It should be a gathering place where students, families and community members can come together to laugh, reflect, learn and connect.

That philosophy will guide Monagan as she steps into her new role as executive director of the Collins Center for the Arts at the University of 海角社区 on July 21.

Monagan brings more than two decades of experience in arts leadership, higher education and community engagement to the Collins Center. She currently serves as executive director of the Smith Center for the Arts in Geneva, New York, where she has expanded programming, increased fundraising and built partnerships with schools, civic organizations and local businesses since 2017.

鈥淭he Collins Center is so deeply woven into the region, and that really appeals to me,鈥� Monagan said. 鈥淭he arts have a very broad role to play in mirroring to a community what it鈥檚 thinking about, what it鈥檚 arguing about, what brings it joy and how it learns.鈥�

Located on the U海角社区 campus, the Collins Center serves audiences across eastern and northern 海角社区 through performances, lectures, educational programming and community events. More than 100,000 people visit the venue annually for Broadway tours, concerts, lectures, student performances, film screenings and public gatherings.

鈥淪usie brings a tremendous combination of artistic vision, community engagement and leadership experience to the Collins Center,鈥� said George Kinghorn, senior executive director of cultural engagement and arts at U海角社区. 鈥淪he understands how a performing arts center can serve both a university and the broader community, and she has a clear passion for building connections through the arts.鈥�

At the Smith Center for the Arts, Monagan has overseen expanded programming, increased fundraising and strengthened partnerships with community organizations and regional leaders. Before joining the Smith Center, she spent 12 years at Ithaca College, where she taught arts management courses and worked with students in the Department of Theatre Arts.

Monagan holds a master鈥檚 degree in communications from Ithaca College and a master of professional studies degree in community and rural development from Cornell University. She earned a bachelor鈥檚 degree in English from Dartmouth College.

Monagan said returning to a university setting was one of the biggest draws of the U海角社区 position.

鈥淭here are so many opportunities to connect what鈥檚 happening on stage with what students are learning in classrooms across the university,鈥� she said. 鈥淲hether a student is studying engineering, public health, business or the arts, there are ways to engage creativity, critical thinking and community through live performance and shared experiences.鈥�

Monagan also hopes to strengthen the Collins Center鈥檚 connections with schools, families and local organizations throughout the region.

Monagan pointed to youth and family programming as a priority, citing the success of school day performances in her current role that bring students from rural districts into the theater for live arts experiences.

鈥淵ou need people coming through the doors who will become future audience members, future donors and future community advocates,鈥� she said. 鈥淧art of that is making the arts accessible and welcoming for everyone and finding out what barriers might be preventing people from participating.鈥�

Monagan said she also hopes to expand opportunities for U海角社区 students to engage with the Collins Center beyond traditional performances, including more informal community events and collaborations across campus.

鈥淣ot every student is going to connect with every performance, and that鈥檚 OK,鈥� she said. 鈥淏ut the goal is to create opportunities for as many students as possible to feel like the Collins Center is a place for them.鈥�

Monagan said she plans to spend much of her first year listening and building relationships across both the university and the broader community.

鈥淚鈥檓 all ears,鈥� she said. 鈥淚 want to hear what the Collins Center means to people, what they hope it can become and where opportunities for collaboration exist.鈥�

Monagan said she was especially struck by the Collins Center鈥檚 open gathering spaces and the symbolic flame at the center of the building.

鈥淚t sends the message that this is your space,鈥� she said. 鈥淧eople gather there for performances, lectures, orientations and community events, and each experience creates a different kind of community. I love that idea.鈥�

Contact: David Nordman, david.nordman@maine.edu

Tim’s unlikely journey from rural Readfield, 海角社区, to U海角社区 to Los Angeles provides a backdrop for his latest gig: speaker for the 2026 undergraduate commencement ceremonies at his alma mater.

In this episode of 鈥淭he 海角社区 Question鈥� podcast, host Ron Lisnet and Allen Adams, communications specialist and marketing coordinator for the College of Liberal Arts and Sciences, speak with Tim about his journey, the business of show business, memories of his days in Orono and much more.

Listen to the podcast on , , , , or 鈥淭he 海角社区 Question鈥� website. 

What topics would you like to learn more about? What questions do you have for U海角社区 experts? Email them to mainequestion@maine.edu.

These questions serve as the inspiration behind the latest book from Caroline Bicks, professor of English at the University of 海角社区, which delves into the creative methodology of U海角社区鈥檚 most famous literary alumnus, Stephen King, by leveraging unprecedented access to his archives.

鈥淢onsters in the Archives: My Year of Fear with Stephen King鈥� is an exploration of King鈥檚 process through an examination of five of his earliest works: 鈥淐arrie,鈥� 鈥淪alem’s Lot,鈥� 鈥淭he Shining,鈥� 鈥淧et Sematary鈥� and 鈥淣ight Shift.鈥� The public launch party for 鈥淢onsters in the Archives鈥� will take place at 6:30 p.m. today  at Orono Brewing Company and will feature a conversation between Bicks and Justin Soderberg.

Through close readings of early drafts and comparisons to the final products, Bicks shows us how editorial choices and changes, whether large or small, can impact the flashlight-illuminated pages under the bedcovers that we ultimately experience.

But the book is also a story about Bicks鈥檚 own relationship with King鈥檚 work, from her discovery of the author鈥檚 work at a local library as a teenager through her 2017 appointment as the inaugural Stephen E. King Chair in Literature at U海角社区 and the writing of this book. The result is a blend of the personal and professional that is simultaneously scholarly and eminently readable.

Four years into her time at U海角社区, she received an unexpected phone call from King.

鈥淚 was pretty flabbergasted; it turned out he just thought it was time we meet,鈥� said Bicks. 鈥淚 invited him to come talk to the students on campus about 鈥楲isey鈥檚 Story鈥� and 鈥極n Writing,鈥� and he said yes, and it was just this magical first meeting I had with him. Seeing how passionate he was about talking to the students, how much he wanted to come back, and how much pleasure he took from it. It was really just a lovely way to meet him.鈥�

Bicks was a longtime fan of King鈥檚 work, having read it since discovering and falling in love with it in the Castine Public Library when she was 12 years old (coming to the author鈥檚 work perhaps a touch early, as so many of us do). And while the old adage might say 鈥渘ever meet your heroes,鈥� Bicks had the opposite experience. In fact, his generosity and kindness were a big reason why, when her year-long sabbatical approached, she reached out about this project.

鈥淚 felt comfortable enough to ask him and Tabitha,鈥� she said. 鈥淚 knew that they had just collected his manuscripts, a lot of them for the first time, and put them in a climate-controlled space attached to their home in Bangor, but that they hadn’t opened it up yet to people. I thought, 鈥榃ell, this is opportunity knocking.鈥� An amazing opportunity if they say yes.鈥�

It’s worth noting that Bicks wasn鈥檛 certain what this book was going to be when she made the ask. In essence, she had an idea to write about the books that scared her the most as a teenager and to try and understand how he crafted them.

鈥淗ow did he craft these moments that are so iconic, that have stuck in the heads of so many people?,鈥� Bicks said. 鈥淔ifty years after the fact, I can still talk to people my age who vividly remember Danny Glick at the window in 鈥楽alem鈥檚 Lot.鈥� And not just because of the movie. They actually remember the phrases that he wrote.

