural discipline through a unique and highly personal concert of elements—dance, architecture, storytelling and creative technology.”

The Boghosian Fellowship has helped the School of Architecture attract the best and the brightest emerging professors. Previous fellows include Maya Alam (2016-17), Linda Zhang (2017-18), James Leng (2018-19), Benjamin Vanmuysen (2019-20), Liang Wang (2020-21), Leen Katrib (2021-22), Lily Chishan Wong (2022-23) and Christina Chi Zhang (2023-24).

To learn more about the Harry der Boghosian Fellowship, the .

Gordon Parks, “Mrs. Jefferson,” from the series Fort Scott Revisited (Photo courtesy of The Gordon Parks Foundation)

“Homeward to the Prairie I Come” features more than 75 of Parks’ images, examining his wide-ranging artistic ideas. The exhibition not only includes Parks’ documentary photography such as the series Paris Fashions, Fort Scott Revisited and The Redemption of the Champion��(featuring images of Muhammed Ali), but also his thoughts on photography as a fine art medium and his engagement with celebrated paintings and sculptures.

Most significantly, the photographs instigate cultural change by challenging viewers to imagine a more inclusive culture than the one they know: a world where Black skin represents ideal beauty, where an African American athlete embodies the exemplary hero and where an artist of African heritage has a place within the lineage of excellent artists in Western art history.

“This exhibition leverages the power of art to catalyze dialogue about the wide range of issues that Parks engaged with in his photography, from systemic racism to the labor and ethics of the global fashion industry to ideas of celebrity and home,” says Melissa Yuen, the ���ܲ���ܳ�’s interim chief curator.

Interim director of the museum Emily Dittman says, “Gordon Parks was a visionary interdisciplinary artist whose work had a lasting impact on the world. His dedication to continually tell the stories of individuals that were—and still are—too often hidden and overlooked is clearly evident and inspiring throughout his artistic work.”

In this spirit, the museum is taking steps to creating an accessible, diverse and multilingual space for all communities and families. The interpretive text in the exhibition is bilingual, providing both English and Spanish text for visitors, large-type text will be available and a family guide is provided to help youth and families explore the exhibition. An open access digital exhibition catalog for the exhibition will be available for visitors in the reflection area, as well as reading materials on Gordon Parks and his multifaceted career. The exhibition will be accompanied by a dynamic slate of public programming, all free and open to the public.

Co-curated by Aileen June Wang, Ph.D., curator, and Sarah Price, registrar, at the Marianna Kistler Beach Museum of Art, Kansas State University, the tour is organized by Art Bridges. The exhibition and related programs have been made possible by generous support from Art Bridges, the Wege Foundation and the Humanities Center (���ϲ����� Symposium).

About the Artist

Parks, one of the greatest photographers of the twentieth century, was a humanitarian with a deep commitment to social justice. He left behind an exceptional body of work that documents American life and culture from the early 1940s into the 2000s, with a focus on race relations, poverty, civil rights and urban life. Parks was also a distinguished composer, author and filmmaker who interacted with many of the leading people of his era—from politicians and artists to athletes and celebrities.

Born into poverty and segregation in Fort Scott, Kansas, in 1912, Parks was drawn to photography as a young man when he saw images of migrant workers taken by Farm Security Administration (FSA) photographers in a magazine. After buying a camera at a pawn shop, he taught himself how to use it. Despite his lack of professional training, he won the Julius Rosenwald Fellowship in 1942; this led to a position with the photography section of the FSA in Washington, D.C., and, later, the Office of War Information (OWI). Working for these agencies, which were then chronicling the nation’s social conditions, Parks quickly developed a personal style that would make him among the most celebrated photographers of his era. His extraordinary pictures allowed him to break the color line in professional photography while he created remarkably expressive images that consistently explored the social and economic impact of poverty, racism, and other forms of discrimination.

Featured Events

• Opening Reception and Keynote—Sept. 6, 4-6:30 p.m.; keynote: 4-5 p.m., 160 Link Hall; reception: 5-6:30 p.m., ���ϲ����� Art Museum
• The Duke Ellington Orchestra presented in partnership with the Malmgren Concert Series—Sept. 22, 4 p.m.; Hendricks Chapel, with reception to follow at the ���ϲ����� Art Museum
• Community Screening of “Shaft” (1971), directed by Gordon Parks—Oct. 4, 7 p.m.; The Westcott Theater, 524 Westcott St., ���ϲ�����
• Community Day—Oct. 5, noon-4 p.m.; ���ϲ����� Art Museum
• Art Break: Gordon Parks with Nancy Keefe Rhodes—Oct. 16, noon;�����ϲ����� Art Museum
• Celebrating the Legacy of Gordon Parks—Nov. 9, noon-4 p.m.; ���ϲ����� Art Museum;��1 p.m.: Art Break with contemporary photographer Jarod Lew; 2:30 p.m.: screening of “A Choice of Weapons: Inspired by Gordon Parks” (2021)
• Gordon Parks Community Gathering/Showcase—Dec. 7, timing TBD;��Deedee’s Community Room, Salt City Market, 484 S. Salina St., ���ϲ�����

Visit the for event information. Members of the media may contact Emily Dittman, interim director of ���ϲ����� Art Museum, for more information or to schedule a tour.

[Featured image: Gordon Roger Alexander Buchanan Parks, “Mrs. Jefferson,” from the series Fort Scott Revisited, 1950, printed in 2017, gelatin silver print, 20 x 16 inches. Kansas State University, Marianna Kistler Beach Museum of Art, gift of Gordon Parks and the Gordon Parks Foundation, 2017.373. Image courtesy of and copyright by The Gordon Parks Foundation]

The album contains George Gershwin’s “An American in Paris” and “Rhapsody in Blue,” along with two pieces commissioned in remembrance of those who perished in the bombing, including 35 ���ϲ����� students.

The Wind Ensemble is the University’s premiere concert wind organization. Possessing an extensive history that includes a series of internationally distributed recordings, the ensemble, conducted by Professor and Associate Professor in the ’ Setnor School of Music, has commissioned dozens of works.

The Wind Ensemble performed the recently commissioned pieces, “Energy and Light” by , assistant professor in the Setnor School of Music, and “Angels Rising” by , during its 2023 United Kingdom Remembrance tour, held in observance of the 35th anniversary of the bombing.

“The scale of that disaster is incredibly humbling and haunting for our community,” says composer Draper. “In addition to mourning those who were lost, it is important to remember that each of the students had a vibrant life that should also be celebrated. With that in mind, I decided to write a piece that was about energy and light—two direct components of what it means to be alive.”

Following Draper’s piece, the listener journeys through the four sections of “Angels Rising”—lament, chorale, ascent and prayer. The work ends with the everlasting question of existence, composer Ticheli notes.

The final album piece, “Rhapsody in Blue,” featuring pianist associate professor and director of the Setnor School of Music, takes the listener back in time.

“This recording, celebrating the centennial of its composition, depicts what was likely heard by the audience packing New York City’s Aeolian Hall on Feb. 12, 1924, when ‘Rhapsody in Blue’ had its premiere with Paul Whiteman’s Palais Royal Orchestra and Gershwin himself at the piano,” says Laufer.

The Navona Records release will be available in both stereo and Dolby Atmos immersive audio formats. It will be accessible for streaming on Apple Music, Tidal and Amazon Music.

Story by Mikayla Heiss

Green Teaching Summit attendees gathered beside the lake at Minnowbrook Conference Center in the Adirondacks.

Can religion, philosophy, history, English and writing help tackle issues of climate change, environment and ecology? Absolutely, says , professor of English and outgoing William P. Tolley Distinguished Teaching Professor in the Humanities. Through his Tolley professorship, a role designed to support enhancement of the pedagogical experience and to boost effectiveness in the classroom, he made it a goal to show how the humanities subjects are vital to helping society understand and respond to today’s complex ecological challenges. Here are just four of many ways humanists are engaged in research relating to climate:

A. More Than Just a Map: While maps depict selected data about a place, humanists play a key role in translating and communicating what maps say about power, representation and climate urgency—crucial insights for leaders making decisions about the allocation of resources and implementation of policies.

B. Losing Languages: Climate change doesn’t just affect the physical world. It affects human culture too. When climate change causes people to leave their homeland, they often also lose their language. Through the study of language endangerment, humanists examine the causes, processes and consequences of languages becoming extinct and work on ways to preserve them.

C. Religion and Ecology: Religion scholars might explore the environmental consequences of festivals and pilgrimages that draw millions of people to a concentrated area. Or, research on sacred texts can delve into how the texts shape environmental consciousness in different faith traditions, highlighting political issues and raising doctrinal concerns.

D. Human-Animal Entanglement: Bestiaries, or works about mythical animals, can spark discussions about human-animal entanglements in different countries and contexts.

A main component of Goode’s professorship was highlighting opportunities for faculty and staff across campus to share resources to help students respond to the implications of the climate crisis and to think ecologically.

Inspired in part by the success of a collaboration with the ���ϲ����� Art Museum where Goode teamed up with staff and students to explore the ways in which objects and artworks in the ���ܲ���ܳ�’s collection could be utilized as , he wanted to see how others at the University could forge partnerships to elevate their own research and teaching around ecology. In May, he convened a team of faculty from numerous humanities disciplines at the Green Teaching Summit at University’s Minnowbrook Conference Center in the Adirondacks. The three-day conference provided a space for scholars to discover shared interests and forge collaborations, set in a location that itself is ecologically vulnerable.

Arts and Sciences Communications (A&S) sat down with Goode to talk about his motivation for the summit and how the humanities play a crucial role in sparking ecological discussions.

Why is now such a critical time for humanists to focus on ecology and climate?

When doing my English Ph.D. in the early 1990s, I remember one of my professors, Homi Bhabha, declaring that whatever our training and expertise in the humanities, every humanities course would soon need to engage in some way with the histories of colonialism and empire. His comment encountered considerable audience skepticism at the time, but it turned out to be prophetically accurate. We’re facing a similar turning point in the humanities. Whatever our training or expertise, we are likely less than a decade removed from a time when every one of our courses will need to engage with ecology, climate and environmental justice in some way. As the Tolley Professor, I focused on trying to help the humanities at ���ϲ����� lean into this coming shift and to increase their visibility on campus for doing so.

In between presentation sessions, faculty mingled with one another to discuss collaborations on the shores of Blue Mountain Lake.

What was the inspiration for the Green Teaching Summit?

