The presents 鈥淛ohn Thompson 鈥�72: Infinite Variation鈥� at the Bernard and Louise Palitz Gallery in New York City through Sept. 29. Featuring works that span Thompson鈥檚 entire career, from his roots at 性视界 University to his most recent prints, the exhibition examines his distinct approach to nature and printmaking.

Traditional printmakers create custom matrices for each new print, whereas Thompson re-uses existing matrices as building blocks, recombining and reimagining them across compositions. It鈥檚 an approach rooted in the studio culture he encountered at 性视界 as a student, where, as he puts it, the message was 鈥渆xperiment, experiment, experiment.鈥�

The practice, which inspired the exhibition鈥檚 title, surfaces a sustained, close observation of nature. Notably, Thompson highlights the waving grasses, vertiginous stalks, and rippling ponds seen throughout the natural world, but specifically in the gardens鈥攊ncluding his own鈥攖hat he loves.

“To think about a world without gardens and flowers and art and music鈥攚hy bother?”鈥痵ays Thompson.鈥�”There’s an enduring quality in creating artwork … it provides hope for society.”

The exhibition holds a particular significance for the Art Museum, which presents the work of an alumnus on a New York City stage. 鈥淢any printmakers treat the matrix as a means to an end. John treats it as a collaborator,鈥� says curator Melissa Yuen. 鈥淓ach new composition is in dialogue with everything he has made before.鈥� Thompson received a B.F.A. from 性视界’s in 1972 and the exhibition traces the arc of his career which began here and has since earned international recognition.

Thompson holds additional degrees from the University of Wisconsin-Madison (M.A.), Babson College (MBA) and Massachusetts College of Art and Design (M.F.A.), where he has also taught.

He maintains studios in Waltham, Massachusetts, and Harpswell, Maine, and collaborates with master printers Peter and James Pettengill at Wingate Studio in Hinsdale, New Hampshire, and Susan Oehme at Oehme Graphics in Steamboat Springs, Colorado.

His work is held in public collections, including Massachusetts General Hospital, Spaulding Rehabilitation Center and Mt. Auburn Hospital, and has been exhibited at Adelson Galleries, Childs Gallery and the Sunshine Museum in Beijing, among venues nationally and internationally.

Reflecting on the opportunity to share his work in New York, Thompson returned to a theme that has guided his practice: generosity. “A successful piece of art on the wall should be thought about the same way we do concerts and things,” he says. “It’s something to be shared amongst many, not to be hidden away.”

The 性视界 University Art Museum stewards a collection of more than 45,000 works spanning 4,000 years. Located in the Shaffer Art Building on the 性视界 University campus, the museum serves as a museum-laboratory for teaching, research and community engagement and provides free admission for all. The museum鈥檚 Bernard and Louise Palitz Gallery in New York City extends that mission to a wider audience. For more information and gallery hours, please visit .

Two students whose ventures focus on accessible design and student well-being have been awarded Spring 2026 Intelligence++ Venture Grants through 性视界 University鈥檚 initiative, administered through .

The competitive funding program supports student innovators developing products, services and creative ventures that improve accessibility and quality of life for people with intellectual disabilities and neurodivergent communities.

This year鈥檚 recipients are Rudransh Rajput 鈥�28 () and Cassia Soodak 鈥�26 (). Both ventures emerged from the interdisciplinary Intelligence++ program, which combines accessible entrepreneurship, disability-centered design and innovation.

Rajput earned funding to advance development of RUDY AI, an AI-powered platform designed to help neurodivergent and socially vulnerable students build meaningful social connections and improve campus belonging.

A student in the and an 1870 Scholar, Rajput developed the idea after observing the growing problem of student isolation and disengagement on college campuses. The platform focuses on students who may struggle to navigate traditional social environments, including students with ADHD, autism, anxiety and related challenges.

鈥淭his grant means we can move from scrappy mode to building a prototype for discovery and validation,鈥� Rajput says. 鈥淲e know the problem is real because we鈥檝e seen it firsthand on campus. This gives us the runway to get in front of more universities, refine the product with real student feedback and prove that you can measurably move the needle on retention and loneliness at the same time.鈥�

Rajput will work closely with the Intelligence++ program and during the fall semester, focusing on user-centered product development and testing.

The second grant recipient, Soodak, is building a venture at the intersection of adaptive fashion, disability studies and nightlife culture. Her company, Ms. Spellled, creates sensory-friendly ravewear and club clothing designed specifically for neurodivergent individuals. The garments feature tactile and fidget-friendly elements intended to support sensory regulation while maintaining bold, expressive aesthetics.

Soodak, who previously served as an InclusiveU peer mentor and event planner, says the venture was inspired by her own experiences with ADHD, autism, dyslexia and sensory processing differences.

鈥淣eurodivergent people shape rave culture, yet remain largely invisible within it,鈥� Soodak says. 鈥淢s. Spellled aims to redefine adaptive design as expressive, culturally relevant and empowering.鈥�

The venture combines adaptive design with alternative fashion aesthetics through upcycled garments, tactile fabric manipulations, custom graphics and handmade pieces.

Soodak has already tested prototypes with neurodivergent users and models in both fashion-show and real-world rave settings, receiving strong feedback on both the sensory functionality and visual appeal of the designs. 鈥淲ith this funding, I will be able to transition Ms. Spellled from a thesis-based project into an actively developing fashion brand and business,鈥� Soodak says.

She plans to use the grant to produce an initial collection of sensory-friendly garments, expand prototype testing and launch the brand through pop-up events and independent retail partnerships in New York City.

Soodak is a graduate of the Intelligence++ program and previously won a top student prize at the annual Intelligence++ Innovation Showcase, where student inventions are evaluated by industry experts and educators. Her work has also earned recognition within the University鈥檚 fashion program, including selection for a New York City design showcase and the Joan Rysitzky Prize for Excellence in Surface Design.

Her senior thesis collection, 鈥淒anceFloor Freaks,鈥� explored Brooklyn techno clubs as safe spaces for neurodivergent and queer communities and became the creative foundation for Ms. Spellled. She has also participated in adaptive fashion networking events and developed relationships with organizations including Runway of Dreams and ARISE.