The question surrounding how he wrote these memorable moments was the seed that would eventually grow into 鈥淢onsters in the Archives.鈥� Bicks narrowed her focus to the five aforementioned King works, the ones that hit her hardest and scared her the most when she first read them as a teenager.

鈥淎s a scholar, you’re taught not to bring your personal feelings into your work,鈥� she said. 鈥淎nd I see the value in that to a point. But at the same time, I study gender and Shakespeare because I care about issues of gender. I really felt liberated to go in and say, 鈥業’m just going to look at these because they’re the ones that scared me the most.鈥� I’m going to go revisit these stories. I’m going to reread them. I’m going to look at them with the eyes of a literature scholar.

鈥淚’m bringing that view that I have that I didn’t have when I was a teenager,鈥� she continued. 鈥淏ut I’m not going to lose my childhood reactions to it. I don’t want to lose what makes these such compelling stories, which is that they connect to our deepest fears. And everyone reacts differently. Everyone has a different story that scared them the most. At the same time, certain ones have staying power because they connect to issues we all face and fears we all have.

When Bicks finally ventured into the archives, the materials, particularly those that had yet to be examined, were 鈥渂eyond my wildest dreams,鈥� she said. 

What followed was months of research, with Bicks making the trip to visit the archives for at least a couple of eight-hour days per week, focusing on one of the five works at a time. 

Among the many joys Bicks derived from the process was the discovery of just how many different versions of these stories existed. Just as one example, there were three complete versions of 鈥淧et Sematary,鈥� all of which she worked her way through. Bicks 鈥� a self-professed slow reader 鈥� took something like three weeks to work her way through those three versions of 鈥淧et Sematary.鈥� After that? Right back into it.

鈥淢y days were filled with close reading, just going through these different versions,鈥� she said. 鈥淔irst off, I just have to read and take notes and see what’s what. You can’t take photographs, so a lot of notes.鈥�

One such change in 鈥淧et Sematary鈥� really captured Bicks鈥檚 imagination, as a slight alteration turned a good line into an iconic one, among the most memorable in the book.

鈥溾�楧ead is better,鈥� which is almost the hallmark of that book,鈥� said Bicks. 鈥淚t started as 鈥楧eath is better.鈥� 鈥楧eath is better鈥� is so different from 鈥楧ead is better.鈥�  It still gives me chills. It is so much better and it’s one little change, right?

鈥淎nd you can see why it became 鈥楧ead is better.鈥� It echoes, right? I was so pleased to find out that he still considers that the line that is the one that sticks with him the most from that novel,鈥� she said.

Not every deep dive played out in the same way, however. For some, like 鈥淣ight Shift,鈥� the process involved following the collection鈥檚 various short stories through their publication histories. King was a working writer, selling stories to whatever outlets would take them, including a number of men鈥檚 magazines, which were once quite prolific publishers of short fiction. For others, like 鈥淐arrie,鈥� Bicks would see a first draft that was significantly different from the book as it would ultimately be published.

But while some aspects of the editorial process varied somewhat from book to book, Bicks would discover that the writing process itself stayed largely the same. That included some surprising discoveries about the physical act of writing and the logistical and financial realities of such, including learning that King made a conscious effort to use as much of each sheet of paper as possible.

鈥淗e’s fitting it in as few pieces of paper as he can, because he had to,鈥� she said. 鈥淚 don鈥檛 think people today fully understand that. Paper costs money; he had to consider the materials needed in the creation of a book. The act itself had financial issues tied to it. You couldn鈥檛 just store it on a computer or in the cloud.鈥�

That physical necessity also meant that there would occasionally be issues. Pages could get misplaced or ruined. There are a couple of incidents recounted in the book that feel genuinely harrowing, particularly to a fan of King鈥檚 work, tales of one book鈥檚 ending or another entire draft lost due to circumstance. The analog nature of it all is easy to forget until we鈥檙e confronted with the idea that a beloved horror classic might have simply disappeared because a briefcase got left in a cab or on a plane.

This book couldn鈥檛 have happened without the approval of the Kings. Bicks considers herself fortunate to have been given the opportunity 鈥� she鈥檚 the first scholar to be granted this kind of long-term ongoing access to the archive, something that simply would not have been possible without trust and transparency.

鈥淚 think he and Tabitha understood what I was trying to do,鈥� she said. 鈥淚 said to them, 鈥業鈥檓 not interested in exposing your family secrets or psychoanalyzing deep, dark things.鈥� I’m coming at this as a literary scholar and as a fan. I really just wanted to look at these five works. I was very clear about my parameters. I wasn’t going in there to just paw through boxes.鈥�

The end result of this lengthy literary odyssey is a very special book. It鈥檚 a work of thoughtful and compelling scholarship that is also reflective of one person鈥檚 personal journey with a beloved author. It is bibliographic and biographical all in one. 鈥淚’d like to think I did him proud,鈥� said Bicks. 鈥淚 know he likes the book. He read it and he said it’s 鈥榣ike a breath of fresh air,鈥� so that makes me feel really good. Like I got it right.鈥�

Contact: Allen Adams, allen.adams@maine.edu

Ron Lisnet and Julie Arnold Lisnet鈥檚 now 43-year love affair with each other, and the University of 海角社区, did not begin with a thunderbolt from heaven back in 1982, when they met inside the Cyrus Pavilion Theatre. In fact, it started with a snide comment. 

鈥淚 was sitting there with a friend, being a snotty senior,鈥� Julie said, remembering the day she first laid eyes on her future husband, 鈥渁nd Ron walks in, and I said, 鈥榃ho is that geek?鈥欌�� 

They were both there auditioning for a play. Ron was also in the middle of a fraternity beard-growing contest. It wasn鈥檛 going well. 

鈥淵eah, I was not winning,鈥� Ron 鈥�83 said. 

鈥淭here was a little patch here and a little patch there,鈥� Julie 鈥�82, 鈥�85G, said. 

But Julie鈥檚 original assessment changed after Ron shaved and applied his stage makeup for the show, in which he played a fishnet shirt-wearing brothel owner. 

鈥淚 thought he had beautiful eyes,鈥� Julie said, 鈥淚 thought, 鈥榟e鈥檚 actually a very handsome guy.鈥欌�� 

A few months and dates later, they were inseparable. The two married July 14, 1984. 

鈥淚 think we鈥檙e the only Bear Pair to have met inside the Cyrus Pavilion Theatre,鈥� Julie said. Bear Pairs are what U海角社区 calls alumni couples, many of whom met as students on campus. 

And Ron and Julie are more than just a Bear Pair. Ron started working at the university 33 years ago, in 1993. Julie began teaching in the School for Performing Arts in 2002. Their daughter, Natalie Lisnet 鈥�21, also works at U海角社区 at the Center for Innovation in Teaching and Learning. 

鈥淏etween us and our daughter, we have four [U海角社区] degrees and a teaching certificate,鈥� Julie said. 鈥淚 don’t think we could get much more involved.鈥� 

The whole family reunited inside the Cyrus Pavilion Theatre in January when Natalie directed both her parents in a production of 鈥淧ride and Prejudice鈥� produced by the Ten Bucks Theatre Company, which Julie co-founded 25 years ago. 