Since the Tolley professorship is charged with expanding and improving humanities teaching, I wanted the summit to be a humanities-focused event with faculty from various environmental disciplines. I wanted as many of the most recently hired tenure-track humanities faculty as possible to attend along with staff who could highlight ways to further leverage campus resources, so the next generation of humanities scholars are empowered with the critical perspectives necessary to help raise awareness, inspire action and help shape policies that are socially just and culturally sensitive.

What do you hope that faculty can take away from this experience?

I had three goals:

1. Have people on campus who already teach in these areas connect with one another, describe what they do in the classroom, learn more about how different subjects get taught from different disciplinary vantage points and plant the seeds for future initiatives and collaborations.
2. Highlight campus resources, centers and offices with which to collaborate on experiential learning, student success and professional development related to ecology, climate and environmental justice concerns.
3. Bridge generations, connecting the newest tenure-track hires in the humanities at ���ϲ����� to senior faculty on campus already teaching and researching in these areas, so we could mutually inspire, learn from and collaborate with each other moving forward.

What are the benefits of having a group of scholars (and administrators) come together at a summit like this? Do you think that the setting was/is particularly important?

One bit of feedback I have received repeatedly from attendees is that they did not realize just how many other people on campus were teaching in these areas and were thrilled to meet faculty with shared interests who they might not have met otherwise. The Adirondacks setting, however aesthetically pleasing, also probably contributed to a sense of urgency, since some of the weekend’s talks touched on the region’s ecological vulnerability and its connection to histories of environmental injustice through Native American displacement and dispossession.

Understanding that you are wrapping up the two-year Tolley professorship this summer, what do you hope the legacy or potential of the Green Teaching Summit will be at SU?

I’d love it if a dedicated environmental humanities chair could be created on campus to continue expanding and sustaining this kind of environmental humanities-focused programming, network-building and resource-sharing. We need people and resources to spearhead more humanities-centered working groups and to develop new campus collaborations related to ecology and climate. The Art, Ecology, and Climate Project (that I founded while Tolley Professor) is already being used in many different instructional contexts on campus, and I hope that it can eventually be grown to include holdings at repositories like SCRC and the Belfer Sound Archive. Unfortunately, climate change is the shared future of all of us, and every single faculty member needs to be positioned instructionally to grapple with it. I certainly hope that the newest humanities faculty on campus walked away from the summit energized to lean into that project more in their own teaching moving forward.

For more on the Green Teaching Summit, visit the .

George Saunders

Not one, not two, but three books by bestselling author and professor of English were included in The New York Times list of .

Saunders, who teaches in the creative writing M.F.A. program in the College of Arts and Sciences (A&S), was joined on the list by three former M.F.A. faculty: Junot Diaz, Mary Gaitskill and Sigrid Nunez. The rankings were compiled based on the votes of 503 novelists, nonfiction writers, poets, critics and other book lovers.

Books by A&S-affiliated authors and their rankings are listed below.

• #85, “Pastoralia” (2000) by George Saunders
• #68, “The Friend” (2018) by Sigrid Nunez
• #63, “Veronica” (2005) by Mary Gaitskill
• #54, “Tenth of December” (2013) by George Saunders
• #18, “Lincoln in the Bardo” (2017) by George Saunders
• #11, “The Brief Wondrous Life of Oscar Wao” (2007) by Junot Diaz

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Saunders’ book, “A Swim in a Pond in the Rain” (2021), also came in at #33 on Oprah Daily’s list of .

���ϲ����� Stage, in partnership with 100 Black Men of ���ϲ�����, announced that the company’s 2024/25 season will officially begin with “Citizen James, or the Young Man Without a Country”—a powerful and illuminating live world premiere production from resident playwright Kyle Bass on Aug. 2-3 at 7:30 p.m. in the Archbold Theatre, 820 E. Genesee St., ���ϲ�����.

Directed by Joann Maria Yarrow, the live world premiere of “Citizen James” will be presented as a two-night-only free celebration beginning on Aug. 2 to coincide with the 100th anniversary of Baldwin’s birth—coincidentally, it is also the birthday of actor James Alton, who portrays Baldwin in the play.

Originally incubated as part of the Stage’s Backstory program and presented as a streaming-only event in the 2020/2021 season, this one-man show about a young James Baldwin follows the Paris-bound aspiring author and activist as he is seeking refuge from the racist violence of America in the 1940s, on his way to becoming a towering literary figure and a still-relevant voice of the Civil Rights movement.

“In his novels, essays, stage plays, speeches and interviews, James Baldwin was and remains a singular observer and chronicler not only of the Black American experience but of the American experience—a nation in conflict with itself,” says Bass. “Long one of my literary heroes, in ‘Citizen James’ I was interested in creating a portrait of Baldwin as a young, gifted, Black and unknown artist already possessed of the deep feeling, trenchant intellect, urgent concern and piercing insight that would become the hallmarks of his writing, his social activism and his international persona.”

“100 Black Men of ���ϲ����� is thrilled to grow its partnership with ���ϲ����� Stage this summer in celebrating James Baldwin’s Centennial,” says Claude Greene, president, 100 Black Men of ���ϲ�����. “We are grateful to CNY Arts and to New York State for providing the funding that allows us to further our mission to rebuild a sense of community in our backyards, and it is a privilege work alongside Kyle Bass as he shares Baldwin’s still-relevant genius with ���ϲ�����.”

“Kyle Bass’ text is a brilliant homage to the genius of James Baldwin, his conflicts and struggles as an artist, and how they reflect our own contemporary times,” says Yarrow, who also serves as the ���ϲ����� Stage director of community engagement. “It is uncompromising, inspiring and a celebration of 100 years of creative activism and social change.”

���ϲ����� Stage will also host a pre-show event on Aug. 2 beginning at 6 p.m. to celebrate Baldwin’s indelible contribution to American culture. Featuring a showcase of books, fashion, records and art from community partners 100 Black Men of ���ϲ�����, Black Citizens Brigade, Black Cub Productions, Community Folk Art Center and ���ϲ����� Libraries, the event will be catered by Our Vegan Corner and Hope Café with music by DJ Bella J from One the One DJ Center in ���ϲ�����.

The Friday, Aug. 2, performance will conclude with a post-show panel discussion, featuring playwright Kyle Bass, Joan Bryant, associate professor of African American studies in the College of Arts and Sciences, and Cjala Surratt, owner of Black Citizens Brigade. The panel will be moderated by Community Folk Art Center executive director Tanisha Jackson. The Saturday, Aug. 3, performance will also feature a post-show talkback with Bass, Alton and Yarrow.

“Citizen James” is made possible through the CNY Arts Grants for Regional Arts and Cultural Engagement regrant program thanks to a New York State Senate Initiative supported by the State Legislature, the Office of the Governor and administered by the New York State Council on the Arts.

The Friday, Aug. 2, performance for “Citizen James” is sold-out. Tickets for the Saturday, Aug. 3, performance can be purchased by visiting and following the ticketing link.

In conjunction with the exhibition, artist Paulina Velázquez Solís will be present for a live performance on the Everson Plaza on July 26 at 8:30 p.m.

About the Exhibition

“Unseen/forgotten: An ode to the humble landscape” is the continuation of a project Velázquez Solís developed during the pandemic. She found herself in a new environment in Brooktondale, New York, surrounded by a creek where the change of pace and isolation brought via COVID accentuated the sound perception of the river, and its presence as a neighbor and living entity.

This sonic connection was similar to her home in Costa Rica, which is also next to a river, making the sound and the experience of the river both grounding and nostalgic. This project, which includes interactive and performance-based elements, explores Central New York as a site of “post-industrial natural wonder,” using regionally extinct species in local herbaria as tools to meditate on “the tension between what prevails and what has shifted or disappeared” in a field of “memory, transformation and territory.”

Paulina Velázquez Solís, “Unseen/forgotten” installation view, 2024 (Photo courtesy of Light Work)

About the Artist

(she/her) is a multimedia artist from Latinoamerica with an interest in the oddities hidden within nature and the body. She was born in Puebla, Mexico, and grew up between Mexico and Costa Rica, where she went to art school. She works in diverse mediums, including installation, sculpture, drawing, animation and multimedia performance.

She graduated with a degree in art and visual communication in printmaking at Universidad Nacional in Costa Rica and obtained an M.F.A. in new genres from the San Francisco Art Institute as a Fulbright Scholar. She moved to Ithaca, New York, in 2018 and is currently a faculty member in the art department at Cornell University and Ithaca College.

Her work has been shown around the world, including at the Museo de Arte y Diseño Contemporáneo and TEOR/éTica in Costa Rica, Taipei Fine Arts Museum in Taiwan, Ex-Teresa Arte Actual in México City, Museo de Arte in San Salvador, Torino Contemporanea in Italy, La Casa de las Américas in Havana, Cuba, Mengi in Reykjavik, Iceland, Museum of the Americas in Washington, D.C., UCLA Biennial in Los Ángeles and the Berkeley Art Museum in the San Francisco Bay Area.

To request high-resolution images for press reproduction and interviews, contact Cali Banks, Light Work communications coordinator, at cali@lightwork.org.

UVP programs are made possible by a Tier Three Project Support grant from the County of Onondaga, with the support of County Executive Ryan McMahon and the Onondaga County Legislature, administered by CNY Arts. All Light Work programs are made possible by the generous support of the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

View-Master viewer with commercial slide disc and stereoscopic viewers for unprocessed film. (Photo by Andrew Saluti, Fisher-Price, Inc.)

The in the College of Visual and Performing Arts’ School of Design has received a $28,000 grant from Buffalo-based Fisher-Price, Inc. to fund the coordination and digitization of the View-Master archive.

View-Master was first introduced at the 1939 New York World’s Fair by inventors Harold Graves and William Gruber. In 1951, View-Master acquired film-strip company Tru-Vue and, with it, the licensing rights for popular production companies such as Disney. Since then, the popular stereoscopic viewer has documented millions of three-dimensional images of national parks and international destinations, behind-the-scenes footage of countless movie and television productions, original animation cells, scientific images and historic events that have shaped the 20th century, including never-before-seen images from the Apollo space mission and the coronation of Queen Elizbeth II. The View-Master was inducted into the National Toy Hall of Fame in 1999.

The project is coordinated by Andrew J. Saluti, associate professor and program coordinator of the museum studies program. “We’re so thrilled to be working on this project with Fisher-Price,” says Saluti. “This kind of hands-on, real-world archival collections work is a cornerstone of our approach to curriculum and preparing emerging museum professionals for their careers. As for the archive, the potential for future curatorial projects, research and reference to a century of popular culture is truly exciting.”

