RE-RIDING HISTORY reflects on what was to become the prequel to the Carlisle Indian School—the incarceration and mandatory acculturation of seventy-two Plains Indians at Fort Marion (St. Augustine, 1875–1878). For this exhibition, curators Emily Arthur, Marwin Begaye, and John Hitchcock commissioned works by seventy-two Native American and non-Native artists to make works on paper that consider the experiences of the warriors held at Fort Marion under the command of Lt. Richard Pratt (founder of the Carlisle Indian School). The works share the same dimensions and paper as the historic ledger drawings made by, and convey experiences of, the Indians at the fort.

Joyce Tenneson (b. 1945) has become one of the leading photographers of her generation. Working with large format cameras, she creates still-lifes, portraits, and landscapes that evoke a classic stillness and composure.

Senior studio major thesis projects under the direction of Anthony Cervino, with Andrew Bale, Ward Davenny, and Rachel Eng.

This exhibition considers the work of New York City commercial photographer and photojournalist Lida Moser (1920–2014). She is best known for her pioneering work documenting the City from its post-war era up through the gritty 1970s. Moser first worked as an assistant in Berenice Abbott's studio and later moved on to a solo career, gaining assignments from a number of leading publishers, including Vogue, Harper's Bazaar, and Esquire magazines. She was a member of the Photo League and the New York school of photography and produced portraits of many of the leading cultural figures of the second half of the century.

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.