Blog – Special Collections & The Gallery

Extra, Extra, Read All About It!

The Archives and Special Collections Center has received some important editions to the collections from the Family of Franklin Matthew Rogers ’41!

Franklin Matthew Rogers, known as Buck, attended Seton Hall Prep before Seton Hall College. He graduated in 1941 in Business and received the following snippet in the 1941 yearbook:

“Dr. King’s right arm in government class. His remarks were in as good taste as his clothes”.

We are particularly excited about:

Setonians

Because of the Great Depression (1929-1939) and World War II (US: 1941-1945), copies of the Setonian are scarce in the Archives. We are now able to add not only additional copies to the years we already have but include copies we have not had before such as 1939 April 21; 1939 May 5; 1940 May 3; 1941 February 14; 1941 April 25; and 1941 May 16! Stay tuned as we continue to digitize our Setonian collection.

Seton Hall Alumni Servicemen’s News (Alumni Bulletin)

This was a monthly bulletin that was sent out to Seton Hall alumni in military service. It contained information about alumni as they went off to train and to different bases around the world. Included are excerpts of letters written to the editors which mention snippets of their lives in the military.

“12” Club

Organized in 1937, this organization would invite about ten percent of the graduating class to join. Members were accepted because of their active participation in things concerned with Seton Hall, specifically the Athletic Association and the Knights of Setonia.

These items among the program for the Junior Class play titled “Forty-One on the Run”, programs for the Junior Promenade for the Class of ’41, and athletic programs, add invaluable documentation to collection that record student life at Seton Hall.

Need a Starting Point?

All projects need a starting point. Feel free to download these files for your own 3D modeling and printing of moveable type! I only ask that you let me know how it goes and share what you have done as well.

If you need any assistance accessing the file, please email jacquelyn.deppe@shu.edu.

The Cursed L

Creating your own 3D printed movable type printing press can cause some unexpected problems.

Even when everything is built to plan, exported correctly, and sent to the printer, there are still issues. For my project this manifested in printing the letter “l,” which often failed to print completely. Even with the successfully completed l’s there were still irregularities. While the print was functional, I was still curious as to what was going wrong, why the PLA was not adhering to the build plate and why the skirt (which is part of the build plate adhesion process) was intersecting the print. This issue has been a case study in how many ways a print job can fail.

The first issue which was part of build plate adhesion problem was a blob effect. According to Dremel FAQ’s:

“Why is the filament blobbing on the build platform?

This may be the result of a build failure or a poorly constructed file. The building process may have been interrupted by the computer disconnecting, or by removing the SD card/USB flash drive during the building process. Run the Dremel Test Print to verify that your printer is working correctly, allowing the print to finish completely before disconnecting it.”²

But even though there was a blob, it seemed to have started with an adhesion issue which is a common and reoccurring problem throughout this project. Research about this problem yielded many results, tips and tricks from different sources. According to Autodesk Instructables, poor adhesion could be due to the heat of the build plate which for PLA should be about 60 degrees Celsius.¹ Suggestions to help adhesion include using painter’s tape, a layer of Elmer’s glue, and even hairspray!

Other suggestions even included ensuring the extrusion temperature was appropriate. It needs to be hot enough to push out enough plastic and cold enough to solidify and adhere to the build plate. But if it was too hot then it could not cool, not adhere, and ultimately be dragged around. For PLA this temperature should be around 200 degrees Celsius.¹

In another source from 3D Printing – StackExchange, a thread titled Reasons for a PLA print not sticking to bed all the sudden? is answered by a user named Trish who mentions factors to keep in mind:

“Have a sufficient surface for the print to stick. A pyramid printed on the tip can’t print properly.

Check the leveling of your bed occasionally and relevel the bed. By removing prints, one can easily unlevel it over time without noticing it.

Clean your print bed from fingerprints and grease every so often. Fats are good separators between the print and the bed. Getting them off with Isopropyl alcohol or other solvents can restore print surfaces in an instant.”³

This is followed by an answer from another user JayCrossler who mentions a time when their printers all had a non-stick issue around the same time and it was “mostly around changes in temperature and humidity – the outside temperature changed inside AC settings/wind-flow, etc.”³

Any one of these were potential solutions to test; however, the next letter that was printed after the first two fails of the letter “l” came out with a new issue which was seemingly under- extrusion. The base printed fine and the letter was completed but there are tiny gaps within the print, leading me to believe it is a case of under extrusion, where the extrusion temperature was too cool making the layer not want to adhere to the previous layer. Or, another likely issue is that after the two failures, the nozzle was still a little clogged.

