鈥� paintings line the walls of her studio in Anchorage, Alaska. From 鈥渋con portraits鈥� to landscapes, her artwork holds a palpable verve鈥攃arrying a panorama of stories, ideas and interpretations with them, often centered on Alutiiq culture and identity.

From April 6-17, Infante Lyons will bring her visual and academic storytelling to 性视界 University as the 2026 . Her two-week residency is organized around the theme of 鈥淰isions of Resilience: Sacred Art and Storied Landscapes.鈥� Humanities Center Director Vivian May says she is excited about the many different ways Infante Lyons will engage the community through dialogues, lectures and seminars focused on her art, Indigenous cultural resilience, approaches to environmentalism and environmental activism, storytelling and more. Infante Lyons鈥� work, says May, “immerses us in a sense of place and asks us to build relationships across boundaries. Infante Lyons visualizes the sacred, imagines the environment and builds stories in ways that invite us to come together and imagine a more just future for all.鈥�

All are welcome to meet Infante Lyons and experience her work in person at an at 4:30 p.m. Tuesday, April 7, in Eggers Hall and at other .

Infante Lyons, a painter and multimedia artist whose work engages themes of Indigenous sovereignty, cultural resilience and environmental sustainability, was raised in Anchorage. After earning her bachelor鈥檚 degree from Whitman College, she studied at the Vi帽a del Mar Escuela de Bellas Artes and spent 18 years in Chile. Her maternal family is from Kodiak Island鈥攁 large island in the Gulf of Alaska and the ancestral homeland of the Alutiiq/Sugpiaq people鈥攚here her grandparents were commercial salmon fishers. She is a registered Alutiiq Alaska Native and has tribal affiliation with the Alutiiq/Sugpiaq corporation, Koniag.

鈥淚’m looking forward to conversations about learning from different cultures: the importance of a diverse mindset, the richness of looking at Indigenous cultures, how they see the world,鈥� says Infante Lyons. Turning to the future, she asks: 鈥淎nd then, how can you apply that to a conversation [about] where we go forward? It could be applied to sustainability, or how we get along as human beings, or how we get along with the rest of the world.鈥�

Notably, two new paintings by Infante Lyons will find a permanent home in the 性视界 University Art Museum. Melissa Yuen, curator at the museum, says Infante Lyons鈥� potrtaits “invite interdisciplinary conversation, highlighting humanity鈥檚 relationship with the environment, disrupting Eurocentric worldviews and celebrating the role women play in Alutiiq culture as connectors with the world.鈥�

These as-yet unnamed pieces, to be unveiled on April 7, each depict Alaskan Native women dressed in kuspuks. The works incorporate traditional and contemporary Indigenous designs, and each woman cradles an animal central to Alutiiq culture: a seal pup in one painting, an otter in the other. The compositions echo a 鈥淢adonna and Child鈥� style painting, complete with halos and other visual symbols of reverence.

In portraying animals in the style of sacred Orthodox paintings and iconography, Infante Lyons emphasizes an intimate relationship between humans and the natural world鈥攐ne that opposes Western models of extraction and domination. Relatedly, some of her upcoming events on campus will highlight how Indigenous mindsets forge new pathways for understanding and caring for the environment.

Chie Sakakibara, associate professor of Native American and Indigenous Studies and geography and the environment, says when she came across one of Infante Lyons鈥� icon portraits, 鈥溾�� she was speechless.

鈥淚 was immediately struck by the work鈥檚 powerful expressivity, as Linda brings together multiple elements鈥攁ncestral presences and sacred, spiritual words鈥攊nto the present, rather than relegating them to a past that no longer exists,鈥� says Sakakibara.

Sakakibara invites the campus and broader 性视界 community into a shared encounter with Infante Lyons鈥� artistic wisdom, and hopes the residency will spark some of the same kinds of connections she cultivates with students around traditional and land-based knowledge, cultural resilience, multi-species relations and the continuity of Indigenous storytelling.

For co-host Timur Hammond, associate professor of geography and the environment, Infante Lyons鈥� residency opens up new points of academic connection, particularly for his Spring 2026 course, ‘Geography of Memory,’ and for strengthening his ongoing collaborations with the (EHN). One of EHN鈥檚 projects includes an , developed with Infante Lyons, to help spark discussion and activity in the classroom and community.

