Events

Activist is in it for the long haul

Rachel Sauer — Sun, 27 Sep 2026 19:02:05 +0000

Activist is in it for the long haul Rachel Sauer Sun, 09/27/2026 - 13:02

Clay Bonnyman Evans

Disability-rights activist Stephanie Thomas to give keynote at ��Ҵ�ý�ƽ�� disability symposium Sept. 28

When she was 17, Stephanie Thomas was involved in a tractor accident in New Hampshire that resulted in a spinal-cord injury and began using a wheelchair.

She didn’t want to learn how to drive. But at the time, public transportation across the nation was not accessible to people with disabilities. “Paratransit” systems were sometimes available but offered limited services.

“You could only go so many times a week, for certain kinds of trips, such as to the doctor. They often weren’t compatible with living life; going to the grocery store was not a priority.” says Thomas, a long-time disability-rights advocate who is now the archivist for the well-known organization ADAPT’s online museum.

Activist Stephanie Thomas will give the keynote speech at the University of Colorado Boulder’s 2026 Access, Innovation & Disability Symposium on Sept. 28.

She will give the keynote speech at the University of Colorado Boulder’s 2026 Access, Innovation & Disability Symposium on Sept. 28.

No access at Harvard

When Thomas arrived at Harvard University, there were only nine disabled students on campus, and there was no accessible public transit or other accommodations to assist them.

“I had to learn how to drive, and I was sort of annoyed by that,” she says.

She became interested in Section 504 of the Rehabilitation Act of 1973, which prohibited disability discrimination in federal programs or activities and disability rights more broadly.

It was the time of anti-war protests, civil rights, women’s rights.

“It wasn’t surprising, at least not to me, that disability rights just began to be thought of as a thing,” she says.

She got involved on campus—“nothing revolutionary, just advising on accessibility”—and began to learn of egregious examples of discrimination: A deaf woman who spoke seven languages was not allowed to be a language major because a required language lab used audiotapes; a student who had a seizure when fire-alarm strobes went off was unable to evacuate and was left behind; and the university’s disabled student-services advisor’s office was located on an inaccessible second floor.

“Nobody could get to the guy,” Thomas says. “But nobody wanted to anyway; he was that much of a jerk!”

After graduation, she took a job at EPOCH (now known as VOLAR), an independent-living center in El Paso, Texas. Her boss sent her to a meeting of a coalition of local organizations working together on state-level issues in San Antonio.

“I met my husband Bob Kafka there, and we hit it off right away,” Thomas says.

Access, Innovation & Disability Symposium

Learn strategies to create equitable opportunities for members of the campus community of all abilities.

What: 2026 Access, Innovation & Disability Symposium

When: Sept. 28 - Oct. 1

Who: All are invited

Learn more

She also recalls seeing a brochure from ADAPT with the image of a bus sticking out of a toilet bowl and the slogan, “Don’t flush, organize!”—a takeoff on labor organizer and musician Joe Hill’s famous aphorism, “Don’t mourn, organize!”

Feeling patted on the head

When Jim Parker, a friend of the couple, attended a training sponsored by ADAPT, a national grass-roots community that organizes activists to engage in non-violent direct action to assure the civil and human rights of people with disabilities and started in Denver, he was energized by the experience. So, he, Thomas and Kafka decided to start ADAPT of Texas.

“They were forcing people to face up to the problem, and Bob and I got excited,” she says.

At a public hearing in Austin, she worked hard on her testimony, putting in many hours of research, only to “feel patted on the head, thank you, sweetheart, and don’t let the door hit you on the butt as you leave.”

But when Bob started testimony from the same notes as his wife, he stated that he was with ADAPT, and Thomas noted that the reaction was very different.

“That name was a cattle prod to people on the committee. They sat up straight and said, 'Whoa!' When I saw that being a member of ADAPT could do that, I wanted in!” she says. The couple started ADAPT of Texas and began organizing local actions such as working on access to transportation, kerb cuts and more. At the same time, they got involved with the Atlantis Community, an independent living center in Denver.

“Before there were kerb cuts, you just had to drop into the street and cross your fingers,” she says. “You had to learn what restaurants you could get into, where you could shop for clothes—it was all very hit or miss.”

Bathrooms were not accessible, there were no interpreters and people with disabilities were often relegated to nursing homes. “There was just no expectation that disabled people belonged in society,” Thomas says.

Congress changed the landscape with the 1990 passage of the Americans with Disabilities Act, which prohibits discrimination based on disability and protects those with disabilities in employment, public services and public access.

But the current presidential administration is undertaking sweeping changes that will undermine much of the progress of the last three and a half decades, Thomas says.

Stephanie Thomas (third from right) at a groundbreaking event with Accessible Housing Austin. (Photo: Accessible Housing Austin).

Special education is being moved from the U.S. Department of Education to the Department of Health and Human Services. “That’s horrible,” she says. “That department has nothing to do with education.

Meanwhile, scheduled deep cuts to Medicare, critical to millions of people with disabilities’ lives, won’t kick in until after the mid-term congressional elections in November, a ploy to keep voters from taking that into consideration in casting their votes, she says.

And the Department of Justice has issued an advisory arguing that neither the U.S. Supreme Court's 1999 decision in Olmstead v. L.C., which held that people with mental disabilities have a right to live in the community rather than institutions, nor Section 504 requires states to provide services to people with disabilities “in the most integrated setting appropriate.” Although not binding, the advisory is expected to guide federal agencies under the current administration.

“Hundreds and hundreds of people have been working for the last four decades to get people the right to live in the community,” Thomas says. “Nobody is forced to live in community; you can still live in a nursing home if you want. But this is taking that right away from everyone else.

“People will become second-class citizens if they need assistance to get their pants on or go to the bathroom. It seems like we should be past that by now.”

Get involved

Thomas says the first step to fighting the trend against disability rights is to get involved.

“People need to vote, to speak up,” she says. “This is not the time to put your head in the sand.”

She’s concerned that national and local protests about civil rights seldom mention disability rights. She partly blames the easy “clicktivism” of social media for the shift.

“It’s a lot easier to write a post or send an email and call it done—and that doesn’t get in the face of the people who actually have power, which is what you have to do,” she told the magazine New Mobility in July.

And she fears that the ever-expanding list of disability conditions is having an effect on public awareness and concern.

“Once everybody becomes disabled, you’re no longer a distinctive minority, and you start to water down your rights legally,” she told New Mobility.

Stephanie Thomas will give the virtual keynote speech for ��Ҵ�ý�ƽ�� 2026 Access, Innovation & Disability Symposium at 3 p.m. Monday, Sept. 28. Register for the speech here.

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Disability-rights activist Stephanie Thomas to give keynote at ��Ҵ�ý�ƽ�� disability symposium Sept. 28.

