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(02/17/25 7:00am)
Across campus, you might notice students trekking through the snow with heavy camera equipment or hunkering down to edit footage in the Black Family Visual Arts Center. To conclude their majors, seniors studying film and media studies must complete “a project related to their experience” in the department, according to the department website. Students can pursue a variety of options for their “culminating experience,” including animations, critiques, research, screenplays and short films.
(02/14/25 7:15am)
In the last week of January, 11 Dartmouth students and one recent graduate traveled to Park City, Utah, to volunteer at the Sundance film festival, the largest independent film festival in the United States.
(02/14/25 7:00am)
If controversy begets conversation, then on Sunday, the Caesars Superdome in New Orleans, La. hosted a performance primed for discussion. The Super Bowl halftime show is meant to appeal to the masses, which is why, for many viewers, Kendrick Lamar’s performance fell short — its dense, politically-charged messaging went against the mainstream audience’s expectations. However, I think the 13-minute set undoubtedly stood as a testament to a storyteller’s showmanship.
(02/14/25 7:10am)
Few films engage with architecture like “The Brutalist” does. In the film, director Brady Corbet does not relegate architecture to the background but instead explores it through the experience of a Holocaust refugee.
(02/14/25 7:05am)
On Jan. 31, the Hood Museum of Art welcomed two world-renowned modern art curators, Sam Bardaouil and Till Fellrath, to Hanover to deliver the 2025 Walter Picard Lecture. The annual talk is part of the Harris German/Dartmouth Distinguished Visiting Professorship Program, an initiative created in 1987 to bring German academics to the College.
(02/10/25 7:00am)
On Feb. 6, University of California, Los Angeles, professor Kency Cornejo delivered the Manton Foundation Annual Orozco Lecture in the Hood Museum of Art. Cornejo discussed her July 2024 book, “Visual Disobedience: Art and Decoloniality in Central America” — a text which explores artistic strategies for “Indigenous, feminist and anti-carceral resistance in the wake of torture, disappearance, killings and U.S.-funded civil wars in Central America,” according to its blurb.
(02/07/25 7:05am)
This article is featured in the 2025 Winter Carnival Special Issue.
(02/07/25 7:00am)
This article is featured in the 2025 Winter Carnival Special Issue.
(02/03/25 7:00am)
In classic SZA fashion, the deluxe version of her second album “SOS,” titled “Lana,” arrived later than expected — a testament to her perfectionism. Although teased to release at the stroke of midnight on Dec. 20, 2024, SZA spent the morning making finishing touches, sweetening the deal by dropping a teaser music video, featuring actor Ben Stiller, for the song “Drive” at the original drop time. It wasn’t until 3 p.m. when my Spotify refreshed and I was finally able to embark on my latest SZA-inspired spiritual journey. A winterim-emptied and situationship-drained receptacle, I sat on a park bench near my home in Florida and pressed play. Dropped two years after its parent album, the deluxe version was well worth the wait. On that perfectly sunny afternoon, I floated away to the tune of the opening flute synths on “No More Hiding.”
(02/03/25 7:05am)
On Jan. 29, approximately 20 people gathered in Still North Books & Bar for a reading from new author Duncan Watson. Watson read from “Everyone’s Trash: One Man Against 1.6 Billion Pounds,” his debut memoir about the “human connection with trash,” he said.
(01/31/25 7:00am)
Robert Eggers’s “Nosferatu” was a skillfully made image of the 1830s in Germany – a predictable victory for the veteran director who spent 10 years on the film. Eggers’s film history boasts immersive, tonal psychological thrillers. Notably, “The Witch” and “The Lighthouse” made him well suited to take on “Nosferatu.” However, when placed outside of Eggers’s repertoire and into that of the series of films based on the original story of “Nosferatu,” his remake fails to make a meaningful addition to the canon despite his promises to provide a feminist interpretation.
(01/31/25 7:05am)
On Jan. 17, “Cara Romero: Panûpünüwügai (Living Light)” opened at the Hood Museum of Art. Curated by curatorial affairs associate director and Hood Indigenous Art curator Jami Powell, the exhibition — a showcase of over 60 photographs spanning more than two decades — marks photographer Cara Romero’s first-ever solo museum exhibition.
(01/27/25 7:05am)
On Jan. 16, comedian Sarah Adelman ’19 performed her comedy show “EGG,” recognized in The New York Times as a “charming coming-of-age stand-up show,” on campus. The one-woman show chronicles Adelman’s life as a “neurotic” personality navigating her path to a career in comedy — from the woes of middle-school awkwardness and parental irritation to life as a sperm bank employee, according to her website.
(01/27/25 7:00am)
On Dec. 18, “Beyond the Bouquet: Arranging Flowers in American Art” opened at the Hood Museum of Art. Curated by Michael Hartman, an associate curator of American art at the museum, the exhibit explores flowers as a medium of connection through time.
(01/24/25 7:05am)
During their four years at Dartmouth, Molly Rouzie ’24 and Krista Schemitsch ’24 pursued distinct paths in their creative practices. Rouzie, a painter who studied studio art and Italian with a minor in art history, has spent years immersed in the arts, both as a student and through various curatorial works. Schemitsch, a psychology major on a pre-medicine track with a minor in studio art, “never thought” she would pursue art formally but “couldn’t see [herself] not doing it” after taking a few courses in the studio art department. Now, as Dartmouth studio art interns, Rouzie and Schemitsch have curated a joint exhibition of their own works titled “I Spy: The Things You See But I Know,” with paintings by Rouzie and drawings and photographs by Schemitsch.
(01/24/25 7:10am)
“Since when do you listen to Bad Bunny?”
(01/24/25 7:15am)
Great dramas make you laugh. Great comedies make you feel. It is rare for a film to balance drama and comedy to the point where the two are so intertwined that they begin to merge, but “A Real Pain” does exactly that.
(01/17/25 7:05am)
Laundry Day — a New York City-based indie-rock band — will perform at Sarner Underground on Jan. 18 at 8:30 p.m. The show will be the band’s second of the new year, following a New York Knicks halftime performance at Madison Square Garden on Jan. 8.
(01/17/25 7:00am)
Hamza Abbasi ’16 is familiar with trauma and tragedy; in the healthcare sector, it often comes with the territory. Abbasi — who currently works as an internal medicine hospitalist at Stanford University Hospital — spent time as a frontline healthcare worker during the height of the COVID-19 pandemic. He compiled a series of lessons he learned from his patients in their final moments and, on Sept. 17, 2024, published those experiences in print. Abbasi’s book, “Wisdom of the Dying,” is an emotionally charged collection of stories chronicling the last reflections of his patients — exploring the roles of positive psychology and medical science in the face of illness and death. The Dartmouth sat down with Abbasi to discuss his background in the medical industry and how his experiences during the pandemic culminated in his book.
(01/13/25 7:00am)
Whether through clubs, ensembles or academic departments, Dartmouth students are given several outlets to engage with the arts. Despite some perceptions of a corporate focus on campus, several creative students continue to pursue art — both professionally and personally — after graduation.