While Infante Lyons鈥� work carries many layers of meaning, her creative process begins without a preconceived agenda. Referencing 性视界 creative writing professor and author George Saunders, Infante Lyons subscribes to the idea that 鈥渢he muse finds you.鈥� A blank canvas is an invitation for her to explore meaning, and to see her life experiences naturally flow out onto the canvas.

鈥淵ou come to the studio, you start something, and you may try to have a concept or an idea or a composition, but that will change,” she says. In being open to spontaneous inspiration during this creative process, 鈥測ou end up with a better piece of artwork,鈥� says Infante Lyons.

She hopes to inspire the same approach in those who come across her art. Her paintings鈥攁nd the conversations that arise around them鈥攏eed not uphold a rigid, absolute message. Rather, her work invites an opportunity for thought, exploration and emotion.

Story by Colette Goldstein G’25

will present “New In: Recent Acquisitions at the 性视界 University Art Museum” at the Louise and Bernard Palitz Gallery through June 4, 2026. Featuring paintings, photographs, prints,聽sculpture聽and ceramics聽acquired聽since 2021, the exhibition reveals how聽the聽academic聽museum puts new acquisitions to work in its galleries and study room, in faculty research and in conversations that reach beyond the museum walls.

鈥淭he museum鈥檚 wide-ranging collection provides opportunities to practice visual literacy and communication skills鈥攅ssential to many fields and professions鈥攁cross the University鈥檚 departments, schools,聽and colleges,鈥� says curator of education and academic outreach Kate Holohan. 鈥淚n addition, teaching with objects is active, experiential and student-centered. Students themselves聽analyze聽visual聽evidence in real time聽in order to聽pose聽critical聽questions,聽develop interpretations of artworks and聽make interdisciplinary connections.鈥�

Many of the works on view have already been聽activated聽at the museum with University students and faculty.聽鈥淗otel Paradise Caf茅,鈥澛燼聽resist-ground etching and engraving by Peter Milton, is聽a layered composition of mirrors and reflections聽and other works by Milton聽were featured聽in an exhibition聽co-curated聽by Lyndsay Gratch, associate professor of communication and rhetorical聽studies,聽and a 2024-2025 Art Museum Faculty Fellow.

Gratch brought students from her course Performance Studies into the galleries,聽and聽using Milton’s print,聽explored聽questions of reflexivity, positionality and how the act of looking is never neutral. The Faculty Fellows program,聽,聽engages聽professors from disciplines across the University with the permanent collection to develop this kind of object-based聽teaching.

The Faculty Fellows program and others like it聽are part of a broader effort. The museum routinely welcomes classes into its galleries and study聽room,聽where students examine original works firsthand. In 2025, over 200 classes from 38 different departments on聽campus聽made聽observations, weighed聽evidence聽and built聽research questions in real time. It is the kind of sustained, object-driven engagement that distinguishes聽the聽teaching museum, and one reason the聽SU聽Art Museum has made expanding聽the perspectives and lived experiences in the collection a priority.

That priority is on full display here.

A photograph by Chinese American artist Jarod Lew, from his series “In Between You and Your Shadow鈥澛爂rapples with聽the limits of knowing your family history聽within the social聽context of聽Asian American聽by recreating聽a scene from his childhood.聽In 鈥淯ntitled (Snack),鈥� a聽handwritten Post-it note聽sits before a聽plate of cut fruit聽left by his mother聽as an after-school snack.聽It’s聽a聽quiet, intimate聽photograph, but one that carries the weight of a larger history:聽Lew’s mother was the fianc茅e of Vincent Chin, whose 1982 murder became a turning point in Asian American聽history.

A聽monocast聽rubber sculpture by聽Niho聽Kozuru聽points toward the kind of interdisciplinary conversations the museum aims to foster, with the potential of聽catalyzing conversations聽with material scientists in chemistry and the College of Engineering and Computer Science聽and curators of the plastics collection in the Special Collections Ressarch Center at Bird Library.

The exhibition also includes a screenprint by painter,聽College of Visual and Performing Arts聽聽alumnus and聽性视界 University聽Art Museum Advisory Board member James Little, made to聽support聽the 150th anniversary of the Art Students League where he now teaches; a print from the Helen Frankenthaler Foundation,聽donated through聽; and press photographs that build on the museum’s connection to the S.I. Newhouse School of Public Communications. Many of these works are on public view for the first time.

