While most works of art engage with the senses of sight and touch through their form (texture, materiality, shape), To Listen Deeply, curated by Trout Gallery intern Sophy Nie’25, examines how sound is a key component for diverse works of art. Taking inspiration from American experimental composer Pauline Oliveros’s “Deep Listening” philosophy, which encourages a heightened awareness of our sonic environment, this exhibition invites viewers to engage with the works of art on multiple sensory levels, to pay attention to perceived visual and acoustic vibrations – to listen deeply. ​

In Rosa Sparks, self-proclaimed art evangelist Steve A. Prince presents a tableau of black experience in America by recreating the momentous event in Montgomery, Alabama, where Rosa Parks refused to give up her seat to white passengers. At the front of the bus, a haloed Parks sits defiantly in response to the standing bus driver’s gesture that she move to the back. At the left, a line of figures, some in silhouette, represent the experiences of black Americans—from the chains of slavery to present-day threats of gun violence. They are joined by references to others inspired by Rosa's spark, civil rights leaders Martin Luther King Jr. and Malcolm X. A rider at the back of the bus holds a Bible turned to Matthew 5:3–10. This passage describes the Beatitudes, beginning with "Blessed are the poor in spirit, for theirs is the kingdom of heaven...." His work is an unending exploration of that faith and its relationship to his life, his culture and his community. "We are all living epistles," notes Prince, “whether we want to be or not." His work is an open letter to Americans calling them "to acknowledge their role within the fabric of the American family and to redress race, representation, and education with a new raiment woven of respect, truth and equality." Prince is a native of New Orleans. He earned his BFA from Xavier University of Louisiana and his MFA from Michigan State University. He has shown his work internationally in various solo, group, and juried exhibitions including the Contemporary Art Center of Virginia, the National Gallery of the Bahamas, the Museum of Cultural Arts Center (Santa Catarina, Brazil), the Grand Rapids Museum of Art, the Portsmouth Courthouse Museum, Hampton University Museum, the Museum of African American Culture (New Orleans), and the Peninsula Fine Arts Center.

is regarded as one of the world’s most accomplished contemporary photographers. His remarkable photographic depictions of global industrial landscapes are included in the collections of over sixty major museums around the world, including the Guggenheim Museum (New York), Los Angeles County Museum of Art, Museum of Modern Art (New York), National Gallery of Canada (Ottawa), Reina Sofia Museum (Madrid), and Tate Modern (London).

This exhibition investigates the phenomenal aspects of the natural world and responds to our current climate situation. Using different materials--some with inherent meaning and others, transformed--the pieces in this exhibition question our human curiosity, empathy, and potential for change. Rachel Eng is Dickinson's newly appointed assistant professor of ceramics.

Gilded Age America witnessed the rapid and widespread expansion of photography, particularly as a tool of documentation in the natural and social sciences. Muybridge & Curtis considers the two vast photographic projects of the day: Eadweard Muybridge’s Animal Locomotion: An Electro Photographic Investigation of Connective Phases of Animal Movements (1887) and Edward S. Curtis’s The North American Indian, Being a Series of Volumes Picturing and Describing The Indians of the United States and Alaska (1907–1930). Working during the age of heavy tripods, large wood cameras, and glass plate negatives, Muybridge and Curtis made tens of thousands of negatives for their respective work of unparalleled scope. Both projects were realized for scholarly study through massive, costly publications. Animal Locomotion, produced under the auspices of the University of Pennsylvania, contained 781 multiexposure plates printed with the collotype process. The North American Indian, underwritten in part by John Pierpont Morgan, filled 20 volumes with more than 2200 photogravures based on negatives made by Curtis. Muybridge & Curtis, drawn exclusively from works in the museum’s collections, considers the two projects within the context of early photography and their role in the developing natural and social sciences.

From 1950 to 1990, Coloramas greeted millions who passed through New York City's Grand Central Terminal, presenting an idealized image of postwar America. Created by the Eastman Kodak Company, the colossal eighteen feet high and sixty feet wide backlit color transparencies represented a technological leap in the world of marketing and projected an image of an abundant, prosperous, and scientifically advanced America. However, for all the optimism suggested in the images, one sees none of the realities of a society divided harshly along racial and socio-economic lines and the civil unrest that it produced. As curator Alison Nordström notes, Coloramas "served to manifest and visualize values that even then were misunderstood as nostalgic and in jeopardy, salvageable only through the time-defying alchemy of Kodak cameras and film." This exhibition features a selection of large-scale photographs made from the more than five-hundred original transparencies, providing a view of the optimism and prosperity of certain segments of American society during the second half of the twentieth century.

This exhibition features a selection of Italian Old Master prints and drawings from the fifteenth through the eighteenth centuries. Curated by Dickinson College Art History majors: Clara Fritz, Paris Humphrey, Samantha Mendoza-Ferguson, Sara Pattiz, Rebecca Race, Isabel Richards, and Samuel Richards, under the direction of Melinda Schlitt.

This exhibition celebrates the recent conservation of Marius-Jean-Antonin Mercié's bronze statue of Gloria victis (Glory to the Vanquished). Mercié made this statue to honor his fallen countrymen in the Franco-Prussian War, in particular, his friend and fellow artist Henri Regnault (1843–1871). The statue represents a winged allegorical figure of Death (Thanatos), who carries to glory a dying French soldier, his broken sword a symbol of French defeat.