Originally constructed in 1908, the Pavilion Theatre used to be a livestock judging arena. Julie said she remembers it housing sheep when she first lived on campus. At the end of the 1970s, it was converted into a theater. 

鈥淲hen the theater department acquired it, I spent some time ripping out sheep mangers and shoveling lots of sheep poop,鈥� Julie said. Now, both she and Ron are getting involved in the fundraising effort for another refurbishment. 

Growing up in Milbridge, 海角社区, Julie always knew she wanted to study theater. She applied to both the University of 海角社区 and the University of Southern 海角社区 and chose the one closest to home. After earning her bachelor鈥檚 degree in Orono in 1982, she continued on and earned a Master of Arts in Theatre in 1985. She now teaches in the same department. 

鈥淚 teach fundamentals of acting,鈥� Julie said. 鈥淥ccasionally, I teach a survey of dramatic literature, which means we read a lot of plays and talk about them. This year, for the first time, I’m also teaching in the Honors College. I鈥檝e basically taken my acting class and turned it into a class focused on acting for Shakespeare.鈥� 

Over the years, in addition to working at U海角社区, Julie has put her acting and directing talents to work at the Penobscot Theatre, 海角社区 Theatre, Theatre of the Enchanted Forest, The Assembled Players, Marsh Island Stage, 海角社区 Shakespeare Festival, Northern Lights Theatre, The Grand in Ellsworth and True North Theatre. 

In fall 2023 Julie directed 鈥淐rimes of the Heart鈥� for Penobscot Theatre鈥檚 50th season opener. In 2025, she directed 鈥淢atinicus: A Lighthouse Play鈥� for the same company. The play told the story of real-life 海角社区r Abigail Burgess鈥� heroic exploits keeping her father鈥檚 lighthouse burning on a desolate rock, miles out to sea. 

In 1995, Julie appeared in a two-part network television miniseries based on a Stephen King short story called 鈥淭he Langoliers.鈥� She played the part of Aunt Vicki, who gets erased by a mysterious force. 

鈥淥nly her fillings and her glasses were found on the airplane when everybody that fell asleep disappeared, I think.鈥� Julie said, struggling to remember the details. 鈥淢y mother was very excited about it. I had 17 speaking lines, though that was cut down to just two in the final edit. My mother was very upset.鈥� 

Ron was also in the film, sort of. 鈥淭hey had me put on this airline captain鈥檚 hat and drive around in the background,鈥� he said. 鈥淲e get a residual check for it every once in a while, for DVD rentals in Thailand, or something.鈥� 

After growing up in Connecticut, Ron arrived at U海角社区 to study forestry. He only auditioned for the play where he met Julie because a professor invited him. After graduating in 1983, Ron went to work for Bangor鈥檚 ABC television affiliate, WVII, where he eventually became sports director. After nine years, Ron brought his media production skills to the university. He鈥檚 now manager of visual media, overseeing all aspects of visual media for U海角社区, including photography and video production, as well as the university鈥檚 photo and video database and archives.

Ron has also been the play-by-play voice of U海角社区 Men鈥檚 Basketball broadcasts for more than 30 years. He hosts the university鈥檚 鈥淭he 海角社区 Question鈥� podcasts, which he created in 2019, as well. The podcast explores how U海角社区 students and researchers make sense of, and learn about, the world around them. Recent topics include 鈥淐an Zebrafish improve human health?鈥� and 鈥淲hat is the future for manufacturing in 海角社区?鈥� 

In 2025, the podcast won the Council for Advancement and Support of Education鈥檚 Circle of Excellence bronze level award, with judges saying, 鈥淲ith its punchy, distinctive title, this zero-budget podcast has impressive engagement metrics and demonstrates how thoughtful, location-based audio storytelling can translate complex academic work into accessible content that connects with local and national audiences alike.鈥� 

In addition to all their work at U海角社区, Ron and Julie have always found time to perform in plays together. 

鈥淲e鈥檝e probably played husband and wife 15 or 20 times,鈥� Ron said. 鈥淚鈥檝e lost count of how many times we鈥檝e been in shows together.鈥� 

Though they can鈥檛 remember the exact number, each agrees it’s in the dozens. For the past quarter century, the pair has appeared in an outdoor Shakespeare show put on by the Ten Bucks Theatre Company at Indian Trail Park in Brewer every summer. In 2010 Ten Bucks added Fort Knox in Prospect as a second regular Shakespeare venue. 

鈥淛ust about every anniversary we’ve had has usually been standing out in the field, getting bitten by bugs, rehearsing a show,鈥� Ron said. 

One of their favorite shows they鈥檝e performed together was the bickering couple in 鈥淲ho鈥檚 Afraid of Virginia Woolf.鈥� They said it was fun because they鈥檇 never speak that way to each other in real life. 

鈥淚 got to say, 鈥榊ou make me puke,鈥欌�� Julie said. 

鈥淭hat was a good one,鈥� Ron said. 

Now, more than 40 years have passed since the couple first met at the Cyrus Pavilion Theatre. Julie no longer thinks Ron is a geek and his now-gray beard has come in nicely 鈥� and they have no plans to leave the theater life behind. 

鈥淚t鈥檚 enervating,鈥� she said. 鈥淭heater is energizing. It goes through a cycle. You get to the week before opening 鈥� we call it hell week 鈥� and you don’t think you’re going to get through it. Then you get to the play, and it’s just magic. It鈥檚 like getting high without drugs.鈥� 

Ron sometimes thinks about it in sports terms. 

鈥淭he similarities are quite striking. There’s a team chemistry kind of thing in both endeavors,鈥� he said. 鈥淭here’s nothing quite as cool as when you’re telling a good story, and it’s being told well, and either the place bursts into laughter or you can hear a pin drop. It鈥檚 a very inviting, alluring, intoxicating kind of feeling.鈥� 

Julie said she can鈥檛 even imagine her life without Ron or theater, both at U海角社区 and off campus. 

鈥淚鈥檝e never made a ton of money but it’s made me outrageously happy,鈥� she said. 

Story by Troy R. Bennett 

Contact: Marcus Wolf, 207.581.3721; marcus.wolf@maine.edu

The exhibition will display a wide variety of artwork made by U海角社区 students including paintings, sculptures, ceramics, printmaking, digital art, photography, graphic design and more. 

Students who were enrolled in an art class in the fall 2025 semester or spring 2026 semester had the opportunity to submit up to six pieces for consideration in this juried exhibition. This year鈥檚 juror is artist Rochelle Lawrence, who also serves as the assistant curator and museum educator at U海角社区鈥檚 Zillman Art Museum.

Lord Hall is free, accessible and open to the public Monday-Friday from 9 a.m.-4 p.m. Please direct all questions to Diana Baumbach, director of galleries, at

diana.baumbach@maine.edu. 

University of 海角社区 student Maeve Littlefield has always been creative, and developed a passion for the scientific process late in high school. A sophomore majoring in biology, she found a class at U海角社区 that combined her passion for science with her sense of creativity.

