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Multimedia artist Jordan Ann Craig’15, a studio art and psychology double major, has spent her time as an artist pursuing printmaking and painting. In 2017, she received the H. Allen Brooks Travelling Fellowship and was able to travel to London, Venice, Amsterdam and Cork.Currently stationed in Cork City, Ireland, Jordan has been building up her portfolio as an artist-in-residence at Cork Printmakers.
Jordan Craig ’15 uses a variety of mediums, including printmaking, for her art.
Owen O’Leary ’19 is taking his acting skills behind the scenes this term as he directs “Tragedy: A Tragedy,” a student production that will perform from Nov. 9 to 11. While O’Leary has performed and assisted with many shows while at Dartmouth, this production will be his first time directing.
“You can only actually help someone who wants to be helped.”
Viewers can see Mink’s exhibition at the Jaffe-Friede Gallery in the Hopkins Center.
Painter Lucy Mink, whose exhibit opened on Tuesday, is this fall’s artist-in-residence. Known for her contemporary exploration and manipulation of the modernist style, Mink’s work has earned critical acclaim.. Mink is the recipient of a 2012 grant from the Pollock-Krasner Foundation in New York, and was awarded the 2007 Best of Show from the BAG Gallery in Brooklyn, New York. Born in Oakland, New Jersey, Mink now resides in Contoocook, New Hampshire.
Can a moped inspire change? Concept artist Eric Van Hove says yes.
Walking into Yorgos Lanthimos’s film “The Favourite,” a film that is a part of this year’s Telluride at Dartmouth film series, I knew very little other than that the film was a historical drama featuring actress Emma Stone. I expected a typical historical drama, overplaying archaic customs to pander to the audience’s desire to get a glimpse of what we, in the 21st century, romanticize Europe to have been like hundreds of years ago: exaggerated British accents, dainty china sets and constant tea parties, dabbing at tears with handkerchiefs and the like.
The Hood Downtown, the Hood Museum of Art’s temporary exhibition space, closed on Sept.13 after a send-off reception that included talks by John Stomberg, the director of the museum, and a showcase of what is to come with the new museum building.
Hilarious, thoughtful and unwavering, pop culture critic Michael Arceneaux’s memoir “I Can’t Date Jesus” tackles the awkward and sometimes painful realities of growing up over the course of 17 essays.
Starting this Friday, the Hopkins Center for the Arts will screen seven films featured at the annual Telluride Film Festival, beginning with “Can You Ever Forgive Me?” and ending on Sept. 20 with “Free Solo.”
In the upcoming 2018-19 season from the Hopkins Center for the Arts, performances will examine a common theme of global diaspora and the idea of “home,” said Rebecca Bailey, publicity coordinator and writer for the Hop. Many of the guest artists will demonstrate unique and commonly underepresented experiences and identities through shows that range from multimedia dance performances to stand-up comedy.
A working-class woman meets an outrageously rich man, and they fall in love in much to the derision and outrage of the man’s family (mostly his mother).
In last week’s review for “Raiders of the Lost Ark,” I described “Star Wars” as the behemoth that towered over the “cinematic psyche” of my childhood. I wasn’t exaggerating. Even now, few films elicit a Pavlovian nostalgic reaction as effectively as a “Star Wars” film does.
Fedora. Bull whip. Leather jacket. Snarky smile. “Trust me.”
Last week, Travis Scott treated fans to the release of his long-awaited new album, “ASTROWORLD.” This marks Scott’s third studio album, a project that has become the subject of hype since its initial announcement two years ago. The success of Scott’s previous two albums, “Birds in the Trap Sing McKnight” and “Rodeo,” only served to heighten the anticipation. The project’s title serves as an homage to Six Flag’s now-defunct AstroWorld theme park, a staple of Scott’s homecity of Houston, Texas. The album is arguably just as much fun, as Scott creates an unorthodox universe in which trippy beats go head-to-head with spacey tracks that send listeners through the cosmos. The feature list is stacked, filled with big names, little names and guys you’ve probably never even heard of. Rest assured though, they’re all fire. The production is just as diverse, with collaborations from veterans of the industry veterans including Mike Dean and Metro Boomin’, as well as breakouts like Turbo and Tay Keith.
The pitch meeting for “Mamma Mia! Here We Go Again” (artistic liberties taken):
As I prepared to write this review, it occurred to me that “Ant-Man and the Wasp” is the fourth Marvel Cinematic Universe film I’ve reviewed since the beginning of the year. To phrase it another way, the MCU is 10 years old and already has produced twice that number of films and a myriad of shows on Netflix, ABC, Hulu and Freeform. Add on top of that the travesty that is the DC Extended Universe, as well as films like “Incredibles 2” that don’t fall into either franchise, and it’s fair to say that the superhero genre has reached a saturation point. However, there seems to be a misconception among the uber-fanboys of the genre that any mention of this saturation point is to cast a pejorative light on all recent superhero fare. To be clear, the problem is the overall quantity, not the quality of the individual films. In fact, most of these films, on their own terms, are decent, and the same goes for the MCU’s most recent release, “Ant-Man and the Wasp.”