’ paintings line the walls of her studio in Anchorage, Alaska. From “icon portraits” to landscapes, her artwork holds a palpable verve—carrying 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 Íű±ŹĂĆ as the 2026 . Her two-week residency is organized around the theme of “Visions of Resilience: Sacred Art and Storied Landscapes.” 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’ 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.”

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’s degree from Whitman College, she studied at the Viña del Mar Escuela de Bellas Artes and spent 18 years in Chile. Her maternal family is from Kodiak Island—a large island in the Gulf of Alaska and the ancestral homeland of the Alutiiq/Sugpiaq people—where her grandparents were commercial salmon fishers. She is a registered Alutiiq Alaska Native and has tribal affiliation with the Alutiiq/Sugpiaq corporation, Koniag.

“I’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,” says Infante Lyons. Turning to the future, she asks: “And 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.”

Notably, two new paintings by Infante Lyons will find a permanent home in the Íű±ŹĂĆ Art Museum. Melissa Yuen, curator at the museum, says Infante Lyons’ potrtaits “invite interdisciplinary conversation, highlighting humanity’s relationship with the environment, disrupting Eurocentric worldviews and celebrating the role women play in Alutiiq culture as connectors with the world.”

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 “Madonna and Child” 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—one 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’ icon portraits, “” she was speechless.

“I was immediately struck by the work’s powerful expressivity, as Linda brings together multiple elements—ancestral presences and sacred, spiritual words—into the present, rather than relegating them to a past that no longer exists,” says Sakakibara.

Sakakibara invites the campus and broader Syracuse community into a shared encounter with Infante Lyons’ 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’ 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’s projects includes an , developed with Infante Lyons, to help spark discussion and activity in the classroom and community.

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

“You 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, “you end up with a better piece of artwork,” says Infante Lyons.

She hopes to inspire the same approach in those who come across her art. Her paintings—and the conversations that arise around them—need 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 Íű±ŹĂĆ Art Museum” at the Louise and Bernard Palitz Gallery through June 4, 2026. Featuring paintings, photographs, prints, sculpture and ceramics acquired since 2021, the exhibition reveals how the academic museum puts new acquisitions to work in its galleries and study room, in faculty research and in conversations that reach beyond the museum walls.

“The museum’s wide-ranging collection provides opportunities to practice visual literacy and communication skills—essential to many fields and professions—across the University’s departments, schools, and colleges,” says curator of education and academic outreach Kate Holohan. “In addition, teaching with objects is active, experiential and student-centered. Students themselves analyze visual evidence in real time in order to pose critical questions, develop interpretations of artworks and make interdisciplinary connections.”

Many of the works on view have already been activated at the museum with University students and faculty. “Hotel Paradise CafĂ©,” a resist-ground etching and engraving by Peter Milton, is a layered composition of mirrors and reflections and other works by Milton were featured in an exhibition co-curated by Lyndsay Gratch, associate professor of communication and rhetorical studies, and a 2024-2025 Art Museum Faculty Fellow.

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

The Faculty Fellows program and others like it are part of a broader effort. The museum routinely welcomes classes into its galleries and study room, where students examine original works firsthand. In 2025, over 200 classes from 38 different departments on campus made observations, weighed evidence and built research questions in real time. It is the kind of sustained, object-driven engagement that distinguishes the teaching museum, and one reason the SU Art Museum has made expanding 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” grapples with the limits of knowing your family history within the social context of Asian American by recreating a scene from his childhood. In “Untitled (Snack),” a handwritten Post-it note sits before a plate of cut fruit left by his mother as an after-school snack. It’s a quiet, intimate photograph, but one that carries the weight of a larger history: Lew’s mother was the fiancĂ©e of Vincent Chin, whose 1982 murder became a turning point in Asian American history.

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

The exhibition also includes a screenprint by painter, College of Visual and Performing Arts  alumnus and Íű±ŹĂĆ Art Museum Advisory Board member James Little, made to support the 150th anniversary of the Art Students League where he now teaches; a print from the Helen Frankenthaler Foundation, donated through ; 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.

“These acquisitions are a testament to the Orange community’s commitment to the University’s mission of teaching and research, and demonstrate how a diverse collection strengthens those efforts,” says curator Melisa Yuen. “We are grateful for the generous donations that made this exhibition possible, through both gifts of art and through funds that allow us to purchase work strategically.”

“New In” presents a portrait of a museum where acquiring a work of art is only the first step. At Syracuse, students catalogue, curate and build research questions through direct engagement with original art. This exhibition invites visitors to explore that process and encounter the works that make it possible.

“New In: Recent Acquisitions at the Íű±ŹĂĆ Art Museum” is on view now through June 4, 2026, at the Louise and Bernard Palitz Gallery in midtown Manhattan. For more information, visit ÌęŽÇ°ù .

When G’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’s art world, intern with a working artist and experience the culture firsthand became the deciding factor in her application to the school’s within the College of Visual and Performing Arts (VPA).

“I applied to Syracuse with this residency at the forefront of my decision,” Hashemi says, “and it exceeded my expectations.”

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. “It was my first time truly experiencing that ecosystem firsthand,” she says.

The residency’s centerpiece was her internship with Elliott Hundley, an LA-based collage artist whose work Hashemi had admired for years. “His practice reshaped how I think about collage—not just as assemblage, but as a living, breathing cosmos,” she says. “When I finally stepped into that cosmos years later, it felt like crossing into a dream I had unknowingly rehearsed for.”

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—another longtime inspiration. The visit led to meaningful conversations and connections, including the potential to assist in Fairey’s studio in the future.

“Being embedded in the community revealed how central relationships and collaboration are to sustaining a life in the arts,” Hashemi says. “For 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.”

