Hollyhock House at Barnsdall Art Park
Perched atop Olive Hill, the Hollyhock House stands as one of Frank Lloyd Wright’s most significant West Coast works and a UNESCO World Heritage Site. Built in the early 1920s for oil heiress Aline Barnsdall, the home represents Wright’s experimentation with blending architecture and environment, what he called “organic architecture.”

�þ��� explored the house’s Mayan Revival influences, geometric motifs and the iconic hollyhock flower design woven throughout the structure. The site offered a powerful introduction to how Los Angeles became a testing ground for architectural innovation, especially during a time when the city was rapidly expanding and redefining itself culturally.

Downtown Los Angeles: Layers of History and Movement
Traveling via the Los Angeles Metro, students experienced the city as Angelenos do, through its evolving public transit system, before diving into the heart of downtown.

Union Station – Opened in 1939, Union Station is often called the “Last of the Great Railway Stations.” Its architecture blends Spanish Colonial Revival, Mission Revival, and Art Deco styles, reflecting Los Angeles’s layered cultural identity. Inside, students observed the grandeur of its waiting rooms, tiled floors, and wooden beam ceilings, symbols of a bygone era when rail travel defined urban movement.

Angels Flight – Just a short walk away, Angels Flight, the world’s shortest railway, offered insight into the city’s early 20th-century infrastructure. Originally built in 1901, the funicular once transported residents up Bunker Hill, a neighborhood that has since undergone dramatic redevelopment. Its preservation speaks to ongoing efforts to maintain pieces of Los Angeles’ historic fabric amid modernization.

Los Angeles City Hall & Chinatown
At City Hall, students discussed civic architecture and governance, noting the building’s Art Deco style and symbolic prominence in the LA skyline. Nearby Chinatown provided a contrasting cultural lens, highlighting immigrant histories, urban displacement and the evolution of ethnic enclaves in Los Angeles.

Olvera Street
Often referred to as the birthplace of Los Angeles, Olvera Street immerses visitors in Mexican-American heritage. �þ��� explored its marketplace, murals and historic buildings while discussing the complexities of cultural preservation versus commercialization. The site reflects both celebration and simplification of heritage, an important conversation in art and public history.

Angelus Temple & Echo Park
In Echo Park, students visited Angelus Temple, a striking example of early 20th-century religious architecture and a cornerstone of the Foursquare Church movement founded by evangelist Aimee Semple McPherson. Built in 1923, the temple reflects a blend of revivalist architecture and emerging media-savvy religious practices, as McPherson was one of the first to use radio to reach a national audience.

The surrounding Echo Park neighborhood added another layer to the visit, offering insight into how communities evolve over time. Once a streetcar suburb, Echo Park has transformed into a culturally vibrant area shaped by waves of immigration, artistic communities, and, more recently, gentrification. Together, the site and neighborhood sparked discussion on the intersection of faith, media and urban change.

The Gamble House
In Pasadena, students visited the Gamble House, a masterpiece of the American Arts and Crafts movement designed by architects Charles Sumner Greene and Henry Mather Greene in 1908. Commissioned by the Procter & Gamble family, the home emphasizes craftsmanship, natural materials, and harmony with its surroundings.

�þ��� examined intricate woodwork, custom furnishings, and the intentional use of light and space—hallmarks of the Arts and Crafts philosophy, which emerged as a reaction against industrialization. The visit provided a striking contrast to Wright’s modernism, allowing students to compare different architectural responses to similar cultural shifts.

Looking ahead: Final excursions
As the semester continues, students will expand their exploration of the city’s artistic and architectural landscape with one final site visit.
The course will conclude with a visit to the Walt Disney Concert Hall, designed by renowned architect Frank Gehry. Celebrated for its sweeping stainless-steel forms and innovative acoustics, the building stands as a defining example of contemporary architecture in Los Angeles. Here, students will consider how modern design continues to push artistic and structural boundaries while shaping the city’s global cultural identity.

These excursions bring course themes to life, allowing students to critically engage with Los Angeles as a living museum. From early 20th-century architectural movements to the layered cultural histories embedded in downtown neighborhoods and beyond, each site offers a unique perspective on how art and environment shape one another.