The initial phase of the project focused on digitization and interpretation of the mass collection of film positives, slides and other historic types of photo media with the aim of creating a searchable, illustrated database. This important first step will open the door to future projects that will include curatorship and design of exhibitions and other public projects.

Abby Cullen G’24 examines color positive film shot for stereoscopic viewing. (Photo by Andrew Saluti, Fisher-Price, Inc.)

Together with museum studies graduate students Molly Dano G’25, Paola Manzano G’25, Hannah Riley G’25, and Abby Cullen G’24, the team completed five three-day onsite sessions at the Fisher-Price headquarters in May. During these sessions, they digitized and interpreted decades of original film positives, much of which had never been seen by the public.

The range of media includes classic Hollywood productions to contemporary blockbusters. Riley worked on a large collection of set photos from the “Harry Potter” series. “I scanned slides from the set of ‘[Harry Potter and] the Sorcerer’s Stone’ (2001, Warner Brothers). It was exciting to uncover that many of the props you see in the movie, like some of the floating candles in the Great Hall, are real! The details that these images reveal are amazing.”

The archive also includes original animation cels and film from Disney, Warner Brothers, Hannah-Barbara and more, all created specifically for stereoscopic viewing. “As someone who grew up obsessed with their View-Master, this project is very special and exciting to me,” explains Dano. “Having a background in illustration, it is really interesting to get to look at so much original material, including hand-painted animation cels. Examining the techniques and styles used has not only given me a better understanding about how stereoscopic images work, but it has also been highly rewarding in terms of my own artistic and collections-based practice.”

Cullen and Manzano are drawn to historic images of where they grew up, leveraging their personal experience as well as giving insight into the interpretation of the materials. “As a Niagara Falls local, it’s been really fascinating to see images of this area from decades ago, illustrating how much the landscape has evolved into what we now see and experience,” explains Cullen.

Manzano, a native of Puerto Rico, was able to correct misidentified locations or names immediately. “Working on images from Puerto Rico from the early 1970s, it was interesting to see what has and has not changed on the island in the past 50 years. It makes me feel more connected to my home, even from Upstate New York.”

From Page to Screen

Both comic books and movies have been around for well over a century. The first adaptation of a comic to a live action film was in 1939, featuring the well-known superhero, Captain Marvel. Two fty faculty members have teamed up with Jared Case, curator of film exhibitions at the in Rochester, New York, for a nine-film series to explore the varied ways filmmakers have taken source material from comic books and brought it to the screen.

, professor and department chair of the department of English, and , professor in communication and rhetorical studies from the College of Visual and Performing Arts, have collaborated with Case in . The series will run from June through August at the Dryden Theatre in Rochester and spotlight films from the past 45 years.

In addition to the Marvel and DC Universes, popular in the past 15 years, the series will look at additional film adaptations from the last 45 years, including “Rocketboy” (1991), “Road to Perdition” (2002) and “Scott Pilgrim vs The World” (2010). The series will examine the diverse methods filmmakers have used to adapt comic book stories to big screen, focusing on the themes and visual expressions—both essential elements of comic books.

Admission is $9 for George Eastman Museum members, $12 for nonmembers, $5 for students with ID and $5 for 17 and under. See the full schedule and buy tickets at the .

In Context: Hudson River School and Indigenous Art

, associate professor of Native American and Indigenous Studies, curated an exhibition at the in Catskill, New York. “Native Prospects: Indigeneity and Landscape” explores the relationship between Indigenous perspectives on land and the American landscape paintings of Thomas Cole.

The exhibition contrasts Indigenous perspectives on their homelands and environment with Thomas Cole’s American landscape paintings, which are based on European traditions. Cole is celebrated as the founder of the 19th-century American art movement known as the Hudson River School of landscape painting.

It also features contemporary art by such Indigenous artists as Teresa Baker (Mandan/Hidatsa), Brandon Lazore (Onondaga, Snipe Clan), Truman T. Lowe (Ho-Chunk), Alan Michelson (Mohawk, Six Nations of the Grand River), and Kay WalkingStick (Cherokee). The exhibition is accompanied by a collection of original essays by Manning and many other Indigenous scholars.

An expert on American Indian history and museum studies, Stevensis Karoniaktatsie (Akwesasne Mohawk). He directs at ���ϲ�����. The exhibition runs from May 4 to Oct. 27 and then will be featured at the in Old Lyme, Connecticut, where it will be on display until early February of 2025, followed by the in Rockland, Maine, until July.

To learn more, between Stevens and the chief curator and director of curatorial affairs, art and fellowship at the Thomas Cole National Historic Site. Read in the online publication, Hyperallergic, sharing contemporary perspectives on art, culture and more.

Salma Mahmoud ’26 (left) and Chloe Mendoza Smith ’26 perform in the Department of Drama production of “Touch(ed),” April 2024. (Photo by Michael Davis)

The Hollywood Reporter (THR) has ranked the College of Visual and Performing Arts’ among the for the second consecutive year.

Ranked No. 23 in THR’s June 19 issue, the department was noted for such outstanding alumni as Aaron Sorkin ’83, H’12 and Vanessa Williams ’85, as well as the opportunities afforded by its relationship with , a professional theater company, and the immersive Tepper Semester in New York City.

The department offers four bachelor of fine arts degree programs in acting, musical theater, stage management, and theater design and technology, as well as a bachelor of science degree program in drama that features a theater management track. The department’s culture of rigorous conservatory-style training at a major research university with a direct connection to the working professionals at ���ϲ����� Stage is of great benefit to students in all of its programs, including the non-performance areas.

Drama students also benefit from the support of the department’s extensive alumni network and additional study abroad/study away opportunities in Los Angeles, London (with classes at Shakespeare’s Globe and Rose Bruford College) and Florence, Italy.

Livingston, an inclusive elementary and special education program graduate, sent Chandler-Olcott photos of her in the hand-printed dress and wrote, “I knew I wanted to create something with my students to wear on graduation day. I had each student from my placements pick which color and hand they wanted to use, and also had the teachers and teaching assistants from each class add their handprint.”

In addition to being a creative keepsake for a special day, the dress embodies what Livingston has learned about inclusion during her studies, as this photo essay explains.

Rory Livingston ’24, an inclusive elementary and special education program graduate, wore a hand-made, hand-printed dress to the School of Education’s convocation.

In addition to earning an inclusive elementary and special education degree, Livingston was a member of the and president of the student-led , the international honor society in education.

“Ever since I committed to ���ϲ�����, I saw graduating students decorating their dresses and stoles,” recalls Livingston. “I had never actually seen handprints on a dress, though. I thought this idea was more inclusive of students who maybe didn’t like drawing or had mobility issues. This way, all students could contribute without disrupting the classroom too much.”

One of Rory Livingston’s students applies her handprint to Livingston’s dress.

The dress has 56 colorful handprints in all, including 29 fifth-grade students from the Mae E. Reynolds Elementary School in the Baldwinsville, New York, Central School District, where Livingston had her first field placement, immersed in an inclusive classroom and doing small group math work.

Hosts and mentors Therese Carlin-Erich ’87 and Jaime Young ’05 added their hands. “I enjoyed working with my fifth-graders and enjoyed my relationships with them,” says Livingston. “I think they were excited to work with me as a young person.”

Adding their prints were 18 students from Livingston’s second student teacher placement in the third grade at Smith Road Elementary School in the North ���ϲ����� Central School District, as well as general education teacher Lauren Corbishley-Stuper and special education co-teacher Gia Pilger.

Rory Livingston poses with her handmade convocation dress and her customized graduation cap.

Livingston, a native of Norwich, Vermont, plans on moving to Connecticut after graduation, where she is “interested in mathematics education. I want to teach first, but then think about a master’s degree.”

Livingston has this advice for other student teachers embarking on their field placements: “Remember, you are still learning. It’s okay if you mess up. Don’t try to be the perfect teacher. Being honest with my students was super valuable. I would tell them that if what I’m saying doesn’t make sense, let me know and we’ll find another way. Being vulnerable opens you up and it helps open up your students.”

“I’m debating what to do with the dress” explains Livingston. “I might frame it. I have kept all the cards students in my placement classes have given me in a collage, and it might be fun to add the dress.”

Kendall Phillips

, professor in the College of Visual and Performing Arts’ (CRS) and interim director of ���ϲ�����’s , has been selected as the recipient of the 2024 from the Rhetoric Society of America (RSA).

The Yoos Award recognizes an RSA member whose contributions advanced the organization. Recipients are automatically conferred to the status of RSA Fellow.

The selection committee specifically cited Phillips’ scholarly impact, nurturing of the CRS master’s degree program, mentorship and leadership within the RSA.

“Professor Kendall Phillips has made a deep scholarly impact within rhetorical studies through a rich, interdisciplinary and transnational body of award-winning scholarship that includes 11 books and 35 articles and chapters,” writes the selection committee. “His intellectually rigorous teaching has also been recognized with distinction, and his work to grow the ���ϲ����� M.A. in communication and rhetorical studies has helped to establish it as one of the top Ph.D. feeding programs within the field.”

Phillips’ research focuses on controversies and conflicts arising around topics like public memory, popular film and popular culture. He has published several books, including “A Place of Darkness: The Rhetoric of Horror in Early American Cinema” (University of Texas Press, 2018); “Controversial Cinema: The Films that Outraged America” (Praeger, 2008); and “Projected Fears: Horror Films and American Culture” (Praeger, 2005).��His essays have appeared in such journals as Quarterly Journal of Speech, Communication Monographs and Philosophy and Rhetoric, and he is co-editor for the book series “Horror and Monstrosity Studies” at the University Press of Mississippi and “Rhetoric, Politics, and Society” for Palgrave Macmillan. He previously served as president for the RSA.

“With his generous mentorship, Professor Phillips has helped to foster the careers of several rhetoric and communication scholars currently working within the discipline,” the selection committee writes. “For these accolades, in addition to his innovative leadership within RSA by way of organizing the 2014 Biennial Conference, serving on the RSQ [Rhetoric Society Quarterly] editorial board and the Board of Directors, and chairing the Society’s Development Council, the selection committee is pleased to announce Professor Kendall Philips as the recipient of the 2024 George E. Yoos Award.”

Story by Mikayla Heiss

Salt City Drag Battle

���ϲ����� Stage has announced that the Salt City Drag Battle will return to the Archbold Theatre for the first time since 2019. Co-hosted by Darienne Lake and Aggy Dune, the event will feature eight contestants competing for the Salt City Drag Battle crown and a special performance from two-time winner Samantha Vega. The Salt City Drag Battle will be held at ���ϲ����� Stage, 820 E. Genesee St., on Saturday, June 8, at 8 p.m.

