Academics | Alumni Hall, 2nd Floor
This exhibition, co-curated by Longyear Curatorial Assistant Summer Frazier and Curatorial Intern Raquel Marquez-Guerrero ‘24, explores the different ways that art leverages the creative process to metabolize conflict or aggression. This healing manifests in various forms, ranging from redefining narratives to empathizing with personal or communal losses. These artists, working in media from 2D to 3D to street and graffiti art, intentionally confront discontent, fostering creative growth and finding solutions. In this context, their art becomes a means to process pain and to construct bridges amidst conflict. In addition to art, this exhibition also explores various ways that plants can be used in healing processes.

Academics | Dana Arts Center, Second Floor
The Collections: What is the role of an art museum on a liberal arts college campus? Since 2013, the collections at Picker Art Gallery have been shifting. Moving away from traditional models of collecting, the museum today holds a larger proportion of artworks by women, BIPOC, LGBTQ+ artists and others whose creativity and stories have historically been left out of museum collections.The Core: The revision of Colgate’s Core Curriculum represents the essence of the university’s liberal arts commitments to diversity, equity, and inclusion. Introduced in 2022, the revised Core curriculum has a stronger focus on exposing students to diverse forms of knowledge. Most notably, a new course called Core Conversations was created. Based on five globally significant “texts,” it lays out the common ground for intellectual discussions within the Colgate community. Core Conversations focus on productive discourse and communal learning among students, encouraging them to engage in perspectives and dialogues beyond the limits of personal experience.Core Collections: This is not a typical museum experience. The gallery has been transformed into a space for open-ended dialogue. Visitors will not find a lot of text interpreting the artworks; rather, we pose a series of questions, designed to elicit individual reflection and initiate discussions across communities, identities, and materials.. The exhibition is organized into four broad areas of inquiry: Appearances, Epistemologies, Urbanism and Labor, and People and Land. We encourage you to engage with the questions provided while viewing the works, and to contribute your insights or your own questions to our interactive space.What will you add to the conversation?Core/Collections is curated by Emma Barrison ’24, Cindy Chen ’24, and Wendy Wu ’25

Academics | Clifford Gallery, Clifford Gallery (101 Little Hall)
2023/2024 Christian A. Johnson Endeavor Foundation Artist-in-Residence jackie sumell and Studio CAJAIR present “The Locker Room.”Artist jackie sumell works at the intersection of social sculpture, abolition and healing. With the principle of abolition always in mind, sumell inhabits the physical materials and architectures of oppression and transforms these physical structures into lived spaces of radical hope.For The Locker Room, a work created especially for Colgate University, sumell worked with a team of students who go by Studio CAJAIR (an anagrammatic nod to the Christian A. Johnson Endeavor Foundation Artist-In-Residence program, which underwrites this work). Together, sumell and Studio CAJAIR spent the academic year considering the relationship between athletics and activism, ultimately recreating the architecture of a locker room to envisage how sports and locker rooms can be horizons of liberation. They ask, “What happens if the locker room becomes public, seeded with the best of its potential? Can we make the lockers themselves altars to the future[s] we wish to see?”sumell and Studio CAJAIR, along with students they invited from Art & Activism (ARTS 132A), transformed 12 lockers into altars to future worlds. They imagine everything from ecological justice, racial equity, and classless societies to happiness after retirement, as wins.The Locker Room is presented by the Art Department and the Christian A. Johnson Foundation. The Christian A. Johnson Endeavor Foundation Artist-in-Residence was established in 1986 as a challenge grant in support of the arts at Colgate. The residency program permits one or more artists to become part of the Colgate community every academic year.Opening reception and gallery talk with jackie sumell and Studio CAJAIR will take place at 4:30 p.m. on Wednesday, March 27.Please note that weekend gallery hours are dependent on the availability of student monitors. If driving a distance, please contact the department at 315-228-7633 during regular working hours to ensure the gallery will be open.Learn more at https://www.cliffordgallery.org/

Academics | Little Hall, Clifford Gallery (101 Little Hall)
In conjunction with The Locker Room exhibition, Colgate’s 2023/2024 Christian A. Johnson Artist-in-Residence jackie sumell, along with Studio CAJAIR, will make The Locker Room accessible to the people, curated by the people, and will get us hyped for the future with biweekly “People’s Pep Talks”, April 3 to May 3.This week's guest coach is Sarah Nahar, PhD candidate at Syracuse University and SUNY College of Environmental Science and Forestry, on "Dealing with Our Crap, Literally and Metaphorically."Full lineup available here. All pep talks begin at noon in the Clifford Gallery. Pizza will be served.

Academics | Persson Auditorium, 27
Hafsa Kanjwal is an assistant professor of South Asian History in the Department of History at Lafayette College in Easton, PennsylvaniaAs a historian of modern Kashmir, she is the author of Colonizing Kashmir: State- building Under Indian Occupation (Stanford University Press, 2023), which examines how the Indian and Kashmir governments utilized state-building to entrench India’s colonial occupation of Kashmir in the aftermath of Partition.

Academics | Lawrence Hall, The Robert Ho Lecture Room, Lawrence 105
The moral point of view is not a fully coherent point of view. In this paper, Sarah Buss, professor of philosophy at the University of Michigan, identifies two reasons why this is so. The first of these reasons is conceptual: because no single virtue is reducible to the disposition to respond appropriately to reasons, the virtues cannot form a perfect unity; only someone with an extremely attenuated set of commitments could insulate herself from the possibility of moral dilemmas. In exploring the second reason, Buss turns attention to the relation between the demands of self-love and the demands of mutual respect. If, Buss suggests, we have difficulty balancing these demands, this is because the ideal of mutual respect is in tension with another moral ideal. In setting the stage for a diagnosis of this second – contingent -- source of our less-than-perfect moral coherence, Buss challenges the conception of moral virtue that is presupposed in discussions of “supererogation.”Catered by Hamilton Whole FoodsSponsored by The Elias J. and Rosa Lee Nemir Audi Lecture Fund