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Ghost Trees and Reliquary are both an artistic collaboration between poet and Louisiana native Martha Serpas and printmaker Michelle Burgess at Brighton Press. Both books are part of Michele Burgess’s ongoing collaborative series; “The Stratigraphic Archives.” Burgess describes this series as an exploration of the processes, forms, and markings that reflect the patterns, gestures, and atmospheres of both quiet and cataclysmic events. She is interested in the relationship of these events to the human condition and the conditions of nature at its most fragile. She explores the concepts of palimpsest, time and gesture, erasure and repair. Working in collaboration with other artists and poets, she seeks to combine human history and natural history, bringing these themes together in an essential way, working with ideas inspired by places such as churches and reliquaries, geological sites, art museums, personal memory, natural history museums, riverbeds and ocean floors, and library rare book rooms. Martha Serpas’ view of the books is that both translate the feeling of the elements at work. 

“I am imagining one of these books, its pages flipping as if wind-tossed, as an experience of the wind as passionate with a double effect—cleansing and destructive.” [https://www.brightonpress.net/our-collaborators ]

The first volume of the series, Repair [Presses B766bur] is available in Rauner Special Collection as is the fourth, A Torn Web: 16 Poems [Presses B766stto]

Reliquary [Art Special Collection, PS3619.E77 R46 2016] is the first collaboration between Michele Burgess and Martha Serpas and is volume nine in the Stratigraphic Archive. The poems are focused on Louisiana where her hometown of Galliano is disappearing into the Gulf of Mexico due to coastal erosion and rising seawaters. Burgess's etchings are concerned with the disappearance of the languages and patterns of nature.    The etchings are "ghost" printings on Twinrocker paper collaged with torn fragments from the first impression of the print on Gampi paper making each edition unique. Each volume is bound in cloth and leather by Claudia Cohen and housed in a clamshell box made by Sonja Jones. The poem was handset in Perpetua and printed letterpress by Nelle Martin.

Ghost trees [Art Special Collection N7433.4.B865 G5 2017] is the second collaboration between Michelle Burgess and Martha Serpa and is volume ten of the Stratigraphic Archive This volume also combines the poetry of Martha Serpas with 23 drypoints and 2 etchings by Michele Burgess.  The poem first appeared in The Dirty Side of the Storm and was reprinted with permission for this edition. The drypoints were printed by hand from copper plates and were hand colored on Echizen Shikibu Gampi paper by the artist. This edition includes one of the copper plates, bound into the clamshell box by Mark Tomlinson. The text was handset in Perpetua and printed letterpress by Nelle Martin.

These books will be on display in the Sherman Art Library August 13 - December 2, 2019

People move books from Feldberg Library to Baker-Berry Library

For the next couple of years, Feldberg Business & Engineering Library is leaving its home in the Murdough Center, and taking up residence within Tuck, Thayer and Baker-Berry. Construction of the Irving Institute of Energy and Society building will begin this fall, and in preparation, Feldberg staff members have moved to the following locations:

    • Business library services and resources are at Feldberg at Tuck, in the Curley Room in Raether Hall.
    • The engineering librarians now staff Feldberg at Thayer, in 108 Cummings Hall.
    • Economics and related data services are available in the Evans Map Room, on the 2nd floor of Baker-Berry Library.

Feldberg opened in the new spaces on August 1, 2019. Some disruption to normal library hours may occur, but everyone is working hard to make the transition as seamless as possible. (August 3 & 4 - Feldberg at Tuck will be closed. See all Feldberg location hours.)

While the library staff will miss working together in the same physical space, they are excited to be embedded within the communities they serve. For contact and access details, visit the Feldberg website.

Photo of Levi S. Gibbs

In this week's edition, we speak with Levi S. Gibbs, Assistant Professor of Asian Societies, Cultures, and Languages, a scholar of Chinese performing arts.  In his most recent book Song King: Connecting People, Places, and Past in Contemporary Chinahe explores the lives and performances of contemporary Chinese singers.

What is your book about?

My book explores how contemporary Chinese singers who become symbols of regions, nations, and epochs fuse personal and collective narratives in their performances, providing audiences with compelling models for socializing personal experience in an ever-changing world.

Where did you get your ideas for this book?