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Exhibit celebrates 30 years of art not as usual

Rachel Sauer — Mon, 31 Aug 2026 22:00:54 +0000

Exhibit celebrates 30 years of art not as usual Rachel Sauer Mon, 08/31/2026 - 16:00

Rachel Sauer

New CU Art Museum exhibit honoring the Artnauts collective opens with a public celebration from 4 to 6 p.m. Thursday

In nature, rhizomes are plant stems that grow just beneath the soil surface, sending out shoots and sprawling root systems that can produce new plants. An expansive purple cluster of bearded iris, an early-spring patch of asparagus, a rustling stand of bamboo—all grow from the branching, interconnected system of a rhizome.

In art, rhizomes are collectives and communities that flourish in connection and collaboration, in exchange, in branching and spreading into new soil.

You're invited

What: Opening celebration for the exhibit “Rhizome: Origins," celebrating 30 years of the Artnauts

Where: CU Art Museum

When: 4-6 p.m. Thursday, Sept. 3

Who: All are invited

Learn more

The Artnauts are a rhizome.

Founded in 1996 at the University of Colorado Boulder, the Artnauts—a name that can be interpreted as “art not as usual” or as a play on the exploration and globe-circling of “astronaut”—are celebrating their 30th anniversary with the exhibit “Rhizome: Origins” officially opening Friday at the CU Art Museum.

A celebration of the exhibit and the Artnauts will be held from 4 to 6 p.m. Thursday at the museum, initiating a series of events through the fall semester that celebrate 30 years, hundreds of artists and almost as many exhibits in 27 countries that address themes of peace, human rights, climate, migration, cultural memory and other global issues.

The timing of the exhibit is perfect and poignant: George Rivera, professor emeritus of art and art history and a founder and longtime public face of Artnauts, recently announced that he is retiring from the collective for personal reasons and to make way for new leadership.

“(New leadership) already is having a great positive impact, as members are stepping up to acquire new exhibitions in new countries that we have not yet visited,” Rivera explains. “Wait until you see the new venues that they have planned for exhibitions. We need new visions that go beyond what I set up for us throughout the world. The mission will not change. That will stay the same. Just new places of ‘contention’ (as I call them) will be added to where we go with our vision for a better world.”

Rivera and other Artnauts will be featured in a documentary film about the collective, Art, Not As Usual: The Story of the Artnauts, scheduled for release this fall.

Art as connection

In fact, experiencing an Artnauts exhibit in the United States is something of a rarity. When Rivera and colleagues Garrison Roots, Beth Krensky, Dennis Dalton and Luis Valdovino founded Artnauts in 1996, an aim was to balance the aesthetics of art with its power to connect with people experiencing violence, oppression or disaster.

What else are Artnauts Martha Russo and George Rivera up to? Oh, only showing their work in Venice, Italy!

Ciao, amici!

It started simply if not easily, with Rivera cold calling galleries or schools in countries experiencing serious situations. Because of those situations, Artnauts exhibits needed to be two-dimensional and generally not larger than 8x10—a size that allows the work of 40 artists to fit in a carry-on suitcase.

Over three decades, more than 220 artists have contributed their work to exhibits in Bosnia and Rwanda, Colombia, Palestine and the DMZ between North Korea and South Korea—in all, 27 countries on five continents.

Though the points of commonality between the exhibiting country and the United States may not have been identical, Rivera says, Artnauts has always sought common themes, social issues and experiences.

For Martha Russo (MFA’95), who has been with the collective since 1996 and now serves as its board president, the Artnauts’ mission is about staying true to the essence of art. Its mission aligns with her ideas and beliefs about art and its ability to bring “us back to our rudimentary way of collecting information, namely, through the senses and the body,” she describes in her Artnauts artist statement.

Reflecting history and personal growth

In creating “Rhizome: Origins,” both Artnauts and CU Art Museum curators collaborated to envision an exhibit that reflects the history of the organization and reflects artists’ personal growth, says Hope Saska, CU Art Museum director and chief curator. Also uncommon for an Artnauts exhibit, quite a few featured pieces are three-dimensional, deviating from the idea of art that can fit in a carry-on suitcase.

In 30 years, more than 220 artists have participated in Artnauts exhibits, and they were invited to submit ideas for “Rhizome: Origins.” From these ideas, 22 artists’ work was curated for the exhibit, all of whom have ��Ҵ�ý�ƽ�� affiliation as faculty, staff or alumni.

The opening celebration Thursday will initiate a slate of events throughout the semester, including:

Artnauts at the CU Art Museum from 2-4 p.m. Friday, an event that will include making activity, artist-led gallery talks and an award ceremony for recipients of scholarships honoring past Artnauts.
Collective Visions: An Artnauts Panel Conversation from 1-2 p.m. Sept. 19 in room IB20 of the Visual Arts Complex, which will feature Artnaut founding members George Rivera and Beth Krensky, joined by Martha Russo, Pamela Beverly-Quigley and Eileen Roscina, in a discussion about the history and future of the artist collective.
Social Sculpture: Artnauts + YOU from 1-4 p.m. Nov. 7, an afternoon of hands-on artmaking activities, talks and art demonstrations with faculty and students from ��Ҵ�ý�ƽ�� Unstable Design Lab.
“Rhizome: Origins” closing celebration from 1-3 p.m. Dec. 12.

Thursday’s opening event will also celebrate the CU Art Museum’s sweet 16th birthday and ��Ҵ�ý�ƽ�� 150th anniversary.

Works by Daniel Henry and George Rivera from the Artnauts "Borderlands" exhibit at the Russian Society of Artists Exhibit Hall and Khabarovsk Academy of Art in Khabarovsk, Russia, in 2001.

"Impermanence #2" by Tsehai Johnson

"Lateral Inheritance" by Michael Dixon

"Healing Grounds" by Valerie Albicker, courtesy of the Sunflower Dreams Project and the artists

"Branching as Mapping" by Barbara Colombo

"Objectal Intent" by Heather Hanson

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New CU Art Museum exhibit honoring the Artnauts collective opens with a public celebration from 4 to 6 p.m. Thursday.

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Top image: "Raw Spots" by Suzanne Faris

Come for the beer, stay for the science

Rachel Sauer — Fri, 08 May 2026 00:07:52 +0000

Come for the beer, stay for the science Rachel Sauer Thu, 05/07/2026 - 18:07

Rachel Sauer

The May 11 Earth on Tap event at Rayback Collective in Boulder, open to all, invites scientists and non-scientists to gather for discussions of climate research

It started, as good things often do, with CAKE. In this case, that’s the Climate Action Knowledge Exchange, a group formed by University of Colorado Boulder atmospheric and oceanic sciences (ATOC) graduate students Max Elling, Dora Shlosberg and Josh Gooch. They noticed, the further they progressed in their studies, that there are “a lot of different people working in climate, but not necessarily working together,” explains Shlosberg, a PhD student.