During the fall 2025 semester, she enrolled in a Research Learning Experience (RLE) that immersed her in the creative side of science communication and encouraged her to take risks by experimenting with new ways to understand and communicate research and science.

RLEs allow students to participate in real-world research, problem-solving and other hands-on learning early in their college careers, reflecting U海角社区鈥檚 commitment as a learner-centered R1 university and laying a stronger educational foundation and pathway to a meaningful career. U海角社区 is a leader among the nation’s flagship institutions in offering these high-impact opportunities to all incoming students. 

They are funded as part of the University of 海角社区 System鈥檚 Student Success and Retention initiative, which is made possible by a $320 million investment from the Harold Alfond Foundation and matching contributions known as UMS TRANSFORMS. 

Students in the fall course, 鈥淐reative Expression of Science鈥� showcased prints, paintings, drawings, creative writing, digital storytelling and other pieces designed to improve how people engage with scientific concepts. Their projects encouraged each of them to use experimentation as a method of creativity and communication. 

Littlefield鈥檚 final portfolio included several artworks that used a block printing technique to represent the positive impressions humans leave on the environment.

鈥淪ometimes we get caught up in seeing statistics about the environment and human impact,鈥� Littlefield said. 鈥淏ut we also forget that adaptation and evolution make really resilient communities and populations, and that it’s not hopeless. It makes you want to fight more for these things that are important 鈥� that if we do lose them, they aren’t coming back.鈥� 

Learning from local artists

The course featured guest lectures from local artists who showcased their creative processes and demonstrated how forms of communication can connect science and research with audiences on a personal level. Having built successful careers at the intersection of art and science, the speakers offered insight into their professional journeys and provided guidance to help students envision and pursue their own pathways to careers.

The first guest speaker, , did a block printing workshop during her visit and spoke about how to create environmentally conscious art. One of the co-instructors of the course, Holly White, said most students ended up doing at least one block print for their own projects.

鈥淗er approach to making art that is place-based through an environmental lens really resonated with students,鈥� said White, who is also a Ph.D. student at U海角社区. She co-instructed the course with Bridie McGreavy, associate professor of environmental communication. 

Other guest speakers included a children鈥檚 book author who narrates scientific themes digestible for youth; an ecologist and writer who encouraged students to reimagine scientific representations and consider the context beyond the data; and an interdisciplinary Ph.D. student at U海角社区 who creates digital media to honor Wabanaki knowledge and cultures.

鈥淚 hope students left with the idea that science communication can be fun, creative and accessible and that you don鈥檛 need to be a professional artist to turn scientific ideas into art,鈥� White said. 鈥淎 goal of the class was to help students take risks, try new modes of expression and treat experimentation as a valuable part of the process.鈥�

Littlefield said all the guest speakers spoke toward the power of perspective, which in turn informed her own work. 鈥淚 was able to connect that with science and how we talk about how important diversity is,鈥� Littlefield said. 鈥淓ach species, each part of this ecosystem, is important and has its own role.鈥�

Her piece titled 鈥淯nderneath and All Around鈥� shows a scuba diver engulfed in darkness except for an illuminated line of sight filled with different aquatic animals. The idea started from an experience one of the guest speakers shared. 

Drawing on success stories

鈥�25G, a photographer and videographer who works with underwater drones, talked to the class about how to use visual communication in research and storytelling. As a former graduate research assistant for the 海角社区-eDNA project, she shaped, traced and explored communication and collaborative opportunities for the initiative’s coastal ecosystem monitoring research using underwater drones and virtual reality. 

She collaborated with other U海角社区 graduate students to study how these technologies benefited the outreach for 海角社区-eDNA by engaging with researchers and K-12 students. Their work suggested that providing a new perspective can help people connect with and understand the environment in a new way.

By working directly with professionals like Smith-Mayo, students in 鈥淐reative Expression of Science鈥� saw firsthand how exploring new forms of expression and applying creative thinking can address challenges facing 海角社区鈥檚 communities and beyond, such as the need to better understand and communicate changes in the Gulf of 海角社区.

Guest speaker 鈥�15, 鈥�18G combines data, landscapes and ecosystems to communicate the ways in which the Earth is changing. Her work integrates data into artistic backdrops, such as a line chart overlain on a mountain, and was even featured on the cover of Time Magazine鈥檚 July 2020 special issue 鈥淥ne Last Chance.鈥�

Pelto, an Honors College graduate, studied studio art and Earth and climate sciences at U海角社区 as an undergraduate, then stayed for the master鈥檚 program in Earth and climate sciences.

Her journey from an interdisciplinary student to a full time artist and small business owner followed a niche path and stands as a testament to the vastness of science communication. While the students鈥� own journeys would likely look different from hers, Pelto talked to them about the tangible aspects, like income and networking.

鈥淲hat makes me love what I do is that it gets to be a little bit more broad,鈥� Pelto said. 鈥淚 love painting and creating the art, but I also love that I get to share it with people, like through class visits.鈥�

Pelto accompanied a group of U海角社区 students to Iceland in the summer of 2025 as part of the Sea-to-Sky Experience, which she鈥檒l be joining again in 2026. She led them in art classes and created her own work inspired by the journey as students participated in research and learning across the Nordic country. 

Her personal connections to her work bonds her to it, and she strives to represent a variety of places in a way that will emotionally resonate with others like they have with her. 

Contact: Ashley Yates; ashley.depew@maine.edu

鈥淭he Midnight Work,鈥� Jennifer Moxley鈥檚 eighth book of poetry, contemplates these changes as she enters and experiences midlife. Woven with nostalgia and tension, the professor of English at the University of 海角社区 connects her immediate present and recent past through conversations with the more distant past or even the ancient world through lyrics and epistles, or letter poems.

鈥淭his book deals a lot with a contemplation of life at midlife, a little past midlife and thinking about a sort of metaphysical disquiet when looking back,鈥� said Moxley. 鈥淭here is a lot of nostalgia in this book and trying to figure out what it means to be in this world right at this moment.鈥�

In the lyric poem 鈥�1900,鈥� readers join Moxley and her husband on a summer expedition to a Hannaford grocery store amidst the COVID-19 pandemic. We feel the frustration, fear and tired novelty of the situation. The poem grows tendrils as Moxley reflects on her 鈥渕other鈥檚 mother,鈥� Leola Isabel Warnock Freeman, a portrait painter based in the American southwest. 

鈥�1900鈥� demonstrates how Moxley鈥檚 research feeds her emotive lines. A Campbell鈥檚 soup can emblazoned with a gold medallion, awarded the same year as her grandmother鈥檚 birth, leads her to lament that the internet, where she discovered that fact, knows more about her grandmother than she does. The poem continues as she considers the life of Helen Gahagan Douglas, an American actor and politician, also born in 1900; as well as Nathalie Sarraute, a Russian-born French writer born that same year. From that node of connection through time, Moxley weaves together elements of their lives and themes in their respective works. 

Moxley鈥檚 navigation through midlife, both in her life and in the book, is guided in part by Horace, a Roman poet from the first century, and Tao Qian, a Chinese poet from the fourth and fifth centuries. 