I first saw a performance of the singer at the heart of the book—the “Folksong King of Western China” Wang Xiangrong—in Taipei in the summer of 1999, right after my freshman year in college. I was struck by the power of his voice and the way he captivated the audience. That fall, I did my sophomore year abroad at the Shanghai Conservatory of Music, where I took a class on regional Chinese folksongs in which we were introduced to songs and singers who were said to represent local cultures across different regions of China. Twenty years later, after conducting multiple fieldwork trips, interviewing singers and scholars in and around northern Shaanxi province, reading biographies of singers from China and around the world, and engaging with scholarly fields ranging from personal narrative studies to performance theory to celebrity studies, I came to notice how elements of Wang’s life story and the ways in which he engages with different audiences seem similar to those of other singers who come from rural roots and become symbols of larger groups. Wang was born in 1952, shortly after the founding of the People’s Republic of China (1949), so his life parallels the history of modern China. For this reason and others that I discuss in the book, his life and songs provide an engaging window into a process that occurs as singers become representative icons.

What does research look like for you? What element of research could you not live without?

The research for this book began with an audio recorder for interviews and a video camera for performances. Over the course of several fieldwork trips, I traveled around northern China with Wang and his proteges, documenting their performances and interviewing them about their lives and the cultural politics involved in their professional work as singers. The latter part of the writing process involved looking for different scholarly discourses that would help contextualize the phenomena I was observing. For example, in talking about the “worlds” that Wang creates in his songs, which are populated by different characters, I looked to lyric theory, narrative theory, and even research on television culture, which involves similar engagements between audiences and the characters portrayed onscreen. I like to begin with the material I am examining—a song lyric, a performance, a story—and build a theoretical framework around it that helps us understand that material in a new or different way.

What do you think the library of the future will look like?

I really hope that they do not get rid of the stacks. I think that libraries will continue to be places where conversations happen—between friends, with books, and with online resources— but there is something special about the stacks. I often go there to find a book myself just to see what other books are around it. This may sound corny but it’s true: it is often the book you were not looking for that makes all of the difference.

What advice would you give to an aspiring scholar or writer?

The more I write, the more I think of writing as a conversation, broadly understood. First, it is a conversation on the page between you and the things you are reading about and observing, as well as a conversation with your readers. I am a strong advocate of making writing social—find a group of friends you trust to read your drafts and give you constructive feedback; this helps move projects forward. Second, while it may seem strange to say, there is something that makes writing a conversation between your mind and your body. When my head is full of ideas from writing, I find that yoga, exercise, or a long walk helps me sort through them. And, after I have been working out, I often have a lot of new ideas to write down. Strange but true.

And finally, what do you read for fun?

For encouragement and my own voyeuristic interest, I love reading about the practices and processes of other writers, which often inspire me to try new approaches. I just finished Louise DeSalvo’s The Art of Slow Writing: Reflections on Time, Craft, and Creativity, which talks about some of the challenging parts of the writing process with interesting examples from the experiences of famous writers. I also continue to enjoy reading biographies, especially those of singers and musicians. At the moment, I am immersed in Ahmir “Questlove” Thompson’s Mo’ Meta Blues: The World According to Questlove. One of my upcoming projects is going to be an edited volume about the cultural politics of singers around the globe.

Photo of Nicola M. Camerlenghi

In this week's edition, we speak with Nick Camerlenghi, Assistant Professor of Art History. Camerlenghi's interests in early Christian and medieval architecture form the basis of his research for the book St. Paul's Outside the Walls: A Roman Basilica, from Antiquity to the Modern Era (Cambridge University Press, 2018).

What is your book about?

My book treats the architectural changes and continuities that took place over 1,500-years at the church in Rome where St. Paul was buried.

Where did you get your ideas for this book?

It is an off-shoot of my dissertation.

What does research look like for you? What element of research could you not live without?

Thanks to architectural design and GIS software, my computer allows me to visualize and analyze "what was where and when" in a building or even in an entire city over the course of lengthy temporal spans. That's my cup of tea.

What do you think the library of the future will look like?

I hope it looks like an Italian piazza—full of people of all ages who read, talk, play and share experiences that really matter.

What advice would you give to an aspiring scholar or writer?

1) Tell us only what we need to know; 2) Eliminate distractions while you write.

And finally, what do you read for fun?