鈥淭hese acquisitions聽are a testament to聽the Orange community鈥檚 commitment to the University鈥檚 mission of teaching and research, and demonstrate how a diverse collection聽strengthens聽those efforts,鈥� says curator Melisa Yuen. 鈥淲e are grateful for the聽generous聽donations that made this聽exhibition聽possible, through both gifts of art and through funds that allow us to聽purchase聽work strategically.鈥�

鈥淣ew In鈥澛爌resents聽a聽portrait of a museum where聽acquiring聽a work of art is only the first step. At 性视界,聽students聽catalogue, curate and build research questions through direct engagement with original聽art.聽This exhibition聽invites visitors to聽explore that聽process and聽encounter聽the works聽that make it possible.

“New In: Recent Acquisitions at the 性视界 University Art Museum” is on view聽now聽through June 4, 2026, at the Louise and Bernard Palitz Gallery in midtown Manhattan. For more information, visit聽听辞谤 .

When G鈥�26 was researching master of fine arts (M.F.A.) programs, one opportunity in the School of Art stood out: the Turner Semester residency in Los Angeles. The chance to immerse herself in the rhythm of LA鈥檚 art world, intern with a working artist and experience the culture firsthand became the deciding factor in her application to the school鈥檚 within the College of Visual and Performing Arts (VPA).

鈥淚 applied to 性视界 with this residency at the forefront of my decision,鈥� Hashemi says, 鈥渁nd it exceeded my expectations.鈥�

Hashemi was named one of three Turner Semester residents for the Spring 2025 semester. She lived and worked in LA under the guidance of residency coordinator who, like Hashemi, is an interdisciplinary artist. Between exhibitions and studio visits, museum tours and artist talks, Hashemi discovered what it meant to sustain a life in the arts beyond studio walls. 鈥淚t was my first time truly experiencing that ecosystem firsthand,鈥� she says.

The residency鈥檚 centerpiece was her internship with Elliott Hundley, an LA-based collage artist whose work Hashemi had admired for years. 鈥淗is practice reshaped how I think about collage鈥攏ot just as assemblage, but as a living, breathing cosmos,鈥� she says. 鈥淲hen I finally stepped into that cosmos years later, it felt like crossing into a dream I had unknowingly rehearsed for.鈥�

Twice a week, Hashemi worked alongside Hundley and his studio manager, cutting hundreds of tiny scraps by hand, resizing over 800 images, forming clay pins and gluing delicate fragments into place. (The pieces would travel to Regen Projects and the Santa Barbara Museum of Art for his mid-career retrospective.) She also observed curators, critics and gallerists who visited the studio.

The experience opened unexpected doors. After sharing her own work with Hundley, he arranged a private studio visit with Shepard Fairey鈥攁nother longtime inspiration. The visit led to meaningful conversations and connections, including the potential to assist in Fairey鈥檚 studio in the future.

鈥淏eing embedded in the community revealed how central relationships and collaboration are to sustaining a life in the arts,鈥� Hashemi says. 鈥淔or someone who typically spends most of their time working alone in the studio, the residency exposed me to an entirely new way of engaging with the art world.鈥�

Back in 性视界, Hashemi has made the most of the opportunities afforded to graduate students in the School of Art. She has a private studio space in Comstock Art Facility鈥檚 printmaking lab, where she works on her large-scale collage work, and she benefits from the perspectives and suggestions of faculty members who work in such disciplines as printmaking, ceramics and photography. She has also taught three semesters of undergraduate screenprinting, her favorite medium, and worked as a technician in the printmaking lab. She recently had the solo show 鈥淥bscura鈥� in the school鈥檚 new student-run gallery .

鈥淎s a third-year M.F.A. student preparing for my culminating thesis exhibitions, I approached this show as a kind of mini-thesis preview,鈥� Hashemi says. 鈥淚nstalling and exhibiting work from the past two-and-a-half years allowed me to see the full scope of my development, and since I typically work at a large scale, it was the first time I experienced a substantial body of work installed together.鈥�

This spring Hashemi will exhibit her work in VPA鈥檚 (opening March 27 at the college鈥檚 ) and in New York City, also in March. She is considering a return to the West Coast after she graduates in May. 鈥淭hrough my LA residency, I鈥檝e developed meaningful professional connections and am interested in pursuing opportunities there, alongside my interest in teaching at the college level,鈥� she says.