By navigating the city firsthand, students not only deepen their understanding of art history but also develop a stronger connection to LA itself—its stories, its communities and its ever-evolving identity.

The immersive Study USA Los Angeles semester and summer experiences offer students opportunities for alumni engagement, community service, unique academic classes with industry professionals and site-based experiential learning. .

Since his 2023 arrival at Elon, Kelly has hosted a ‘listening tour’ and spent time with each department to hear directly from faculty and staff about what they value. Kelly said that common themes soon emerged from those conversations and the new statement reflects dozens of discussions.

Elon College, the College of Arts and Sciences new vision statement reads: “The Heart of an Elon Education: Ignite Curiosity, Engage Challenges, Transform Worlds.”

The mission statement then declares:

“Upholding the centrality of the liberal arts, we explore and apply disciplinary and interdisciplinary knowledge for inquiry, creativity, discovery and problem solving in a complex and changing world.”

The statement lists core values that include accessibility, belonging, critical thinking, diversity, equity and inclusion, integrity, intellectual curiosity, problem-posing and respect for human dignity.

Community Reflections

• “There were several opportunities for different groups, departments, branches, interdisciplinary programs, to discuss versions on the table. It was in those conversations where we might learn how a word or phrase was heard within and across disciplines; where we found convergence, deeper awareness, and respect. The both-and of this process modeled what we value and genuinely captures our shared identity as Elon College.” – Caroline Ketcham, associate dean of Elon College, the College of Arts and Sciences and a professor of exercise science
• “It was always important to us that this wasn’t a process where faculty were just asked to weigh in at the end, after the real decisions had already been made. From start to finish, it was grounded in listening to what faculty across the college say we do well and what values they believe guide our shared work. Our task wasn’t to invent a mission, vision and values, but to clearly articulate what faculty are already living and leading with. I think that’s why faculty can so readily see themselves and their departments represented in the final statements.” – David Buck, associate dean of Elon College, the College of Arts and Sciences and an associate professor of psychology
• “Having shared goals and articulated values helps everyone in the college feel connected as a community, value each other’s work and prioritize our energies on initiatives that matter to us.” – Shannon Duvall, interim associate dean of Elon College, the College of Arts and Sciences and professor of computer science
• “I appreciated the collaborative nature of it all, not just between the dean’s office and department chairs, but also extending to faculty members across Elon College, the College of Arts and Sciences. It really did involve all of us. What particularly stood out to me were the conversations in our chairs’ meetings with the dean where we came to agreements on core values. It’s inspiring to see that distinctly different types of disciplines uphold the same core values.” – Joel Karty, chair of the Department of Chemistry and �þ���’s Sydney F. & Kathleen E. Jackson Professor of chemistry
• “I appreciated being part of a process that felt genuinely collaborative. Our participation was not merely symbolic. It felt meaningful, and I experienced the dean’s office as truly listening. The process itself was also inspirational, and I feel bolstered in leading my own department through similar work. It was powerful to see such a broad, collective effort take shape into something tangible.” – Samantha DiRosa, chair of the Department of Art and a professor of art and environmental studies
• “The process of creating a new vision statement, mission statement and core values for Elon College, the College of Arts and Sciences was both thoughtful and deeply collaborative. Over many months, department chairs worked together to reflect on what makes us distinctive and how best to express those qualities in guiding statements. The process intentionally sought input from across departments, ensuring that everyone in the college had the opportunity to contribute their perspectives. Personally, the time spent reflecting with fellow chairs on what makes each of our departments special fostered a deeper sense of shared purpose and collective commitment.” – Carrie Eaves, chair of the Department of Political Science and Public Policy and associate professor of political science and public policy

Kelly said he was pleased the final language resonated with the faculty in the college.

“The true measure of a successful attempt to lead a group or an organization towards a renewed vision, mission and core values is whether the words and sentiments ‘sound like us’,” he said. “When I heard that some faculty believed my presentation of our vision, mission and core values at our spring faculty meeting ‘sound like us,’ I knew that our work together in small and large group settings was a huge success. It means that stakeholders were heard and that the words resonate so much so that the tune or melody is familiar. The vision, mission and core values reflect truly who we are and where we are going with much intention.”