For me, fun is not reading. I would much rather play with my kids, take a walk in the woods, cook and eat with family and friends. But every summer I try and read at least one "classic" that I have not read before. Most recently, these have included The Count of Monte Cristo, and The Island of Doctor Moreau.

Photo of Sadhana Warty Hall
Photo of Sadhana Warty Hall

In this week's edition, we speak with Sadhana Warty Hall, Deputy Director of the Rockefeller Center who oversees programs focusing on leadership, public policy and civil engagement. She's even gone as far as to co-author the book Teaching Leadership: Bridging Theory and Practice which strives to several aspects of teaching leadership and why it is important.

What is your book about?

This book illustrates how leadership can be taught and I recommend it for sceptics and believers. It shows how to bridge theory and practice in higher education settings. I am also learning that the content can be adapted, adopted, and adjusted for high school settings, for-profit, not-for-profit, and government institutions as well. Exciting. Leadership CAN be taught.

Where did you get your ideas for this book?

The idea for this book is best summarized from an account from the book. The idea grew from a conversation Alan Sturmer Executive Editor, Edward Elgar Publishing Inc., had with Joanne Ciulla, professor emerita, Jepson School of Leadership Studies, University of Richmond. She who edits EE’s leadership series. Sturmer was looking to do a volume on Teaching Leadership. Ciulla suggested contacting my Gama Perruci, who asked whether I would co-author the book with him.

Ideas in this book are completely based on our experience related to teaching leadership in curricular and the co-curricular settings. It bridges theory with practice, it shares the idea of continuos quality improvement, and broader learning from concepts related to leadership education, training, and development.

What does research look like for you? What element of research could you not live without?

A quiet space, a fast laptop, and a process that helps to capture themes supporting an idea germinating in my mind.

What do you think the library of the future will look like?

Ability to read books online! Ability to gather as a learning community in a dedicated physical and online space.

What advice would you give to an aspiring scholar or writer?

Start with writing your key ideas down. Organize them. Look at gaps. See what research says about the ideas. If you are given a deadline and you think it is doable, I think you should double or triple the time you think it will take you to complete your project. Choose a co-author carefully. I was very lucky but I have heard it is hard to work on co-authored projects often.

And finally, what do you read for fun? Or, what would you be reading if you had more time?

I would be reading biographies and autobiographies of presidents and prime-ministers if I had more time. It is interesting to learn about the thought processes behind incidents have taken place.

Keeping you up to date with Library teaching and outreach activities.

In this issue, we bring you four articles from across the Dartmouth libraries. First, learn about a current exhibit installed in Berry Library curated by Matika Wilbur, entitled "Changing the Way We See Native America." Next, for those who could not attend the opening reception and artist talk in May, a reflection on Matika's "Learning From Indigenous Vision and Voice" presentation offers readers a glimpse into the complicated Indigenous experience as expressed in the artist's photography. Then, learn more about the upcoming "Enduring Fellowship" exhibit, which is the third installation in the Library's 250th exhibition series. Finally, we end this volume of the library teaching Quarterly with an article written by Caitlin Birch focusing on the recent SpeakOut oral history project. Please enjoy!

Changing the Way We See Native America:  Photography and Matika Wilbur’s Project 562 by Wendel Cox

Recently, the exhibit cases on Berry Main Street have been host to a powerful set of images from Matika Wilbur’s Project 562, a vast, multi-year endeavor to depict contemporary Indigenous peoples of the federally-recognized tribes of the United States. Wilbur, a photographer from the Swinomish and Tulalip Tribes, selected photographs especially for display at Dartmouth, including images of several individuals from New England tribes such as the Mashpee Wampanoag, Aquinnah Wampanoag, and Micmac. Like the images themselves, accompanying texts foreground the voices of Wilbur’s Indigenous subjects. Wilbur’s project is a profound challenge to the commonplace depiction of Indigenous people over centuries, which have mainly reproduced the views and needs of the project of settler colonialism and presented Indigenous people as timeless, now absent, and almost entirely silent. Such representations have proved extraordinarily durable and are implicated in the erasure of Indigenous peoples from their land and our collective histories.

"Changing the Way We See native America" runs on Berry Main Street from April 1 to June 30, 2019.

Note: As Wilbur acknowledged, her project cannot – nor should not – document every federally-recognized tribe. At the same time, the project’s scope has grown since its inception, both as a result of ongoing federal recognition of tribes and her decision to include peoples without federal recognition. At this time, there are 573 federally-recognized tribes in the United States, dozens of state-recognized tribes, and many, many more peoples as yet without federal or state recognition.