This spring, the 性视界 University Art Museum will present three new exhibitions that challenge how we think about art, freedom and the human body. Together, they examine whose stories get told and how the images we see shape the way we understand our world and each other.

鈥淧ossible Worlds: 20 Years of the Wynn Newhouse Awards,鈥� 鈥淎fterimages: Legacies of the Thirteenth Amendment鈥� and 鈥淯ndressed: The Nude in Dutch Art, circa 1550-1800″ will join the permanent collection exhibition 鈥淗uman/Environment: 4,000 Years of Art鈥� and the Art Wall Project by artist Bhen Alan, 鈥淲hy Does My Adobo Taste Different?鈥�

‘Possible Worlds: 20 Years of the Wynn Newhouse Awards’

For 20 years, the Wynn Newhouse Awards have recognized and celebrated the excellence of contemporary artists living with disabilities. This exhibition brings together 11 of those artists鈥攑ainters, sculptors, photographers and video artists鈥攃hosen from 115 award recipients for the force and clarity of their work.

Curated by Daniel Fuller G鈥�04, “Possible Worlds” spans generations and approaches. The works vary from quiet and intimate to bold and confrontational, exploring themes that include memory, time, care, power, communication and the body. The exhibition makes no attempt to define what disability means to these artists or present a unified narrative. Instead, it offers visitors a chance to spent meaningful time with each artist鈥檚 individual practice and consider how these artists navigate the art world鈥� and the world at large鈥攐n their own terms.

Fuller will engage in a virtual conversation about the exhibition on Wednesday, Feb. 4, from 6 to 7 p.m. is free and required. A range of programming inspired by the exhibition will be presented throughout the semester.

Generous support for this exhibition is provided by the New York State Council on the Arts (NYSCA), the Joe and Emily Lowe Fund, Louise B. and Bernard G. Palitz Fund, the Burton Blatt Institute and the Center on Disability and Inclusion in the School of Education.

‘Afterimages: Legacies of the Thirteenth Amendment’

The 13th amendment, ratified by Congress in 1865, abolished slavery and involuntary servitude. Except for a critical exception: slavery could continue as punishment for a crime. That loophole has shaped American life ever since, from convict leasing in the Jim Crow South to mass incarceration today.

鈥淎fterimages,” curated by first-year graduate students in art history under the guidance of Associate Professor Sascha Scott, highlights art from the museum鈥檚 collection to trace this complicated legacy.

This exhibition invites reflection on the impact the amendment had on Black communities, as well as the continued violence and coerced labor still permitted through the exclusion clause. Themes explored include community, resistance and resilience present in abolitionist and civil rights movements, some of which persist today.

鈥淎fterimages: Legacies of the Thirteenth Amendment鈥� will be on view in the James F. White Gallery through March 8. A free curator talk, led by Scott and the student curators, will be held on Feb. 13 from 3 to 3:45 p.m.

‘Undressed: The Nude in Dutch Art, circa 1550鈥�1800’

In the 1950s, influential British art critic Kenneth Clark argued that great art depicted not 鈥渘aked鈥� bodies but 鈥渘ude鈥� ones, elevated above everyday reality. 鈥淯ndressed: The Nude in Dutch Art, circa 1550-1800鈥� disrupts this conventional idea about nudity in art by examining the works artistically and within their cultural context. Encompassing 21 works across a range of mediums, the exhibition surveys the portrayal of nudity and semi-nudity in Dutch art over several centuries from artists including Rembrandt, Lievens and Goltzius.

This exhibition is curated by eight senior art history majors with the guidance of Distinguished Professor Wayne Franits, chair of the Department of Art and Music Histories in the College of Arts and Sciences. The student curators spent a semester considering what these works reveal about the 鈥渘ude鈥� within their cultural context and now they鈥檙e inviting visitors to look closely and draw their own conclusions.

The exhibition will be on view from March 17 to May 9. A free curator talk led by Franits and the student curators will be held on Thursday, April 2, from 4:30 to 5:15 p.m.

This exhibition is made possible with support from the Department of Art and Music Histories in the College of Arts and Sciences and includes loans from the Johnson Museum of Art, the Westphalen Collection in New York City and private collections.

For more information on exhibitions, events and museum hours, visit聽 or explore the museum鈥檚 free digital guide on .