If you go

What: Earth on Tap

When: 5:45-7:30 p.m. Monday, May 11

Where: Rayback Collective, 2775 Valmont Road in Boulder

Who: All are invited

Learn more

So, they formed an interdisciplinary outreach group, CAKE, to break down silos and build partnerships between scholars, industry professionals and community members. From there, CAKE began collaborating with ATOC’s existing Outreach Committee, a group dedicated to educating the public on Earth science through engaging and interactive learning. Outreach teaches children through their SEEDS program, bringing live demonstrations on Earth-system science to local elementary schools.

Then, last semester, they began discussing what more they could be doing to involve adults in science, particularly those who aren’t professional scientists but are science curious.

Earth on Tap organizers express that there has been a lot of misinformation spread about science, and there is sometimes an element of mystery among the public as to what it is local scientists do. Earth on Tap aims to break down these barriers and connect people of all backgrounds to the science being done in their own backyard.

The key is to make it fun, says ATOC PhD student Maggie Scholer. But how?

The answer: Beer.

Not to make the science go down easier, but as a tool to bring science out of the lab and field research sites and into spaces where all are welcome, where community grows, where learning can happen with a chocolate stout and a shared plate of sliders. So, that’s how Earth on Tap came to be.

An event at which all ages are welcome—though you’ll have to show ID if you want that beer—Earth on Tap features climate scientists discussing their research with a focus on how it applies to and affects the broader community.

The second Earth on Tap will be from 5:45-7:30 p.m. Monday, May 11, at the Rayback Collective in Boulder. Kyle Manley, an interdisciplinary climate scientist, and Molly Wieringa, a postdoctoral fellow with the National Center for Atmospheric research, will discuss fires and public land recreation as well as sea ice and polar climate engineering.

Telling science stories

Monday’s Earth on Tap topic is especially timely, Josh Gooch says, because he and his ATOC colleagues frequently discuss how “to communicate how abnormal this winter has been and contextualize it to the future. Each week we have a weather discussion that one of our professors leads, and we get these branching discussions of, ‘If we make up the precipitation deficit in the future, what does that mean in terms of more fuel for wildfires?’ So, one of our goals (with Earth on Tap) is to set the context of what current weather events that are occurring on the Front Range may lead to in future seasons. That’s a concern that a lot of people share.”

Max Elling, an ATOC PhD student and researcher in the Oceans and Climate Lab, notes that the Boulder area is interesting because of its large population of scientists as well as its population of non-scientists, who are nevertheless involved in Earth science, yet there still can be a disconnect between the research that’s happening in this area and what community members know about it.

“With Earth on Tap, we’re learning more about what people are curious about,” Elling says, adding that he and his colleagues are learning to better understand their audiences and tailor their outreach style accordingly.

“We have an inherent language that we use as scientists, certain acronyms, and we’re taught to present at conferences where everyone is aware of this language,” Gooch says. “We need to be more aware of situations where an audience member might not be as familiar because they don’t interface with these things every day.”

Jonah Shaw, a post-doctoral associate at the Cooperative Institute for Research in Environmental Sciences (CIRES) who spoke at the inaugural Earth on Tap in January, adds that all of his communication training in graduate school was in a conference environment, which doesn’t necessarily translate to climate discussions over beers at the Rayback.

“Something that I think is really important when you’re communicating within a scientific field is a story, but it becomes even more important when you’re communicating with the general public,” Shaw says. “It’s meeting people where they are, so for me, instead of talking about what I do on a day-to-day basis, I talked about a satellite mission I worked on, the story of that mission. I was talking about the narrative aspects and connecting with people’s experiences, and I was incredibly excited to see how well attended it was by non-scientists. Everyone is in their own realm and able to connect (with the science) in their own way.”

Scholer says that Earth on Tap organizers learn from event to event how to better involve audience members in the presentation, including trivia questions with prizes and QR codes that people can scan to submit questions if they’re not inclined to raise their hand. Ideally, she adds, people will come to Earth on Tap and have a great time and be more inclined to take climate action when opportunities arise.

“I think, especially in atmospheric science, ideally the outcome of what we do in the field is actionable for policy makers,” says ATOC PhD student Lucas Howard. “I think having the public more informed about not just the science in terms of outcomes, in terms of uncertainty, but the process of what goes into generating the science, can only have good downstream effects.”

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The May 11 Earth on Tap event at Rayback Collective in Boulder, open to all, invites scientists and non-scientists to gather for discussions of climate research.

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‘A home for the humanities, a home for the liberal arts’

Rachel Sauer — Fri, 10 Apr 2026 22:55:07 +0000

‘A home for the humanities, a home for the liberal arts’ Rachel Sauer Fri, 04/10/2026 - 16:55

Rachel Sauer

Hellems Arts and Sciences building reopens Friday following an almost three-year renovation that enhanced its accessibility, sustainability and role as the heart of the arts and humanities at ��Ҵ�ý�ƽ��

A while back, third-year student Natalie Cleary was on her way to a Shakespeare class in the Engineering Center when she bumped into a friend—an engineering major—who was perplexed by her presence and asked her, “What are you doing here?”

It’s not that she wasn’t welcome, but she’s an English creative writing major, and she was far from the Hellems Arts and Sciences building—the heart of arts and humanities at the University of Colorado Boulder. In a way, she was far from home.

"For most students, Hellems is literally where their ��Ҵ�ý�ƽ�� journey begins," said Daryl Maeda, interim dean of the College of Arts and Sciences.

Friday afternoon, then, was a homecoming, as Hellems officially reopened following an almost three-year renovation that saw the 105-year-old building become more accessible, more sustainable and more welcoming and expand its role as “a home—a home for the humanities, a home for the liberal arts and for the unending work of understanding the human experience,” said Daryl Maeda, interim dean of the College of Arts and Sciences, during a reopening ceremony on the steps in front of the Hellems main entrance.

“We do live in a moment that sometimes questions the value of a liberal arts education and the profound thinking that this building represents. I want to say very clearly that the questions explored here have never been more important: How do we understand our history to help us navigate our future? How do we find common cause across cultures and languages? How do we reason thoughtfully about what is right and what is true and what is ethical and what has integrity? These are the questions the world urgently needs answered, and Hellems is where ��Ҵ�ý�ƽ�� says, ‘We believe in these questions, we invest in them and we honor the people who ask them.’”

More than just a building

Hellems’ reopening Friday was imbued with particular significance because it happened during ��Ҵ�ý�ƽ�� 150th-anniversary year, a time to celebrate the university’s past and to envision its future. Hellems plays a significant role in both.

When it opened in 1921, it was the first campus building designed by architect Charles Klauder in what has become the university’s signature—and iconic—Tuscan vernacular style, which has aesthetically defined the university for a century. It was named in honor of Fred Burton Renney Hellems, who served as dean of the College of Arts and Sciences for 30 years, beginning in 1899.