Learning From Indigenous Vision and Voice by Wendel Cox

On May 9, 2019, Matika Wilbur spoke in the East Reading Room about Project 562. Her energy, humor, and commitment were evident to everyone in the standing-room-only audience. Over a little less than an hour, she reclaimed the East Reading Room for Indigenous voices, speaking not of a past but a dynamic present and future. Wilbur built a relationship with her audience with a greeting, a call to share ourselves with each other, and gathered us together to hear her stories of traveling and photographing Indigenous people. With her charming and disarming stories, she also offered us a glimpse of her process and the work of a slow, patient, and profoundly respectful collaboration between photographer and subject – a process paralleled in recent generations of Indigenous scholarship, where the needs of communities and their respective members come first.

"Generations of Community" by Katie Harding and Joshua Dacey

Every June, the energy inside Baker Berry Library reaches a fever pitch. Early in the month, students flock to the Tower Room to seeking refuge and silence to study for finals, some for the last time. In the levels below, a burgeoning revelry is felt in the excited whispers of summer plans and life after commencement. Then, within the span of two weeks, the library becomes desolate. Students are gone and a brief respite for the staff settles in. For many Dartmouth students, it is a time for reflection. Graduating seniors are leaving Dartmouth and in a sense, leaving what has been their world for the past four years. Entering freshman are grappling with feelings of displacement and nervous excitement as they seek to find their place in what will be their world for the next four years. The campus community ebbs and flows every year in this way and has for nearly 250 years. That history, the history of the campus community, is the central focus of the next 250th anniversary exhibit "Generations of Community." The exhibits' curators, Shaun Akhtar '12 and Katie Harding, wanted to explore "the range of ways community has been experienced (or in some cases not experienced) and how students, past and present, have shaped the communities that we see today." The six panel exhibit will be installed in Reiss Hall, Baker Main for those who missed the renaming last month, from July 3rd until September 18th, 2019. When asked what she hopes visitors will learn in exploring the complex history of community and fellowship and Dartmouth, Katie Harding had this to say,  "I would like for people who view this exhibit to be inspired to think about the communities that exist at Dartmouth and to consider how those communities foster inclusion. I hope that our exhibit gives them examples of students being a positive force for change in creating a more inclusive Dartmouth." Want to hear more from Katie and Shaun? Keep an eye out for our next post in the "Curator's Corner" blog series.

"Enduring Fellowship" was Curated by Shaun Y. Akhtar '12 and Katie Harding. Exhibit design provided by Dennis Grady. Editing by Laura Barrett and Joshua Dacey. The exhibit will be installed from July 3rd until September 18th, 2019 in Reiss Hall located in Baker Library. The exhibit is free and open to the public.

SpeakOut by Caitlin Birch

The oral history interview between Mary K. Klages ’80 and Abigail R. Mihaly ’21 is winding down. As with many interviews, the end is a time for reflection. Abby asks Mary to reflect on her hopes for Dartmouth’s future and Mary weighs in: “What I learned at Dartmouth was conversation is crucial. Talking about things is always better than not talking about things. You’re only as sick as your secrets, and your silence won’t protect you. So that’s what I would wish for, is ongoing in-depth, heartfelt conversation about our differences.”

In a way, Mary has summarized what students like Abby are working to achieve with SpeakOut: a breaking of silences, a space for honest reckoning with Dartmouth’s past. Simultaneously, she’s also described much of what they’re learning: a research methodology that centers intentional conversation and active listening.

SpeakOut — a project dedicated to documenting the history of Dartmouth’s LGBTQIA+ community through oral history interviews like Mary’s — begins in the classroom. There, students who are each responsible for producing four interviews for the project learn the theory and methodology of oral history. They explore the archives and consider how materials end up there. They engage, often for the first time, with the influence archival collecting exerts on the historical record. They consider why and how gaps in the archives form and contend with the specific gap of LGBTQIA+ history. They begin to understand the role they’ll play as student interviewers and they prepare to play it.