性视界 University was a forerunner in fine arts education in the United States. In 1873, the College of Fine Arts opened as the first-degree conferring organization of its kind stateside, and in 1875, the first student graduated with a bachelor鈥檚 degree in painting. The same year, the opened its doors. These lockstep legacies are being celebrated in a new exhibition, “Depicting the Everyday: A Legacy of Fine Arts Education at the Art Students League,” at the , the 鈥檚 visual arts venue in Midtown Manhattan.

The Art Students League was founded with a commitment to creative freedom for how the fine arts were taught. Since the first figure drawing sessions were offered 150 years ago, the league has seen over 200,000 artists practice their craft in its studios. Drawn from the University Art Museum鈥檚 collection, “Depicting the Everyday” explores the range of subject matter artists who taught at the league turned to while honing their technique, from urban vignettes to intimate portraits of loved ones.

On Wednesday, Oct. 29, 2025, from 6鈥�8 p.m. the University Art Museum will host a reception and gallery talk at the Bernard and Louise Palitz Gallery. Art Students League assistant curator Esther Moerdler will speak about the exhibition and the institution鈥檚 legacy, followed by a Q&A session. The event is free and open to all, with drinks and light refreshments provided.

“Depicting the Everyday: A Legacy of Fine Arts Education at the Art Students League” will be on view through Feb. 9, 2026.

Earlier this year, employees of 性视界 University once again participated in 鈥淥n My Own Time,鈥� a community arts program that links the business and cultural sectors of Central New York and spotlights local workforce members who create visual art 鈥渙n their own time.鈥� 性视界 University has participated in 鈥淥n My Own Time鈥� every year it has been offered since 1982. Over the years, it鈥檚 estimated that more than 1,800 faculty and staff have exhibited.

This year鈥檚 on-campus exhibition, displayed in Bird Library in the spring, consisted of 59 pieces of art created by 27 faculty/staff artists representing 19 schools, colleges and departments across the University. The diverse range of artwork submitted this year included drawing, mixed media, photography, painting, fiber art, glassmaking and digital art.

Of the 27 artists, nine were selected to display their art at the 鈥淥n My Own Time鈥� finale exhibition at the Everson Museum of Art from Oct. 4-Nov. 9. There is an opening reception on Thursday, Oct. 9, at 5:30 p.m. at the Everson; the reception is free but are required.

The 性视界 University artists who will display their work include:

• Jaime Banks (School of Information Studies) with her mixed media piece, 鈥淥rchid Wail鈥�
• Erin Beiter (Office of Research) with her drawing, 鈥淟andscape鈥�
• Richard Breyer (S.I. Newhouse School of Public Communications) with his painting, 鈥淛ones Diner鈥�
• Meghan Graham (Office of the Chief Operating Officer) with her fiber art, 鈥淪unrise or Sunset Shawl鈥� (This piece was also selected as the People鈥檚 Choice favorite based on balloting at the campus exhibition.)
• Marie Luther (now a retiree of the College of Visual and Performing Arts) with her porcelain and glass piece, 鈥淭he Middle Way鈥�
• Kathleen Pascarella (Parking and Transportation Services) with her photograph, 鈥淪unday Best鈥�
• Scott Samson (College of Arts and Sciences) with his photograph, 鈥淩eeds鈥�
• Joseph Stoll (Maxwell School of Citizenship and Public Affairs) with his mixed media piece, 鈥淪ummer Dreams鈥�
• Ronald Thiele (now a retiree of the 性视界 University Libraries) with his photograph, 鈥淗ang On!鈥�

To learn more about 鈥淥n My Own Time,鈥� visit聽.

To commemorate its 50th anniversary . (POC) is presenting 鈥�50 Sin Cuenta,鈥� a landmark exhibition of contemporary Latin American art drawn from its own permanent collection.

An opening event will be held Friday, Sept. 19, from 5:30 to 7:30 p.m. at the newly renovated at the Nancy Cantor Warehouse, 350 W. Fayette St., Suite 005, in downtown 性视界. It is free and open to the public.