Faculty in the (VPA) and the (A&S) have received (NEA) grants to support their community-engaged creative arts programs.

The awards鈥�$20,000 for a collaborative filmmaking production program aimed at 性视界 City youth and $18,200 for two years of artist residencies at a campus-affiliated cultural center鈥攔eflect the University’s commitment to connecting academic and creative work with the Central New York community.

Teens With a Movie Camera

Now in its third year, “” brings about a dozen local high school students to campus each summer for a three-week media arts production collaboration. Working with film faculty and University students, teens ages 13 to 18 make original short films using smartphones and everyday objects and then present them publicly.

Their work has been shown at the and at . It has also been screened in national and international film festivals, including the Thomas Edison Film festival, where 鈥溾�� won an honorable mention; and in the New Year/New Work Film Festival at The Film-Makers’ Cooperative听in NYC.

The program is co-led by , associate professor in VPA’s Department of Film and Media Arts; VPA film program alumnus G’23 and , a Guggenheim fellow and adjunct professor of photography at Onondaga Community College.

The trio is assisted by undergraduate and graduate film and media arts students. The program aims to empower teens by voicing their ideas through images and public presentation, according to Mi拧o Such媒. He says production relies heavily on improvisation “because it is undertaken as a zero-budget creative production based on the ethos of the tradition of independent cinema and low-budget experimental filmmaking.”

This summer鈥檚 program will explore themes of “defying gravity” and “overcoming the impossible.” Interested teens can apply on the program’s .

Community Folk Art Center

A second NEA grant of $18,200 will support “Rooted & Rising,” an artist residency program at the (CFAC), a University-affiliated cultural hub dedicated to promoting artists of the African Diaspora.

The residency is directed by , executive director of CFAC and assistant professor of African American studies in A&S. The grant will allow a program beginning in summer 2026 continuing through the end of 2027 that will support four artists over the two-year period. In addition to interacting with students in A&S programs, the artists will develop workshops, exhibitions, talks and free public events.

Jackson says the residencies will create meaningful opportunities for 性视界 University students to engage directly with working artists while also expanding access to arts programming for the Central New York community. They also offer the artists 鈥渢he time, space and institutional support to develop new work grounded in public engagement and cultural dialogue,” Jackson says.

The project reflects CFAC’s mission to bridge scholarship, creative expression and community wellness through support of multidisciplinary artists.

More information about NEA grants and their impact on communities is available on the .

The University is again a proud sponsor of the , a four-day celebration of world-class jazz music and community spirit, taking place July 9-12 at Beak & Skiff Apple Orchards in LaFayette, New York, and on the 性视界 University campus.

As it marks its 40th anniversary, the 性视界 International Jazz Fest enters an exciting new era, expanding its footprint while staying true to its roots. This year鈥檚 lineup includes such internationally acclaimed artists as Trombone Shorty & Orleans Avenue, Tower of Power, Gunhild Carling, Hejira, Dumpstaphunk, and Nathan & the Zydeco Cha Chas, along with the University鈥檚 own student jazz ensemble, Orange Juice.

The grand finale of the 性视界 International Jazz Fest, Return to Community: A Sunday Gospel Jazz Service, will be held Sunday, July 12, at , featuring a special performance by the Winston-Salem State University Concert Choir and local ensembles.

Opening Night: Celebrating the Nation鈥檚 250th Anniversary With the Airmen of Note

性视界 University and the 性视界 International Jazz Fest are proud to co-present a special opening night on Thursday, July 9, at the National Veterans Resource Center at the Daniel and Gayle D鈥橝niello Building (NVRC), 101 Waverly Ave., 性视界. The United States Air Force Band鈥檚 Airmen of Note will take the stage at 6 p.m.

Presented in association with the University鈥檚 , the evening will feature an exclusive Upstate New York regional performance by the world-renowned USAF Airmen of Note, an 18-piece jazz ensemble, musically celebrating the nation鈥檚 250th anniversary.

Admission is free with priority given to 性视界-area veterans; . Free parking is available in the University Avenue Garage, located at 1101 East Adams St.

Student Ensemble Performance: Orange Juice

Among the festival鈥檚 featured performers is the jazz combo, a standout student ensemble of instrumental and vocal performers from the College of Visual and Performing Arts鈥� . They will perform at 5 p.m. on Friday, July 10, in the tasting room at Beak & Skiff Apple Orchards in LaFayette.

The ensemble performs regularly in concerts on campus and at community events throughout the year. This will be the ensemble鈥檚 fourth appearance at the 性视界 International Jazz Fest under the musical direction of , director of jazz and commercial music in the Setnor School.

Fusing Gospel and Jazz

Wrapping up the festival, Hendricks Chapel鈥檚 will offer a unique blend of spiritual inspiration and musical artistry. The event will begin at 3 p.m., with a pre-event outdoor community luncheon preceding the service. Both are free.

Hendricks Chapel invites the community to this uplifting experience that fuses and celebrates gospel and jazz music, highlighted by special guests the Winston-Salem State University Concert Choir, the 性视界 Community Choir, composed of 性视界-area residents, and the Black Celestial Choral Ensemble.

All 性视界 International Jazz Fest events are free and open to the public.

For the full schedule and artist lineup, visit .

For 性视界 University’s seniors, Commencement is the culmination of years of hard work and dedication, a moment to celebrate earning their degrees.

But for the 10 seniors on the men鈥檚 lacrosse team, while the day was joyous, it was not a time for relaxing. They had to prepare for their next assignment: taking on Yale University in the first round of the NCAA Division I tournament.

In a seesaw contest featuring eight ties and five lead changes, it wasn鈥檛 until senior 听鈥�26 came up with two crucial saves with 16 seconds left to that senior co-captains 鈥�26 and 鈥�26 could exhale and celebrate on the turf field inside the JMA Wireless Dome.

Thomson, an attacker, scored three goals and added a pair of assists, and Dwan, a defenseman, scooped up five groundballs and caused a turnover to help lift the Orange into the quarterfinals for the third straight season.

Among the highlights of Commencement weekend: each senior had their graduation photos taken, wearing their cap and gown over their jerseys.

