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Combining animation, music and a moving silhouette of her own body, artist Miwa Matreyek tells the story of the earth’s creation in two Friday shows at the Hopkins Center’s Bentley Theater on Friday. With elements both natural and fantastical, the artist will light up the black box theater with an array of images, sounds and dance.
Production and electronic duo Javelin used to bring a collection of painted boomboxes — in addition to all of the regular equipment — to shows. Each tuned to the same frequency, the boomboxes, either tethered outside the venue or placed decoratively onstage, could broadcast the performance live.
Beginning with one of Mozart’s few pieces in B minor and finishing with one of Schumann’s last piano works, world-renowned pianist Richard Goode will perform a program Wednesday evening that spans the 18th and 19th centuries.
Few people have heard of — yet alone seen — water treatment pollution caused by paper mills. Even fewer have seen such damage from the sky and called it art. Yet for world-renowned photographer and current Montgomery Fellow Emmet Gowin, a certain fascination and peculiar sense of beauty comes in the circular blossoms of tropical hues that explode from the seemingly serene water.
Erica Westenberg ’15 is a familiar face at the Hopkins Center. A fourth-year violinist in the Dartmouth Symphony Orchestra and Dartmouth Chamber Music Program as well as a trip manager for DSO’s December trip to Eastern Europe, the group’s first since 2008, Westenberg has been involved in the arts throughout her college career.
With the Strauss Gallery’s transparent glass wall facing the bustle of students making their way to various classes and activities, the gallery’s exhibit of Allan Houser’s drawings and small sculptures immerses viewers in the works of Allan Houser, one of the 20th century’s most prominent Native American artists.
A high-adrenaline avalanche encounter, nature’s pristine splendor and warm scenes of community were among the highlights of the 2014 Mountainfilm screening at the Hopkins Center, which presented attendees with a sense of nature’s power and beauty as well as perspective on those who make their home in the world’s most remote locations.
People tend to use libraries as quiet study spots or places to pick up books for class. Although Dartmouth students don’t typically visit the Howe Library in town, its staff members are working to challenge this notion.
Sparse blue chairs, one table and a door sat on the bare set. Neon programs on chairs near the front of the Hopkins Center’s Bentley Theater warned, “This is an interactive seat.”
On the mezzanine level of the Rauner Special Collections Library stand three unassuming wood cases. Lined with deep blue velvet, each case contains a different story weaved together by letters to and from the renowned poet Robert Frost. The letters, part of the exhibit “Corresponding Friendships: Robert Frost’s Letters,” give viewers a glimpse of the poet’s humanity.
Art is decorative. It is full of carefully planned technique — right? Can art be spontaneous? Can art be part of the everyday?
Among New Hampshire’s impassive woods and within sight of Dartmouth’s drowsy Green, the country zest of some of Nashville’s finest hits twanged and rang out in the upper level of the Hopkins Center for the Arts on Tuesday evening. Transporting his songs from the glitz of radio hits that made them famous, singer-songwriter Rivers Rutherford ripped and crooned his songs, popularized by country icons Brooks and Dunn. Without the flamboyant pretenses of a groomed superstar, Rutherford struck a small, intimate crowd with a candor and rawness that his pop staples rarely see.
Those of you who weren’t on campus in the summer may have noticed an extra dose of cute in Hanover – the Howe Library installed two Little Free Libraries over 14X.
As musical director of the Rockapellas, co-president of the Glee Club and an actress in many of Dartmouth’s main stage and student-run productions, Emma Orme ’15 is a familiar face around campus. The theater major and French minor is immersed in the arts inside and outside of the classroom.
As the lights of the Hood Museum auditorium slowly brightened, applause swelled through the intimate setting. A beam of light focused on one woman, dressed in all black, who stood at the front of the room.
Last week, artist-in-residence Sonya Kelliher-Combs spoke about how growing up in Alaska, discovering a passion for art in college and struggling with self identity have influenced her artwork.
The sad clown character originated in 17th-century France with Pierrot, a tragically naïve lover. An emblem for the lonely sufferer and struggling artist, the character appeared on Europe’s stage for three centuries.
Pierrot’s struggles are born anew — and doubled — in director Craig Johnson’s new dramedy, “The Skeleton Twins” (2014), his second feature-length film.
Lured by music, free T-shirts and gorgeous weather, students congregated on Gold Coast lawn for the Programming Board’s “Fallapalooza” concert on Friday evening. Student band The Euphemisms opened with a set influenced by funk, reggae and alternative rock, while professional acts Grizfolk, Oh Honey and RDGLDGRN played a mix of alternative rock and indie pop.
Jan Seidler Ramirez ’73 is chief curator and director of collections for the National September 11 Memorial and Museum in New York City. An American studies scholar, she has curated, researched and managed major collections in Boston and New York for the past 30 years. The Memorial Museum, which opened in May, recently celebrated its millionth visitor.
Though the apartment overlooks the Manhattan skyline, the cocktail party feels airless. The guests wonder aloud, just where is David Kentley?
Filmed in real time with the illusion of a single take, Alfred Hitchcock’s “Rope” (1948) continues to enthrall viewers with its murder-mystery. The film is one of eight included in the Dartmouth Film Society’s “The Long Take” series this term, which celebrates the difficult cinematic technique of filming scenes — or whole movies — without cutting.
Jumping straight from tuning to playing, bassist John Clayton treated an audience of a dozen students, music professors and community members to an original movement spliced with excerpts of a Koussevitzky concerto during his recent Hop Garage performance.