What does it mean to see — and be seen — with dignity?
In their new exhibition Dignity: Art as a Lens for Social Justice, four faculty members from across Niagara University ask this question through works pulled from the Castellani Art Museum’s collection. Co-curated by Dr. Paula Kot (English), Dr. Jim McCutcheon (Spanish), Dr. Lisa Williams (Management), and Dr. Donna Thompson (Psychology), the exhibition confronts the political and emotional realities of dignity — what threatens it, what reaffirms it, and how art offers space for reflection, dialogue, and transformation.
We sat down with the co-curators to talk about the show’s origins, its collaborative spirit, and how they hope it will resonate with both students and the wider community.
What drew you to the concept of “dignity” as the foundation for this exhibition?
The idea for the exhibition emerged from our planning of a new interdisciplinary minor supported by an NEH grant. We wanted a central event — something cross-disciplinary that could connect students and faculty across the university. Dignity became that central touchstone, inspired by a powerful photograph in CAM’s collection, Dignity (1972) by Robert E. Dorksen.
The exhibition is also deeply tied to Niagara University’s Catholic and Vincentian mission — particularly the belief in the inherent dignity of every human being. Dorksen’s work, like many in the show, challenges viewers to consider how that dignity is recognized, ignored, or denied across social and historical contexts.
The show was co-curated by four faculty from four different departments. What was it like working together from such varied perspectives?
Truly energizing. Our team comes from English, Spanish, Psychology, and Management, but we’ve worked together for years on Gen Ed initiatives and the NEH grant, so there’s a strong foundation of trust and shared goals.
We wanted the exhibition itself — and the student engagement with it — to reflect that interdisciplinary lens. One way we’re doing that is by inviting students to write reflections and responses to the artwork, which visitors can access via QR codes in the gallery. It’s been an amazing experience learning from each other and seeing how our disciplines connect through the art.
The show includes artists like Norman Rockwell, Laylah Ali, and James Montford. How did you balance historical reverence with contemporary urgency?
The selection process was one of the most exciting parts of this project. Each of us explored the CAM collection, initially through the online database, and brought forward works we felt compelled to include. We were also grateful to Michael Beam, Evan Wright, and Mary Helen Miskuly for their curatorial support and suggestions.
In the end, we chose works that provoke thoughtful conversation — pieces we felt would engage students in discussions around identity, justice, and social complexity. That’s what guided our choices more than artist recognition alone.
With over 5,000 works in CAM’s permanent collection, how did you choose pieces that aligned with the exhibition’s theme — especially when working with such a high-profile artist lineup?
While we’re honored to include iconic artists like Andy Warhol, Cindy Sherman, Mickalene Thomas, Ai Weiwei, Barbara Kruger, and Norman Rockwell, the artist’s name wasn’t the driving factor. We selected works based on their alignment with our central theme of human dignity.
One example is the inclusion of Niagara Falls photographer Lauren Tent, whose portraits of local workers — a cobbler, a radiologic tech — capture everyday dignity with tenderness and power. Every artwork in the exhibition offers an opportunity for emotional and intellectual reflection.
How did Niagara’s Vincentian mission shape your curatorial decisions?
It was the foundation. The university’s mission is grounded in the belief in the dignity of every human person, and that principle guided every choice we made. We chose works that reflect a range of challenges to that dignity — from racism and ageism to poverty and invisibility.
Our hope is that these works will inspire students to think deeply not just as scholars, but as citizens. This show is designed to support their academic and personal growth.
Many of the works speak to erasure and invisibility. How do you see visual art reshaping cultural narratives?
Art invites us to look again. Conversations around what has been erased or made invisible are the first step in restoration. Exhibitions like this create space for those conversations.
Were there works that were difficult to include — either emotionally or conceptually?
Absolutely. One that stands out is Norman Rockwell’s The Problem We All Live With (1964), which depicts a young Black girl being escorted to school as a racial slur is scrawled across the wall behind her. It’s an iconic and deeply important piece, but we had to have a serious discussion about how to present it respectfully and responsibly.
In the end, we included it because of its power to spark honest conversation — and its relevance to the very questions this show is asking.
How do you hope viewers will change after seeing the exhibition?
We hope viewers — especially students — will leave with more questions than answers. That they’ll reflect on the complex realities of human dignity, engage in respectful dialogue, and continue the conversations beyond the gallery. Our goals for this exhibition echo the goals of General Education: to cultivate critical thinking, ethical reflection, and a deeper commitment to justice and inclusion.
What conversations has the show already sparked on campus?
In many ways, we’ve been building toward this moment for two years. The NEH-funded workshops we held in Fall 2023 and 2024 brought faculty together to explore how CAM’s collection could support conversations about diversity and inclusion in the classroom.
Now, faculty are excited to integrate the exhibition into their fall courses. And we’re inviting students to participate by writing reflections and helping shape the dialogue in the gallery. That engagement — across disciplines, classrooms, and communities — is exactly what this exhibition is about.