鈥淚 felt excitement and happiness, but also a feeling of sadness,鈥� says Thomson, who earned a communication and rhetorical studies degree from the . 鈥淭he best four years of my life are coming to a close. Having my parents [Amanda and Tim] in the building made it more emotional. My mom has now seen her youngest child graduate. I felt so many emotions when I was sitting on the Dome turf with my cap and gown on.鈥�

鈥淚t was a moment of reflection and gratitude for the great people and memories we鈥檝e made at this place,鈥� says Dwan, who also earned a communication and rhetorical studies degree.

Thomson and Dwan spoke with SU Today about the significance of graduating and winning an NCAA postseason game on the same day.

What were you more nervous about, Commencement or the first-round NCAA game?

Finn Thomson: I was more nervous about the game than graduation, because graduation is a celebration whereas the game鈥檚 outcome is out of my control. I knew I was going to graduate because I put the work in, but the game had yet to be played.

Billy Dwan III: For me, the playoff game where the season could have potentially ended was a more worrisome experience. Although graduation is a nerve-wracking time, I personally didn鈥檛 feel I graduated until our season was over.

How special is it to graduate in the morning and then kick off the quest for a championship in the afternoon?

Dwan: It hit me just how special of a day graduation would be during Selection Sunday the week before. We didn鈥檛 know whether we would be playing on Saturday or Sunday for the first round. When the bracket came out and we saw we were playing on the same day as graduation, it put everything into perspective. It鈥檚 a special experience.

Thomson: When I found out [Commencement] was the same weekend as our game against Yale, I was excited. There鈥檚 so much anticipation leading up to the day, and both events are about your hard work paying off. It was overwhelming, knowing that everything you鈥檝e put into your classes and the team is coming to an end, but it was also a super fun day. Not everyone gets to experience graduation from that perspective.

What would it mean to you to guide this storied men鈥檚 lacrosse team to a national championship during your senior year?

Dwan: Everything this place has given me, from an education to the relationships I have built, will last a lifetime. Having that storybook ending for my senior year, going out the right way and winning a national championship would mean the world.

Thomson: Guiding this team to a national championship in my senior year would mean everything to me. Leaving this program in a better place than you found it is always the goal, and winning a national championship would do exactly that. Raising that trophy is always at the back of our minds. We know what it takes and we’re going to do everything we can to get there.

After the win over Yale, 性视界 (13-5) defeated North Carolina 13-11 in the quarterfinals to advance into Championship Weekend. The Orange will face Notre Dame (12-2) at 2:30 p.m. Saturday in the semifinals at Scott Stadium in Charlottesville, Virginia. Fans can , and .

If 性视界 wins, the Orange will play for the national championship at 1 p.m. on Monday.

With an extraordinary and unique gift valued at more than $1.2 million, the School of Design in the is likely to become a travel destination for fashion researchers, haute couture designers and sewing enthusiasts worldwide. The school has received thousands of stunning designer garments, books, patterns and accessories that once belonged to an iconic figure in the fashion industry: Claire B. Shaeffer.

Shaeffer鈥檚 career path, from aspiring circus performer to couture expert and educator, is fascinating. Her relationship with 性视界 University is equally intriguing, given that it began when she was 80 years old after she reached out to a professor who shared her passion 鈥渇or reading garments,鈥� including every stitch, hem and buttonhole.

鈥淐laire was all about delving one layer deeper to understand and show how each garment was constructed,鈥� says Jeffrey Mayer, professor of fashion design and coordinator for the fashion design program. Shaeffer reached out to Mayer after seeing a book he co-authored, 鈥淰intage Details: A Fashion Sourcebook,鈥� which documents 160 garments found within the Sue Ann Genet Costume Collection at 性视界 University.

Shaeffer was impressed by the detailed photography, from hems to buttons. She told Mayer she wanted her next book to have similar photography. 鈥淭hat鈥檚 what fascinated Claire, how things were created,鈥� Mayer says. 鈥淪he went down rabbit holes to understand every detail of design.鈥�

A Collection of Garments, Patterns and Books

Shaeffer鈥檚 relationship with Mayer blossomed, and when she began to think seriously of where she might want her collection of more than 2,500 garments, patterns and books to end up after her lifetime, she chose 性视界 University, a teaching institution where students could learn from the study of each garment and pattern.

Shaeffer began her own studies in fashion design in the early 1960s after initially exploring the idea of circus performance. Proficient in acrobatics, she enrolled in the circus curriculum at Florida State University after high school. Her broad shoulders and slight build made it difficult to find clothes that fit, so she began to sew her own wardrobe. After realizing that basic patterns just wouldn鈥檛 fit her frame, she switched her academic interests and professional pursuits, turning a fascination with detail into a distinguished career.

Throughout her life, Shaeffer collected examples of haute couture and designer ready-to-wear and studied others in museum collections, design workrooms and factories. She excelled at the analysis of garment construction details and sewing techniques.

Shaeffer taught classes at the College of the Desert in Palm Springs, gave workshops, wrote dozens of magazine articles and books, developed instructional videos, had her own , and created the Claire Shaeffer Custom Couture Collection of patterns for Vogue Patterns. She received the Professional Association of Custom Clothiers Lifetime Achievement Award and the American Sewing Guild Sewing Hall of Fame Award.

A Dedication to Precision

Mayer was a former designer of women鈥檚 wear himself and a specialist in 20th-century fashion and construction techniques. He knew of Shaeffer鈥檚 history and stature, but never foresaw working so closely with this icon of industry. Given his personal history, though, it seemed destined. Mayer was the son of a seamstress.

鈥淚 would sneak into my mother鈥檚 room and, at the age of 6, I would start cutting out patterns,鈥� Mayer says. When his mother saw him so engaged with very pointy scissors, she told him: 鈥業f you鈥檙e going to do this, you鈥檙e going to do this right.鈥欌��

Similarly, Shaeffer taught countless students of fashion how to do things right and came to believe that 性视界 University鈥檚 program was similarly dedicated.

