This opera centers on a pivotal moment in French operatic history known as the “War of the Buffoons,” an aesthetic battle between people in favor of maintaining the traditions of classic French opera and others who favored the more progressive and comic ideas coming from Italian operas of the day.

The design explores the coupling of augmented reality (AR) technologies with non-uniformly sized lumber to develop a digitally informed and customized hollow-core cross-laminated timber (HCCLT) wall assembly.

This proposal brings together separate, but sequential semester collaborations between two contemporary artists in a paired alliance with two BFA alumni, Taber Colletti and Danni Shen. Since matriculation these former students have successfully transitioned their subsequent research toward roles as gallerist, critic, and curator. The project provides an opportunity for faculty and advanced students to engage with this team in collaborative research to create work/s within the context of expanded print media.

An interactive exhibit inspired by the Cornell University history of the custom dress form. This exhibit included two workshops for those interested in exploring the custom form.

The Sculpture Shoppe is a curated exhibition with public-facing educational programming drawing upon works from the Cornell Cast Collection and responses to cast culture and classical art by contemporary artists and thinkers.

A solo dance work created to Bach’s Goldberg Variations by choreographer Mark Haim, performed by Miles Yeung-Tieu and Cornell students.

Students from Introduction to LGBT Studies create an original play devised from archival material in the Human Sexuality Collection (HRC) at Olin Library and from oral histories with queer, trans, and non-binary alums. The script will be archived in the HRC. This project is part of a rolling anniversary to celebrate 30 years of the LGBT Studies Program (and also the 50th anniversary of women, gender, and sexuality studies at CU).

Each spring, Master of Fine Arts candidates work individually and collectively towards an exhibition in New York City. This is an important point to which candidates orient themselves throughout the year, functioning as a culmination of the artistic research and individual studio practices. It is a unique opportunity for Cornell MFA students to show their work together, meet alumni, and gain exposure in a major hub for contemporary art.

A series of 24 photographs documenting lawn signs in the small suburban town Nyack, New York, home of the famous painter Edward Hopper. These signs are not radical political acts but rather a means of communication with neighbors and passers-by, and in some instances, a way to influence property values and community image. This project seeks to explore the contradictions within this sign-based communication, play with the notion of traditional suburbia, the picket fence mowed lawns, American flags, and call them into question.

The Cornell Contemporary Chamber Players host a residency with guest ensemble Red Desert. Composers in Cornell’s DMA program are featured, including works by Joshua Biggs, Maria Alejandra Bulla, Laura Cetilia, John Eagle, Miles Jefferson Friday, and Han Xu.

This web series is set in the fictional Fingertown where zany, anthropomorphic fingers reside. We follow the lives of three roommates: Beatrice, Joe, and Brian as they navigate through their daily lives interacting with the other fingers around them.

Ever-Patterned Collapsing is a ritual of language, meaning-making, poetry and painting. A collection of paintings, poems, books, and an exchange of meaningful objects shared within a collective space, the metaphors of language and religion; meaning and feeling.

On-site exhibition consisting of sculpture, video, sound, and work on paper excavated from West Hill’s 1926 abandoned landfill. Visual and sonic works made with with/of objects found on site that address the site’s history (human and non-human) and connection to the historical and contemporary Ithaca community. The project culminates in a self-curated exhibition located both on the site itself and in a traditional indoor space.

Sabor a Carne is a sculpture series navigating the relationship of Latinx identity to poultry processing in the United States. The cannibalism of labor. Bring your own Sazón.

Using robotic arms for mass production of the joinery, The Wave is an outdoor installment of what could become a large series of wooden sculpture or furniture. The Wave explores and highlights the concept of fluidity through an innovative use of Chinese and Japanese-inspired parametrically designed, robotically milled joinery that allows curving along all three axes, while celebrating AAPI heritage in building technology.

A weekend-long series of staged-readings, virtual conversations, and virtual playwriting workshops, organized around the work of two writers whose plays investigate gender, sexuality, race, and place: C.A. Johnson’s THE CLIMB and Audrey Cefaly’s THE GULF.

La Cámara is a 30-minute documentary shot in Tecún Úman, a town at Mexico-Guatemala border, that uses sensory ethnographic practices to recast the stories refugees and migrants have of deportation and migration in the Trump era. By illustrating the transnational ties that exist in a border as a space of detention and human mobility, and as a space of indebtedness and violence, this documentary speaks to irrational, nativist forms of border securitization that exacerbate repeat attempts at unauthorized border crossing.

Kitsch publishes a carnival-themed issue of poetry, fiction, personal essays, and pop culture analysis reflecting on subjects including the notion of occasion, gender and gender performance, and literal and metaphorical illusions.

Experimentations with transformed matter sourced from the fundamental constituents of the Earth’s core and soil — biomass, minerals, and ores. Embodied in sculptural forms, this exhibition explores the potential that dwells in the recesses of the unknown via processes of transformation, of the haptic and the hybrid.

confluencial presents the work of al aguas and Sonja Lockhart together. Individually submerging into their experiences of Black and Indigenous peoples’ vitality in bountiful to barren social scapes, they recognize the refuge in turning to landscapes, creating an opening for merging an ever changing stream of connections between them.

A series of sounds, video performances, and conversations with ideas among post-dramatic theatre, virtuality, and theatricality with the collaboration of renowned Thai artist and educator, Professor Anothai Nitihibon. The project curates a series of performances that reimagine the process of “post-dramatic theatre” which involve diverse creativities among digital technology, filming process, staging management, and theatrics.

Hybrid exhibition and workshop examining the history and experience of Chinese Medicine in America. The history of Chinese medicine in America is long and fraught: it surfaces many questions surrounding the racialization and gendering of healing practices and the contrast of alternative medicines to Western biomedicine. The project draws upon these dual histories—of the exoticization of alternative medicines and the unifying, communal power of alternative medicine—as well as traditions of social practice art, which seeks to engage the community and provide service and experiences not traditionally tied to the white-cube gallery space.

Model Organisms transforms the lobby display cases in Mann Library into miniature aquariums featuring small sculptures inspired by the Cornell Collection of Blaschka Invertebrate Models. During the late 19th century, father and son team Leopold and Rudolf Blaschka produced these highly detailed glass models of marine invertebrates. Intended for use as teaching aids, these models were also fascinating works of art in their own right. A.D. White, Cornell’s first president, ordered a full set for Cornell in 1885. Cornell has one of the most complete collections of Blaschka invertebrate models in the world.

A short documentary interviewing an indigenous woman’s experience moving to Pennsylvania, and shedding light on the massacre of the Conestoga tribe.

A performance laboratory, a haunted house, an environmental exorcism; Haunted Natures, Hidden Environments is a one night performance-installation event at the Schwartz Center, wherein spectators must traverse a richly material, multi-media, walk-through performance environment which asks them: “Where has theatre been while the world’s been falling apart?”

Created in collaboration with a local sheep and goat farmer from Blue Spoon Farm, in the Finger Lakes region. Jacqueline Spoon skinned and tanned her animals when their time had come. The construction of this vestment utilized the entire skin, making very intentional cuts where the piece was to be spread about the body. The entire piece was sewn by hand. This project rebukes the idea that lower prices achieved by cheap labor and cheap materials is ideal, and instead prioritizes the environment, local manufacturing, and human rights.