The next letter after printed better; however, there was a base issue where the skirt was printed into the print itself. Nothing in my settings had changed and I ensured the print was lying flat. Ultimately, I’m not quite sure what is wrong and why there are issues that seemingly come and go. All I can really think of is that it is a print failure that occurs and like other printers, it’s a typical moody printer.

Perhaps we will just have to take the “L.”

BradBuilds. Failed 3D Prints, and How to Fix Them. (n.d.). Autodesk Instructables. https://www.dremel.com/us/en/digilab/3d-printers-faq

Dremel. Frequently Asked Questions. (n.d.). https://www.dremel.com/us/en/digilab/3d-printers-faq

Reasons for a PLA print not sticking to bed all the sudden? (2019 September 6). 3D Printing – StackerExchange. https://3dprinting.stackexchange.com/questions/10980/reasons-for-a-pla-print-not-sticking-to-bed-all-the-sudden

Time Machines: Final Project Results

On Wednesday, April 24h, as part of the 8th annual Petersheim Exposition, our five Time Machines researchers presented their final projects to an audience of their peers, advisors, and faculty. In addition to the presentations, the Archives staff displayed all of the objects that were featured in the presentations.

Pegi Bracaj

Object of Choice: The Miriam Rooney Papers

To tell the story of Miriam Rooney, Bracaj created a three episode podcast entitled “The Echoes of the Archives: Unveiling Hidden Gender Narratives at Seton Hall”. The first episode “delves into the university’s gendered past, from its origins as a male-only institution to its transition to coeducation.” The second episode “explores the often overlooked stories of women within the university’s archives. ” The third and final episode dives deeper into Miriam Rooney herself, uncovering “Rooney’s achievements as the Dean of Seton Hall University School of Law, her academic and professional journey, and her multifaceted contributions to the community.” To supplement the podcast, Bracaj also created a webpage that provides a brief biography of Miriam Rooney and details her collection of papers held here in the Archives. You can view Bracaj’s project here.

Eman Fatima

Objects of Choice: Coin, Mughal Dynasty; Coin, 1/4 Anna

Eman Fatima, who moved to the US from Pakistan at age 16, wrote an op-ed entitled “The Construction of Two Coins: The Past and the Present”. The piece utilizes the two coins as symbols of just how far reaching the impact of British colonization had on and continues to have on South Asia.

Austin DelSontro

Object of Choice: The Setonian Newspapers, 1924-2024

Inspired by the 100th anniversary of The Setonian, Austin DelSontro originally sought to examine the entire Setonian archive, but instead chose to focus his research on The Setonian in the 1960s upon learning the publication was briefly banned in 1964. In his presentation, DelSontro selected a few stories from the 1960s, such as Seton Hall transitioning into a coed institution, the Setonian ban and the protests that erupted as a result, and a retrospective on the 1953 men’s basketball team and their experience at the NIT championship. In addition to his presentation, Delsontro also created his own newspaper in both a physical and digital format. You can view the digital version here.

Collin Doyle

Object of Choice: Journal of Roy Fitzsimmons, 1937-1938

Collin Doyle took the research from the Roy Fitzsimmons’s journal documenting the MacGregor Arctic Expedition and through Mathmatica, produced three-dimensional maps that represent the same part of the Arctic that was traversed during the expedition. In doing so, Doyle illustrated the importance of climate consciousness through the creation of interactive visualizations of sea level rise. Doyle also presented a poster that features direct quotes from the journal.

Hope Mahakian

Object of Choice: WWII Ration Books, 1943

Hope Mahakian, dressed in 1940s inspired attire, presented her video on the history of ration books and how they were used during WWII, followed by her friends’ attempts at recreating popular recipes during the US rationing period. The first half of the video is edited in the style of a 1940’s informercial, while the recipe recreation was done more like a modern day vlog. You can watch the video for yourself here.

Congratulations to all of our student researchers on a job well done, and a special thanks to the Archives staff and faculty advisors for your support throughout this project!