Before her passing in January 2025, she had shipped close to 1,000 pieces from her collection to the school. Afterward, Mayer and Kirsten Schoonmaker, fashion design collections manager, flew out to Palm Springs and worked with Shaeffer鈥檚 sons to pack up another 1,500 pieces.

The gift perfectly matched the mission of the Sue Ann Genet Costume Collection and Research Center: 鈥溾�o provide the University and broader community with access to exemplary garments and accessories that reflect high standards of craftsmanship, design and stylistic significance. With a sustained focus on the object itself and its material, structural, and aesthetic integrity the collections advance the preservation, study and interpretation of these works.鈥�

Pieces of History

Among the many works that will be available for study is a Chanel suit recognized around the world and a part of American history. It is the 鈥渢win鈥� of the suit worn by First Lady Jacqueline Kennedy when President John F. Kennedy was assassinated.

There are dozens of Chanel pieces in the collection, along with pieces by many other iconic designers like Yves Saint Laurent, Dior, Givenchy and McQueen, and such American designers as Adrian, Norman Norell, James Galanos, Geoffrey Beene and Bill Blass.

鈥淭his collection is a unique gem,鈥� says Michael Tick, dean of the College of Visual and Performing Arts. 鈥淚ts value is truly priceless. I had the pleasure to visit with Claire and her late husband many times in Palm Springs. More than once I expressed to them how excited our students and visitors to the collection will be to learn from her extensive body of work.鈥�

Mayer says that Shaeffer received offers from other academic institutions to house pieces of her collection, but 性视界 University was the one place willing to keep her collection together, including all the clothes, patterns, books and even handbags from her personal closet. That willingness means generations of students will be the beneficiaries of an extraordinary woman鈥檚 talents, determination and dedication.

鈥淥ur students don鈥檛 just design, they learn to actually make things, from concept to garment,鈥� says Mayer. 鈥淲e fall into that 鈥榤aker space鈥� in our approach and we are honoring Claire鈥檚 commitment to detail, process, research and design.鈥�

gets a hands-on welcome on his first day on the job, climbing to the top of Crouse College to learn the 性视界 alma mater on the iconic chimes with the help of a Chimesmaster.

The Chimesmasters of 性视界 University are a closely guarded secret, with their identities revealed only after graduation. But on Chancellor Haynie’s first day, one of them took him under their wing in the bell tower above the Setnor School of Music in the .

Watch as Chancellor Haynie navigates the winding stairs of Crouse College, gets a crash course on the chimes keyboard and, with a little help, rings out the 性视界 alma mater over the campus he now leads.

Together, they took a corner bakery-grocery and turned it into a new cornerstone of a 性视界 Northside neighborhood.

The project for design students from 性视界 University鈥檚 (VPA) and construction management students from (SUNY ESF) was both an experiential learning opportunity and a chance for them to undertake engaged citizenship in the year they worked with community residents and organizers of , a community nonprofit.

Students redesigned an aging, two-story bakery and apartment structure at 601 Park Street owned by Northside Futures into a modern building serving expanded residential and commercial needs. Northside Futures is a collaborative project of the Northside Learning Center and Justice Capital that focuses on workforce training and small business development, housing, remediation and property management, and community wellness and safety for residents of 性视界鈥檚 Northside neighborhood.

The project provided real-world professional experience through the VPA course DES 451 (also known as 鈥淢eaningful Partnership鈥�).

The cross-institutional collaboration also involves SUNY ESF course CME 454, , along with Northside Futures and the University鈥檚 .

The Real Thing

鈥淭his is not a hypothetical,鈥� says , assistant teaching professor in the School of Design and program coordinator. 鈥淚t has real users, real challenges and real goals. Students engaged deeply with the community, developed real solutions for real stakeholders and came away with a genuine understanding of what it takes to bring a project to life.鈥�

Founded in 2017 by , professor in 听VPA鈥檚 , the program became a formal service-learning initiative in 2022 through the Shaw Center. In addition to Dunham, , SUNY ESF associate professor in the Department of Sustainable Resources Management, is a co-teacher. 鈥�84, transportation coordinator at the Shaw Center, 听handles logistics.

During its first six years, Meaningful Partnership operated as a three-way collaboration among designers, construction managers and community stakeholders. This year it expanded to four components鈥攚ith members of the Northside Futures cohort joining as active participants. They learned hands-on construction and trade skills alongside the students while accumulating design literacy for future independent community development. That model is an authentic co-design process where residents are positioned as empowered decision-makers shaping the future of their neighborhood, Lee says.

Two-Semester Overview

In the project, students from both institutions work together for a full year. Last fall, 19 environmental and interior design (EDI) students examined the facility, conducted site visits and client meetings, developed construction blueprints and presented final designs.

In the spring, 17 construction management engineering (CME) students joined them. They used the construction documents to prepare estimates, construction schedules, decide phasing and logistics, suggest value engineering strategies and explore sustainable grants and programs for the project.

Community-Centered Project

Dunham says direct communication with clients is essential to the project鈥檚 success.

鈥淒uring our site visit students were able to speak directly with building owner Northside Futures and the building鈥檚 occupants (a residential tenant, the bakery owner and neighbors) and continued to obtain feedback throughout the process,” she says. “That kind of direct engagement with the people who live and work in these spaces is invaluable and it is very much part of what makes this process real.鈥�

In addition to the bakery redesign, students developed alternatives for using an adjacent lot where a dilapidated garage was due for demolition.

Community members suggested building a library, day care center and a community/gym workout space for that structure.听The client ultimately chose the idea of a laundromat, Dunham says, since it filled a real need, made sense financially as a revenue stream and was the right fit for the neighborhood.

Human Context

EDI student Ella Mchale says residents鈥� involvement expanded her understanding of the city and provided a true client experience.

鈥淲hat we achieved goes so much deeper than just a design project,” she says. “Our community member Fatima helped ground us and gave us the real human context we needed to design with purpose. We took that seriously and created something accessible and meaningful while still bringing our own design concept to the table.鈥�

EDI student and project manager Jolie Ramos says that despite language and cultural differences, 鈥渁 bond was built based on the betterment of our shared community.”