Maeda noted that about 85% of undergraduate students take at least one class in Hellems during their time at ��Ҵ�ý�ƽ��, and 56% of all first-year students take a class at Hellems during their first semester, “so for most students, Hellems is literally where their ��Ҵ�ý�ƽ�� journey begins. It’s a shared experience that unites students and alumni across many generations.”

Chancellor Justin Schwartz observed that there are moments on a university campus when a building reopening feels like something much more. Hellems, he said, is not just where a student's experience at the university begins, “but where the ideas of the university take root, where perspectives are challenged and where intellectual confidence begins to take shape.”

Schwartz praised the state of Colorado, whose leaders committed 40% of the funds for the $105.2 million total renovation cost. That public investment, he said, affirms that the humanities and the liberal arts are a public good, essential to civic life, economic vitality and a society that is capable of making thoughtful, informed decisions.

The Hellems renovation "demonstrates that we can honor the character of a place while dramatically improving how it performs for the future,” said Chancellor Justin Schwartz.

Further, Schwartz praised the renovation’s significant improvements in sustainability, which reduce the building’s energy use by 68% while still adding air conditioning for the first time in its history. The renovation also preserved more than 80% of the building’s original clay roof tiles, which “demonstrates that we can honor the character of a place while dramatically improving how it performs for the future,” Schwartz said.

“Taken altogether, these choices reflect something larger than just a renovation. They reflect our commitment to stewardship—stewardship of the public investment that made this happen, stewardship of this historic space that all of you who had a class in here previously can reflect on and stewardship of our core academic mission that defines ��Ҵ�ý�ƽ��. It also reflects a clear belief that the significance of a building isn’t just the building; it’s what happens within it.”

Schwartz noted classrooms designed for flexibility, shared spaces that invite students to stay and greatly increased accessibility that reflects a commitment to dignity, independence and ensuring that everyone can participate in the life of the university. “This is a renovation guided by the idea that we put students first,” he said.

‘A home away from home’

As the center of arts and humanities on the ��Ҵ�ý�ƽ�� campus, Hellems is home to the departments of history, English, linguistics and philosophy, as well as the Anderson Language and Technology Center and the Colorado Shakespeare Festival. In fact, Klauder returned to campus in 1938 to design the building wings framing the courtyard that’s home to the Mary Rippon Outdoor Theatre, where Colorado Shakespeare Festival performances happen.

The Hellems renovation also reflects a commitment to the arts in the four commissioned works of original art now on display.

For Cleary, “Hellems has been the breath of fresh air I needed on campus this semester,” she said, adding that before it reopened, her study spots were growing stale, and she was zig-zagging all over campus to attend classes and meet with professors. Now, she said, she’s at home in the building’s wide-open spaces and natural light and is there most days—often making a beeline for the cozy new study booths.

“Hellems is a home away from home,” she said, “and the heart of the College of Arts and Sciences is beating stronger than ever.”

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All photos by Glenn Asakawa/��Ҵ�ý�ƽ��

Remembering victims of the Holocaust by speaking their names

Rachel Sauer — Wed, 08 Apr 2026 21:01:42 +0000

Remembering victims of the Holocaust by speaking their names Rachel Sauer Wed, 04/08/2026 - 15:01

Holocaust Remembrance Day, or Yom HaShoah, will be observed on ��Ҵ�ý�ƽ�� campus Tuesday with a public reading of the names of Jews killed in the Holocaust

The University of Colorado Boulder community will observe Yom HaShoah, or Holocaust Remembrance Day, on campus Tuesday with a public reading of the names of European Jews murdered by the Germans and their allies during the Holocaust.

Chancellor Justin Schwartz will begin the reading at 10 a.m. at the Dalton Trumbo Fountain Court in front of the University Memorial Center, and the reading will continue until 3 p.m.

Event organizers encourage members of the campus and broader communities to participate in the readings. Prospective participants may sign up here.

In 1980, the U.S. Congress established the Days of Remembrance, an eight-day period which includes Yom HaShoah, as the nation’s annual commemoration of the Holocaust. The United States Holocaust Memorial Museum in Washington, D.C., which opened in 1993, leads the nation in observing Days of Remembrance and encourages observances throughout the United States.

Holocaust Remembrance Day

What: Public readings on Yom HaShoah

When: Tuesday, April 14, from 10 a.m. to 3 p.m.

Where: Dalton Trumbo Fountain Court in front of the University Memorial Center.

The main event takes place at the U.S. Capitol, often attended by the president. In Israel, the Holocaust Martyrs’ and Heroes’ Remembrance Day (Yom HaShoah in Hebrew) is a national day of commemoration on which the 6 million Jews murdered in the Holocaust are memorialized.

It begins at sunset on the 27th of the month of Nisan, the first month of the Jewish calendar, and ends the following evening, according to the traditional Jewish custom of marking a day. Established in 1953 by a law from the Knesset, Israel’s parliament, it falls close to the anniversary of the 1943 Warsaw Ghetto Uprising.

The central ceremonies, in the evening and the following morning, are held at Yad Vashem, Israel’s official memorial to victims of the Holocaust.

During Yom HaShoah ceremonies in the United States, Israel and elsewhere, people read the names of Jews murdered by the Germans and their allies during World War II.

“The events of the Holocaust are given meaning only by remembering the individuals who died during that time,” writes Sharon L. Sobel, a Reform rabbi currently serving Temple Beth Or in Raleigh, NC. “We gather as a community, we remember the names of those who died, and we affirm their lives by how we choose to lead our lives. So, names, indeed, are very powerful. ... we honor those who came before us and those who perished during the Holocaust by giving our names—and their names meaning through our actions and aspirations and the way we fulfill them.”

The ��Ҵ�ý�ƽ�� event is presented by the Program in Jewish Studies. It is co-sponsored by the ��Ҵ�ý�ƽ�� Department of History and Center for Humanities and the Arts.

Though the reading of names occurs each year, those names “have not lost any of their meaning and significance,” says Thomas Pegelow Kaplan, the Singer Endowed Chair in Jewish History. “On the contrary.”

For more information on the Days of Remembrance and Yom HaShoah commemoration, please contact Pegelow Kaplan at thomas.pegelow-kaplan@colorado.edu.

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Holocaust Remembrance Day, or Yom HaShoah, will be observed on ��Ҵ�ý�ƽ�� campus Tuesday with a public reading of the names of Jews killed in the Holocaust.