3D Printing the Past (Update)

The FIG project is near completion! This is a project that is aimed at recreating a historic moveable typeface using 3D modeling and printing in connection with a block press to recreate the printing process. The goal is to engage faculty and students in a discussion, where they will be able to recall the steps in the printing process; identify a historic typeface; and discuss how technology can be used to resurrect a typeface.

As the project wraps up, I’d like to share the process.

Working in the Archives and Special Collections Center and having access to numerable examples of different typefaces, I decided to recreate Fraktur one of the oldest typefaces. By researching some different type specimens, my first step was to create an outline of the letters. I printed out a guide and traced the letters making some edits to smooth out shapes and lines, onto paper which I then scanned into the computer.

From there I opened the scan in Photoshop to enhance the contrast of the scan. Using Curves and the black and white eye droppers is a quick way to make the scan into a black and white image while darkening and lightening specific areas. This method is successful when the tracing is clean, no smudging, and crisp lines. Tracing in ink is ideal especially with a superfine tipped marker.

Tracing of the Fraktur letters

Next was to open, or copy and paste, the edited scan in Illustrator. I would suggest opening the document in Illustrator so that you do not have both programs open and running which can cause them to crash. Once in Illustrator you can create a tracing of the edited scan. If all went well with editing the scan in Photoshop then the resulting tracing in Illustrator should yield a nicely rendered set of letters in black and white.
This is an important step because it creates vector shapes. Once you ungroup and delete the unnecessary white space and use the minus function to ensure letters have the appropriate shape cut out so that the O looks like an O and not a black circle. After that, it is time to save the file as an .svg which will then be uploaded to Fusion360.

Fusion360 offers free trials but is free to use for educators and students which is why I selected it for this project. I have also had previous experience using Fusion360 and other Autodesk software which played a part in my decision. In Fusion360, after inserting the .svg and finishing the sketch, select the shape, the letter should highlight, and under the Create tab select Extrude to extrude the shape. Once that is complete, you can add the base by selecting box and adding the box over the letter that has been extruded.

If you traced and scanned the way I did, the letter will be the correct way as opposed to backwards which is what you need. However, do not worry! If you navigate to the underside of your modeling, you will see that the letter is backwards so it’ll all work out in the end.

Once the letter is extruded and the base added, you can select the entire body, right click and hold to select Isolate. Doing this allows you to export the body to an .stl file. If you export without this step, you would export everything in the file. Afterwards, I always do Ctrl z to undo the Isolation.

Computer screen shows DigiLab Slicer program with3D printers in the background of the photo You can find all exported files in your files within Fusion360. Here you can download all the .stl’s. While it’s tempting to go straight to printing, there is another step! At least there was for me as I was using a Dremel 3D printer. Using Dremel DigiLab Slicer you can open the .stl and set up your print. You’ll select the material, specify the quality of the print along with how much infill, build plate adhesion, and generate supports if your print requires it. There is also a mode to customize your print where you get more into the details of 3D printing. With all your details set, which includes orienting the file on the build plate, an important step that you shouldn’t forget. From there you can Prepare Slice followed by saving the file as a .gcode.

Using a USB drive, I plugged that into the printer and selected my file to print. From there the printer does its steps to orient itself and warm up while you’ll want to cross your fingers to make sure it all comes out okay!

The specs of the project will vary depending on a number of factors that are specific to your project such as the size of the letter itself and the size of the box that serves as the base of the letter. I tested a few before I came to the one that worked the best for myself and this project.

I started off small, which proved to be an issue. It is important to remember that 3D printers can only print so small. Small prints, especially those that rely on details, may lose those details in printing. I decided to increase the size to keep that detail. Furthermore, I realized I would be using these pieces in a workshop and having a larger example would be easier to show as opposed to the small one.