, executive director of the Office of Cultural Engagement for the Hispanic Community, says the exhibition continues POC鈥檚 mission of providing a forum for people from diverse backgrounds to engage in open dialogue across intellectual, social and geographic boundaries. It highlights the breadth and depth of POC鈥檚 collection and features over 100 works by acclaimed artists. They include Luis Felipe No茅, Liliana Porter, Ana Tiscornia, Joseph Kugielsky, Maritza Bautista, Pedro Roth, Arnaldo Roche, V铆ctor V谩zquez and Nayda Collazo Llor茅ns, among others

鈥�50 Sin Cuenta鈥� is a Spanish play on words suggesting both a milestone event and a refusal to be limited by time constructs

POC, which was founded in 1975 by late professor , began as a literary project and journal featuring essays about literature, politics and science, with a strong focus on Latin American culture, Paniagua says. It added a visual arts and exhibitions program in 2005.

鈥淧unto de Contacto has cultivated important collaborations locally, nationally and internationally and has provided rich connecting points with 性视界 University faculty and students from several departments over the years, including those in Latino-Latin American studies, creative writing, museum studies and the arts,鈥� Paniagua says.

鈥淚t has provided a continuing platform for artists, writers and thinkers to engage across disciplines and borders ever since its beginning. This exhibition honors the visionary spirit of our founder and invites us to imagine ongoing cross-cultural dialogue, artistic innovation and creative possibility.鈥�

鈥淧oint of Contact鈥檚 legacy is rooted in experimentation, dialogue and discovery,鈥� says Emily Dittman, newly appointed president of the Board of Directors and director of 性视界 University Art Museum.

鈥淭his anniversary is a moment to reaffirm our commitment to the artists and communities that shape our mission. We鈥檙e excited to share this milestone with the public and open our doors to new collaborations,鈥� she says.

The exhibition will be on view through Friday, Oct. 24. It is sponsored by the New York State Council on the Arts (NYSCA) with support from the Office of the Governor and the New York State Legislature, the 性视界 University Humanities Center, Centro de Estudios Hisp谩nicos and the Latino-Latin American studies program, and produced in collaboration with the College of Visual and Performing Arts鈥� Warehouse Gallery and museum studies program.

The themes of healing, identity and community through the lens of the human body are the focus of a new exhibition at .

A opens 鈥淐orp贸rea,鈥� which translates to 鈥渙f the body,鈥� on Friday, Sept. 12, from 6 to 8 p.m. with music, traditional Spanish-Caribbean cuisine and a presentation of participating artists. The exhibition runs through the 2025-26 academic year.

Featuring large-scale collective works and individual pieces created by members of 性视界鈥檚 Latino community, the exhibition recognizes the body as a site of memory, resilience and transformation, says organizer Bennie Guzm谩n G鈥�25, a 性视界-based artist and graduate of the master鈥檚 program in in the . Body maps and mixed media, collected over six weeks of art therapy workshops held this summer, reflect the artists鈥� personal journeys.

鈥溾�楥orp贸rea鈥� is about what we carry, how we heal and how we thrive,鈥� Guzm谩n says. 鈥淎rt becomes a way to regulate, reflect and reconnect. It鈥檚 not about being perfect; it鈥檚 about being present.鈥�

Emily Nolan, professor of practice in creative arts therapy and a licensed art therapist, was an advisor on the project. M. Emma Ticio Quesada, professor of Spanish and linguistics in the , was also involved. Also assisting were Brenda Teruya, a doctoral candidate in the economics program in the Maxwell School of Citizenship and Public Affairs, and Paola M茅ndez G鈥�25, a graduate of the master鈥檚 program in museum studies and curator of the exhibit.

The project is part of the 2025鈥�26 , 聽presented by the . It is also聽supported by the and the University鈥檚 .

, executive director of the Office of Cultural Engagement for the Hispanic Community, says the program was 鈥渁n opportunity [for participants] to share their stories and experience a sense of wellness through creative expression, even as they navigated linguistic and cultural barriers. The project affirms the importance of visibility, empathy and mutual support and is a powerful model of connection and belonging.鈥�

A series of community dialogues on the outcomes of the program is also planned.

The kicks off its fall season on Aug. 26 with four new exhibitions that reflect the museum鈥檚 mission to foster diverse and inclusive perspectives and unite students across disciplines with the local and global community. From exploring abstract printmaking, to the lived experiences of diasporic communities, to the relationship between humans and the environment, this season鈥檚 programming invites the campus and 性视界 communities to engage meaningfully with art and its broader contexts.