The eight performers–O’Nika Conda, Aria Vee, Fagitty Anne, Rhea Listic, Miiss Milky, Morticia Monroe, Nashley Tisdale and Opal Essence–represent talent from across New York State. Each contestant will serve up their best runway looks and will perform for the chance to go head-to-head in front of a panel of three judges for the final lip sync round. The evening will feature a signature cocktail, wine, beer and light snacks. The Salt City Drag Battle is produced in consultation with Tanner Efinger and Breadcrumbs Productions. Tickets are $45 and .

Paul Parpard

On a winter day 25 years ago, Paul Parpard G’94, then a professor in the College of Visual and Performing Arts, observed the view from his office in Lyman Hall on campus. From his window he could see the snow-covered turrets of Tolley Hall and the rooftops of Maxwell Hall and Crouse College. Inspired, he snapped a photo, which he then used to create a beautiful painting he named “���ϲ����� Winter.”

This year, Parpard’s painting was chosen as the winner of the second annual ���ϲ����� Poster Challenge. Those who will receive one of 600 numbered, limited-edition posters. The Annual Fund supports the University’s highest priorities.

Parpard, 82, is an accomplished artist, designer, painter, sculptor and wood carver. He lives in Cazenovia, New York, where he also has had an art studio since 1968.

Parpard began working as a graphic designer for the University, creating brochures, pamphlets and promotional materials. Some of his favorite projects were designing the holiday cards for the football and basketball teams. He also created the logo for ���ϲ����� Football’s 100-year anniversary in 1989.

Transitioning to education, Parpard served as a professor in the College of Visual and Performing Arts for more than 10 years, teaching communication design, advertising design and computer graphic design. In 1994, he earned a master of fine arts from the University.

“���ϲ����� Winter”

Some of his favorite years at the University were from 1985-89 when his daughter, Denise Parpard Harrison G’89, was a student in the S.I. Newhouse School of Public Communications. Later, when Denise worked in New York city in promotional marketing for CHANEL, Estée Lauder and Lancôme, Parpard planned an annual trip to the city for his students to go to museums and art studios and visit Denise at her job to meet with the design departments.

The Parpard family enjoys rooting for ���ϲ����� sports, especially football and basketball.��Parpard loves to go to games in the JMA Wireless Dome and even celebrated his 80th birthday there at the Paul McCartney concert in 2022.

He is grateful to ���ϲ�����’s advancement staff for choosing his painting “���ϲ����� Winter” as the art poster to support the Forever Orange Campaign. “It’s great to think that ���ϲ����� alumni all around the country will have a copy of this poster,” he says. “It means a lot to me to be able to help raise scholarship money for future ���ϲ����� students.”

Claim your limited-edition poster by .

Featuring cuisine from local restaurants, a red carpet for guests to walk and have their photo taken and appearances from local favorites TeNesha Murphy, Al Annotto and David Lowenstein, the Cast Party is a departure from the traditional “gala” and invites guests to “come as they are,” whether that’s in their favorite dress or dressed up in their favorite jeans.

���ϲ����� Stage is continuing its 50th-anniversary celebrations with the “Cast Party” fundraiser.

The lively, on-site event will celebrate ���ϲ����� Stage’s biggest stars—50 years of generous, loyal patrons and supporters—and will be held at the company’s home at 820 E. Genesee St. in ���ϲ�����.

Lowenstein, who audiences will recognize from his many roles in ���ϲ����� Stage productions such as “The Wizard of Oz,” “Hairspray,” and most recently “A Christmas Carol,” will provide live entertainment in the Archbold Theatre. All proceeds from the Cast Party support artistic, community engagement and educational programming at ���ϲ����� Stage.

“We can’t wait to open the doors to the kind of fun and unique evening only a theatre can create, all in support of Stage’s work in the community,” says Jill A. Anderson, managing director.�� “With one-of-a-kind activities and entertainment, this event will be a great chance to celebrate!”

���ϲ����� Stage will also host a silent auction that is open to both Cast Party attendees and the general public. Bidding is open for the online silent auction and includes a wide variety of unique items and priceless experiences, some starting at $30. A full list of items and descriptions is available for .

Interested participants can register for the auction online, or by texting “castparty” to 76278. Items available for bidding include a four-day golf vacation in Ireland; travel opportunities with round-trip airfare and deluxe accommodations to Cancun and the Berkshires; exclusive opportunities at ���ϲ����� Stage, including tickets and chances to engage with artistic staff; specialty gift baskets; restaurant packages; and much more. Bidding closes on Sunday, June 2 at 9 p.m.

Brice Nordquist, founder of the Engaged Humanities Network, welcomed guests to the inaugural EHN Showcase at the Salt City Market in Downtown ���ϲ�����.

The research and collaborative work of teams from ���ϲ����� in partnership with community organizations was front and center at the Engaged Humanities Network (EHN) showcase held in Downtown ���ϲ�����’s Salt City Market on May 3.

The event marked EHN’s first open-house style celebration of community-engaged projects, courses and creative scholarship generated by interdisciplinary groups from the University and their local partners (view a full list of participants at the end of the article).

Guests perused information tables and chatted with researchers to learn more about their respective projects. Throughout the day, presenters took the stage to provide an overview of their research and share their team’s accomplishments.

Sarah Nahar, a Ph.D. candidate in religion in the College of Arts and Sciences and environmental studies at SUNY College of Environmental Science and Forestry, served as the emcee throughout the day and introduced each presenter.

The , which was founded by , Dean’s Professor of Community Engagement in the College of Arts and Sciences and a professor of writing and rhetoric, has been seeding and supporting innovative opportunities for faculty and students to engage in research, teaching and learning that immerses them in the community. By applying their knowledge and skills to these initiatives, members of EHN help build relationships of trust and mutual support across communities.

This commitment to cultivating scholarly work for the betterment of society ties directly to human thriving and experiential inquiry, key areas of distinctive excellence in the University’s Academic Strategic Plan. Over the past four years, EHN has helped to foster collaborations that have connected teams at the University with 35 community-based organizations. In addition, EHN has supported 14 courses, 35 active projects and over 350 faculty, staff and students who are engaged in community work.

Phil Arnold (second from left), associate professor of religion in the College of Arts and Sciences, and Sandy Bigtree (second from right), a citizen of the Mohawk Nation at Akwesasne, talked with guests about the Indigenous Values Initiative.

The student, faculty and community teams at the EHN Showcase included Project Mend (���ϲ����� with Center for Community Alternatives); Write Out (���ϲ����� and SUNY College of Environmental Science and Forestry, with YWCA); Doctrine of Discovery (���ϲ����� with Skä•noñh Great Law of Peace Center); Breedlove Readers (���ϲ����� with South Side Communication Center); Narratio Fellowship (���ϲ����� with North Side Learning Center); La Casita Mother’s and Women’s Group; Listening to the Elders (���ϲ����� with Skä•noñh Great Law of Peace Center and Onondaga Nation); Spanish in Action (LLL with La Casita); Data Warriors (���ϲ����� with Nottingham High School); Environmental Storytelling CNY (EHN with SUNY ESF); ���ϲ����� Research in Physics (���ϲ����� with ���ϲ����� City School District); The Turning Lens Collective/Family Pictures ���ϲ����� (SU with P.E.A.C.E, Inc.); Natural Science Explorers Program (���ϲ����� with North Side Learning Center); CODA Educational Support Program (SU with Deaf New Americans Advocacy, Inc.); Photography and Literacy (PAL) (���ϲ����� Art Museum with Mercy Works); Teens with a Movie Camera (VPA in collaboration with Nottingham High School); along with members of the inaugural : ENG 420: Everyday Media and Social Justice (Professor Roger Hallas and students), LIN 300: Linguistics at Work (Professor Amanda Brown and students) and WRT 114: Creative Non-fiction: Writing and Translating Courses (Professor Sevinç Türkkan and students).

Learn more about the .

For more photos and videos of the event, visit the .

On the bustling streets of Dublin, Guy (Joe Boover), a brokenhearted, down-on-his-luck musician, is ready to call it quits when he meets Girl (Ana Marcu ’16), a winsome émigré from the Czech Republic with a tangled history of her own. As they grow closer, the pair discover a kindred spirit that reignites their mutual passion for music even as their personal lives pull them towards wildly different futures.

“I have always wanted to direct ‘Once,’ especially because it is a show that will resonate so powerfully in our ���ϲ����� community, and I am particularly proud of the ensemble of actor/musicians in this production,” says Crespo.

Bringing the magical, musical Dublin of “Once” to life in the Archbold theatre are set designer Rodrigo Escalante, co-costume designers Jerry Johnson and Carmen Martinez, lighting designer Matthew Webb, music director Pearl Rhein, choreographer Fatima Sowe, ���ϲ����� Stage resident sound designer Jacqueline Herter and dialect coach Holly Thuma, along with an ensemble of 13 actor-musicians providing their own accompaniment live onstage.

“We were slated to produce ‘Once’ in 2019 but the pandemic changed our plans,” says artistic director Robert Hupp. “We’ve been looking for an opportunity ever since to create this knockout Tony-winner for central New York; it’s been our most requested musical and we’re thrilled to bring it to life now. This production is definitely worth the wait.”

With a book by acclaimed Irish playwright Enda Walsh, “Once” is a uniquely heartfelt and captivating experience that blends a tender love story with lively, wistful songs from Glen Hansard and Markéta Irglová, who starred together in the original film.

All evening performances begin at 7:30 p.m. while all matinee performances begin at 2 p.m. Tickets start at $25 with discounts available for students and groups. Tickets may be purchased online at ���ϲ�����Stage.org, by phone at 315.443.3275 or in person at the ���ϲ����� Stage Box Office.

Prologue conversations, three pre-show discussions will take place one-hour before curtain on May 11 and 16. ���ϲ����� Stage has its open-captioned performances scheduled for May 8 and 19 at 2 p.m. and May 18 at 7:30 p.m., as well as an audio-described performance on Sunday, May 18, at 2 p.m. The sensory friendly/relaxed performance of “Once” is scheduled for Tuesday, May 14, at 7:30 p.m.

The community partner for “Once” is DJ Bella J from On the One DJ Center in ���ϲ�����.

The Slutzker Family Foundation is the Presenting Sponsor for the 50th Anniversary Season. Additional season support comes from the Dorothy and Marshall M. Reisman Foundation and Advance Media New York. The production is dedicated to the memory of Jerry Johnson.