“That exposure beyond our University bubble gave us the opportunity to not only engage with our community but to form intimate personal connections,” she says. “It was really beautiful to watch the relationships unfold and grow.鈥�

Cultivating Community

鈥淎t its core, this project is about community, understanding and creating meaningful impact,鈥� Dunham says. 鈥淭he community representatives who came into our class shared their culture, needs and challenges and were a true voice for their neighborhood. The connections they formed with our students were genuine and those voices shaped everything. That deeply resonated with our students and it showed in everything they produced.鈥�

Meaningful Partnership鈥檚 staying power results from an intentional and ongoing investment of time, interest and shared resources, says Lee.

“Community partnership is something that must be continuously cultivated and is grounded in relationship-building and trust,” she says. “It means sharing resources, lived experience, cultural knowledge and social awareness alongside academic expertise and a commitment to paying that knowledge forward.”

, who has served as dean of the (VPA) since 2016, will continue in the role for another year until his planned retirement at the end of the 2026-27 academic year. The contract extension was announced by Vice Chancellor, Provost and Chief Academic Officer .

鈥淚 am enormously grateful that Michael Tick has agreed to stay on as dean after a decade of dedicated service and leadership,鈥� Provost Agnew says. 鈥淗e has been a force for artistic excellence at 性视界 University and has elevated VPA鈥檚 profile as a dynamic creative community. The college has greatly benefited from his deep commitment to our students and faculty, and his ability to forge meaningful connections between the academy and the professional arts world.鈥�

Tick came to 性视界 after six years as dean of the College of Fine Arts at the University of Kentucky. Before that, he spent 11 years as chair of Louisiana State University鈥檚 Department of Theatre and artistic director of Swine Palace, Louisiana鈥檚 premier professional theatre company.

Early in his tenure, he improved VPA鈥檚 financial outlook, taking steps to eliminate the accumulated deficit and set the college up for 10 consecutive years of a balanced budget. In 2019, he secured a $15 million gift from VPA council members Marylyn Turner 鈥�56, G鈥�57 and her husband, Chuck Klaus G鈥�05, to support the education of emerging visual artists through scholarships and immersive experiences, including the Turner Semester and Art in LA programs.

Tick expanded by hiring its founding director and recently appointed a new director to broaden college-wide offerings at New York City鈥檚 Fisher Center. A major capital renovation of the Nancy Cantor Warehouse, home to VPA鈥檚 , was completed under his leadership. In addition, he established a new to support the , School of Design and .

Tick established a dedicated career services division and expanded professional academic advising within the VPA . He also played a pivotal role in the development of the .

鈥淪erving as dean for the past decade has been the honor of a lifetime,鈥� Tick says. 鈥淲hatever we have achieved, it has been made possible by the extraordinary talent, creativity and unwavering commitment of our faculty and staff. Their belief in our mission, their care for our students and their willingness to imagine what could be鈥攁nd then make it real鈥攈ave defined this college far more than any one leader ever could. I am deeply grateful to have been part of such a remarkable community.鈥�

On Monday, 50 members of the Hendricks Chapel Choir , carrying with them years of rehearsal, a deep repertoire of music and a mission that stretches well beyond the concert hall. For most of them, it will be their first international tour with the choir. For all of them, it will be something they will carry for the rest of their lives.

The trip is part of a goal set by , director of the choir and professor and assistant director of choral activities in the Setnor School of Music in the . In the wake of the COVID-19 pandemic, Calvar set a goal to bring the ensemble to every inhabited continent by the time Hendricks Chapel celebrates its centennial in 2030. The choir has performed in China (2005); Brazil, Argentina and Uruguay (2009); Poland and Germany, including Auschwitz (2013); Mexico (2018); and London and Lockerbie and Edinburgh, Scotland (2023).

South Africa represents the fifth such continent, with Oceania still on the horizon. The destination was chosen in no small part thanks to a longstanding connection. Former Vice President and Hendricks Chapel Dean Brian Konkol completed a Ph.D. at the University of KwaZulu-Natal in South Africa with connections in South African musical and academic circles. Two years ago, Calvar traveled there to deliver a guest lecture, laying the groundwork for what would become a collaborative itinerary.

“Musically, I feel like the ensemble is as ready as it’s ever been,” Calvar says. “The choir is next level.”

International audiences, he says, want to hear American choirs perform American music, so that forms the backbone of the program. But woven throughout are selections that speak to a broader worldliness: pieces chosen to demonstrate the choir’s versatility, its appreciation of global traditions and its genuine desire to connect. Three South African pieces are on the program, including one of the country’s de facto national anthems.

A Diverse Range of Performance Partners

The choir will perform alongside a diverse range of South African ensembles鈥攈igh school, university and community choirs鈥攁nd performances are scheduled in Johannesburg, Pretoria, Drakensberg, Pietermaritzburg and Cape Town.

鈥淚t doesn’t get any more diverse,鈥� says Calvar. 鈥淪outh Africa is a place where they’ve found ways of celebrating their own diversity and finding ways to unify and connect, and I think that it’s so very critically important that we show them our own brand of that.鈥�

Life Lessons

For the students making the journey, the significance of the trip is both personal and expansive. Caiyan Bass 鈥�26 is the choir鈥檚 president and one of two choir members who also toured with the ensemble in the UK in 2023. Being open to the unexpected, she says, is not just a musical lesson, it’s a life one.

“You never know what kind of relationship may come from music,” she says. “I find that in performance spaces, people connect effortlessly.”

The trip coincides with her first two weeks as a 性视界 University graduate, making it a threshold experience in every sense. After the trip, she will head to the University of Wisconsin-Madison to pursue a master’s degree in speech-language pathology, and she already sees the connection. Working with students from diverse linguistic and cultural backgrounds, she says, will require exactly the kind of empathy and openness that international travel cultivates.

For other students on the trip, like Mathena Rush 鈥�27, an environmental health major at the , the South Africa experience carries a different but equally powerful resonance.

Rush is heading into a career in environmental remediation, specifically focused on brownfield development. “Having these international experiences allows me to understand the struggles different communities go through and learn what needs to be done to fix them,” Rush says.