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Students blend suds and science at Earth on Tap

Rachel Sauer — Tue, 03 Mar 2026 23:17:41 +0000

Students blend suds and science at Earth on Tap Rachel Sauer Tue, 03/03/2026 - 16:17

Rachel Sauer

The March 9 event at Rayback Collective in Boulder, open to all, invites scientists and non-scientists to gather for discussions of climate research

If you go

What: Earth on Tap

When: 5:45-7:30 p.m. Monday, March 9

Where: Rayback Collective, 2775 Valmont Road in Boulder

Who: All are invited

Learn more

Then, last semester, they began discussing what more they could be doing to involve adults in science, particularly those who aren’t professional scientists but are science curious.

The key is to make it fun, says ATOC PhD student Maggie Scholer. But how?

The answer: Beer.

The second Earth on Tap will be from 5:45-7:30 p.m. Monday, March 9, at the Rayback Collective in Boulder. Nels Bjarke, a hydrologist with Western Water Assessment and ��Ҵ�ý�ƽ�� PhD alumnus, and McKenzie Larson, an ATOC PhD student and researcher in the Synoptic Meteorology Research Group, will discuss the impacts of low seasonal snowfall and the development of downslope windstorms.

Telling science stories

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The March 9 event at Rayback Collective in Boulder, open to all, invites scientists and non-scientists to gather for discussions of climate research.

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Exhibit highlights environmental impacts of war in Ukraine

Rachel Sauer — Thu, 19 Feb 2026 21:40:01 +0000

Exhibit highlights environmental impacts of war in Ukraine Rachel Sauer Thu, 02/19/2026 - 14:40

“Ecocide in Wartime Ukraine,” a pop-up exhibit at the CU Art Museum Feb. 20, shows through images and interactive displays how the ongoing war has environmentally devastated the country

Feb. 24 will mark the four-year anniversary of Russia’s full-scale invasion of Ukraine—a devastating anniversary marking the escalation of a longtime conflict into a war that has not abated in devastation or loss.

A sometimes-overlooked aspect of the wartime devastation is the environmental destruction: ruined farmland, poisoned waterways, endless plains of rubble. These losses will be featured in “Ecocide in Wartime Ukraine,” a pop-up interactive exhibit and reception from 4-6 p.m. Friday, Feb. 20, at the CU Art Museum.

The exhibit—sponsored by Svidok.org, Ukrainians of Colorado and the University of Colorado Boulder International Affairs Program—includes largescale photos of the environmental destruction that has happened in Ukraine since the war began along with descriptions and QR codes that participants can scan to learn more.

During Friday’s exhibit, Roman Oleksenko, a community development program manager for Peace Corps Ukraine, will join virtually from Ukraine. Since the full-scale Russian invasion, Oleksenko, who lives in Kyiv with his family, has been volunteering with a non-profit called Ukrainian Action, which delivers humanitarian aid to Ukraine.

U.S. Rep Joe Neguse has said he will attend Friday’s event, as will Boulder businessman and philanthropist Michael Brady, who will talk about his recent trip to Ukraine.

Layers of tragedy

“Ecocide in Wartime Ukraine” was originally proposed by Mark Dillen, a former diplomat with the U.S. State Department who now is director of public affairs for Ukrainians of Colorado. Sarah Sokhey, a ��Ҵ�ý�ƽ�� associate professor of political science and Eurasia specialist, met Dillen at an event “and he knew about the availability of these posters through this organization,” she explains.

If you go

What: Ecocide in Wartime Ukraine pop-up exhibit

When: 4-6 p.m. Friday, Feb. 20

Where: CU Art Museum

Other upcoming Ukraine-focused events include:

Speaker Series: Civil Society and Ukraine Resilience at 12:30 p.m. Friday, Feb. 20, on Zoom
Solar Chargers for Ukraine: convert solar panels to solar chargers and decorate them, 10-12:30 p.m. Saturday, Feb. 28, at Fairview High School

In one photo, a red truck traverses a dirt road between two charred fields as smoke billows behind it. “Ukraine’s fertile land, which helps feed much of the world, is being burned and razed to the ground by Russian attacks,” the description notes.

Another photo shows a person hugging a gray cat, and the description is in their words: “On the day the Kakhovka dam was blown up, water began to arrive quickly at 10 pm. People tried to save their property. My grandfather, who had just lost his wife (whose body likely could not find peace due to the flooding and erosion of the cemetery) carried things from his house from 10pm until 4am. Just imagine being forced to swim in cold water all night, in your 70s, with kidney problems and prostatitis.

“My grandfather had chickens, rabbits, and dogs. Our lop- eared Scottish cat, just a huge feline with whom I grew up, simply drowned, and no one helped him. He just drowned in the water. My other cat, also Scottish, but with straight ears, disappeared, and I'm still looking for him. The same thing happened to my sheepdog.”

“There are so many layers of tragedy happening in Ukraine, and I think highlighting any of those is important,” Sokhey says. “Now that we’re four years since the full-scale invasion and still the war is going on, as bad as it’s ever been, it can be hard to know what to emphasize. An aspect of the war that we thought people were missing is the long-term environmental damage—what it means for people living there, what it means for trying to rebuild after war.

“We hope people will come away with a better appreciation of the scale of destruction and the ongoing level of destruction and what that means for people’s quality of life. I don’t know that it’s all reversible, so I think seeing the scale of tragedy and the human impact is really important.”

Sokhey, who asked Oleksenko to join the exhibit, says he readily agreed, but with the caveat that he wants people to know that "'our daily thoughts are not about the environment right now,’” she says. “He’s in Kyiv, which is being attacked regularly, so for him and a lot of people it’s a day-to-day survival issue. While we want people to understand the scale and scope of environmental damage, we also want people to be aware of the human element. A lot of people don’t have the bandwidth to worry about these issues right now when they’re trying to get food and stay warm and stay alive.

“We want to document and note the environmental destruction because a lot of people in Ukraine can’t even think about that right now. They don’t have the luxury of thinking that long-term. That’s how bad it is.”

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“Ecocide in Wartime Ukraine,” a pop-up exhibit at the CU Art Museum Feb. 20, shows through images and interactive displays how the ongoing war has environmentally devastated the country.

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Exploring what it means to take up space

Rachel Sauer — Thu, 19 Feb 2026 17:26:03 +0000

Exploring what it means to take up space Rachel Sauer Thu, 02/19/2026 - 10:26

Rachel Sauer

Multimedia Takin’ Up Space performance Feb. 21 at Fiske Planetarium will highlight historical, cultural, environmental and social justice narratives as an act of reclaiming Black spaces

There are a lot of ways to take up space. The most basic is simply a function of being born—existing on this planet, possessing mass, moving across its horizontal surfaces.

There’s also taking up space in the cosmological sense: pondering the farthest reaches of the universe, soaring through this spiral galaxy and beyond, transcending gravity as an act of belonging in time and in space.

And then there’s taking up space as an act of taking back. This is a reclamation of spaces previously occupied, of being in them, of filling them as an act of defiance and homecoming.