The group enjoyed a public lecture presented by ���ϲ����� Artist in Residence at the University’s Villa Rossa facility in Florence. Weems was in Italy for the “” conference, which was co-sponsored by the University as part of the in Venice. She participated in the panel discussion, “Black Realities Through Digital Media.”

University Artist in Residence Carrie Mae Weems presented a public lecture titled “Resistance As an Act of Love” while in Florence. (Photo by Francesco Guazzelli)

Jonathan Nelson, a faculty member with the Florence program and a specialist in late 15th- and 16th-century��Italian painting and sculpture, also participated in the conference as part of the “Radical Curricula” panel.

In Florence, Weems, an internationally known and widely acclaimed artist, spoke to the students in their studio and exhibit space and conducted individual critiques of their artwork.

Eight VPA students also traveled to Venice to take in the international cultural and artistic exhibition at 2024. Attending the event allowed them to view art and other forms of creative expression made by people from all over the world.

Artist in Residence Carrie Mae Weems spoke to students studying at the University’s Florence, Italy Center. (Photo by Francesco Guazzelli)

They included Anastasia Cardona (studio art), Mark Casadevall (computer art and animation), Sidney Hanson (studio arts/art history), Madeleine Herberger (illustration), Sarah Mednick (illustration), Rumini Nguyen (studio art), Sarah Skalsk (illustration) and Alissar Youssef (illustration). Accompanying the group were Marcelle Haddix, associate provost for strategic initiatives, and Miranda Traudt, assistant provost for arts and community programming.

Another three ���ϲ����� students studying in Florence participated in the critique with Weems: Paige Esposito (social work), Oskar Kraft (studio art) and Zohra Mekki (illustration).

“It was wonderful for students to learn from our artist in residence in a close-up, informal atmosphere, then see her present on the world stage about a topic that is prominent across America and the world now. Students’ exposure to world-renowned artists, emerging creatives and global thought leaders provided them with experiential learning that brought enjoyment in the moment and lasting experiences that are likely to impact them for their lifetimes,” Traudt says.

Analytics is the sport industry’s most popular tool as it’s transforming every aspect of the game, from player performance and team strategy to fan engagement and business models.

Over spring break, 20 sport analytics majors from the enjoyed a once-in-a-lifetime opportunity to visit Italy and witness first-hand the impact of analytics on the highest level of soccer. The eight-day trip to Milan, Bologna, Florence and Rome was part of Professor sport analytics course which explores how data is revolutionizing soccer.

“The international experience, in general, is extremely important for our students, but it also gives them a perspective of how analytics are used in different sports at different levels internationally,” says Paul, director of the program in Falk College. “The students were not merely observers, they actively wrote and presented sport analytics research to the clubs we visited.”

From left to right, students Nick Rovelli, Jack Taliano, Aidan Corr, Theo Schmidt, and Ben Jennings present to Bologna FC Club officials Luca Saputo, Director of Business Optimization, and Yuri Dell’Atti, Chief Data Analyst.

The students met with analytics staff members and other team officials from elite soccer clubs across Italy while also exploring the culture, history and food of the ancient European country that’s surrounded by the Mediterranean Sea. As one of the trip’s many highlights, the students attended an Italian Serie A league game between AC Milan and Empoli before more than 70,000 fans at Milan’s San Siro Stadium ().

The students were accompanied on the trip by Paul, Sport Analytics Program Coordinator G’10, and co-faculty member Ed Lippie, who worked with AS Roma of the Italian Serie league from 2013-20 as a senior performance consultant and head performance coach.

“With our connections we had the privilege of behind-the-scenes access, demonstrating to the students the variety of positions their skill sets match and the opportunities that exist internationally,” Dorchester says. “The value is building on ���ϲ�����’s Academic Strategic Plan by allowing the students to participate in a study abroad or study away setting, with considerations to their academic goals and financial circumstances.”

Students Jake Graff ’24 and Zachary Silverstein ’26 say it was fascinating to learn how Italian soccer clubs utilize data compared to sports teams in the United States.

“Clubs with all levels of financial resources and historical success are embracing analytics and finding ways to utilize them in areas that are best for them,” says Graff, a sport analytics major with an information management and technology minor. “Everyone collects and uses data differently, so being able to see numerous perspectives from a league like Serie A was eye-opening.”

Adam Goodman ’25, a sport analytics major with an economics minor, admits he’s not the biggest soccer fan but says it was valuable for his career goals to understand how soccer teams at the highest level approach their analytics.

“I think the main takeaway in terms of my career was the change in the way I think,” Goodman says. “The program allowed me to immerse myself in all aspects of soccer analytics, which, going forward, will change the way I approach future research.”

For the full story and a video about the trip to Italy, please visit the .

While in Italy, sport analytics students enjoyed visits to cultural landmarks such as the Colosseum in Rome.

Albert Williamson-Taylor

The School of Architecture has announced that world-renowned engineer Albert Williamson-Taylor, director and co-founder of international engineering firm , will address graduates at the 2024 Convocation ceremony on May 11 at 10 a.m. in Hendricks Chapel.

Williamson-Taylor grew up in the United Kingdom, Nigeria and Sierra Leone, and built his career in London, initially working for Price & Myers and for Anthony Hunt Associates, before ultimately co-founding Adams Kara Taylor—now AKT II—in 1996. Today, Taylor and his firm put design and technology at the forefront of engineering practice to find solutions for the planet’s many challenges.

While overseeing AKT II for over 25 years, Williamson-Taylor has worked on numerous high-profile projects with architects and designers in more than 50 countries. Under his technical leadership, AKTII’s service to both the art and science of design has been recognized with 400-plus design awards, including four RIBA Stirling Prizes. The practice has also been named Building Awards 2019 “Engineering Consultant of the Year” and Architizer A+ Awards 2021 “Engineering Firm of the Year.”

Highlights of Williamson-Taylor’s portfolio of design authorship include the Stirling Prize-winning in London; the “groundscraper” in London; the inhabited sculpture in New York; the master planned Google Mountain View campus in California; the demountable for Expo 2010 Shanghai in China; the eco-friendly in the Red Sea; the science city in Abu Dhabi; and the monumental development in Ghana.

Williamson-Taylor’s portfolio also includes several landmark towers, such as the and redevelopments in London, the in Baghdad, and the Villaggio Vista residential development in Ghana’s capital city of Accra. He is presently leading the structural engineering for the Mukaab in Riyadh, becoming the largest building structure on the planet.

In addition to his professional practice, Williamson-Taylor has taught with London’s Architectural Association School of Architecture (the AA) since 2011, where he leads technical tutoring for the master-level architecture course within the institution’s avant-garde Design Research Laboratory (DRL). He has also served as a design-review panelist for the London Borough of Southwark and the London Borough of Newham. Williamson-Taylor is a fellow of the Institution of Structural Engineers (IStructE) and an honorary fellow of the Royal Institute of British Architects (RIBA).

In 2023, Williamson-Taylor was the first Black engineer to be awarded the Gold Medal Award—the Institution’s highest individual honor—in recognition of his outstanding contribution to structural engineering and to society. To celebrate this achievement, Williamson-Taylor delivered his Gold Medal address in September 2023 at the institution’s headquarters in London and , where he reflected on his career to date and on the future of engineering.

Williamson-Taylor studied engineering at the University of Bristol and Bradford University from the mid-1970s to the early 1980s, while working variously as a site laborer, a chef, a nightclub doorman and an overnight factory worker, in addition to tutoring younger students and mentoring youth offenders.

For many years in parallel, Williamson-Taylor also leveraged a professional Taekwondo career—achieving the elite “fifth-dan master” level and competing globally—to mentor young people from underprivileged backgrounds into higher education. He ran martial arts clubs in London with the specific policy of “no education; no training.”

Today, Williamson-Taylor is integral to AKT II’s outreach with inner-city schools and colleges, alongside the firm’s volunteer STEM Ambassadors who encourage young people from all backgrounds to consider careers in engineering and design. He has also been appointed as the first president of the charity , which aims to make urban design and architecture more accessible to everyone and works to steward young people into the built environment’s design and construction.

Williamson-Taylor is now working—including through his role as a board trustee with the new architecture school, —to enable the sharing of technology for architecture, engineering and construction (AEC) in Africa.

Writing and rhetoric professor Amy Murphy has been awarded a Fulbright to research and teach in Slovakia. The photo is of Murphy during a trip to Slovakia in 2023. She traveled there in search of ancestral information about her great-grandfather.

Genealogy websites like are a popular way for individuals to trace and preserve their family histories. Before this information was widely accessible via the web, people would often learn about their past through stories passed down from older generations.

While a good way for family members to connect with one another and take pride in their roots, these oral histories could be subjective and not provide the full picture of how a family came to be. If certain details about a family’s past were omitted or altered, then inaccuracies could be perpetuated for generations.

For , associate teaching professor of in the College of Arts and Sciences, an unexpected discovery about her family history played a pivotal role in her scholarly pursuits, and ultimately led to her applying for and receiving a prestigious award to teach and conduct research in Slovakia.

Journey to Discovery

The research expedition began in ���ϲ����� in 2023 when Murphy’s husband took a deep dive into her lineage using Ancestry.com. While working to recreate a family tree, he came across a surprising document: a Census record stating that Murphy’s great-grandfather, Anton Plott, listed his home country as “Slovak Land” (a term previously used to denote Slovak-inhabited territories). This came as a shock because the family had always believed him to be of Austrian descent.

“I was just very perplexed because that was not part of any conversation I ever had with my father or my grandmother or any member of that family,” says Murphy, who has taught several different writing and rhetoric classes since starting at the University in 2019. “I was just trying to understand what had happened there and why I never knew about it, and so that sort of began a larger interest that I had in Central Europe and in Slovakia in particular.”

To piece together this complicated puzzle, Murphy knew it would take more than the information available to her on the web. Luckily, she already had a trip planned to Czechia (Czech Republic), a country which borders Slovakia, for an unrelated conference in summer 2023.

“I thought that I might not get to do this again, so I set out to figure out where his village was,” says Murphy. “Since Slovakia is a very small country of about 5 million people, I presumed I’d have a good shot at finding it.”

She contacted Michael Razus, a local historian, and explained that she would be taking the train to Bratislava (the capital of Slovakia) from the Czech Republic and asked if there was anyone who could take her around Kalná nad Hronom, the village where she believed her great-grandfather was born. She was introduced to another local resident, who helped her locate the cemetery where her family’s burial plot was situated and visit the Catholic church where her great-grandfather, Anton Plott, was baptized.