Rush also speaks about what the choir itself has meant to her beyond the tour. As an ESF student, she arrived at 性视界 without the built-in liberal arts community that many of her peers enjoy. Choir became her outlet, her anchor and one of the defining experiences of her college years.

Calvar, when asked to reflect on what these tours mean to students, points to the exit interviews conducted with seniors each year. “The Hendricks Chapel Choir international tour is always on the top of the list,” he says. It is consistently named among the significant moments of students’ time at 性视界.

性视界 University Libraries recognized its student employees with an awards celebration on April 20. The Libraries typically employs about 150 undergraduate and graduate students each year to contribute to the safety of Libraries鈥� spaces, the quality and repair of collections, and service support to patrons and student entrepreneurs.

Supervisors nominate student employees who have demonstrated dedicated service over time and significant contributions that have made a lasting impact on the Libraries.

The Libraries recognize these students through the generous support of Kathy and Stanley Walters, the family of Patricia Kutner Strait and the many donors to the Libraries Dean鈥檚 Fund.

In addition, this year the Libraries acknowledges Carole and Glenn Johnston for their gift in honor of their daughter, Beth Ann Johnson, who was killed in the Dec. 21, 1988, bombing of Pan Am Flight 103 over Lockerbie, Scotland.

鈥淲e are incredibly fortunate to work alongside our library student employees, whose energy, commitment and talent strengthen our community every day. In my role, I see firsthand the meaningful impact they have across our organization. Many of these students stay with us throughout their time at 性视界 University, growing into trusted and valued members of the SU Libraries community,鈥� says David Seaman, dean of the Libraries and University Librarian.

2026 student award recipients and their respective Libraries departments are:

Kathy and Stanley Walters Student Employee Scholarship Awards

• Souleymane Bah 鈥�26 (College of Arts and Sciences and Maxwell School of Citizenship and Public Affairs), floor monitor, Libraries Facilities and Security
• Niah Edwards 鈥�26 (S.I. Newhouse School of Public Communications), public services student, Special Collections Research Center
• Grace Hoffman G鈥�26 (College of Law), graduate assistant, Access and Resource Sharing
• Ava Lubkemann 鈥�27 (College of Engineering and Computer Science), Orange Innovation Scholar, Strategic Initiatives
• Duyen Thum Pham 鈥�26 (College of Visual and Performing Arts), student assistant, Access and Resource Sharing
• Katie Ryder 鈥�26 (College of Visual and Performing Arts), preservation assistant, Access and Resource Sharing
• Alexander Schulz G鈥�26 (School of Information Studies), Information Literacy Scholar, Information Literacy

Patricia Kutner Strait Student Scholarship Awards

• Mason Burley 鈥�27 (School of Education), preservation assistant, Access and Resource Sharing
• Alani Henderson 鈥�26 (College of Arts and Sciences and Maxwell School of Citizenship and Public Affairs), floor monitor, Libraries Facilities and Security
• Anna Shuff G鈥�26 (School of Information Studies), graduate student archivist, Special Collections Research Center
• Anthony Thomas 鈥�26 (School of Information Studies), innovation mentor/marketing team lead, LaunchPad
• Sreynoch 鈥楯ess鈥� Van 鈥�26 (S.I. Newhouse School of Public Communications), photographer/videographer, Marketing and Communications

Dean鈥檚 Commendations Awards (in memory of Pan Am 103 victim Beth Ann Johnson)

• Hadja Fatoumata Barry 鈥�26 (School of Information Studies), floor monitor, Libraries Facilities and Security
• Joel Carpenter G鈥�26 (School of Information Studies), Information Literacy Scholar, Information Literacy
• James Harman 鈥�26 (School of Information Studies), student worker, Access and Resource Sharing
• Iman Jamison G鈥�26 (School of Information Studies), graduate instruction assistant, Special Collections Research Center
• Calvin Silver 鈥�26 (School of Information Studies), public services reference, Special Collections Research Center
• Grace Suhadolnik 鈥�26 (School of Information Studies), student worker, Learning and Academic Engagement
• Camren Wych鈥�26 (College of Visual and Performing Arts), floor monitor, Libraries Facilities and Security

Honorable Recognitions:

• Khadija Kante 鈥�26 (Arts and Sciences), floor monitor, Libraries Facilities and Security
• Philomena Kern鈥�26 (School of Information Studies), student archival processing assistant, Special Collections Research Center
• Hannah Marosi G鈥�26 (School of Information Studies), collections team graduate student worker, Department of Research and Scholarship
• Alexus Rowe 鈥�26 (Arts and Sciences), floor monitor, Libraries Facilities and Security
• Mera Singh 鈥�26 (School of Information Studies), floor monitor, Libraries Facilities and Security
• Fatumata 鈥楴ima鈥� Sow 鈥�26 (School of Information Studies), floor monitor, Libraries Facilities and Security
• Haven Travis G鈥�26 (School of Information Studies), graduate student assistant, Access and Resource Sharing
• Jiaying Wang 鈥�26 (Arts and Sciences), public services student employee, Special Collections Research Center

Students filled the jury box inside the Melanie Gray Ceremonial Courtroom in the 鈥榮 Dineen Hall earlier this semester, sketchbooks out, to capture live arguments during a session of the U.S. Air Force Court of Criminal Appeals hosted on the 性视界 campus.

For the students, six of them seniors majoring in illustration in the , it was their first experience serving as courtroom sketch artists for a legal proceeding.

, assistant teaching professor in VPA, says the collaboration with the College of Law on Feb. 27 was just the latest opportunity he鈥檚 sought out for illustration students to introduce them to different types of live drawing activities. Once the collaboration with the College of Law was arranged, he encouraged juniors and seniors he teaches to participate.

鈥淲hen you’re an illustration major, there’s a lot of fields that you can enter into,鈥� he says. 鈥淪o, for me, courtroom sketching is something they can do if they want to or just live sketching. But I think for them, it gets them practicing their craft.鈥�

The networking opportunity is also a big piece of the experience, he says.

鈥淚t gets them talking, and it gets them to really engage with other people outside of the art world, gets them to have an audience see their work,鈥� Ladd says.