‘What If I Try This?’: Helen Frankenthaler in the 20th-Century Print Ecosystem

In the Joe and Emily Lowe Galleries, “What If I Try This?” examines the printmaking career of celebrated abstract artist Helen Frankenthaler H鈥�85 (1928-2011). Curated by Melissa Yuen, the exhibition grew from a 2023 gift of 11 prints and one set of process proofs from the Helen Frankenthaler Foundation as part of the Frankenthaler Prints Initiative and explores how Frankenthaler, in collaboration with seven print studios, pushed the boundaries of printmaking.

Featuring loans from the Helen Frankenthaler Foundation (New York), the Collections of Jordan D. Schnitzer and the Jordan Schnitzer Family Foundation (Portland, Oregon), the Memorial Art Gallery of the University of Rochester (Rochester, New York), Zimmerli Art Museum at Rutgers University (New Brunswick, New Jersey) and Munson Museum of Art (Utica, N.Y.), the show considers the collaborative and technical nature of printmaking and emphasizes that prints are not simply ink on paper, but the outcome of experimentation and technological innovation.

鈥淚 am delighted to celebrate and share the Frankenthaler Foundation鈥檚 generous gift to 性视界 University with our audiences,鈥� says curator Melissa Yuen. 鈥淎t the same time, through the different partnerships the artist sustained throughout her five-decade-long printmaking career we are able to explore the vibrant printmaking ecosystem that continues to flourish today. The daring experiments Frankenthaler and her collaborators realized remind us that invention requires risk, and that the creative process is rarely linear.鈥�

An opening reception on Thursday, Sept. 11, will feature a keynote talk by Alexander Nemerov, the Carl and Marilynn Thomas Provostial Professor in the Arts and Humanities at Stanford University. A part of yearlong series focusing on the theme of 鈥淐reativity,鈥� presented by the , Nemerov鈥檚 talk will explore Frankenthaler鈥檚 性视界 connection by way of 性视界 University alum and famed 20th-century art critic Clement Greenberg 鈥�30. The talk begins at 4:30 p.m. at 500 Hall of Languages with a reception to follow at the Art Museum in the Shaffer Art Building.

‘A Sense of Arrival’

“A Sense of Arrival” brings together scholarship and artistic practice in a multimedia installation by , professor of rhetoric and writing in the Department of Writing Studies in the . Browne鈥檚 exhibition combines photographs, sculpture and new writings that reflect a decades-long meditation on Caribbean blackness, being and rhetorical expression.

A public reading and conversation with Browne will be held later in the fall, offering a unique opportunity to engage with the artist-scholar鈥檚 evolving work.

‘Human/Environment: 4,000 Years of Art’

A new permanent collection exhibition in the Morton and Luise Kaish Gallery and Collection Galleries, “Human/Environment: 4,000 Years of Art” examines the relationship between people and their environments across time and space. The exhibition draws from the museum鈥檚 collection of nearly 45,000 works and includes works ranging from ancient to contemporary.

Organized around themes such as landscape, the home, places of gathering and the human figure, “Human/Environment” asks viewers to consider how physical, cultural and material environments shape artistic expression鈥攁nd vice versa.

This exhibition will be on view for the next four academic years, and the museum hopes it will serve as an anchor for broader conversations about humanity and our place in the world.

The Art Wall Project: ‘Why Does My Adobo Taste Different?’

Artist, dancer and educator Bhen Alan brings his lived experience as a Filipino immigrant in Canada and the United States to a large-scale, site-specific installation in the museum鈥檚 Art Wall Project. Alan has constructed a monumental banig, a traditional Filipino handwoven textile created from plant fibers, strips of plastic and paintings he previously made of his family members.

鈥淚 want [museum visitors] to understand the experience of immigrant people 鈥� especially with everything that is happening right now in this political climate,鈥� artist Bhen Alan says. 鈥淭his work really is a labor of love, and I hope that whoever spends time with the work or whoever sees the work, even in a brief moment, I hope they find love and care for one another and for themselves.鈥�

Now in its fifth iteration, the Art Wall Project spotlights contemporary artists whose work inspires interdisciplinary conversations within the campus community. The project is generously supported by the Wege Foundation.

The 性视界 University Art Museum鈥檚 fall season presents a range of exhibitions grounded in its diverse collection that explores art and ecology, personal family narratives and pioneering printmaking. Together, they demonstrate art鈥檚 ability to spark conversation, bring together disciplines and help us better understand our world and each other.

Video filmed, edited and produced by Amy Manley, senior multimedia producer

For more information on exhibitions, events and museum hours, visit .