Here are my tests and their specs with the how they printed:

Test 1:

- - - Profile: High Speed (34 mm)
    - Infill: 20%
    - Generate Support: Yes
    - Build Plate Adhesion: Yes
    - Status: FAILED
    - Letter: ENTIRE ALPHABET

Test 2:

- - - Profile: High Speed (34 mm)
    - Infill: 20%
    - Generate Support: Yes
    - Build Plate Adhesion: Yes
    - Status: SUCCESSFUL
    - Size:
      - Width: .5 inch (VARIES)
        
        Length: .34 inches
        
        Height: .5 inches
        
        Letter Height: .125 inches
    - Letter: ENTIRE ALPHABET

Test 3:

- - - Profile: High Speed (34 mm)
    - Infill: 20%
    - Generate Support: No
    - Build Plate Adhesion: Yes
    - Status: SUCCESSFUL
    - Size:
      - Width: .5 inch (VARIES)
        
        Length: .34 inches
        
        Height: .30 inches
        
        Letter Height: .125 inches
    - Letter: ONE LETTER

Test 4:

- - - Profile: High Speed (34 mm)
    - Infill: 20%
    - Generate Support: No
    - Build Plate Adhesion: Yes
    - Status: FAILED
    - Size:
      - Width: .5 inch (VARIES)
        
        Length: .34 inches
        
        Height: .30 inches
        
        Letter Height: .125 inches
    - Letter: THREE LETTERS

Test 5:

- - - Profile: High Speed (34 mm)
    - Infill: 20%
    - Generate Support: No
    - Build Plate Adhesion: Yes
    - Status: FAILED
    - Size:
      - Width: .5 inch (VARIES)
        
        Length: .34 inches
        
        Height: .30 inches
        
        Letter Height: .125 inches
    - Letter: ONE LETTER (FILLED IN B, HOLES NOT PRESENT)

Test 6:

- - - Profile: High Speed (34 mm)
    - Infill: 20%
    - Generate Support: No
    - Build Plate Adhesion: Yes
    - Status: SUCCESSFUL
    - Size:
      - Width: .5 inch (VARIES)
        
        Length: .34 inches
        
        Height: .30 inches
        
        Letter Height: .125 inches
    - Letter: ONE LETTER C

Test 7:

- - - Profile: High Speed (34 mm)
    - Infill: 20%
    - Generate Support: No
    - Build Plate Adhesion: Yes
    - Status: FAILED
    - Size:
      - Width: .5 inch (VARIES)
        
        Length: .34 inches
        
        Height: .30 inches
        
        Letter Height: .125 inches
    - Letter: ONE LETTER (FILLED IN B, HOLES NOT PRESENT)

Test 8:

- - - Profile: High Speed (34 mm)
    - Infill: 20%
    - Generate Support: No
    - Build Plate Adhesion: Yes
    - Status: SUCCESSFUL
    - Size:
      - Width: .5 inch (VARIES)
        
        Length: .5 inches
        
        Height: .5 inches
        
        Letter Height: . 5 inches
    - Letter: ONE LETTER B (BUILT DIFFERENTLY IN FUSION360)*
      - *Extrude the sketch which already had the holes.

Final:

- - - Profile: High Speed (34 mm)
    - Infill: 20%
    - Generate Support: No
    - Build Plate Adhesion: Yes
    - Size:
      - Scale Design: 3.5
        
        Width: VARIES
        
        Length: 1.75 inches
        
        Height: .5 inches
        
        Letter Height: .5 inches

Undergraduate History Internship Opportunity: Fall 2024

Student Opportunity: Seton Hall Archives & Special Collections Internship

Level: Undergraduate (Two positions available)

Mentor: Quinn Christie, Public Services Archivist

Project:

The student with an interest in archives will learn modern archival best practices, including physical rehousing, metadata description, and digitization.

The student will work under the Public Services Archivist on various tasks which may potentially include:

· Applying arrangement and rehousing best practices

· Working with a variety of format types and applying skills based on need of item

· Describing collections in ArchivesSpace and applying controlled vocabulary

· Flagging items in poor condition and creating unique housings for certain materials

· Digitizing materials for use in a digital exhibit

Learning Outcomes:

The student will learn:

· The benefits of item rehousing and recognizing common agents of decay

· To act on appraisal decisions and ethically dispose of archival materials

· To apply best practices for storing, describing, and digitizing materials

· About principles of digital curation and the production of digital exhibits

· About theory related to archival arrangement and description

Daily Work Schedule: flexible during 9-5, M-F schedule

To apply: Please send a resume and brief cover letter addressing your interest in the position to quinn.christie@shu.edu.

Please note: Registration in HIST 4710 is required for this internship. Contact Sara Fieldston to register for this course. Email: sara.fieldston@shu.edu

3D Printing the Past

A black Speedball black press, a gray inking plate, and a Speedball brayer.