The collaboration was such a success that VPA students were invited back again to act as courtroom artists for another law school event. Five of the students who participated in February鈥檚 event told 性视界 University Today they were drawn to participating to practice their skills and explore the role as a profession.

Below, they share more about the experience:

What was it like?

Juli Muldoon 鈥�26: I enjoy drawing from life and capturing people’s expressions. I figured a courtroom would be an interesting place to do so, and I was right!

Emma Lee 鈥�26: It was interesting seeing how formal the event was and the interactions between the judges and participants. It was somewhat stressful at first not knowing how long each person would be at the podium or how long I would have to capture them. As the proceeding went on I got more of an understanding of how long each person would be at the podium and got more comfortable with my materials. I was able to focus more on drawing portraits of people, which I enjoyed the most.

Rene Vetter 鈥�26: It was very nerve-wracking, especially since the proceeding was related to the military. Everyone was dressed up and in uniform, so I felt out of place with my drawing board and pens. When the court clerk called us all to rise as the judges walked in, the reality of the situation hit me. It was stressful to have so many eyes watching you and curious about how you are drawing them.

Brynne Baird 鈥�26: Everyone was welcoming and enthusiastic about having all of us there. They let us sit in the jury box, so we were able to see faces and expressions clearer. It is just like in the movies!

Julia English 鈥�26: The courtroom was very professional. At first, I was nervous and intimidated, but eventually I felt like I was a part of the trial. I almost felt like I was watching a movie.

What was the best part of participating?

Muldoon: Getting to show everyone my drawings at the end of the proceeding. Getting positive reactions to my work keeps me motivated to create.

Lee: Almost everyone who participated came up to us to see what we drew. They were all super excited and interested in what we had made. They said the whole time they had been curious what they were going to look like. Many of them had never been drawn before, so it was fun to see their reactions to our sketches.

Vetter: Getting to show the participants my drawings. I usually do more humorous drawings, so I would show them my portrait and they would laugh really hard. I was nervous to show the judges my drawings of them, as I didn’t want them to take offense, but they ended up loving them.

Baird: Being able to practice real observational drawing in a realistic context.

English: Everyone reacting to our drawings. Everyone was so kind and took pictures of our art.

What was the most challenging part?

Muldoon: Probably working under pressure. Drawing moving subjects is already a challenge, and working while people watch you can be stressful.

Lee: Wanting to draw as much as possible and capture as much as possible, while also not getting tired of constantly drawing. As the proceeding went on, I got more comfortable.

Vetter: The time was limited, and I wanted to make sure to capture as many participants as possible. There were also a few times where a participant would only have a limited time in front of the judges on the main floor. I never knew if I would have five minutes or 15 to draw a subject, and once they left the floor, it was more difficult to get a good look at them.

Baird: Usually we are in a classroom with a model that gives us dynamic poses for several minutes at a time. But in a courtroom, people move around, which makes it challenging to draw specific poses.

English: At first, I struggled to draw while watching the trial. Once I got used to it, my nerves went away.

Did this change or impact the way you think about your own illustrations or career path?听

Muldoon: I hadn’t considered court sketching as a career, but this opportunity has definitely made me interested. I would love to do more court work in the future.

Lee: It definitely made me more interested in pursuing courtroom sketching as a career. It was also encouraging hearing how excited everyone was about the sketches and seeing their reactions.

Vetter: Definitely yes. I had so much fun that I am hoping to be able to do it again. It was also rewarding to share my artwork with people outside of creative spheres. It is easy to get caught up in creative competitiveness when I am only surrounded with other creatives, but I forget people outside of that are even more impressed by my work. It was a good reminder of my own appreciation for illustration and art in a busy time in my academic career.

Baird: I have other ideas of where I would like my career path to go, but if an opportunity like this comes along again where I could do this full time I would love to do it!

English: I would consider working as a courtroom sketch artist professionally if provided the chance!

From partnering with students in the classroom to building cross-campus collaboration that led to real-time improvements, the University鈥檚 commitment to meaningful assessment took center stage at the seventh annual One University Assessment Celebration on April 10. The event, hosted by Academic Affairs and the Office of Institutional Effectiveness (OIE), included awards and poster presentations.

In her opening remarks, Julie Hasenwinkel, associate provost for academic programs, highlighted the importance of celebrating the many ways faculty, staff and students engaged in assessment across the University over the past year.

Awards were given in five categories.

• Institutional Effectiveness Champions: This award honors campus community members who champion meaningful assessment and who have made outstanding contributions to the University鈥檚 culture of improvement. The recipients were:
  • Academic programs: Xiyuan Liu, associate teaching professor, Dean鈥檚 Faculty Fellow for Academic Affairs, College of Engineering and Computer Science
  • Co-curricular programs: Emily Dittman, director, 性视界 University Art Museum
  • Course feedback: Magdel铆n Montenegro, part-time instructor, Spanish, College of Arts and Sciences
  • Shared competencies: ‘Cuse Works
  • Shared competencies student champion: Fetch Collective magazine
• Outstanding Assessment: This award recognizes a distinguished academic, co-curricular and functional area for overall robust assessment. The recipients were:
  • Academic: Library and information science master’s degree program, School of Information Studies
  • Co-curricular: Disability Cultural Center
  • Functional: Office of Pre-College Programs
• Best Engagement Strategies: This award recognizes the engagement of faculty, staff and students in the assessment process. The recipients were:
  • Faculty engagement: Ash Heim and Vera McIlvain, the biology department, College of Arts and Sciences
  • Staff engagement: Arts at SU
  • Student engagement: Linguistic studies master’s degree program, College of Arts and Sciences
• Best Use of Results: This award recognizes an academic, co-curricular and functional area for how assessment results are used in making decisions. The recipients were:
  • Academic: Bachelor’s of biomedical engineering degree program, College of Engineering and Computer Science
  • Co-curricular: LGBTQ+ Resource Center
  • Functional: 性视界 University Libraries
• Collaborative Inquiry and Action: This award recognizes a partnership that extends beyond a single school, college, division or unit and uses strong assessment methods and data as a catalyst for improvement. The recipient was:
  • First Year Seminar