The conference, themed “Rooted and Rising: Building an Inclusive and Resilient Future for Dance Education,” begins at 8:30 a.m. and is open to K-12, higher education and private studio dance educators from across the state. Colleagues from Appalachian State University, University of North Carolina Charlotte, High Point University, North Carolina Agricultural and Technical State University, University of North Carolina Greensboro, Duke University and Belmont Abbey College are among those expected to attend.

Caroline Ketcham, associate dean of Elon College, the College of Arts and Sciences, and professor of exercise science, will deliver the keynote address, “It’s Our Day to Be Brilliant: Building Mentally Healthy Habits.”

Six Elon faculty and students will present research at the conference. Associate Professor of Dance Jen Guy Metcalf will present “Moving the Frame: Integrating Dance Film and Photography in the Classroom,” drawing on her Dance for the Camera course from the Elon in LA summer program. She will be joined by Associate Professor of Dance Renay Aumiller, Associate Professor of Art Ryan Rasmussen, Associate Professor of Music Doug Jurs, Adjunct Assistant Professor of Performing Arts Caitlyn Schrader and Assistant Professor of Performing Arts Kayla Higbee who is presenting research with Brooke Goldstein ’26.

�þ��� Antonina Spinello ’26 and Evelyn Ealey ’26 also will present original research. Spinello’s work examines how United States ballet companies responded to COVID-19 and social justice movements from 2019 to 2024. Ealey’s research explores the mental health impacts on Black dancers at predominantly white institutions and aims to spark dialogue about how educators can better support their students.

“This is an excellent opportunity to strengthen our dance community through networking, sharing research and engaging in professional development,” Metcalf said.

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Adam Rozan ‘01 received a 2025 Smithsonian Education Achievement Award, which recognizes an individual employee’s “consistent and outstanding performance in education.”

Rozan, a staff member for the , was nominated for the annual honor based in part on the overwhelming success of the Smithsonian’s Staff Learning Series he developed and continues to lead.

The online lecture and discussion series invites experts from a range of industries and locations to provide professional development opportunities for all Smithsonian employees.

Recent speakers have been experts from OpenAI’s ChatGPT, Meta’s Facebook, the U.S. Census Bureau – even graphic designers and museum curators from Philadelphia and Virginia working on programs tied to the nation’s upcoming 250th anniversary – all of whom discussed trends and audience engagement strategies.

The goal of the series: “To better support staff so they can better serve the public.”

“That’s what I love about this,” Rozan said. “It informs those who are already doing good work. It’s humbling for me to be recognized for trying to make an even better community of peers. That’s what my project is all about.”

Since 2022, Rozan has organized over 50 presentations, attracting more than 100 staff members per session and reaching 1,700 attendees in 2024 alone. The Smithsonian Institution comprises 21 museums, 14 education and research centers, and the National Zoo.

“Adam’s ability to connect with noteworthy speakers and identify resonant topics has enriched our community with new ideas and diverse perspectives,” Monique M. Chism, the Smithsonian’s Under Secretary for Education, wrote when announcing the annual awards.

Rozan graduated from �þ��� in 2001 with a degree in studio art. He launched his career with Boston’s Museum of Science and has since served institutions such as the Worcester Art Museum, Oakland Museum of California, Harvard Art Museums and the Boston Children’s Museum.

Rozan was named to the 2023 BlooLoop Power 10 Museum Influencers list, a top honor for those in the field.

Join us for the Art Department’s Fall Open House! Get hands-on by creating ceramic tiles, hand binding your own art journal, and screen printing an exclusive Art Department T-shirt. Treat yourself to a hot fudge sundae bar as you explore our open studios and admire a showcase of stunning student artwork. Don’t miss this exciting evening at Arts West on Oct. 7, from 5:30 to 7:30!

The opportunity was perfect for Baca who is studying music performance and arts administration with a minor in business administration at Elon.

“The MAC Lima is the only museum of contemporary art that Peru has,” said Baca. “So, I thought it would be interesting to apply.”

Founded in 2013, the MAC Lima is in the district of Barranco, described as a “traditional, cultural and cosmopolitan district.” Baca said the application process was simple and her dad was able to connect her with someone he knows at the museum.