The SpeakOut training term emphasizes active learning, while the year of interviewing that trained students embark upon represents experiential learning. Classroom activities that range from the basic think-pair-share to the more involved special collections scavenger hunt prepare students to enter a new, far less familiar classroom: that of an oral history interview that puts their knowledge to the test while inviting them to learn through the lived experiences of their interviewee. The imperfect interviews that result are not the same as those a professional oral historian might produce, but in some ways they’re better. Amidst the inevitable nerves, bumbles, and recording glitches, we hear one generation of the Dartmouth community connect with another in pursuit of exactly what Mary Klages described: in-depth, heartfelt conversation.

Photo of Professor Jacobi

In this week's edition, we speak with Peter A. Jacobi, who is not only a Professor of Chemistry, but also the author of the new book Introductory Heterocyclic Chemistry, which explains ring formation present in a majority of natural products in a approachable way.

What is your book about?

A thumbnail description: Introductory Heterocyclic Chemistry is a story of sorts, written in conversational style about one of the most important fields in organic chemistry.

Where did you get your ideas for this book?

First a definition or two for non-chemist readers. Organic chemistry is the chemistry of carbon compounds, which frequently can exist as ring structures. If one of the atoms in such rings is replaced with any other atom than carbon, that compound is a heterocycle. Nature has chosen these ring systems as a foundation for many of her life processes (i.e. DNA, RNA, certain amino acids, etc.), and they also form the backbone of most of the small molecule drugs in use today. This book attempts to answer why. The author has been teaching this subject for nearly 45 years, and the genesis for the book came directly from class notes.

What does research look like for you? What element of research could you not live without?

I am a synthetic organic chemist by training, which means that I (and my students) have a love for the laboratory. A message that I try to get across to beginning students is that synthesizing a complex molecule, in three dimensions, has much in common with the work carried out by an architect. That is, you have certain tools to work with, and your task is to reach your objective in the most efficient, and hopefully most creative fashion possible. Any advanced practitioner in the field has a certain style, which is easily recognized by other members of the club. Of course, there is creativity in all sciences, which is sometimes hard to appreciate if you are not in the field. A particular joy in synthesis is being able to reduce abstract ideas on paper into reality in the laboratory.

What do you think the library of the future will look like?

Hopefully like the Tower Room in Baker.

What advice would you give to an aspiring scholar or writer?

Love your subject.

And finally, what do you read for fun?

I have always enjoyed reading biographies of important figures from the past. Most recently these have included excellent works on Grant, Washington and Hamilton (by Ron Chernow). I am also a huge fan of anything written by David McCullough and Stephen Ambrose.

Photo of Professor Gaposchkin

In this week's edition, we speak with M. Cecilia Gaposchkin, Professor of History and Assistant Dean of Faculty for PreMajor Advising. She has published many works on the crusades and the Capetians, her most recent of which being Invisible Weapons: Liturgy and the Making of Crusade Ideology  (Cornell UP, 2017), that explores how liturgy and church ritual underwrote holy war and crusading.

What is your book about?

The book examines how liturgy and ritual were used to underpin and sacralize the crusades. That is about how the Middle Ages made "holy war" holy.

Where did you get your ideas for this book?

It came out of teaching. After 9/11, I began teaching a course on the crusades. Since I had worked with liturgical material in my book, I naturally wondered about the liturgical footprint of the crusades - mostly as I was looking for sources to help me teach. When I didn't find any, I began digging...

What does research look like for you? What element of research could you not live without?

Medieval manuscripts! Either in holding libraries, or in digitized reproductions, or, when necessary, microfilms or microfiche. Obviously, consulting the real thing is the best!

What do you think the library of the future will look like?

I hope it will include access to very high resolution images of the world's single copy documents (manuscripts, archives), so that every one can do research about everything in any place or time.

What advice would you give to an aspiring scholar or writer?

Good work, and patience, when paired, win out.

And finally, what do you read for fun?

I recently read two books by Amon Towles that I loved and I would recommend to anyone: Rules of Civility: a Novel, and (even better) A Gentleman in Moscow. Gentleman in Moscow I think is the best book I have read this year. I enjoyed the Alice Network (Kate Quinn) a spy/historical novel set in the First and Second World War. I loved Chimamanda Ngozi Adichie's Half a Yellow Sun. I'll read anything by John LeCarre. I enjoyed the Magpie Murders (Anthony Horowitz). No academic can not enjoy Julie Schumacher's Dear committee Members. I loved Robert Harris' An Officer and a Spy (a very fine historical novel about the Dreyfus affair). Anne Patchett's Commonwealth was extremely engaging. And, of course, I ate up the Elena Ferrante novels (truth be told, I thought they got better as they went along; I did not love the first one, and am not sure why I picked up the second one, but think the last one is a masterpiece.)