Working in the Archives and Special Collections Center, we showcase historically significant print materials to visiting classes who have made these visits part of their curriculum. Implementing a printing demonstration and an opportunity for students and faculty to get involved with the printing process itself will bring a new form of learning into the space and a new way to engage and appreciate the items before them. A Faculty Innovation, or FIG grant, now makes this possible.

Over the years I have had the pleasure of attending Rare Book School out of the University of Virginia in Charlottesville, Virginia, which proved to be part of my inspiration for this project. Just this past summer I saw a working reproduction of an eighteenth-century press which is typically given the name of Franklin Printing Press since it is believed that Benjamin Franklin used something similar. I saw the metal moveable type that was laid out, how the ink was applied, how the paper was arranged, and the strength needed to press the paper onto the moveable type. The entire process made me wish I could requisition a press to be built, procure trays of moveable type, have ink balls, quality paper, and ink.

But that would require thousands of dollars, so the question became how can I do this without spending that amount of money? How can I make it portable? And how can I share the results with others?

My project was born. I decided to take one the earliest typefaces to bring back to life by using emerging technology of the 21st century. This project utilizes Photoshop and Illustrator from Adobe Creative Campus in connection with Fusion360 and a Dremel 3D40 printer which uses PLA filament. Additionally, this project uses a Speedball Block Press and brayer along with an inking plate. I will be using the Archives and Special Collections blog to share updates, tips and tricks, successes and failures so that the process can be expanded and even improved upon by others interested in creating a similar project.

While this project is aimed at becoming an interactive component to class visits in the Archives and Special Collections Center for faculty and students, I also get to practice and refine my skills in Photoshop, Illustrator, and 3D modeling while learning about the 3D printing process. And ultimately, I get to take my first steps in faculty scholarship and in crafting a unique learning experience for the community.

As part of this grant, I have been asked how this project can be implemented within the curriculum. Metal moveable type and the printing press, even the digital aspects of this project, relate to many different subject areas as I will outline below but can apply to much more.

Typography and Graphic Design
Since typography is focused on learning about letterforms and words as design elements as well as the historical roots which goes back to Gutenberg this project would be an addition to these learning objectives. As would it be to graphic design where students are focused on creative, conceptual, and practical aspects of graphic design and advertising.

Book History (History of Books)
This project will allow exploration into the process of how books were made focusing on the materiality of the book. It will allow further conversations into materials and even marks of book use and ownership.

Ethics
Much like we have plagiarism policies in place today to discourage the stealing and appropriation of someone else’s work as your own, a similar issue was around during the time of the printing press. Printers would merely obtain a copy of a work that is selling well and print it for themselves.

Education
The printing press led to an increase in books and printed items. Those who wanted books no longer had to rely on scriptoriums to hand-copy books and could now obtain them more easily. With a new influx of books being produced at a rapid pace, educational standards improved. More people learned to read and write while laws were created to ensure people received an education.

Ideology
Did you know Hitler banned Fraktur in a 1941 statement? According to the document the font was believed to have Jewish ties and was therefore banned. While this document was most certainly typed on a typewriter, the idea is the same. The printing press allowed people to share their thoughts more freely and spread their ideologies faster.

3D Technology
This project would not be possible without the use of 3D technology of the 21st century. There are many different applications in which 3D technology can be utilized, not just to replicate typefaces to explore printing press and history but to scan and have objects available for viewing digitally. Furthermore, it allows the development of digital skills in a digital realm where there seems to be very few limitations.

Communications
The printing press revolutionized mass communication. Where the world once relied upon oral traditions and the slow pace of a scriptorium, there was now the printing press which could print multiple pages at a time.

These are just a few examples of how this project can be used to start discussions in different subject areas that are part of the curriculum. And when fully developed and operational, the project in connection with displays of items from the archives and special collections that used a similar process when they were initially created will allow visitors to fully appreciate them.

In an increasingly digital world, materiality still has a foothold that can not be replicated. We can read, we can watch videos, but nothing compares to a live demonstration and exploration into the physical process that sparks conversation beyond our primary impressions.

Stay tuned for the next blog update as the project gets underway!

Time Machines: Meet the Researchers!

The Time Machines project, which supports undergraduate research in Special Collections, is off to a great start. The sheer diversity of the projects—podcasts, a map of climate change in the Arctic, even a cookbook —showcase just how diverse primary source-based research can be. Read on to learn more about our student researchers, their proposals, and how their projects are going thus far.