Back in Syracuse, 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’s 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 “Obscura” in the school’s new student-run gallery .

“As a third-year M.F.A. student preparing for my culminating thesis exhibitions, I approached this show as a kind of mini-thesis preview,” Hashemi says. “Installing 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.”

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

This spring, the Íű±ŹĂĆ 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.

“Possible Worlds: 20 Years of the Wynn Newhouse Awards,” “Afterimages: Legacies of the Thirteenth Amendment” and “Undressed: The Nude in Dutch Art, circa 1550-1800″ will join the permanent collection exhibition “Human/Environment: 4,000 Years of Art” and the Art Wall Project by artist Bhen Alan, “Why Does My Adobo Taste Different?”

‘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—painters, sculptors, photographers and video artists—chosen from 115 award recipients for the force and clarity of their work.

Curated by Daniel Fuller G’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’s individual practice and consider how these artists navigate the art world— and the world at large—on 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.

“Afterimages,” curated by first-year graduate students in art history under the guidance of Associate Professor Sascha Scott, highlights art from the museum’s 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.

“Afterimages: Legacies of the Thirteenth Amendment” 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 1550–1800’

In the 1950s, influential British art critic Kenneth Clark argued that great art depicted not “naked” bodies but “nude” ones, elevated above everyday reality. “Undressed: The Nude in Dutch Art, circa 1550-1800” 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 “nude” within their cultural context and now they’re 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  or explore the museum’s free digital guide on .

Íű±ŹĂĆ 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’s 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 ’s 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’s 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 6–8 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’s 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 Íű±ŹĂĆ once again participated in “On My Own Time,” a community arts program that links the business and cultural sectors of Central New York and spotlights local workforce members who create visual art “on their own time.” Íű±ŹĂĆ has participated in “On My Own Time” every year it has been offered since 1982. Over the years, it’s estimated that more than 1,800 faculty and staff have exhibited.

This year’s 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 “On My Own Time” 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 Íű±ŹĂĆ artists who will display their work include:

• Jaime Banks (School of Information Studies) with her mixed media piece, “Orchid Wail”
• Erin Beiter (Office of Research) with her drawing, “Landscape”
• Richard Breyer (S.I. Newhouse School of Public Communications) with his painting, “Jones Diner”
• Meghan Graham (Office of the Chief Operating Officer) with her fiber art, “Sunrise or Sunset Shawl” (This piece was also selected as the People’s 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, “The Middle Way”
• Kathleen Pascarella (Parking and Transportation Services) with her photograph, “Sunday Best”
• Scott Samson (College of Arts and Sciences) with his photograph, “Reeds”
• Joseph Stoll (Maxwell School of Citizenship and Public Affairs) with his mixed media piece, “Summer Dreams”
• Ronald Thiele (now a retiree of the Íű±ŹĂĆ Libraries) with his photograph, “Hang On!”

To learn more about “On My Own Time,” visit .

To commemorate its 50th anniversary . (POC) is presenting “50 Sin Cuenta,” 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 Syracuse. 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’s 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’s collection and features over 100 works by acclaimed artists. They include Luis Felipe NoĂ©, Liliana Porter, Ana Tiscornia, Joseph Kugielsky, Maritza Bautista, Pedro Roth, Arnaldo Roche, VĂ­ctor VĂĄzquez and Nayda Collazo LlorĂ©ns, among others

“50 Sin Cuenta” 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.

“Punto de Contacto has cultivated important collaborations locally, nationally and internationally and has provided rich connecting points with Íű±ŹĂĆ faculty and students from several departments over the years, including those in Latino-Latin American studies, creative writing, museum studies and the arts,” Paniagua says.

“It 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.”

“Point of Contact’s legacy is rooted in experimentation, dialogue and discovery,” says Emily Dittman, newly appointed president of the Board of Directors and director of Íű±ŹĂĆ Art Museum.

“This anniversary is a moment to reaffirm our commitment to the artists and communities that shape our mission. We’re excited to share this milestone with the public and open our doors to new collaborations,” 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 Íű±ŹĂĆ Humanities Center, Centro de Estudios HispĂĄnicos and the Latino-Latin American studies program, and produced in collaboration with the College of Visual and Performing Arts’ 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 “Corpórea,” which translates to “of the body,” 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 Syracuse’s Latino community, the exhibition recognizes the body as a site of memory, resilience and transformation, says organizer Bennie Guzmán G’25, a Syracuse-based artist and graduate of the master’s program in in the . Body maps and mixed media, collected over six weeks of art therapy workshops held this summer, reflect the artists’ personal journeys.

“‘Corpórea’ is about what we carry, how we heal and how we thrive,” Guzmán says. “Art becomes a way to regulate, reflect and reconnect. It’s not about being perfect; it’s about being present.”

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 MĂ©ndez G’25, a graduate of the master’s program in museum studies and curator of the exhibit.

The project is part of the 2025–26 ,  presented by the . It is also supported by the and the University’s .

, executive director of the Office of Cultural Engagement for the Hispanic Community, says the program was “an 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.”

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’s 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’s programming invites the campus and Syracuse 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’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.

“I am delighted to celebrate and share the Frankenthaler Foundation’s generous gift to Íű±ŹĂĆ with our audiences,” says curator Melissa Yuen. “At 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.”

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 “Creativity,” presented by the , Nemerov’s talk will explore Frankenthaler’s Syracuse connection by way of Íű±ŹĂĆ alum and famed 20th-century art critic Clement Greenberg ’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’s 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’s 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’s 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—and 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’s 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.

“I want [museum visitors] to understand the experience of immigrant people 
 especially with everything that is happening right now in this political climate,” artist Bhen Alan says. “This 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.”

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 Íű±ŹĂĆ Art Museum’s 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’s 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 .