Anton Plott, Amy Murphy’s great-grandfather

After confirming the birthplace of her great-grandfather, the question turned to why this information was kept secret. Murphy believes it probably had something to do with the period when he emigrated to the United States. Anton came to the U.S. in the 1880s at the age of 15, a time when the Slovak people were repressed and struggling to find national identity under the Austro-Hungarian Empire.

“He came to the United States as such a young person by himself,” says Murphy. “It was a very odd time historically and socially because of what was happening in Europe politically. Slovaks did not have a recognized,��national identity because they were subjects of the Austro-Hungarian Empire. For outsiders coming to the United States at that time, they would have never disclosed that they were Slovak.”

Murphy says the experience of uncovering this remarkable untold aspect of her family history was not only emotional, but also inspired her to seek a deeper connection with her Slovak roots through her research and scholarship.

“I just felt really determined that I wanted to find a way to connect to the country, and so the Fulbright seemed the natural place to do that, so I began the application process,” says Murphy.

Connecting With Her Culture

Murphy’s research concentration lies at the intersection of history, language and literature. As a Ph.D. student at the University of Arizona, she focused her dissertation on how women writers were documenting labor in the 19th century. Her longstanding interest in the historical and cultural aspects of language and writing is what led her to apply for a Fulbright, where she will research literacy in the Slovak Republic.

Whereas in the United States people have maintained the freedom to read and learn freely, Slovakia (formerly Czechoslovakia until 1993) was under an authoritarian communist rule from 1948 to 1989, which deeply impacted the literacy of people living in that country. At universities, inquiry and free debate was stifled, and lectures would often emphasize the benefits of communism.

Following the Velvet Revolution in 1989, a protest movement that ended more than 40 years of communist rule in Czechoslovakia, students gained the ability to pursue their own academic interests and learn about the diversity of cultures and perspectives on a global scale.

“When I was in college in the late 1980s, people my age in Slovakia couldn’t read the literary texts that I could because they were banned,” says Murphy. “I’m interested in my generation—people that were born in the 60s and 70s—and want to explore how literacy worked in a former dictatorship in terms of access to materials and how that affected people’s ability to read and think.”

Among the topics Murphy will investigate is samizdat (from Russian sam, “self,” and izdatelstvo, “publishing”), which was literature secretly written, copied and circulated in Czechoslovakia and throughout the former Soviet Union.

“There was a whole underground of people who had typewriters and were making copies of books and manuscripts,” says Murphy. “The government saw books such as J.R.R. Tolkien’s ‘Lord of the Rings’ as being a threat to a communist ideology and people could go to jail for reproducing these books. I’m very interested in finding out more about how people accessed literature.”

As a U.S. Fulbright Scholar, Murphy will teach and conduct research at Comenius University in Bratislava, the largest university in Slovakia.

Murphy will research and teach in the British and American studies program at located in Bratislava, Slovakia. She will work with faculty there to explore the role United States authors and academics played in helping the underground writers to connect to literature and find inspiration.

In addition, she will connect with students, faculty and their families to document their experiences with language, literature and education to examine how Slovaks in former Czechoslovakia expressed themselves artistically despite the difficulties and potential dangers they had in obtaining texts.

As a scholar who specializes in innovative writing pedagogy, Murphy will work with Slovak students who are studying to become teachers of English. Being able to share materials which she has created for the writing studies program at ���ϲ����� with future educators in Slovakia carries great significance, both professionally and personally.

“What I have been able to achieve in my academic and scholarly career was made possible because my great-grandfather came here and took that kind of risk and worked very hard his whole life,” says Murphy. “Having the opportunity to teach abroad and immerse myself in the culture of my ancestors is a huge gift and I’m incredibly grateful for it.”

Murphy will travel to Slovakia for the Fall 2024 semester and says she looks forward to sharing the cross-cultural teaching and research insights she gains during her time abroad with students in her classes and faculty at ���ϲ�����. She also plans to publish and share the results of her findings at conferences and in a scholarly journal upon her return.

It is one year after the End of Theatre and 12-year-old Nim Dullyn has just witnessed his first droll—an underground performance of comedic excerpts from famous plays. Seduced by the magic of the stage, Nim joins an illegal theatre troupe and sets out for the city, with the beastly Roundheads—a group of fundamentalists who deem theatre an abomination—hot on their trail.

“Meg Miroshnik is an exciting young American playwright, and this is only the second fully-staged production of this inventive play that imagines a place and time without theatre,” says Madeoy. “It has everything: danger, deception, revolt, romance, comedy, cosplay, poetry, punk rock, fights, songs and spectacle. I’m thrilled for ���ϲ����� audiences to experience it.”

Inspired by the 17th-century theatre closures of Puritan England, “The Droll” is a daring and darkly funny play that celebrates our need to come together in the act of collective storytelling.

Details

‘The Droll (Or, a Stage-Play about the END of Theatre)’

• By Meg Miroshnik
• Directed by Celia Madeoy
• Scenic design by Alexis Wilner
• Costume design by Sofia Pizer
• Lighting design by Mairead Cummins
• Sound design by Kevin O’Connor
• Music composition by Eleni Stavros
• Fight and intimacy choreography by Alec Barbour
• Clown and movement direction by Richard Dent
• Dialect coaching by Blake Segal
• Dramaturgy by Antonia Portales
• Stage managed by Kit Verweij

Cast

• Roundhead……………………………………………………..Jim McMahon James
• Killingworth…………………………………………………………….Anthony Tibolla
• William Rifel……………………………………………………………………Will Nissen
• Margaret Killingworth…………………………………………………….Micaiah John
• Nim Dullyn………………………………………………………………Hazel Kinnersley
• Thomas Dread Rosey………………………………………………….Nathan Ayotte
• Doll Cutpurse………………………………………………………….Sarah Cummings
• Roundhead Spy, Ensemble, Swing……………………………………..Kyle Hejlik
• Roundhead Spy, Ensemble, Swing……………………………………Jamie Mack

Additional Credits

• Fight Captain: Kit Verweij
• Consultants: Meegs Longacre, Tatiyyanah Queen-Asia Hope Nelums
• Assistant Director: Zach Asnis
• Assistant Scenic Designer: Evan Hoover
• Assistant Lighting Designer: James Klemmer
• Assistant Stage Managers: Sami Renea English, Grace Mineiro

Five ���ϲ����� students have been selected as recipients of the Critical Language Scholarship (CLS), through which they will immerse themselves in intensive language study this summer.

The recipients and the languages they will study are:

• Christian Bevilacqua ’24, a social studies education and geography major in the , and , studying Urdu;
• Kathryn Bratt-Pfotenhauer G’24 a creative writing master’s of fine arts (M.F.A.) student (poetry) in the College of Arts and Sciences, studying Russian;
• Anthony Ornelaz G’24, a creative writing M.F.A. student in the College of Arts and Sciences, studying Turkish;
• Chelsea Sato, a Ph.D. candidate in mathematics in the College of Arts and Sciences, studying Korean; and
• Ciara Young ’24, an international relations and anthropology major in the Maxwell School of Citizenship and Public Affairs and College of Arts and Sciences (A&S) and linguistics major in A&S, studying Korean.

The CLS program is an intensive overseas language and cultural immersion program for American graduate and undergraduate students enrolled in U.S. colleges and universities. Traditionally, some 550 students spend eight to 10 weeks abroad studying one of 14 languages—Arabic, Azerbaijani, Bangla, Chinese, Hindi, Indonesian, Japanese, Korean, Persian, Portuguese, Russian, Swahili, Turkish or Urdu. The program is fully funded and includes intensive language instruction and structured cultural enrichment experiences designed to promote rapid language gains.

CLS, a program of the U.S. Department of State, is part of a wider government initiative to expand the number of Americans studying and mastering foreign languages that are critical to national security and economic prosperity.

Christian Bevilacqua

Bevilacqua will study Urdu in Lucknow, India. This is his second time participating��in the CLS program; he studied Hindi in Jaipur, India, in 2022.

“Participating in the CLS Urdu program is an exciting opportunity for me to further my language skills and expand my cultural understanding of South Asia,” he says.

Bevilacqua will be an incoming first-year master’s student in geography in the Maxwell School in the fall, and he looks forward to learning Urdu to better prepare himself for future research projects.

“I am interested in studying the experiences of South Asian migrant workers in urban cities of the Arabian Peninsula,” says Bevilacqua. “Learning Urdu as a lingua franca will enable me to connect with their stories, experiences, feelings and expressions of art and memory, which is crucial for understanding how transnational migrant workers construct and navigate a sense of home and community.”

Kathryn Bratt-Pfotenhauer

As a child of former Foreign Service officers, being named a recipient of a CLS in Russian is incredibly meaningful to Bratt-Pfotenhauer.

“The importance of language as a means of communication and cooperation has been impressed upon me since birth,” she says. “I am proud to continue in my parents’ footsteps helping to foster connection between nations.”

Through her CLS experience, Bratt-Pfotenhauer hopes to gain a more complete view of Central Asia through her studies in Kyrgyzstan and a better understanding of how the Russian language operates in a country that was once part of the Soviet Union.

“After completing the CLS program, I hope to continue my studies of language and literatures through pursuing a doctorate in comparative literature,” she says.

Anthony Ornelaz

Ornelaz, a U.S. Air Force veteran and , served in the Middle East nearly a decade ago. “I feel I still have the ability to serve through the Foreign Service, which starts, for me, from the language up,” he says. “I would love to translate Turkish poetry into English while studying the Turkish poetic style.”

He is looking forward to his CLS experience in Ankara, Turkey. “This is a wonderful opportunity to build meaningful relationships while experiencing Turkish culture, food and understanding of the world,” he says. “I hope whatever I experience will be distinctly and organically Turkish from beginning to end.”

Ciara Young

During her time at ���ϲ�����, Young has maintained a deep commitment to the study of Korean language and affairs, particularly in the context of contemporary political developments and social movements. “In this way, being awarded CLS is the perfect culmination to my four years at SU, and the perfect beginning to my professional pursuits,” she says. “I am eager to meet my cohort and continue to immerse myself in Korean language and culture alongside them. I am especially looking forward to the time I will spend with my language partner around Gwangju.”

Following her CLS experience, Young will apply the linguistic and cultural insights she gains, as well as the intercultural communication, critical thinking, and teamwork skills she develops, to enhance her research pursuits and language studies in graduate school, focusing on foreign policy, security studies and��issues that impact U.S.-Korean relations.