鈥淲hen I started reading these poets around 2016-15, they just really spoke to where I was in my own life,鈥� said Moxley. 鈥淭hey helped me negotiate the move into late middle age, which is a form of hell, I suppose.鈥� 

The poets interrogate what it means to live a meaningful life in their work. 鈥淏oth of them land on similar answers to that question, which is not the accumulation of material goods,鈥� said Moxley. 鈥淚t鈥檚 moderation, our relationship to good friends and wine and poetry and cultivating the land. Not ambition 鈥� worldly ambition 鈥� but quiet contemplation.鈥�

Horace鈥檚 鈥淓pistles鈥� also inspired Moxley to write her own, ushering in a stylistic change from the lyrical voice of her previous works. Moxley鈥檚 epistles address the living and dead, close friends and complete strangers. The writing of the epistles was not a planned process, but a reflective one. Each epistle wound through her memories of the person it was written for, and of her own life. Moxley explained that she hoped the reader would find, 鈥淪ome space that opens up in their own lives for reflection and contemplation,鈥� in the same way she did.

While there is immense value in this contemplation, Moxley also acknowledges how taxing it can be. 

鈥淲henever you think about lost time, whenever you think about lost worlds, whenever you think about all the people you have loved who are no longer here, it鈥檚 sad,鈥� said Moxley. 鈥淭he emotional spaces that the poems put me in were sometimes very hard to recover from.鈥�

As 鈥淭he Midnight Work鈥� debuts, Moxley is already looking forward, researching and composing her next work. She acknowledges, though, that for her readers, everything is just starting. 

鈥淚 would want them to have the experience that I had when I read Horace or Tao Qian, which is to feel some space that opens up in their own lives for reflection and contemplation and existential depth,鈥� Moxley said. 

At the same time, she said there should be joy in the experience, adding that 鈥淚 hope that I would bring delight in the reading of some of those moments.鈥�

Contact: Daniel Timmermann, daniel.timmermann@maine.edu

For this year鈥檚 free concert, the U海角社区 band is soliciting donations for Penquis, which provides resources for housing, transportation, heating, childcare, home repair, disability services and more to those in need. 

鈥淧enquis does amazing work in the community and they are under-funded,鈥� said Philip Edelman, the director of the concert band and School of Performing Arts. 鈥淲e are giving back by helping them reach their goals a bit easier.鈥� 

While practicing her trumpet, Kathleen Nee said fundraising for a good cause motivates her to perform her best. 

鈥淚 think Penquis is a really great organization that gives back to the community. It’s great that by having us play music it raises money for a good cause,鈥� she said. 

The concert band will be accompanied by performers from Hampden Academy and the Leonard Middle School Band in Old Town. The joint performance allows middle and high school musicians to improve their craft by working alongside collegiate performers. 

鈥淭he U海角社区 students also gain experience in mentorship with the younger students on stage with them,鈥� Edelman said. 

U海角社区 student and bass trombone player Connor Maurice said he鈥檚 looking forward to raising money for charity through his music.

鈥淢usic is something I really enjoy. If everybody gets to listen to great music and it’s helping the community, that’s really good,鈥� he said. 

The Concert Band welcomes students from all majors who are interested in performing a variety of concert music; no audition is required. Each spring, the group performs both on and off campus. Edelman said the cohort has been preparing advanced pieces for the Concert for a Cause 

鈥淓xpect very profound music and a whole lot of laughter,鈥� Edelman said. 

Story by Rowan MacDonald, news intern

Contact: Marcus Wolf, 207.581.3721; marcus.wolf@maine.edu 

In the years since the Netflix series 鈥淏ridgerton鈥� burst onto the scene, it has become a cultural phenomenon, a runaway success featuring Regency-era romance and palace intrigue wrapped in moments of bodice-ripping enthusiasm and unapologetic anachronism.

However, thanks to the new book,鈥� a collection of essays edited by University of 海角社区 professor of philosophy Jessica Miller and published by Wiley-Blackwell, we see that the series also provides an interesting lens through which to look at larger ideas.

The book is the latest entry in Blackwell鈥檚 ongoing Philosophy and Pop Culture series, which features essay collections that use a vast array of films, television shows and video games to highlight philosophical questions. The essays are conversational in tone and intended to be accessible to both general readers and devoted fans, allowing everyone to engage with the show in a whole new way.

鈥淏ridgerton and Philosophy鈥� features 22 essays exploring how the Netflix show and its prequel 鈥淨ueen Charlotte鈥� bring timeless philosophical questions to life 鈥� sometimes in a ballroom, sometimes in a bedroom and always with style.

Jessica Miller isn鈥檛 quite Lady Whistledown 鈥� or is she? 鈥� but the book she has assembled certainly uncovers some of the hidden truths regarding the people and places of 鈥淏ridgerton.鈥�

U海角社区 News sat down with Miller for the following Q&A:

How did you come to participate in this project? What made 鈥楤ridgerton鈥� an apt framework for it?

鈥淏ridgerton and Philosophy鈥� is part of a series that introduces philosophy to lay audiences through popular culture. I have enjoyed writing essays for previous volumes. I thought 鈥淏ridgerton,鈥� which is both a bestselling book series and a very popular Netflix show, would be a great addition. We can enjoy 鈥淏ridgerton鈥� on one level as a swoony, opulent fantasy, but beneath the surface it touches on many important issues. 

What are some of the benefits of viewing philosophical concepts through this sort of pop cultural lens?

Philosophy can seem impractical, outdated, or intimidating. But it’s none of those things, really. Philosophers have always been interested in the same questions everyone is curious about: What is happiness? What is love? What is friendship? Learning about philosophy through pop culture helps people see that philosophy is for now and philosophy is for everyone. 

How long does it take for a book like this to come together? What does the process look like?

I pitched the idea to the publisher in spring 2024, so about two years. We put out a call for proposals, and had an amazing response from scholars all over the world. I worked closely with the authors to make sure the writing was insightful and witty. Their enthusiasm as fans really comes through. I love the idea that 鈥淏ridgerton鈥� fans who get into online debates about 鈥�

[Spoiler alert: If you haven鈥檛 watched the first season, you may want to stop reading here.]

鈥� whether Penelope should be forgiven for lying to Eloise about her secret identity as Lady Whistledown now have a thoughtful essay to read that brings philosophers’ work on deceit and moral repair into the discussion.聽

I imagine there are a lot of surprises that can spring from a collection such as this, but was there an essay that particularly surprised you and/or subverted your expectations?

Because 鈥淏ridgerton鈥� is a romantic drama, I knew that topics like sex, marriage, and love would be ripe for analysis. But we also have essays on surprising topics like the sport of boxing and the significance of the Duke of Hastings鈥� stutter. And a few of the essays tackle public reaction to the show, especially in the way it addresses race, weight bias, and queer identity. One essay explores how nature is used in the show to help story arcs, reflect emotions, and feed innermost desires. Characters get up to all sorts of mischief in those Regency gardens!

Were you a fan of the show before working on the book? Any favorite character(s)?

I was a fan of Julia Quinn鈥檚 鈥淏ridgerton鈥� novels, and then, of course, of the show. Romance is often dismissed as unrealistic, bad, or just 鈥渨omen’s stuff.鈥� But romance has a vast audience and the potential to do important cultural work. In very different ways, philosophy and romance are asking some of the same questions, about how to live a meaningful life.

