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Imagine hiking for the first time, with a backpack equaling you in weight, being afraid of the wilderness and leaving your home behind. This sounds like the worst Dartmouth Outing Club first-year trip ever, or the premise of Jean-Marc Vallée’s latest film, “Wild” (2014). If there was a theme at last year’s Telluride Film Festival, it was the survival tale, captured in big hits like “All Is Lost,” “Gravity” and “Tracks.” Adapting Cheryl Strayed’s national bestselling autobiography “Wild: From Lost to Found on the Pacific Crest Trail,” Vallée rides this wave of survivalist success.
The 21st century has left many living through their electronics rather than in real time. Since the Internet is now a person’s go-to advisor on most matters, why not take the physical world of art to the digital?
Feeling nostalgic for 2nd century B.C.? Wondering on what material the U.S. Constitution, Declaration of Independence and the Bill of Rights were written? Look no further than Baker Library’s Book Arts Workshop, where Jesse Meyer, founder of parchment making business Pergamena, will lead a hands-on parchment making event, “Skins to Draw On,” tomorrow.
Beginning tomorrow, the Hopkins Center for the Arts will celebrate the 29th anniversary of its Telluride at Dartmouth program. Six films from the annual festival, now in its 41st year, will travel to Hanover for the event.
The Hopkins Center kicks off its “World War I Reconsidered” series this evening with “An Iliad,” a one-person dramatic reading based on Homer’s epic poem. “An Iliad” is one of several works that will mark the Great War’s centennial anniversary and prompt audiences to consider the war in new ways.
The leaves may be dusted with golden brown, but staff members at the Northern Stage theater company in White River Junction are preparing for a different kind of scenery change. Having outgrown its current venue, the Briggs Opera House, the theater launched a $9 million fundraising campaign in February and plans to begin construction on a new space in October.
With every social movement, an art movement has not been far behind. Suprematism coincided with the years preceding the Bolshevik Revolution; Dada arose from the chaos of the Great Depression and World War I. While these social events have impacted art, the art typically remains representative.
He has been compared to popular comedians like Margaret Cho and Dave Chappelle. He hosted a show on FX for more than a year. But unless you are tuned into San Francisco’s comedy scene, you may never have heard of W. Kamau Bell, who opens the Hopkins Center’s fall season tonight.
From playing street performances in Provincetown, Massachusetts, to attending screenings at the Edinburgh International Film Festival, Dartmouth students engaged in various summer arts activities.
Robert Christgau ’62 is the definitive music critic for rock ’n’ roll. He began his career as a music columnist for Esquire in 1967 and was a music editor at The Village Voice for 10 years. He is best known for publishing “capsule reviews,” or short album reviews, in his “Consumer Guide” columns from 1969 to the present.
“How weary, stale, flat and unprofitable,/Seem to me all the uses of this world!”
Arts and entertainment editor Caela Murphy talked to three Dartmouth students about finding and developing their artistic passions and how Dartmouth has shaped their interests — from digital arts to jazz.
The Hopkins Center for the Arts begins a packed year on Thursday with its “Exploring the Arts at Dartmouth” marketplace, a teaser of the student ensembles, award-winning theater performances, dance troupes, world-renowned vocalists and films it will host this year.
In 2003, James Frey published “A Million Little Pieces,” a gruesome memoir chronicling his rehabilitation from drug and alcohol abuse. It was picked up by Oprah’s Book Club, and held the New York Times bestseller spot for 15 weeks. It was later deemed a literary fraud, accused of embellishment and fabrication. “Confessions of a Ivy League Frat Boy,” written by Andrew Lohse ’12, could perhaps share this fate.
Completing a slate that included performances from the New York Theatre Workshop, Andrew Bird and the Hands of Glory, Hubbard Street Dance Chicago and a documentary screening by filmmaker Ken Burns, the Hopkins Center’s summer programming will draw to a close in the coming weeks as the academic quarter ends. Reflecting back on the term, students, staff and faculty identified a number of highlights across disciplines offered at the Center.
Watching Richard Linklater’s watershed film “Boyhood” (2014) feels like opening a long-forgotten, cobwebbed trunk full of old photos, Pokémon cards and Nintendo games you discovered in your attic. Following the growth of Mason (Ellar Coltrane) from age 6 to 18, the film captures the midnight Harry Potter book releases, the Britney Spears songs and the Razr phones vital to the childhoods of Generation Y. On the way, the film wins viewers over with its honest, moving depiction of the trials and tribulations of growing up.
From July 12 to August 10, a bronze boy wept in the Hood Museum of Art.
A sliver of sunlight gleamed off “Arabesque,” created by Michael Kraatz and Susan Russell of Canaan. The stained glass reflected the reds and greens of the nearby ceramic plants. A small patch of purple flowers had sprung up next to the sculpture, their bright petals contrasting against the rusted steel framing the glass. A small group of bees buzzed around the overturned bird house sculpture a few yards away, made by Campton’s Phil Lonergan.
Tucked between the Black Family Visual Arts Center and the Hopkins Center, the Maffei Arts Plaza was once nothing more than a parking lot and Brewster Hall, a residential space that housed international students. The space is now a hub of public art, where some of the most prestigious art at Dartmouth is displayed. While the College has said farewell to Louise Bourgeois’s “Crouching Spider” and the five Allan Houser sculptures now on display will also leave in May 2015, the plaza maintains one permanent work of art: Ellsworth Kelly’s “Dartmouth Panels.” Five brightly colored, aluminum rectangles will continue to hold their place along the outside wall of Spaulding Auditorium, watching over the plaza as the other works continue to change.
It was sobering experience to sit in a quiet theater and watch as Philip Seymour Hoffman became the beleaguered, chain smoking spy Günther Bachmann in Anton Corbijn’s “A Most Wanted Man” (2014). This film was Hoffman’s final leading role before his tragic death earlier this year, the result of a cocktail of heroin, cocaine and prescription medications. A haunted yet brilliant actor who brought some of film’s most iconic characters to life, such as Truman Capote in “Capote”(2005) and Caden Cotard in “Synecdoche, New York” (2008), Hoffman struggled with drug abuse and alcoholism throughout his life. “A Most Wanted Man” is Hoffman’s swan song, and in its eerie proximity to his own life, the film provides a window into the freighted, enervated and tailspinning psyche of one of our generation’s greatest talents.