��Ҵ�ý�ƽ�� professors Shawn O'Neal (left) and Kalonji Nzinga (right) envisioned Takin' Up Space, in part, to "revisit our past in order to have a better evaluation of the present and build better futures," O'Neal explains.

Considering these possibilities and more is Takin’ Up Space III: Holding Space, the third iteration of an event envisioned by Shawn Trenell O’Neal, a University of Colorado Boulder assistant teaching professor of ethnic studies and associate faculty director of the Center for African and African American Studies (CAAAS), and Kalonji Nzinga, an assistant professor in the School of Education.

The free event, which will be from 6 to 9 p.m. Saturday, Feb. 21, at Fiske Planetarium, is a multi-act, multimedia performance produced, arranged and performed by O’Neal and Nzinga, with special performances by Denver singer-songwriter Kayla Marque and wellness guide-somatic artist Soraya Latiff.

The title Takin’ Up Space acts, on one level, to “reintroduce us to spaces we’ve been systematically removed from over decades,” O’Neal explains, adding that themes of space and time are intrinsic to African culture.

“Harriet Tubman, when she was leading folks from enslavement on the Underground Railroad, read the stars and nature. So, another aspect of this is realizing we are one with nature, though we’ve been systematically removed from it for decades. I’ve never thought it was a coincidence that 1964 was the year of the Civil Rights Act and the Wilderness Act. In a way, it was opening the door to Black people’s human rights and closing our access to nature and space.”

If you go

What: Takin' Up Space III: Holding Space, a multi-media performance produced, arranged and performed by Shawn Trenell O'Neal and Kalonji Nzinga, with special guests including Denver singer-songwriter Kayla Marque and wellness guide-somatic artist Soraya Latiff

Where: Fiske Planetarium, 2414 Regent Drive

When: 6-9 p.m. Saturday, Feb. 21

The event is free but tickets are required.

Learn more

Takin’ Up Space will include O’Neal’s all-vinyl live scoring of the 1926 silent film The Flying Ace, whose cast members are all Black, followed by an immersive somatic meditation led by Latiff, during which she will guide reflection on the meaning of “holding space.” Nzinga will perform selections from his hip-hop soul catalog, synced with film visualizations aligned with his storytelling, and then Marque will bring “emotive vocals, electronic textures and cinematic storytelling,” inviting the audience “into a shared cosmic dream,” according to event organizers.

Occupying spaces of Blackness

For O’Neal, performing a live score to an almost-forgotten film represents the confluence of art, history and culture that has long motivated his scholarship and creative life. He first scored a silent film in 1998, when he was living in Santa Fe, New Mexico, and realized he had a gift for DJing.

“My friend had this idea that, ‘Hey, we should score a silent film,’” he recalls. They took on the challenge of scoring the 1925 The Phantom of the Opera starring Lon Chaney and Mary Philbin, and each night of the performance was different.

“I realized, ‘Wow, this is a really creative way to mix records and use my record collection in a different way than just dancing,” he says. “It was my way to push against how we collapse all these art forms into very limited, narrow views of what they can be.”

His goal evolved from literal-minded soundtracking to close consideration of subtext, mood and feeling—scoring as an artistic act of composition that embraces what the film shows both on and beneath the surface. So, on a recent Saturday in his home studio in his Denver basement, The Flying Ace is cued on his laptop, and he is a blur between two turntables and a soundboard.

Shawn O'Neal experiments with sound as he composes a score for the silent film The Flying Ace. (Photo: Rachel Sauer)

The scene playing is a joyous moment of flight, when pilot Finley Tucker takes to the air with Ruth Sawtelle, the woman he hopes to marry.

“When the plane is in the air, I want a big, bright blast of sound, probably something Sun Ra-ish,” O’Neal explains, bent over a milk crate of LPs that represent a winnowing from the many hundreds in his collection. “Then from that moment I want a very feminine sound—Mahalia Jackson to Alice Coltrane.”

If the choices are unexpected—leagues from the calliope plinks traditionally associated with silent movies—it’s partly because “something that’s always interested me about public performativity is the opportunity to capture feelings and emotions that are flowing through the audience, maybe even things people didn’t think they were ready to deal with.”

O’Neal says he wants to give people what they’re not expecting, pursuing a goal of introduction and reintroduction: “We’ve allowed Black music and Black art to be sold so short, so as we’re reintroducing ourselves to spaces of Blackness, that includes a musical heritage that is so broad and so deep.”

In fact, the scaffolding of Takin’ Up Space is built from the Africana aesthetics regarding the five pillars of hip hop studies: DJing, MCing, dance, graffiti/visual art and knowledge. O’Neal, Nzinga and their co-organizers also draw deeply from the symbols and stories in African cultures, including Sankofa of the Akan people of Ghana, represented as a bird with its head turned backward and an egg in its mouth, symbolizing the idea of looking back at the past to learn from it and move forward.

“We’re not doing this to say, ‘This is better than anything else,’ but to revisit our past in order to have a better evaluation of the present and build better futures,” O’Neal says. “We intend to take up space.”

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Multimedia Takin’ Up Space performance Feb. 21 at Fiske Planetarium will highlight historical, cultural, environmental and social justice narratives as an act of reclaiming Black spaces.

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What’s that knocking in the trees?

Rachel Sauer — Wed, 04 Feb 2026 21:44:37 +0000

What’s that knocking in the trees? Rachel Sauer Wed, 02/04/2026 - 14:44

Kayleigh Wood

In new book, ��Ҵ�ý�ƽ�� folklorist Jack Daly bridges the gap between academic research and Colorado legend

It was well into the evening when Jack Daly and a small group of legend trippers, organized by the Sasquatch Outpost in Bailey, Colorado, made their descent into the forests just 30 minutes outside of town. Owned and operated by Jim and Daphne Myers, the site hosts numerous Bigfoot events, from meetings to night hikes led by Bigfoot researcher Jim Myers himself.

During these hikes, which occur about once a month, Myers serves as the outpost’s liaison into what the Sasquatch Outpost’s booking website describes as “the realm of the Forest People.” Here, visitors might experience numerous encounters with Bigfoot in the form of vocalizations, footprints, knocking on trees and airborne rocks thrown in the direction of the group.

Folklorist Jack Daly, an instructor in the ��Ҵ�ý�ƽ�� Program for Writing and Rhetoric, explores the supernatural, unexplainable and unnerving in his book Eerie Colorado: Mountain Folklore, Monsters and Tales of the Supernatural.

On that particular hike, deep in the forest, Daly and the group were startled—not by flying rocks or breaking branches, but by what he describes as “a giant silver orb just flying overhead, and we all saw it. We stopped, and it disappeared. There’s no flashing lights. It was not in, like, full orbit.”

This UFO encounter was notably different from the one he experienced in high school, when he and a friend witnessed a glowing blue orb hovering above a meadow, moving from one place to another at random intervals, for several minutes.