One of my favorite characters is Lady Danbury. Her traumatic backstory is told in 鈥淨ueen Charlotte,鈥� the 鈥淏ridgerton鈥� prequel series, and she remains an important character throughout 鈥淏ridgerton.鈥� I admire her resilience, her kindness, and her wit.

Contact: Allen Adams, allen.adams@maine.edu

The discussion will be held in the Davis Center for Human Ecology, Room 202, and will be followed by a reception at 6 p.m. at the Dorr Museum of Natural History.

The Island Soundscape Project is led by co-founders N.B. Aldrich, a University of 海角社区 adjunct associate professor of art, and Steve Norton, a sound artist with a master of fine arts degree from U海角社区. 

The core team also includes Karen Beeftink, a University of 海角社区 at Machias associate professor of recreation and tourism management, and Adriana Cavalcanti, an artist and plant biologist with a master of fine arts degree from U海角社区, along with student researchers and collaborators.

The event highlights 鈥淪oundmarks,鈥� an immersive installation created by the Island Soundscape Project, an arts research collaborative working at the intersection of art, ecology and education.

Drawing on recordings gathered over two years at 海角社区 Coast Heritage Trust preserves from southern 海角社区 to Washington County, the installation compresses the sonic experiences of those landscapes into a dynamic, ever-shifting soundscape. 

The project captures and curates 海角社区鈥檚 coastal soundmarks 鈥� the distinct sounds that define a place 鈥� to better understand and preserve the identity of the state鈥檚 coastal communities.

鈥淪oundmarks鈥� will remain on exhibit through August at the Dorr Museum. The museum is open from 1 to 5 p.m. Tuesday through Thursday through March 19. Spring and summer hours will be announced. Admission is by donation.

The show times are 2 p.m. and 7 p.m. with doors opening one hour early. Both shows are free and open to the public.

鈥淭here is no more universal language than dance, and there is no better day than Valentine鈥檚 Day to celebrate its ties to love and unity,鈥� said Sarah Joughin, senior associate director of the Office of International Programs.

This dance festival showcases traditional music, costumes and dances from different cultures. Twelve groups will represent 11 different countries and Puerto Rico, including a group performing a French Canadian Gigue and one representing Uzbekistan. A U海角社区 alum who helped establish the Celtic Club is also returning to the stage with a group of Fife Irish Dancers.  

To request a reasonable accommodation, contact the Office of International Programs, 207.581.3437; international@maine.edu.

The exhibition includes current and emeritus faculty from U海角社区鈥檚 Department of Art and the Intermedia Master of Fine Arts program. A diverse range of work from Diana Baumbach, Louise Bourne, Tim Conte, Samantha Jones, James Linehan, Andy Mauery and Susan Smith features digital photography, paintings and mixed media, among other works of art. 

Accompanying the exhibition will be free weekly programming titled, 鈥淭he Mindful Eye.鈥� Each Friday through March 13 from 11 a.m.-12:30 p.m., the gallery offers exercises, yoga, meditation and pranayama (breathwork) using the artwork on display as a tool for mindfulness. This programming is supported by the Alton 鈥�38 and Adelaide Hamm Campus Activities Fund.

Faculty exhibitions are presented on alternating years and showcase approximately half of the studio art faculty.

For more information on class visits, outreach activities or other related questions, contact Baumbach, who also serves as director of galleries, at diana.baumbach@maine.edu. 

Lord Hall Gallery is located on the first floor of Lord Hall and is open Monday-Friday from 9 a.m.-4 p.m. Events are free, accessible and open to the public.

Raised in Bristol, Rhode Island, Ramos was familiar with New England鈥檚 history but had never spent time in 海角社区鈥檚 wild blueberry barrens. That first season in the field introduced her not only to the ecology of the crop but to the people, labor and traditions tied to one of the state鈥檚 iconic foods.

Now preparing to graduate as an Honors College student with a double major in ecology and environmental sciences and studio art, Ramos shaped her education around that experience. As a rising sophomore, she joined the University of 海角社区 Cooperative Extension鈥檚 Wild Blueberry Research Team and spent three summers exploring barrens in the midcoast and Downeast regions. 

Working alongside growers and researchers, she learned to observe the landscape closely, recording what she saw through notes, photos and sketches that would later inform her art. 

Her time in the fields quickly influenced her academic direction. What began as environmental research grew into a deeper artistic interest, prompting her to pursue additional studio courses and eventually focus her art on 海角社区鈥檚 wild blueberry heritage. 

鈥淢eeting such passionate professors who believed in me and my work, it really helped me feel confident that I could pursue a degree in art,鈥� Ramos said. 鈥淚 have a connection to ecosystems, and I think that’s the part that I really see myself continuing to develop as a growing artist.鈥�

Perspective of places, sciences she studies

Through her work, Ramos shares her perspective of the places and sciences she studies. She has focused part of her Honors thesis on the cultural heritage and history of 海角社区鈥檚 lowbush blueberries. 

Her series of watercolor paintings show the vastness of the fields and the people who handrake them each summer. Her colors are earthy and soft, created from natural soil based pigments.

In the future, Ramos may even explore using blueberries and other plants or fruits with natural pigments to create her own watercolors. After earning her degree this winter, she plans to stay in 海角社区 making environmental art that speaks to the importance of conserving natural resources and places that, like people, are entangled in Earth鈥檚 larger ecosystems.

鈥淚 definitely feel so much love for 海角社区 that I’ve come to really feel like it鈥檚 my second home while studying here in college,鈥� said Ramos, who is also an ambassador for the Honors College. 鈥淭here’s so many different, intersecting factors of the natural landscape and community.鈥�

Connecting fieldwork with cultural heritage

In high school, Ramos said she never connected to science classes like chemistry and physics. She never saw herself as being a lab scientist and had always been drawn to 鈥渢he humanity side of learning and topics.鈥�

It wasn鈥檛 until she came to U海角社区 and gained research experiences outdoors that she started using art to communicate what she was learning about in the environment. One of her first pieces that combined science and art was a large watercolor painting depicting workers in long rows of vegetable fields, held up by two large hands. 

She aimed to raise awareness of how these agricultural workers harvest much of America鈥檚 food. Ramos continued to thread that theme into her work with Extension鈥檚 Wild Blueberry Research Team, led by Extension specialist Lily Calderwood.

鈥淚t is incredibly important to share the grit and humanity behind agricultural commodities in a time when people are very disconnected from their food, especially who harvests their food,鈥� Calderwood said. 鈥淭his industry is culturally and economically important for the state of 海角社区. Its preservation touches a lot of people who live here year round and those who visit.鈥�

Talked to growers about management and more

With Calderwood鈥檚 team, Ramos talked to growers about management practices, economics and ecological obstacles, such as from pests, disease and drought. She said they echoed similar challenges regarding low-profit seasons and labor shortages, as well as unpredictable temperatures and precipitation making field management and yield predictability difficult. 

Despite the challenges they face, Ramos said the growers uphold a strong commitment to and pride for the wild blueberry industry and its cultural significance in 海角社区.

Along with talking to the growers, Ramos harvested blueberries with local, seasonal and Passamaquoddy and Mi’kmaq tribal hand-rakers in the fields to learn about their perspectives and traditions when it comes to wild blueberries.