Following the awards, 2025 poster presenters were acknowledged for their efforts to collaborate, experiment, reflect and innovate in their areas over this academic year. Assessment Leadership Institute faculty participants included:

• Ben Akih Kumgeh, Xiyuan Liu, Karen Martinez Soto, Anupam Pandey and Mehmet Sarimurat, mechanical and aerospace engineering, College of Engineering and Computer Science
• Alex M茅ndez Giner, film and media arts, College of Visual and Performing Arts
• Ash Heim and Vera McIlvain, biology, College of Arts and Sciences
• Jane Read, geography and the environment, Maxwell School of Citizenship and Public Affairs
• Nancy Rindfuss, nutrition and food studies, Falk College of Sport

Recipients of the 2025-26 鈥淪tudent Engagement in Assessment鈥� grant included:

• Civil and environmental engineering: Yilei Shi
• Civil and environmental engineering: Svetoslava Todorova
• Communication sciences and disorders: Charles Nudelman
• Environment, sustainability and policy: Jane Read
• Nutrition science: Claire Cooney, Nikki Beckwith
• Setnor School of Music: Klark Johnson
• School of Social Work: Nadaya Brantley
• The Writing Center: Collie Fulford

Closing the event, Laura Harrington, director of institutional effectiveness, reflected on the deeper meaning of the work: “At its root, the word 鈥榓ssess鈥� comes from Latin, meaning 鈥榯o sit beside.鈥� This is what it asks of us: to sit beside our work, take stock of what we see, and take action鈥� Assessment isn鈥檛 a requirement. It鈥檚 a practice,” Harrington said.

Explore photos, award highlights and full poster presentations on the .

Story by A鈥檡la James

Millions of soccer players across the globe compete on surfaces that are anything but the manicured, perfectly marked grounds of televised competitions.

Student researcher ’26 understood that across West Africa and in many other countries, soccer (known throughout much of the world as football) is played on compacted sand, gravel lots, dirt patches and worn urban grounds. The industrial and interaction design major in the (VPA) also recognized that most commercially available soccer boots fall far short of the needs of players who compete on those rough, improvised, uneven surfaces. He recognized that those playing conditions demand different performance qualities than the footwear mainstream athletic shoe manufacturers offer.

“My goal is to study these overlooked playing environments and design footwear that better supports performance, comfort, durability and accessibility for the people who use it,” Barrie says. “Ultimately, I want to show how footwear design can become more inclusive, locally responsive and socially meaningful when it is rooted in the needs of a community.”

Research 鈥極n the Ground鈥�

With his research project, “Boot of Dreams: Designing Soccer Footwear for Informal Play in West Africa,” Barrie has been doing just that. His work is guided by , a professor of practice in VPA’s , whom Barrie calls “a role model whose guidance extends well beyond the classroom, shaping how I think about design, responsibility and purpose.”

Barrie is also working with , professor and director of the School of Design, who helped him secure travel funding in addition to his research stipend from the (SOURCE). Those funds enabled him to travel to Guinea for firsthand research with soccer players there.

鈥淭hat was an opportunity that helped me move beyond assumptions about what players need and gain an actual understanding of their experiences,” Barrie says.

As someone who has lived in both Guinea and the United States and traveled widely around the world, Barrie brings a true global perspective to his work. It鈥檚 a viewpoint that informs his understanding of how different communities approach sport and design and deepens his insight into underrepresented players and their environments.

Careful Listening

Barrie says his research in Guinea had a major impact on the design of his soccer cleat. 听In addition to learning that many players use footwear that is incompatible for their playing conditions, he also recognized that many rely on just one pair for a long period of time. When that pair wears out too quickly, 听it affects more than just comfort or performance; it can cause players to miss practices and games and lose consistency in development, he says.

“That insight shifted my thinking,” Barrie says. “Instead of approaching the project like a traditional cleat made mainly for formal field conditions, I began thinking about a shoe designed specifically for the realities of informal West African play鈥� prioritizing durability, comfort and longer wear while also considering traction and support for the kinds of surfaces these players actually use.”

Design for Real Needs

For Barrie, this project 听allowed him to explore how thoughtful, research-driven design can respond to real-world needs rather than simply following market trends. It also helped lead him to a career in footwear and product design that addresses community challenges and creates solutions. 听An internship at last year became a 鈥渇oot in the door鈥� for a new career there; after graduation, he begins a role as a Designer II, Promo Color, Materials & Graphics Design听staff member for Nike鈥檚 Jordan brand.

“‘The Boot of Dreams’ is about creating a shoe for players who continue to defy the odds and dream through the game,鈥� he says. “The right footwear can help young players stay on the pitch longer, practice more consistently and keep pursuing what they love.”

Renowned filmmaker Ron Howard recently spent an afternoon with students in the and the (VPA), offering an inside look at his latest film project and the creative decision-making that shapes work at the highest levels of Hollywood.听

Howard, one of the industry鈥檚 most respected directors, was joined by producer Bill Connor 鈥�89 and Doug Wilkinson G鈥�87, both alumni of 性视界 University. Together, they engaged film听and drama听students in a discussion about storytelling and the realities of bringing a major motion picture from concept to completion.听

鈥淚t鈥檚 always a pleasure to welcome alums back to campus, and this time around it was a double pleasure. We had not one but two of them accompany Ron Howard鈥攐ne of Hollywood鈥檚 most well-known directors鈥攖o come and speak with our Newhouse and VPA students,鈥� says , professor and graduate program director of the Department of Television, Radio and Film in the Newhouse School.听

During the visit, Howard听screened听his most recent project, inviting students into the filmmaking process at a stage rarely accessible outside the professional world.听

鈥淗oward asked our students what they thought and answered their questions with real candor,” says , professor of film and chair of the Department of Film and Media Arts in VPA. “Seeing an unfinished film and talking directly with the director, producer and editor about choices they’re still making is something you can’t replicate in a classroom. That’s what so special about being at 性视界.鈥澨�

For students aspiring to careers in film and media, the visit offered a unique opportunity to bridge theory and practice and connected classroom learning with firsthand perspectives from some of the industry鈥檚 most accomplished professionals.