Art for everyone

Part of her role as an intern is helping to make the museum more accessible to everyone – regardless of socioeconomic status, which includes finding more museum investors. She is also working to foster relationships with the nearby University of Engineering and Technology, bringing more students to the exhibits.

“Most of these students don’t even know they can come to the museum for free, which is amazing. We lack a strong museum culture in Peru,” said Baca. “In our museums, you will find few Peruvians, while in the Metropolitan Museum of Art in New York City, there are a lot of New Yorkers.”

The first in her family to study abroad, Baca chose Elon because of the Department of Music in Elon College, the College of Arts & Sciences.

“We have a lot of talent in Peru, but there are not a lot of opportunities,” said Baca. “I knew if I wanted to study music, I had to leave. One day I went to Google and typed in ‘best colleges for music’ and Elon popped up. I applied, visited and even met my now current voice teacher Polly Cornelius.”

‘Elon has become a part of me’

After her visit, Baca said she knew Elon was the right choice.

“I had a picture in my mind about what I want my college to look like, with the green areas and the feeling of a second home. I remember I got to Elon, and it felt like a family environment,” she said.

While she does sometimes miss the hustle and bustle of Lima, Baca said her transition to quieter Elon has been smooth. The education she is receiving has also prepared her well for the MAC Lima internship.

“Elon has become a part of me,” she said. “I wanted to support my music career by studying arts administration and those few arts administration classes that I have taken; they have helped me in my internship. I feel prepared and I’m always looking for more.”

The internship opportunity has opened even more questions for Baca, who could see herself getting a similar opportunity in the U.S.

“I’m really excited about this internship,” she said. “I can’t wait to do an analysis later about how a museum in Peru works versus how a museum or even an opera house operates in the U.S.”

While Baca still has some time before she graduates, she has her goals set on eventually going to Europe and performing in operas.

Jillian Shor ’24 stands beneath her handmade chuppah — a canopy used in traditional Jewish weddings that symbolizes the homes created by new families — in the center of Gallery 406 at Arts West. Held aloft by oak limbs foraged from Elon’s campus, a multi-colored, multi-textured patchwork quilt represents the intersectionality of her identity she came to know and name while at Elon.

“My goal was to better understand myself and the facets of my identity, how they are connected and separate, and ground myself in that,” said Shor, who will pursue a master of arts in art education at the School of the Art Institute of Chicago this fall. “I’m Jewish, I’m queer, I’m intersex, I have a chronic pain disorder: There are things you don’t see just by looking at me, and I’m navigating how I show those to the world.”

Shor is one of nine seniors graduating with degrees through the Department of Art whose senior thesis works are on display at Gallery 406 through commencement. �þ���’ works range in media, from Shor’s patchwork fabrics, to paintings, sculptures, papier-mâché and street-art collages, to interactive mixed-media displays.

These works are the result of a painstaking, yearlong journey taken by each student graduating with a bachelor of art or bachelor of fine arts degree. That journey allowed them to find themselves and their creative voices through the art program’s senior thesis. The two-semester thesis process mirrors those found in master of fine arts programs, with mentored research and multiple rounds of required critiques from faculty and peers throughout before they exhibit and then defend their thesis in front of a committee.

“They constantly navigate all of this sometimes very disparate feedback. It helps them think deeply and be very clear in what they want to create and achieve,” said Samantha DiRosa, professor and chair of the Department of Art.

“This combination of studio art and academic research prepares them for future careers as professional artists or graduate study in the arts,” said Assistant Professor of Art Ryan Rasmussen, who led this year’s senior seminar.

It’s more than an academic and pre-professional exercise. The deep reflection allows space for Elon students to refine their values, express hidden emotions and define themselves.

Megan Spina’s “People Pleasing” begins whimsically. The observer steps through a portal of refrigerator doors into a small room filled with armor, chainmail and pulleys that reveal soft images like a reclining fawn, alluding to the fawning trauma response that leads to people-pleasing.

Emily McCarthy explored her experience as a survivor of sexual assault through a series of works that reflected the stigma and trauma women experience after being assaulted. The centerpiece is a sculpture of shattered glass surrounded by sketches of 90 women representing the 90 percent of sexual assault victims who are female.