Calderwood said Ramos鈥� paintings reflect aspects of 海角社区’s wild blueberry industry that research does not 鈥� the social aspects of the people who grow them, the fields where they鈥檙e grown and the state economy in which blueberries contribute $360 million annually.

鈥淎rtwork has always been a special way to convey the natural world, and it is grounding to see that art is still such a powerful communication tool,鈥� Calderwood said.

Contact: Ashley Yates; ashley.depew@maine.edu

Timothy Simons, a 2001 graduate of the University of 海角社区, is hoping to hear his name called Sunday, Jan. 4, when the Critics Choice Awards are handed out.

Simons earned a nomination for best supporting actor in a comedy series for his role as Sasha in the

The , which will be held at the Barker Hangar in Santa Monica, California, will air live at 7 p.m. on E! and USA Network.

A native of Readfield, 海角社区, Simons studied theater at U海角社区 and was active in campus productions. He is best known for his breakout role as Jonah Ryan on

Simons has credited his hands-on experience at U海角社区 with helping him build a foothold in the industry. In fact, he told that a campus work study job gave him practical skills that helped him find steady work in theater while establishing his acting career.

鈥淥ne of the great things about U海角社区 was that I had a work-study job in the scene shop, and those skills really served me well through a decade of Chicago and L.A.,鈥� Simons said. 鈥淚 knew carpentry. I could do set load-in. When I first got to L.A., I jumped in on a set load-in at a fellow U海角社区 alum鈥檚 play. That led to jobs. I could pay the bills by doing things in the theater world, on or off stage.鈥�

Simons continues to give back to U海角社区, helping establish the . He has also worked with the University of 海角社区 Foundation on .

Contact: David Nordman, david.nordman@maine.edu

Linda and her late husband, Donald Zillman, shared a decades-long relationship with U海角社区 shaped by leadership and sustained philanthropy. Donald Zillman, who died in July 2023, served in leadership roles across the University of 海角社区 System for more than three decades, while Linda Zillman, who died in September 2025, was an art historian and a longtime advocate for the visual arts.

The gift includes more than $2.1 million for the Honors College, the largest one-time donation in its history, and more than $1.4 million for the Linda G. and Donald N. Zillman Art Museum 鈥� University of 海角社区, which was named in the couple鈥檚 honor in 2020 following their $1.3 million naming gift.

鈥淭his extraordinary gift from Linda Zillman reflects a lifelong commitment to excellence in both the arts and education,鈥� President Ferrini-Mundy said. 鈥淗er generosity to our flagship university will expand opportunities for U海角社区 honors students while strengthening the Zillman Art Museum as a valuable cultural and educational resource for the entire state.鈥�

For the University of 海角社区 Foundation, the gift represents the culmination of a long relationship built on trust, shared purpose and transformative generosity.

鈥淥ur staff worked with Linda and Don for many years. They had been very generous donors for a long time,鈥� Mills said. 鈥淭heir gift to the university in their estate plan exemplified their desire to make a significant impact on both the museum and the U海角社区 Honors College as their legacy.鈥�

The gift to the Honors College will advance its role as a hub of transformative student learning at U海角社区, according to Dean Ellen Weinauer.

鈥淎s we celebrate 90 years of Honors at U海角社区, the Zillmans鈥� generous investment both recognizes our legacy on campus and paves the way for an even more vibrant future,鈥� Weinauer said.

Linda Zillman played a key role in relocating the University of 海角社区 Museum of Art to downtown Bangor and served for more than a decade on the museum鈥檚 support board. The Zillmans鈥� legacy 鈥� from expanded gallery space to sustained exhibition funding 鈥� continues to shape the museum, said Executive Director and Curator George Kinghorn.

鈥淭hroughout the years, Don and Linda Zillman were actively involved in advancing the museum鈥檚 mission and expanding its capacity to deliver top-tier contemporary art exhibitions and programs for the U海角社区 community and visitors,鈥� Kinghorn said. 鈥淔rom the addition of five galleries to ensuring sustained exhibition funding, they were extraordinary champions for the visual arts. Through this transformative bequest, Linda Zillman ensures the museum 鈥� their shared legacy 鈥� will continue to provide the life-enriching experience of viewing original art.鈥�

In addition to U海角社区, the University of 海角社区 at Presque Isle is also receiving a significant estate gift from Linda Zillman.

鈥淟inda and Don Zillman believed deeply in the power of 海角社区鈥檚 public universities to expand opportunity and enrich communities across the state,鈥� said Chancellor Dannel Malloy. 鈥淐onsistent with that, this extraordinary gift will strengthen our flagship university鈥檚 ability to serve students and the public good for generations to come. Even after their passing, the Zillmans continue to positively impact the University of 海角社区 System and inspire us all to honor their incredible legacy by elevating excellence in academics and the arts.鈥�  

Contact: David Nordman, david.nordman@maine.edu

As part of her Honors College thesis, deBest is writing and illustrating 鈥淎 Field Guide to Intertidal Species of 海角社区. She aims to create a scientifically accurate and visually engaging resource that documents key intertidal organisms in the Gulf of 海角社区, including crustaceans, mollusks, algae and echinoderms such as sea stars and sea urchins.

鈥淚 want to make marine life approachable and inspiring. Visual storytelling helps people connect to the ecosystems around them,鈥� said deBest, who鈥檚 studying ecology and environmental sciences with a concentration in marine ecology. 

The field guide will serve as both a scientific reference and an educational tool and will be available in digital and print format.

A passion for animal conservation 

During summer 2024, deBest completed an animal care internship at the Potawatomi Zoo in South Bend, Indiana 鈥� the state鈥檚 oldest zoo. There, she gained hands-on experience in professional animal care, behavioral observation and conservation focused management. Working alongside experienced zookeepers, she helped prepare meals for animals with specialized diets and clean and maintain animal enclosures. She also monitored animal behavior and welfare for various species, including poison dart frogs, snow leopards, giraffes and red pandas; and trained and fed river otters, zebras, diana monkeys and sand cats, among other animals.

鈥淭he internship deepened my respect for the complexity of caring for such diverse species. It reinforced my passion for combining animal care with scientific research and conservation outreach,鈥� deBest said.

The following summer, deBest joined Florida Atlantic University鈥檚 Harbor Branch Oceanographic Institute, where she assisted in research using bioacoustics to study the foraging behaviors of shell-crushing predators. The experience expanded her technical skills in data collection and analysis while connecting her fieldwork to broader ecological questions about predator-prey interactions in marine systems.

DeBest said Amalia Harrington, assistant professor of marine biology and a member of her honors thesis committee, has supported and inspired her throughout this interdisciplinary project.

Outside of her academic pursuits, deBest has found her rhythm in the U海角社区 community, whether playing trumpet on Brass Night or cheering at hockey games 鈥� moments that helped make Orono feel like her 鈥� home away from home.鈥� She also enjoys exploring 海角社区鈥檚 outdoors, particularly Acadia National Park and the coastlines that continue to inspire her artistic and scientific work.

She is the recipient of the highest tier of U海角社区鈥檚 merit scholarships, which recognizes excellence prior to enrolling, and the Visual and Performing Arts (VAPA) scholarship, which recognizes students who contribute creatively to the arts while pursuing academic excellence.