“As I work towards my professional goal of becoming a Foreign Service officer with the U.S. State Department, the cross-cultural competence and Korean language skills I will develop during my time in Gwangju, a city renowned as the birthplace of Korean democracy and the May 18^th��Democratic Uprising, will be truly invaluable,” she says.

The work of nearly 40 artists aged six to 12 who have participated in the center’s free will be displayed. The opening event and reception take place on Friday, April 19, at La Casita’s facilities at 109 Otisco Street, ���ϲ�����. The event is free and open to the public.

Tere Panaigua

, executive director of the at ���ϲ�����, says center staff take great pride in the young artists’ accomplishments. “The children’s achievements are remarkable, and programming like this allows everyone involved to gain knowledge and understanding about different creative works as well as about each other. It is a wonderful way to learn more about the many cultures that abound in our city and our region and how people make connections through art.”

More than 200 ���ϲ����� students serve as interns and volunteers in the programs, working together with faculty members and community artists to help youngsters in the program with a range of art projects and musical and dance performances. The children who participate include residents of the City’s West Side, ���ϲ����� City School District students, and those from other parts of ���ϲ����� and neighboring towns.

Paniagua says the program is valuable for more than just the way it teaches children about the arts. “The children are engaged in a culturally centered, safe environment where they are learning and gaining new skills. They also are working with older students who mentor them and provide them with some amazing role models.”

The event will highlight the work of these activities:

Open Studio (artmaking): This workshop is led by graduate student Bennie Guzman G ’25, a College of Visual and Performing Arts (VPA) creative art therapy major and youth programming coordinator for La Casita since 2018. Guest artists who collaborated with Bennie in designing and facilitating workshops include , associate professor of film at VPA, who facilitated a two-week animation film workshop; and , a ���ϲ����� teaching artist who exhibited at this year’s Latino Futurism show and who led a comic book illustration workshop. Two undergraduate students assisted in the workshop programming: Sidney Mejía ’24, a political science major in the Maxwell School of Citizenship and Public Affairs, and Ana Aponte ’24, Gonzalez, a dual major in communications and rhetorical studies and women’s and gender studies in VPA and the College of Arts and Sciences (A&S).

Danza Troupe: This dance ensemble will perform at the reception. It is led by ���ϲ����� student Gabriela Padilla ’25, a biochemistry major in A&S who has been the program’s dance instructor and choreographer for the past two years. She and the troupe plan a show for the opening event that features an about La Casita. The song was written by Alexander Paredes, who recently completed an executive Master of Public Administration at the Maxwell School and is now using his optional practical training year to work in administration at La Casita.

Children in the afterschool arts program study piano with instructor and undergraduate student volunteer piano instructor Myra Bocage ’26. (Photo by Edward Reynolds)

Children in the program’s piano and violin workshops will also perform along with their instructors, recent VPA violin performance graduate student Tales Navarro ’G 24 and piano instructor Myra Bocage ’26, an advertising major at the Newhouse School of Public Communications.

Students involved in the dual language literacy programs at La Casita include Andrea Perez Ternet ’24, a human development and family science senior in the David B. Falk College of Sport and Human Dynamics, who is completing a capstone internship at La Casita, and Diana García Varo G ’25, a graduate student in the multimedia, photography and design program at the Newhouse School.

La Casita, an arts and education center supported by ���ϲ�����, was established in 2011 as a cultural bridge for Latino/Latin American communities on campus and throughout the Central New York region.

Joseph Maxwell Ossei-Little (left) and Ryan McQuay Meredith

Meredith’s composition, “Polluted Skies,” consists of two movements, “Clouds” and “Stars.” The piece mimics a cloudy sky that eventually opens into a starry night.

A massive mechanical instrument, the organ always fascinated trombonist Meredith. Housed in Crouse College’s Rose and Jules R. Setnor Auditorium, a 3,823-pipe Holtkamp Organ is part of what attracted him to ���ϲ�����. “There’s a lot of magic tricks you can pull off on the organ,” says Meredith. “Specifically with our organ, there’s a lot of options where you can have one hand do an orchestra’s worth of what you want.”

The completed composition broadened organist Ossei-Little’s musicality, allowing him to play with unique rhythms and contribute his own voice to the growth of the organ community. “What really got me interested in the project is this whole idea that my professor has been championing about expanding the repertoire of the organ,” he says. A composer-organist pair themselves, Setnor Associate Professor Anne Laver and Assistant Professor Natalie Draper guided the students throughout the project.

The creation of new compositions can have a large impact on the evolution of the instrument, Ossei-Little notes. When large chords became commonplace in compositions, organ builders reacted, making it easier for players to meet the needs of the pieces.

Available on video via the AGO website this summer, “Polluted Skies” will highlight all the organ has to offer. Ossei-Little plans to premiere it at his scheduled for Saturday, April 13, at 5 p.m. in Setnor Auditorium. “It’s a very wonderful opportunity for us to showcase what the organ can do,” Ossei-Little says. “Not just what it used to do in the past but what it can do now.”

Goode teamed up with staff at the�� and students across campus to explore the ways in which objects and artworks in the ���ܲ���ܳ�’s collection could be utilized as teaching resources. Over the past year, the transdisciplinary team has conducted countless hours of research to develop a collection of electronic museums (e-museums) called the��. The following section of questions and answers provide details and information about the curators, the extensive research that went into this effort and how teachers can utilize these resources.

Juan Felipe Herrera

As a “natural wonderer, dreamer, traveler… mega listener…and only child,” poet grew up in California’s and “listening to everything and everyone,” he says, and those habits led him “to the magical lands of words, stories, ideas, books, songs, riddles and ultimately writing.”

Herrera, the 2015-17 U.S. Poet Laureate, will be in ���ϲ����� this week as the opening poet for the 2024 Cruel April Poetry Series.

Herrera will lead creative writing workshops for students and community members on Wednesday, April 3,��and Friday, April 5. Both sessions are from 5:30 to 7:30 p.m. at , 109 Otisco Street in ���ϲ�����.

His public poetry reading is Thursday, , from 6 to 8 p.m., also at La Casita.

We sat down with Herrera to discuss his poetry and creative work and learn about his creative process.

Directed by Christine Albright-Tufts, performances of “Touch(ed)” will be held April 5-14 in the Loft Theatre at the ���ϲ����� Stage/SU Drama Complex, located at 820 East Genesee St. Tickets are available through the or by calling 315.443.3275.

Performances of “Touch(ed)” run April 5-14 in the Loft Theatre at the ���ϲ����� Stage/SU Drama Complex.

Set in a remote cabin in the woods, “Touch(ed)” follows Kay, a middle school science teacher from New York City, as she cares for her sister, who has just been released from a psychiatric facility after years of treatment. Desperate to reconnect and help heal what modern medicine has failed to, Kay and her novelist boyfriend, Billy, begin to coax her sister back to normalcy with home-cooked meals, board games and good, old-fashioned rest and relaxation. But when Billy starts taking her sister’s recovery into his own hands, Kay is forced to confront a terrifying prospect: Finally taking care of herself.

“I’m so excited that our students have the opportunity to bring to life a play that deftly explores themes of mental health and suicide with thoughtfulness and care,” Albright-Tufts says. “The play manages to find joy in the darkness while honoring the struggles of those who face these illnesses.”

Savagely funny, unapologetically modern and surprisingly tender, Wohl’s “Touch(ed)” is a skillfully observed drama about navigating life, love and loss in an age of endless anxieties.

Weems, an internationally renowned artist, will travel to Florence to deliver a public lecture, “Resistance as an Act of Love,” April 17. While there, she will review the work of students in the studio arts program.

Carrie Mae Weems (Photo by Jerry Klineberg)

The students will also attend the conference in Venice April 20 and 21. Weems and Florence faculty member will participate in the conference, which is co-sponsored by ���ϲ�����. Weems will be a panelist for the discussion “Black Realities through Digital Media,” and Nelson will serve on the “Radical Curricula” panel.

Students traveling to the conference include studio arts majors Anastasia Cardona, Sidney Hanson (a dual art history major in the College of Arts and Sciences) and Rumini Nguyen; computer art and animation major Mark Casadevall; and illustration majors Madeleine Herberger, Sarah Mednick, Sarah Skalski and Alissar Youssef.

Black Portraitures, now in its 14^th year, is organized in concert with the . This year’s theme “Shifting Paradigms,” brings together thought leaders in the arts from Africa and the African Diaspora. Founder Deborah Willis says the convening “will explore and expand narratives on memoir and memory studies; migration stories through family and politics; and reimagine ideas about art practices and the exhibition experience, all while considering new research practices.”

Sequential exhibitions will be open to the public through March 30, April 5-13 and April 19-28, providing an opportunity to experience the latest work by emerging artists as they grapple with what it means to make art in this socio-political moment. “Despite the diverse range of ideas, reflections and projects, an elusive yet resonant undercurrent of unsettlement, whether subtle or overflowing, serves as a shared wellspring of inspiration,” says curator Juliana Fagua Arias, Ph.D. candidate at Cornell University.

Spanning disciplines that include painting, sculpture, ceramics, printmaking, photography, film, video, installation and performance, the exhibition offers a glimpse into the artists’ diverse practices and innovative approaches. A complete list of each exhibition’s participating artists, with links to their digital portfolios, can be found on the .

The themes and concepts presented by the artists in this year’s exhibition range from the disruption of archival histories to explorations of intersectional identity centered on gender, migration and belonging. Arias explains, “Borne from diverse origins like the echoes of family history, the winds of political turmoil, the currents of environmental challenges, the shadows of systemic oppression or the reflections on mortality, this internal unease becomes a poetic muse—a force propelling creative resistance, eliciting responses and inspiring reactions.”

Though their interests vary widely, most of the presenting artists work interdisciplinary as they forge new ground through exploratory creative processes. “The challenging exploration of these complex ideas and emotions becomes a graceful liberation, a gentle release from the weight of anguish, allowing for an embrace of a subtle yet empowering sentiment of freedom,” says Arias.

From left: Declan Yurt, “Reveal” (2022); Jasmine Veronica, “Grace of Her Touch” (2023)

The exhibition will be held at the Nancy Cantor Warehouse galleries, 350 W. Fayette St., ���ϲ�����, with upcoming opening receptions April 5, 6-8 p.m. and April 19, 7-9 p.m. Visitors will have the opportunity to meet the artists, learn about their inspiration and creative process and engage with the vibrant arts community of ���ϲ�����.