Danny Gutierrez, an Odyssey Program scholar and Communications Fellow majoring in art and communication design, is a first-generation college student and is Mexican-American. He reflected on his gender transition, the freedom LGBTQIA+ people find in nightlife and spaces they create themselves — even as gentrification threatens to eliminate those spaces — into a sequence of pieces overflowing the gallery’s northeast corner. “Cuerpos 23-24” features a door, a wall of flyer- and graffiti-inspired art with wry phrases overheard at clubs, and a Mexican flag scrawled with the words, “I want you to know how I feel.”

“I use my work to remind myself there are spaces that exist in the world for me, and they allow me to connect with other intersectionally identified people,” Gutierrez said. “I chose public art because marginalized people have space insecurity, and I want to make art that’s accessible to them. All of my work is about community.”

Rasmussen reflected on the growth he observed in Gutierrez and the department’s eight other seniors graduating May 24.

“What impressed me most was their ability to articulate the conceptual underpinnings of their work and situate it within contemporary artistic discourses,” Rasmussen said. “Their work challenges viewers and expands the boundaries of what constitutes art.”

In recognition of that dedication, Rozan was recently , a top honor for those in the field.

Rozan, who serves as director of programs and audience development at the Smithsonian’s National Museum of American History in Washington, D.C., made the most of his four years at Elon. He took full advantage of the wide variety of classes and experiences that the college has to offer and cultivated relationships with both students and professors.

“Elon provided me with an open opportunity to learn and to explore,” said Rozan.

He graduated from Elon with a degree in studio art and although he did not have a specific career path in mind, he knew he wanted to move to Boston and leverage what he had learned in pursuing his degree to land a role in a museum. Once in Boston, he found an open position responsible for welcoming visitors to an exhibition on Ancient Egypt at Boston’s Museum of Science, and it became clear to him that he had uncovered the path he was meant to follow.

Through the early stages of his career, Rozan greeted visitors, worked in admissions, and enhanced guest experiences.

“This experience, and others, of working on the museum floor, greeting visitors, selling admission tickets, and setting up programs, was invaluable and provided me with one of the most critical educations I could receive about museums and museum work,” he said. “My recommendation to anyone: understanding your job is knowing what it’s like on the factory floor, at the sales counter, or interacting with visitors during their visit to the museum.

His work ethic and dedication guided him to institutions such as the Worcester Art Museum, Oakland Museum of California, Harvard Art Museums and the Boston Children’s Museum, culminating in his current position at the Smithsonian’s National Museum of American History.

Rozan now has a deep appreciation for the importance of museums, and what they contribute to communities. He also emphasized the role that museums serve as a third place, a space that fosters social connections and a sense of belonging beyond the realms of home and work.

Rozan is a pioneer for audience engagement in museums through his advocacy for making museums a better place to work and a better part of the communities in which they exist, both inside and outside of their walls.

“I believe museums exist for the public,” he said. “It is a profound responsibility to be a museum; our work can and should impact the communities we serve.”

Rozan has presented his findings across a variety of platforms, including Harvard University’s extension school’s museum studies program, where he’s lectured and taught courses in audience engagement. Additionally, he is a founding member of the International Audience Engagement network and an international advisor to the CoMuseum in Athens, Greece, and lectures on the topic across the world.

His latest project is the Museum Glossary, a resource for the museum community that can help facilitate collaboration across institutions. The glossary contains over thirty in depth explanation of museum vernacular, developed entirely by industry experts.

“It’s a shared language for our industry that is rooted in audience, and would help people work better with one another,” Rozan said. “If we can’t talk to one another and be on the same page, how can we solve these problems?”

Along with his recognition as a 2023 Blooloop Power 10 Museum Influencer,  Rozan was also highlighted on BlooLoop’s list of .

“I found my interest and I pursued it,” Rozan said of his achievements.

Jansen heard about this audition in an unusual way. Instead of finding the notice on popular casting websites, they received an Instagram DM with the information from their friend and fellow Elon student Ella Huestis ’25.

The junior musical theatre major submitted the self-tapes, digital files of their performances that were requested by casting, and received a callback, which is an invited audition.

“I got a request to come in-person to Manhattan to meet the creative team, the director, the choreographer and audition for them,” Jansen said. “I was very nervous. I was supposed to fly out to London to study abroad with my class, and I had to cancel my flight because my audition was the same day, and the audition went very well.”