Pegi Bracaj

Object of Choice: The Miriam Rooney Papers

Pegi Bracaj is a political science student with aspirations for a career in law upon graduation. She was drawn to the papers of Miriam Rooney, the founding dean of Seton Hall Law School and the first female dean of a law school in the United States. Pegi decided to expand upon the primary source material by creating a multi-episode podcast series. The first episode will be dedicated to Rooney’s life as based on the archival findings. In later episodes, she plans to “contextualize Miriam Rooney’s accomplishments in the context of the broader legal history, showcasing her influence on subsequent generations of female lawyers”. Through interviews with current female lawyers at Seton Hall Law School, Pegi seeks to connect Miriam Rooney’s life to the ongoing discussion and challenges faced by women in the legal sphere today.

Ashley Skladany

Object of Choice: Collection of 1967 Newark Rebellion Newsclippings

Ashley focused her project on the 1967 Newark Riots and its impact on the campus through two mediums-an academic paper and a podcast. As a technical producer of the Global Current, the official international affairs podcast of SHU’s School of Diplomacy, Ashley will utilize her skills to record and edit a podcast that interviews individuals who attended the university at the time or who were impacted.

Eman Fatima

Object of Choice: Coin from the Mughal Dynasty ; Coin, ¼ Anna

Eman Fatima spent the first sixteen years of her life in Pakistan and describes her interest in history and decolonization stemming from a lack of substantial education on British colonialism (particularly in South Asian countries) in schools’ curriculum. In wanting to explore how colonialism has molded and continues to mold the identity, culture, and daily life in South Asian society, Eman intends to write an academic paper comparing two coins: one from the Mughal Dynasty, and the other from the 17th century amid British rule over India and Pakistan.

Collin Doyle

Object of Choice: Journal of Roy Fitzsimmons, 1937-1938*

Collin came to the Archives upon hearing that the Archives had recently acquired the journal of Roy Fitzsimmons (SHU class of 1937), a physicist and polar explorer who took said journal on the MacGregor Arctic Expedition from July 1, 1937 – October 4, 1938. The goals of the expedition were to conduct a magnetic survey, collect weather data, photograph the aurora borealis and study its effects upon radio transmission, and to explore the area northwest of Ellesmere Island. Collin intends to create a data visualization project incorporating computer algebra systems such as Mathematica to generate 3D maps, as well as contour plots, of the arctic landscapes explored by Roy Fitzsimmons in the late 1930s, with the goal of highlighting the effects of climate change over the last century. Through this medium, Collin seeks to “breathe life into the journal’s observations” while providing commentary on the urgency of climate change and the threat it poses to our society and planet as a whole.

*Journal is not currently available online but is available to view at the Archives by appointment.

Hope Mahakian

Object of Choice: WWII Ration Books, 1943

Hope, a History major, has always been interested in the effects of WWII on the American home front. When researching possible items for this project she came across the WWII ration books but was not initially interested in pursuing them. However, after a trip to the Archives and viewing the object for herself, research questions began to emerge–”Who is or was the person that owned them? What were they used for? What do the different stamps mean? Why were some used more than others?” After discovering that all the ration books were owned by women, who were most likely in the same family, Hope decided to take a more personal approach to this project by creating her own cookbook based on the recipes that were created or became more popular due to rationing. In addition, she intends to also create a short video in the style of a 1940s infomercial, complete with filters and wardrobe choices to create the proper aesthetic, where herself and fellow actors cook the recipes themselves. Through both of these mediums Hope intends to convey what rationing looked like and how it differed across different types of families.

Austin DelSontro

Object of Choice: Setonian Newspapers, 1924-2019

Inspired by the 100th anniversary of The Setonian, Seton Hall’s student run newspaper, Austin approached this project wanting to explore not only how campus life has changed over the course of 100 years, but what has remained the same. Further, Austin’s research will focus on the evolution of writers, the topics covered over the years, and the response to significant cultural/political events over the past 100 years. While Austin’s primary project will be an academic paper, he also intends to supplement a digital component, such as a website or a blog, and use images to illustrate key differences. Austin is also exploring the possibility of creating his own personalized newspaper, inspired by The Setonian itself, to provide a comprehensive overview of his research findings.