According to Arias, “the exhibition is envisioned as an unrestricted stage where artists feel at liberty to reveal and perform their provocative, vulnerable and unbound selves. It is a celebration of artistic expression, offering a space for self-discovery and liberation from the constraints that may have previously held them back.”

“Unsettled, Unbridled, Unbound” is free and open to the public. Gallery hours are daily, noon-5 p.m.

The cohort will exhibit additional works at Novado Gallery, 110 Morgan St., Jersey City, New Jersey, from April 26-May 4, with an opening reception scheduled for April 26 from 6-9 p.m.

For more information about the exhibition, contact Kate Warren, kwarre01@syr.edu.

Josh T Franco

The will host artist and art historian Josh T Franco in residence at the museum and on the ���ϲ����� campus to activate “Scriptorium con Safos: ���ϲ�����,” and to engage with the community. The mini-residency is sponsored through generous support provided by .

The mini-residency begins on Thursday, April 4 at 2 p.m. with “Rocks, Water, Responsibility: Responding to Site,” a workshop open to the public to explore interconnections between people, rocks, and water. Franco will collaborate with Kate Holohan, curator of education and academic outreach, to lead the workshop that will begin at the museum to examine Franco’s work alongside American artist Robert Smithson’s installation “Double Nonsite, California and Nevada.”�� Through this examination, the group will consider how we might use that lens to explore the local geological landscape at Canal Landing Park in Fayetteville. Advance is required for this workshop.

Franco will then activate the museum galleries for a performance of “Scriptorium con Safos: ���ϲ�����,” from 2:30-4:30 p.m. on Friday, April 5. Afterward, Franco will be in conversation with , associate professor of studio arts in the School of Art in the , from 5-5:30 p.m., which will be followed by a reception hosted by the museum.

Franco, who is overseeing the permanent collection installation at the museum for 2023-24, will conclude his mini-residence with a live performance of “Scriptorium con Safos: ���ϲ�����,” from 1-3 p.m. on Saturday, April 6.

In doing so, “” (Routledge, 2024) illustrates how the choral music community journeyed through crisis to rebuild itself in an new era.

Moy will celebrate her new publication on April 3, with a in the Peter Graham Scholarly Commons, Bird Library Room 114, from 4:45 to 6 p.m.

When former American Choral Directors Association Executive Director Tim Sharp learned of Moy’s research, he noted that, “It’ll be interesting, and I think important, to document this. In 10 years, we’ll look back and maybe see more clearly what we were up against and what we did, and hopefully, what we did better and what we lost.”

Moy interviewed more than 40 choral musicians from across the United States and Canada and from a spectrum of contexts: community choruses, professional choirs, children and youth choirs, school choirs and choral organizations.

“The singers and directors shared with me what it was like to make choral music during the COVID-19 pandemic,” says . “This book documents these interviews. It was heartbreaking to hear personal stories of what they went through as people, as educators and as musicians. There was a lot of loss.”

When the pandemic emerged in early 2020, the impact on choral music was immediate and devastating. The act of gathering and singing together became a source of contagion and potential severe illness or death.

“Nevertheless, it was inspiring to hear how new ideas came about to help singers overcome during a time when singing was deemed a ‘superspreading’ activity,” says Moy. “’Resurrecting Song’ documents how singing became a source of joy during tragic circumstances. It was wonderful to connect human to human through these stories.”

Documenting both pandemic experiences and the lessons learned from surviving and thriving, Moy’s book showcases the resilience of choral music and helps point the way to new directions for the choral community in the wake of the pandemic.

In their own words, community members share how they banded together to innovate, use technology in new ways and generate changes to practice. Moy also explores how the pandemic caused many directors to realize the need to create a more inclusive place of belonging in their rehearsals, and it provides reflections on the philosophy of singing and creating a choral community.

As Moy puts it, during the challenging months of COVID-19 the subjects of “Resurrecting Song” went from being advocates and educators of choral singing to literally “saving the choral art.”

Rina Banerjee’s “Take Me to the Palace of Love”

One of the highest honors given by MANY, the Art Museum, along with fellow awardees that include peer museums, museum professionals, industry partners and legislative leaders, will be recognized for their exceptional achievements at MANY’s 2024 annual conference “Giving Voice to Value” in Albany, New York, in early April. “We are honored to be recognized by our museum colleagues for the Rina Banerjee exhibition and related programs- which included extensive collaborations with our campus community through faculty, student and staff-led programs, as well as the greater ���ϲ����� area community,” says Emily Dittman, interim director, who will receive the award on behalf of the museum. “This project provided us the opportunity to truly fulfill our mission to foster diverse and inclusive perspectives by uniting students across campus with each other and the local and global community, engaging with artwork to bring us together, and examining the forces that keep us apart.”

From left: Romita Ray, Rina Banerjee and Joan Bryant

Inspired by “Take Me to the Palace of Love” a 2003 art installation by contemporary artist Rina Banerjee about home and diaspora, Ray accumulated a group of work from the ���ϲ����� Art Museum permanent art collection as well as from other Central New York museums, to install in the museum galleries in conjunction with Banerjee’s monumental sculptures. “Viola, from New Orleans” a work that explores inter-racial marriage in America, and “A World Lost,” an installation that critiques climate change, anchored the galleries and was placed in dialogue with work from the collections.

As a part of the robust slate of public programs associated with the exhibition, the museum invited the University community, new Americans and under-represented communities in the city of ���ϲ����� (a resettlement city for Afghans, Nepalese, Bhutanese, Somalians and Syrians) to document their own stories about identity and place—individually and collectively—in dialogue with Banerjee who was the University’s Jeannette K. Watson Distinguished Visiting Professor in the Humanities. “Take Me To The Palace of Love” was generously supported by the ���ϲ����� Humanities Center, along with 33 university departments and units at the University, The Republic of Tea and the National Endowment for the Arts.

“Paper Trail: Works by Veteran Photographers, Cartoonists and Sketch Artists,” is on display at the , which is managed by VPA’s creative arts therapy program, through Friday, Aug. 2.

Many of the images are from three cartoonist collections held at the . Featured are works by (“Beetle Bailey”), (“Marmaduke”) and (a World War II cartoonist). Other materials are by Alan Dunn and former students of the military visual journalism program at the : Kenny Holston, Preston Keres, Pablo Piedra, Ethan Rocke and Marianique Santos.

The co-curators, graduate students Ohoud Ibrahim Alfadhli, Upneet Kaur Mair and Katelyn Marie Miller, have all worked on various aspects of the exhibit as NVRC Gallery curatorial assistants.

Jennifer DeLucia

, assistant professor and chair of creative arts therapy, has guided the students through the project, which includes cartoons, photography and sketches that convey the complexities of the veteran experience. “As co-curators, students are empowered to take an active role in shaping the narrative and design of the exhibitions,” DeLucia says. “The interdisciplinary partnership between the art therapy and museum studies programs within VPA creates opportunities for unique dialogue as multiple perspectives inform the curatorial work, and students add fresh ideas and a great level of energy and enthusiasm.”

The experience also provides a unique interdisciplinary and experiential learning opportunity. “They are exposed to military culture and history, and that knowledge of military-connected communities will carry with them as they transition into new roles when they graduate, [helping them] address the miliary-civilian divide,” DeLucia says.

Ohoud Alfadhli

Co-curating the exhibit helped Alfadhli, an international student from Saudi Arabia, better understand the administrative functions of developing an exhibit, such as making appropriate legal arrangements for the loan of the art and copyright issues, she says. She also enjoyed delving into the archives to select exhibit items. “It allowed me to explore the artists’ works, sketches and correspondence, yet it was also challenging because I encountered numerous pieces that deserved to be exhibited.”

Upneet Mair

Mair, who is from India, says she enjoyed the installation process most. “It can be a bit exhausting, but the process is what I like about it, and once the exhibition is up, the satisfaction of doing it feels good,” she says. Mair, who has a master’s degree in fine arts, finishes the museum studies master’s program this spring. She wants to work at major museums in New York City as a curator or collection manager.

Katelyn Miller

Miller hails from Gettysburg, Pennsylvania, which she��calls “a place where museums, history and community engagement rule every major endeavor.” She adds: “I have embraced that perspective in both my undergraduate degree and my graduate career here.”

Miller used software to plot the exhibits in the gallery space, inputting artwork dimensions to develop an accessible and efficient design, an aspect of exhibition work that she particularly enjoyed. “Working on this exhibition from concept to installation has been a valuable exercise in collaboration and exhibition research and design. This space is an ideal environment for developing my skills as a museum professional, and I hope that ‘Paper Trail’ conveys this effort to its visitors,” she says. Miller wants to work in an institution that provides the community with learning resources, such as a national park, library or museum.

“The NVRC was intentionally designed to nurture interdisciplinary programming to advance the social, economic and wellness concerns of veterans and their families,” says J. Michael Haynie, vice chancellor for strategic initiatives and innovation and executive director of the University’s D’Aniello Institute for Veterans and Military Families. “Our collaboration with VPA at the NVRC Gallery is a unique example of ���ϲ�����’s commitment to being the best place for veterans, and I encourage the campus community to visit this impressive exhibit.”

Dawoud Bey’s “Clothes Drying on the Line.” (Photo courtesy of Dawoud Bey)

Black-and-white images from “An American Project,” made in ���ϲ����� in 1985 during Bey’s artist residency at Light Work, chronicle the community and history of South Salina Street. These prints were recently gifted by Bey and Stephen Daiter Gallery to celebrate the dedication of the Jeffrey J.Hoone Gallery.

“Embracing Eatonville” was a photographic survey of Eatonville, Florida—the oldest Black-incorporated town in the United States—that featured work by Bey, Lonnie Graham, Carrie Mae Weems and Deborah Willis, and was exhibited at Light Work in 2003. Bey
made color photographs of high school students combining their portraits with text sharing personal hopes, fears, and dreams.

“I was invited to do a residency at Light Work in 1985, after being introduced to the organization by my friends, photographers Michael Spano and Sy Rubin. Applying and being accepted has remained an important highlight of my career almost forty years later,” Bey says. “It was the first time I was also able to have the kind of absolute support that allowed me to have what is still one of my most productive months ever as an artist. That support was something that I’d never experienced before, and it allowed for a profound burst of creative activity, going out into the ���ϲ����� community every day to make photographs without the worry about how that investment of time would be remunerated.”

The projects will be on display in the Jeffrey J. Hoone Gallery at Light Work (316 Waverly Ave.) from March 18 through May 17.