Photo of Annabelle Cone, instructor of French
Annabelle Cone

Holding Court is an interview series that features the authors of the new books on display in the King Arthur Flour café in Baker-Berry Library.

In this week's edition, we speak with Annabelle Cone, comics scholar and instructor of French, who not only studies and teaches graphic novels, but created her own.  Empty Nesting, a graphic memoir, explores episodes in Cone's life with wit, insight, and humanity.

What is your book about?

Life after divorce at fifty, with a gay roommate and a grown daughter in a big old farmhouse in rural New Hampshire. Being in charge of it all, all of a sudden.

Where did you get your ideas for this book?

My own life!  But also from reading other people's graphic memoirs. I love self-deprecating humor and not taking one's personal crises too seriously.

What does research look like for you? What element of research could you not live without?

The book is a memoir, very much inspired by autobiographical feminist theory (which I have worked on in the past), and by graphic memoirs written by famous authors like Boulet, Gabrielle Bell, Julia Wertz and Allison Bechdel. The practice of writing a graphic novel came directly from the practice of teaching and researching the genre.

What do you think the library of the future will look like?

I hope very much like the library of the present. We need to keep reading books, but also designing books, book covers, page layouts, and to have a sense of organization of a book, from the preface, to the introduction, to the end notes, to the bibliography and the blurb on the back cover.

 What advice would you give to an aspiring scholar or writer?

Stick with it and don't doubt yourself. We need scholars and writers to explain the world and make sense of its many complications.

And finally, what do you read for fun?

If I had more time, I would dig into the many novels coming from Africa and Asia (Chimamanda Ngozi Adichie, Haruki Murakami, to name the most famous). If I had more shelf space, I would acquire more graphic novels.

Welcome to the first post in out Curator's Corner blog series!

At the heart of any exhibition is a story. Told through words, pictures, and material culture, each story is unique as are the individuals who interpret those stories. From history to art, the exhibitions in the Baker libraries represent often forgotten moments in the collective memory of Dartmouth College. Many of the exhibitions are inspired by artifacts found in the College's collections. Many of the curators are Dartmouth staff, faculty, or students. Stepping into the curator's role can be an exciting, rewarding, and challenging experience, but don't take my word for it. With each new exhibition's debut, we will interview one of the curators who tirelessly worked to create the narrative, select the images, and secure the artifacts.  Today, we are interviewing Peter Carini, College Archivist, about his recent experience co-curating the "On Solid Ground" exhibition.

What is this exhibit about?

On Solid Ground explores the myth of the never changing Dartmouth. Even though we all know that Dartmouth has changed over time, there is a perception that it has always been here and will always be here. The exhibit looks at how the physical College, it's traditions, and intellectual pursuits have shifted and changed over time.

What inspired you to create this exhibit?

In many peoples minds, Dartmouth is based on never changing traditions. Many people bemoan the passing of the traditions they experienced and loved, but when you look at the whole of Dartmouth's history it, like the rest of the World, is a ever changing continuum. This exhibit allowed me to show this and celebrate the changes.

What was the most interesting aspect of creating this exhibit?

While I'm very familiar with the materials that went into this exhibit, as many of them have been used in class session here in Rauner, this exhibit allowed me to reconnect with the items in a new context.

What is your favorite artifact in this exhibit?

While I have deep attachments to all of the items, I really like the manuscript of David Bradley's book on ski jumping. The item itself is fascinating in that you can see how it was assembled, but also the fine, but amateurish drawings give it a very personal feel. Finally, it speaks to how integral Dartmouth was in the development of skiing as a sport.

What do you want visitors to learn from this exhibit?

I hope that those who spend time looking at this exhibit will walk away with a sense of how solidly grounded Dartmouth is, but also with a sense of how that solidity is also a mirage that hides how much it has changed over the course of it's 250 years.

"On Solid Ground" was curated by Jay Satterfield and Peter Carini.  Dennis Grady designed and installed the exhibition. "On Solid Ground" will be on display in Baker Main hall from January 2 until March 21, 2019.

The exhibit can also be viewed online.