Final projects will be shared with the community in April 2024. Stay tuned for more updates—we cannot wait to see how they will turn out!

100 Years of The Setonian

On March 15th, 1924, the first edition of The Setonian was published. In the inaugural article, the author writes about the years-long trials and efforts faced to get the publication off the ground, with the hopes to put forth a periodical that represents the goings on of the student body. “Get behind the paper, and it will live; neglect your duty and it will soon pass into oblivion,” the author implores in the last line to the reader. Now one hundred years later, The Setonian continues to thrive, further and further from oblivion with the inclusion of digital formats. To honor this important anniversary, Special Collections and Gallery have resolved to digitize the entire archives of the newspaper back to this founding issue.

Starting last semester, the archives began to digitize early additions of The Setonian that are currently only available to view via microfilm. In digitizing these files, they will be able to be accessed by not only Seton Hall students and faculty, but the general public as well. You will be able to follow the progress of the project here, as new digital editions will be linked here as they are published. They will also be available through the archives regular research portals Archivesspace and Preservica.

UPDATE: The first 30 years have been digitized! You can access them via Archivesspace here.

Walsh Gallery is dedicating their Fall 2024 exhibition to the centennial of The Setonian. The Gallery will be collaborating with both the Archives and Setonian staff to tell the story of not only The Setonian, but of Seton Hall itself through the last one hundred years by highlighting historic and cultural events on campus and beyond.

Walsh Gallery Presents “Contemporary Spirituality in African Art” January 17th, 2024-May 20th, 2024

cyanotype depicting a young girl in a dress — Tokie Rome-Taylor No Weapon Formed Against Me Shall Prosper cyanotype, 34” x 24”, 2022

The Walsh Gallery at Seton Hall University presents Contemporary African Spirituality in Art. The show is curated by Atim Annette Oton the Director and Curator of Calabar Gallery which showcases contemporary African and African Diaspora artists in three locations. The exhibition features more than 25 artists working abroad and in the United States to collectively address the subject and influence of African spirituality on the world stage. Participating artists include: Seyi Adebanjo, Ron Baker, Vladimir Cybil Charlier, Digi Chivetta, Elvira Clayton, Willie Cole, Antoinette Ellis-Williams, Maurice Evans, Ricardo Osmondo Francis, Geraldine Gaines, Toka Hlongwane, Tenjin Ikeda, Damien Jélaine, Ben F. Jones, brandon king, Grace Kisa, Iyaba Ibo Mandingo, Cassandra Martin, Don Miller, Data Oruwari, Komikka Patton, Dr. Fahamu Pecou, Rosy Petri, Ransome, Sachi Rome, Tokie Rome-Taylor, Erik Olivera Rubio and Ghislaine Sabiti. The exhibition is co-sponsored by the College of Human Development, Culture and Media, Africana Studies, the African Student Association, DEI Committee, International Federation of Catholic Universities, Museum HUE and the South Orange Performing Arts Center.

The exhibition is populated by a wealth of programs including appearances at the opening reception by Her Royal Majesty Queen Mother Dr. Dòwòti Désir, Sêvémo 1st Queen Mother of the African Diaspora, Antoinette Ellis-Williams – scholar, minister, mother, wife, activist, poet artist and professor of Women’s and Gender Studies, and Rashad Wright, author and former Poet Laureate of Jersey City. Other upcoming events include film screenings, curator’s tours and public art projects which will be posted on the gallery’s website – check back regularly for updates.

The opening reception for the exhibition is January 18th, 2024 from 5pm-8pm. You can RSVP to the event here. Please make sure to register for (free) parking prior to your arrival–you may do so at the link here.

Seton Hall University’s beautiful main campus is located in suburban South Orange, New Jersey, and is only 14 miles from New York City — offering students a wealth of employment, internship, cultural and entertainment opportunities. Seton Hall’s nationally recognized School of Law is prominently located in downtown Newark. The University’s Interprofessional Health Sciences (IHS) campus in Clifton and Nutley, N.J. houses Seton Hall’s College of Nursing and School of Health and Medical Sciences as well as the Hackensack Meridian School of Medicine at Seton Hall University. The Walsh Gallery, located on the first floor of the Walsh Library is open 9am to 5pm, Monday—Friday. Groups of 8 or more must register in advance. Admission to the gallery and its programs is free and open to the public.