Daly shares this experience and more in his recently published book, Eerie Colorado: Mountain Folklore, Monsters and Tales of the Supernatural. Thursday evening, Daly will host an event at the Boulder Bookstore, where attendees will have the opportunity to learn more about Colorado’s supernatural folklore through the eyes of an expert.

Eerie Colorado

Jack Daly will speak about and sign his new book, Eerie Colorado: Mountain Folklore, Monsters and Tales of the Supernatural.

Where: Boulder Bookstore, 1107 Pearl St.

When: 6:30 p.m. Thursday, Feb. 5.

Learn more

In his book, Daly, a lecturer in the University of Colorado Boulder Program for Writing and Rhetoric, explores all things supernatural, unexplainable and unnerving in the Centennial State. Beyond simply organizing these legends in one volume, Daly grapples with the role supernatural folklore plays in the historical and contemporary culture of Colorado. Enmeshing his own personal testimony and the testimonies of the individuals he interviewed on his own with existing scholarly research, he divides his findings into two categories: the corporeal, which he describes in his book as creatures of “‘flesh-and-blood,’” and the incorporeal, referring to the entities that lack physical bodies.

Daly used ethnographic methods in his research, conducting interviews and documenting participant observation, a qualitative research method in which scholars immerse themselves in a setting and attempt to observe as many individuals as possible to draw conclusions about a specific culture. He uses the term “memorate” to classify the personal experience narratives throughout the book, including some of his own, as well as the experiences of his family members. Jim Myers of the Sasquatch Outpost shared a personal Bigfoot encounter for the book—a sighting that Myers dubbed as a Class A experience, which is an encounter at close range, where the viewer can confidently rule out all natural explanations.

Monsters, legends and the supernatural

Beyond the memorates, Daly’s fieldwork has taken him to as many of the sites featured in the book as possible for his research.

As a folklorist, Daly’s research focuses on monsters, legends and the supernatural. In 2023, he received the American Folklore Society’s Warren E. Roberts Prize in Folk Art and Material Culture for his piece “Devil in the Skies, Stars on the Barns: The Snallygaster, Hex Signs, and Barn Stars.” He earned a master’s degree in folklore and is currently pursuing a PhD in American studies at Pennsylvania State University, where he was a recipient of the 2022-23 University Graduate Fellowship.

In his book Eerie Colorado, author Jack Daly grapples with the role supernatural folklore plays in the historical and contemporary culture of Colorado.

Daly explains that his research champions scholarship while validating personal experience, noting that “people’s experiences with the supernatural are much more common than we give them credit for.” As a folklorist and scholar of belief, he says, he takes an “ethnographic, folkloristic [and] anthropological approach,” striving to avoid approaching all things eerie and inconceivable from “a position of disbelief in regards to the supernatural,” which he refers to in Eerie Colorado as a believer-skeptic binary.

In the book’s introduction, Daly makes clear that he is unconcerned with the reality of monsters, unexplainable phenomena and supernatural beings. He approaches his research from a place of neither belief nor disbelief, but with the aim of analyzing how these stories, which trend across time and place, function on a cultural and personal level.

Daly’s UFO encounter in the hills outside Bailey, which occurred only a couple of months ago, reinforces why his research approach for Eerie Colorado is helpful. Quite often, accounts of strange phenomena come from individuals who are skeptical themselves. Daly and the group simultaneously saw a silver orb enter their field of vision before it disappeared altogether; they couldn’t explain or verify it, but they all had the same experience.

Across the folklore field, Daly says, many scholars have begun to approach the supernatural through a similar, experience-based approach championed by David Hufford, a folklorist and ethnologist whose theories Daly draws from in Eerie Colorado. When Daly approaches legends, he says he strives to address them “more literally. As they literally happened,” adding that this approach “was heavily, heavily stigmatized for, you know, over 100 years when the processes of rationalism and empiricism and enlightenment [were] the overriding paradigms in academia and within intellectual culture more broadly.”

Yet the study of folklore appears to be changing, and Daly isn’t the only scholar in the field of belief studies who is interested in how legends function in a larger cultural context. He notes a newfound “openness that scholars are engaging with, in terms of thinking: This person literally did see a UFO. This person literally did see Bigfoot. This person literally did see a ghost, which is, I think, an interesting new movement that I want to keep on pursuing.”

Ready for a legend trip of your own?

Jack Daly uses the term “legend trip” in his book Eerie Colorado, which he describes as a visit to a site associated with a supernatural legend, where individuals often try to interact with a legend through rituals or “tests.” For those who want to get up close and personal with some of the local legends featured in Eerie Colorado, Daly has both visited and recommends these sites:

The Stanley Hotel in Estes Park. For Daly, the Stanley is a prime example of “the transformative effect that the supernatural can have in reality.” Before The Shining, he notes, the site was “in disrepair. It was falling apart. People weren’t really going to Estes Park. Stephen King goes there, he has a supernatural encounter ostensibly. It causes him to write the book… the book turns into a movie… And then that literally transforms the culture surrounding both Estes Park and the Stanley Hotel. It was repaired. It is now a destination. It’s super, super nice.”

The Vampire Grave in Lafayette, where, according to legend, a tree grew from a stake used to kill a vampire. Check out Daly’s viral TikTok at the Vampire Grave at @thefolklord

The Molly Brown House in Denver, which is rumored to be haunted by both Molly and her husband.

The Denver Botanic Gardens October Ghost Tours

Cheeseman Park in Denver, which some consider one of the most haunted sites in Denver as it was built over the Mount Prospect Cemetery, where thousands are still buried.

For those interested in legends they can explore from the comfort of their homes, Daly recommends the Digital Folklore podcast, hosted by Perry Carpenter and Mason Amadeus. Described on their website as a “fusion of audio drama and narrative documentary,” the pair dive into internet legends, monsters and conspiracy theories “through the lens of academic folklore.” Like Daly, they strive to use these legends to draw broader cultural connections, rather than simply collecting and platforming them.

‘I know what I saw’

In the process of writing Eerie Colorado, Daly notes his attempts to balance academic scholarship and theory with folklore in an approachable way. Tapping into existing scholarship and attempting to draw conclusions about the role of the legend in Colorado culture, Eerie Colorado takes on a new perspective—one supported by research.

After reading some of the existing books about Colorado folklore, Daly noticed a trend: “They don’t cite their sources. They are clearly unfamiliar with the broader scholarship that would give them a much deeper level [of understanding].” In Eerie Colorado, Daly describes how many previous publications on Colorado folklore will present a story and let it speak for itself, without attempting to interpret the function these stories might serve to the local people. Daly sought to remedy this gap in the literature with his book, attempting to make meaning out of popular Colorado legends by situating them within a broader cultural context and tracing their developments across time and place.