As deBest prepares to graduate, she said she is still exploring what comes next. Though she is certain of one thing: her future will involve working with animals, whether through research, conservation or care.

Story by Corey Nicholas, student news writer

Contact: Marcus Wolf, 207.581.3721; marcus.wolf@maine.edu

During the 31st annual Wabanaki Winter Market, over 60 Passamaquoddy, Penobscot, Maliseet and Mi鈥檏maq artists will showcase and sell their basketry, jewelry, beadwork, wood carvings, birchbark work and other pieces. The free event will also feature brown ash pounding and demonstrations, children鈥檚 workshops, storytelling, traditional music, drumming and dancing.

The U海角社区 Hudson Museum, located inside the CCA will be open during the event and feature an exhibit of photography by Jason Pardilla titled 鈥淗ow Water Connects Us.鈥� The images were taken through the lens of a Panaw谩hpskewi (Penobscot), and demonstrate connection to water by picturing water itself, the craft used to travel by it and Indigenous communities who live by it. These images reveal items used to provide sustenance and places important to Indigenous people. 

Attendees will also have an opportunity to meet Jeremy Frey, an award-winning Passamaquoddy basketmaker and .聽From 11 a.m.-noon, Frey will sign copies of his exhibit catalog titled 鈥淲oven.鈥� The catalog was organized by the Portland Museum of Art and traveled to the Art Institute of Chicago and the Bruce Museum. Sales of the catalog will benefit the Penobscot Nation Museum.

The Hudson Museum will be collecting non-perishable food items during the market for the Penobscot Nation Food Pantry. 

Additional information and full schedule of events is available on the Hudson Museum website. 

To request a reasonable accommodation, contact Hudson Museum Director Gretchen Faulkner by emailing gretchen.faulkner@maine.edu.

Each semester, roughly 10 students form a crew that helps Kryszak with his professional filmmaking. They rotate between directing, running sound, editing and filming on location shoots. The goal, Kryszak said, is to give students both technical expertise and confidence to work collaboratively in a professional setting.

鈥淢y film students don鈥檛 make practice videos. They鈥檙e real, and the students鈥� work is what makes them happen,鈥� said Kryszak, a film and media lecturer at U海角社区 Machias. 鈥淔rom the beginning, they鈥檙e a working film crew.鈥�

The documentaries Kryszak鈥檚 students have worked on have garnered thousands of online views, been aired by more than a dozen PBS stations nationwide and been featured in the Toronto Short Film Festival. They cover a wide variety of topics, including food insecurity, secrets and rural life. 

鈥淚nstead of speaking through my own work, I help people tell stories that have never been heard before. That鈥檚 the same experience I want my students to have,鈥� Kryszak said. 

Students receive official production credits and leave the program with professional portfolios that can lead to careers in journalism, media and digital production. Some of Kryszak鈥檚 former students now work in video production and editing roles around 海角社区 and beyond. Others continue pursuing independent creative projects using the techniques they learned in his classes.

U海角社区 Machias student Dana Gonzales recorded b-roll and edited Kryszak鈥檚 latest documentary, 鈥淪erf鈥檚 Up,鈥� which will air in 2026. She said she did not expect a film course to be as interactive or supportive as Kryszak鈥檚 class.  

鈥淗e made us feel like part of a team,鈥� she said, 鈥渘ot just students doing what the instructor said.鈥� 

A working mother, Gonzales added that she appreciated how Kryszak made space for students balancing other responsibilities.

鈥淗e understood that life happens,鈥� Gonzales said. 鈥淚f I couldn鈥檛 be on campus, Zoom was always available. He made sure we could participate no matter what.鈥�

Kryszak said his class is designed to accommodate beginners while still challenging advanced students. Everyone works on the same project together, learning as a team rather than in isolation. He likens his approach to ensemble-based learning, where each person contributes to a shared goal.

鈥淣o one鈥檚 left alone to figure it out,鈥� he said. 鈥淚t鈥檚 completely for beginners if it needs to be, but everyone learns together.鈥�

鈥楽erf鈥檚 Up鈥�

鈥淪erf鈥檚 Up鈥� will premiere Feb. 22 at the Collins Center for the Arts and March 8 at the U海角社区 Machias Performing Arts Center. Kryszak said the idea for 鈥淪erf鈥檚 Up鈥� began as a wordplay on 鈥渟urf鈥檚 up鈥� but developed into an examination of modern 鈥渟erfdom.鈥� He wanted to highlight the growing challenges people face in an economy where wages, housing and opportunity often fail to keep up with cost of living.

鈥淓very generation struggles,鈥� he said. 鈥淏ut this one鈥檚 different. The systems people are born into now make it harder to climb out. I wanted students to see that and to help tell that story themselves.鈥�

For Gonzales, the project inspired her to think about how documentaries can shine a light on issues that often go unnoticed.

鈥淣ot a lot of people talk about this stuff,鈥� she said. 鈥淚t made me want to be more involved, knowing that someone would see it and start paying attention.鈥�

Although the semester officially ends in December, Kryszak invites students to continue working on editing and post-production well into the new year. Some return on weekends to polish the film or prepare for public screenings.

鈥淭he open invite is always there,鈥� he said. 鈥淐ome in on Saturday to Torrey Hall and we鈥檒l edit together.鈥�

For Kryszak, that commitment reflects what makes the creative arts program at U海角社区 Machias distinct. The university emphasizes experiential learning, and the Down East Documentary course embodies that philosophy by combining technical training, community engagement and storytelling.

鈥淭hese films don鈥檛 just teach students how to make movies,鈥� he said. 鈥淭hey teach them how to listen, how to collaborate and how to use their skills to make a difference.鈥�

Story written by news intern Corey Nicholas

Contact: Marcus Wolf; marcus.wolf@maine.edu

Ranging from digital artwork and paintings to ceramic and glass sculpture, this year鈥檚 exhibition, titled 鈥淯pRouted,鈥� emphasizes the uniqueness of each students鈥� journey. The artists explore themes of identity, transformation and growth, visualizing how lived experiences become embedded in creativity. 

The exhibition is fully planned and carried out by the students, including creating the artwork; preparing, curating and installing the show; and doing the promotion, fundraising and event planning.

A reception celebrating the seniors鈥� artwork and accomplishments will be held Nov. 14 from 5-7 p.m. and is free and open to the public.

Artists whose work is on display include:

• Anthony Belenger of Bangor
• Allison Bishop of Gorham
• Miguel A. Camacho of Metepec, Mexico
• Ruby Day of Belfast
• Piper Galipeau of Presque Isle
• Leanor Jordon of Parsonfield
• Sarina Martin of Bucksport
• Haley Metzger of Bangor
• Lior Nachtigal of Brookline, Massachusetts聽
• Vi Nelson of Howland
• Kaity Sawicki of Damariscotta
• Josh Smith of Bradford

Lord Hall Gallery is open Monday – Friday from 9 a.m. – 4 p.m. 

Director of galleries Diana Baumbach can be contacted by emailing diana.baumbach@maine.edu.

Support for this exhibition was provided by the McGillicuddy Humanities Center and U海角社区 Dining.