Now, they’ve booked their first Broadway show while still pursuing their degree at Elon.

“How to Dance in Ohio” is a new musical based on an award-winning HBO documentary that follows seven autistic young adults at a group counseling center as they navigate adulthood and prepare for an upcoming spring dance.

“I think what’s really cool is that the seven autistic characters are played by seven actual autistic actors,” Jansen said. “Additionally, the understudies and swings included are also on the autism spectrum.”

Jansen hopes young people on the spectrum will know they can be proud of who they are and not have to hide it. “I hope this production will showcase how there is no one way to be or “look” autistic. It affects every person differently,” they said.

“I always thought in order to be successful in the performing arts industry I would have to downplay or ‘mask’ my autism since it is widely misunderstood,” Jansen added. “Being in a room of people just like me not only onstage but on the creative and technical team is such an honor. You don’t have to try to be someone you’re not, you can just be you.”

Jansen is a “principal swing,” which means they cover multiple roles and are on standby to perform if needed. Sometimes swings have scheduled performances if a principal actor has an approved personal day. Often, swings find out they are “on” the day of the performance and, if necessary, they might hop into one of their roles halfway through a performance.

Being a principal swing comes with its homework. Jansen used a preparation worksheet from their music theatre performance course with Brian Kremer, associate professor of music theatre and Music Theatre Program coordinator, to prepare for the audition.

“There was this wonderful worksheet with questions that we were supposed to do when we would get up and sing in front of our peers in class and I did that worksheet for the audition,” Jansen said.

Jansen said their experience so far at Elon has helped prepare them for their work on Broadway. “One thing I’ve loved about going to college is getting to lean into the things that I know I’m very good at but also getting to explore the things that I’m not good at and push myself out of my comfort zone,” Jansen said.

Jansen also cited their dance for the musical stage course with Assistant Professor of Performing Arts Alexandra Warren and an auditioning class with Adjunct Assistant Professor of Performing Arts Michael Tourek as instrumental in landing their spot on Broadway. In describing the class, Jansen said, “we talked about, where do you stand? Where do you look? How do you exit the room? And those little things all helped me.”

Jansen’s path to their first professional show began early, as they grew up going to the dance studio. At the age of 13, they were preparing for their first professional show at Ford’s Theater in Washington, D.C., surrounded by other child actors. This was a great way to start putting themselves out there to work in the professional industry.

“I’ll never forget that because it was the moment where I was like, ‘I definitely could see myself doing this my whole life,’” Jansen said. “In the back of my mind, I always wanted to do theater, no matter if it was Broadway or arts, the performing arts, my whole life.”

In addition to their busy schedule as a music theatre student, Jansen is taking classes in Spanish and Arabic in the World Languages & Cultures Department at Elon. Jansen’s diverse interests translate into broad and varied career goals.

“My goal career-wise is to have a long career in the performing arts, whether that be onstage or offstage,” Jansen said. “I love choreography. I love writing. I think being involved in the industry would be great. I would love to teach when I’m older, perhaps at the regional or collegiate level, but I think that’s a long way away.”

As they work toward the premiere of “How to Dance in Ohio,” Jansen said that they have realized that if you’re so focused on extrinsic or external gratification, it will not serve you as an artist.

“You just have to believe in yourself as an artist,” they said. “I mean, I’m a swing and 99% of the population doesn’t know what that means.”

“How to Dance in Ohio” begins previews on Nov. 15 and opens on Dec. 10 at the Belasco Theatre in New York City.

On Oct. 12, Daw joined a panel of art professors from an array of higher education institutions to discuss the intersection of technology and contemporary painting. His presentation included research topics such as Jean-Francois Lyotard’s “Differend” and concepts of the post-modern sublime as described by Thomas Weiskel and later by Jeremy Gilbert Rolfe. To conclude his presentation, Daw made connections between these research topics and his own studio work.

SECAC is a nonprofit organization that promotes the study and practice of the visual arts in higher education on a national basis. SECAC facilitates cooperation and fosters ongoing dialog about pertinent creative, scholarly and educational issues among teachers and administrators in universities, colleges, community colleges, professional art schools, and museums, and among independent artists and scholars.