“There’s one thing you notice with legends: They migrate,” says Daly. He argues that legends, even those that appear specific to Colorado, can often be situated in “a broader legend complex [tied] into other variants that we see across not just the United States, but the entire world.”

For example, the Phantom Jogger of Riverdale Road in Thornton, which Daly covers in Eerie Colorado, closely mimics the more commonly known story of the Vanishing Hitchhiker, which has been well documented by folklorists since the 1940s, Daly notes in his book. According to Thornton legend, a jogger was killed in a hit and run on Riverdale Road and left to haunt the site of the crash.

Daly sets the scene: “You’ll be driving along the road, and you’ll see this jogger, and sometimes they’ll ask you for a ride. They’ll get in the car, and then they’ll disappear. And so that’s a variant of the Vanishing Hitchhiker, but it’s a Colorado version because it’s athletic. It’s a jogger.”

In both cases, the disappearing hitchhikers and Thornton’s jogger often leave behind a mark of their presence. According to the local legends Daly documents in Eerie Colorado, those who are eager to drive down Riverdale Road and are brave enough to pull over may hear footsteps approaching them or fists banging against the sides of their car, or they may find handprints left on the outside of their vehicle.

Daly’s UFO sightings can also be linked back to popular legends of the past. When he was in high school, Daly and a friend “saw a giant blue orb flying over a field.” He details in Eerie Colorado that similar visual experiences are not uncommon and have been well documented across history, often known by a host of different names. “They’ve been connected with fairies,” Daly shares. “They’ve been connected with Bigfoot as well. They’re a common thing that people have described seeing.”

Throughout history and the contemporary era, countless individuals have witnessed strange phenomena in the skies that they cannot explain. Regardless of whether they interpret these sightings as flying saucers, massive fireballs or ships of fairies on the way to Magonia, Daly’s book guides readers through trends in firsthand accounts of the supernatural while tracking them across history. Popular creatures and entities that have taken on legendary status may be known by various names, but like the Vanishing Hitchhiker and the Phantom Jogger, the original legend and its local offspring often retain the same key attributes.

As for where he falls on the spectrum of belief in the supernatural, Daly says, “I do believe, honestly. And part of it has come from my own personal experience.” Recalling the silver orb in the skies near Bailey, he reflects, “I don’t know what it was, but I had that encounter. Like, I know that I know what I saw, and that’s what people say: I know what I saw. My experience was my experience, and that’s what I found in doing my fieldwork as well.”

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In new book, ��Ҵ�ý�ƽ�� folklorist Jack Daly bridges the gap between academic research and Colorado legend.

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Top image: the Stanley Hotel in Estes Park, Colorado, with illustrative glow (Photo: Carol Highsmith/Wikimedia Commons)

Exhibit invites participants to imagine worlds

Rachel Sauer — Tue, 03 Feb 2026 21:16:08 +0000

Exhibit invites participants to imagine worlds Rachel Sauer Tue, 02/03/2026 - 14:16

Fairy Tales and the Power of Wonder: Imagining Worlds, opening Thursday at the CU Art Museum, celebrates how these magical stories take us beyond 'Once upon a time...'

Of all the phrases in art and life, perhaps none is so magical as “Once upon a time…”

They are world-opening and world-building words, an invitation to exploration embodied in the fairy tales they begin.

Exhibit opening reception

What: Opening reception for new exhibits Fairy Tales and the Power of Wonder: Imagining Worlds and [Face] Value

When: 4-6 p.m. Thursday, Feb. 5

Where: CU Art Museum

Learn more

That magic and mystery is celebrated in Fairy Tales and the Power of Wonder: Imagining Worlds, a new exhibit at the University of Colorado Art Museum debuting this Thursday, Feb. 5, with a reception from 4 p.m. to 6 p.m. The exhibit will open alongside [Face] Value, a new display curated by CU graduate students in a curatorial practicum class held at the museum last fall.

Fairy Tales and the Power of Wonder: Imagining Worlds will be on display through May. It was co-curated with Suzanne Magnanini in the Department of French and Italian and is coordinated with upcoming exhibitions at the CU Museum of Natural History and Norlin Library. Rebecca Davis in the Division of Arts and Humanities provided curatorial support.

The origins of many fairy tales can be traced as far back as ancient Greece, Rome and China, Magnanini previously noted, which speaks to their ability to not only to help people of particular times and places explore their anxieties and questions, but to address the feelings that have been central to the human condition throughout history.

“When I think about fairy tales, I think about a number of characteristics that make them really appealing across time and space,” Magnanini said. “If you think about it, the protagonists are almost always young people heading out into the world—much like our students are heading out—leaving home behind, having to make their way in the world, facing challenges. That experience can be very transformational, so in a way these stories are all about metamorphosis and change.”

The exhibit highlights how “fairy tales help us imagine new worlds where everyday problems find magical solutions. Their characters and stories ask us to examine with fresh eyes our relationship to the natural world and with one another. Filled with optimism, fairy tales remind us that change and transformation can help us overcome obstacles and find a hopeful ending, no matter the struggles we face,” according to exhibit curators.

[Face] Value

Opening alongside Fairy Tales and the Power of Wonder and on display through March 16 is [Face] Value, an exhibit curated by CU graduate students in a curatorial practicum class held at the museum last fall. The exhibition offers an unconventional and sometimes critical look at the genre of portraiture. Students in the course selected and researched artwork in the collection, wrote interpretive labels and contributed to the gallery layout.

“We were excited to partner with Professor Magnanini and highlight her research," says CU Art Museum Director Hope Saska. "This exhibition allows us to consider artwork in our collection through the lens of fairy tales, opening new possibilities for interpretation. The idea for an exhibition shared across multiple campus collections was initiated by Dulce Aldama in the University Libraries and many of the rare books on view were coordinated with their support. We’re delighted about the conversations this will spark and have some exciting programming in store.”

The artworks, books and maps featured in the exhibit bring to life the stories and themes of fairy tales, which are often shared across fables, myths and saints’ legends. The exhibit includes maps of Fairy Land that trace pathways and meandering routes through landscapes described in these stories. Open volumes reveal illustrations that interpret fairytale settings and scenes, while other art works feature the magical beings that are the typical characters of fairy tales—animals, humans and unearthly creatures.

The exhibit and related programming are supported by ��Ҵ�ý�ƽ�� Student Arts and Cultural Enrichment fees. The exhibition team includes Dulce Aldama, Sean Babbs, Rebecca Davis, Suzanne Magnanini, Kathy Noonan, Hope Saska and Nancy Stevens. CU Art Museum staff contributed to the exhibit, including Pedro Caceres, Elizabeth van der Marck-Gregg, Stephen Martonis, Maggie Mazzullo, Hope Saska and a team of museum attendants.

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Fairy Tales and the Power of Wonder: Imagining Worlds, opening Thursday at the CU Art Museum, celebrates how these magical stories take us beyond 'Once upon a time...'

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