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There is nothing more heartbreaking for an art museum than learning of the destruction of a beloved piece in its collection. While paintings can be cleaned using a combination of plaster and resin treatments, restoring broken sculptures is altogether a much more difficult task. Last year, however, a team of conservators from the Metropolitan Museum of Art in New York City used cutting-edge technology that combined computer science with visual art to restore Italian Renaissance artist Tullio Lombardo’s iconic marble masterpiece “Adam” after it collapsed in 2002.
Film professor Bill Phillips, who is a member of the Class of 1971, started his career with an interest in playwriting and several appearances in the Massachusetts High School Drama Festival before shifting to filmmaking. His upcoming film “Sabra” about Vermont printmaker Sabra Fields will be played in Loew Auditorium today and Feb. 16 at 6:30 p.m.
It’s odd seeing a propaganda film nowadays. There seems so little to cheer about in America — what could a director praise? Clint Eastwood’s hagiographic “American Sniper” (2014) lauds the murders of the deadliest sniper in American military history, Chris Kyle (Bradley Cooper), while introducing a brand of colonialist racism reminiscent of the American settlers’ against the Native Americans. This cloying, skewed film plays more like an army recruitment video than a biopic. Coming from the man who spoke to an empty chair at the 2012 Republican National Convention, I’m not surprised.
Big band music and swing dancing will take center stage on Saturday night as the Barbary Coast Jazz Ensemble headlines the 39th annual Winter Carnival Concert in Spaulding Auditorium.
In front of a packed Spaulding Auditorium, 25 students battled to earn one of six finalist spots in the eighth annual Dartmouth Idol competition yesterday evening.
The cold weather calls for a different type of social space, preferably one that involves hot chocolate and coffee. Programming Board’s new Coffeehouse Concerts aim to create this new environment by providing students with a relaxed atmosphere where they can socialize and listen to live music from up-and-coming bands in One Wheelock.
Why are the classics of literature, theater and film subjected to repeated reimaginings and twists? How does a work even qualify as “classic” enough to deserve a new version?
Faces stare out from the walls of the Hood Museum of Art, from a grotesquely elongated and detailed blue face to a woman shooting a water gun directly at the viewer to a series of people mimicking riding a bus, all of whom are portrayed by the same woman. The one thing that connects all the pieces, which come from 18 different artists, is that they are self-portraits, part of the Hood’s “About Face: Self-Portraiture in Contemporary Art” exhibit, which opened at this weekend.
From singing with the Dodecaphonics to producing a mini-opera in Italian for her major thesis, Sarah Nelson Craft ’01 surrounded herself with music during her time at the College, though she did not decide to go into music professionally until midway through. Since then, Craft has sung in Paris and China and has been on “This American Life.” In March, Craft will perform a solo at Lincoln Center.
What does possession look like? Does it entail crawling up walls, becoming a vessel for Satan and vomiting up green slime as in “The Exorcist” (1973)? Or is it subtler, with glazed, absent eyes, isolation and monomania? If “The Exorcist” were set at the Juilliard School, the result would be “Whiplash” (2014). Director Damien Chazelle wrote the screenplay to “The Last Exorcism Part II” (2013), and brings his demonic expertise to this compact gem of perfection.
A bamboo shoot cultivated in illuminated cubicles. A hanging piece of metal that can take on multiple forms. These are just two examples of the work shown in the Strauss Gallery’s newest exhibit “Metamaquette” by studio art professor Zenovia Toloudi.
When Carly Carlin ’15 first began taking dance lessons at five years old, she refused to take ballet classes because she “hated the color pink.” Now, the 21-year-old co-president of Fusion Dance Ensemble has 14 years of classical ballet training under her belt. This Sunday, she led Fusion in a “Your Space” performance at the Hopkins Center’s Bentley Theater.
After a lengthy six-hour audition process and an even longer, nerve-racking deliberation period, the stage is set for the semifinals of the eighth annual Dartmouth Idol competition, which will be hosted in Spaulding Auditorium on Feb. 3 at 7 p.m.
A forgotten art and declining practice, bookbinding is not given the same consideration that it once was now that the age of technology has equipped consumers with the e-book. Factory-bound books, let alone hand-bound books, are no longer a reader’s most convenient option. The practice of bookbinding is on the threshold of demise, and we can only hope that its value as a functional art form will salvage it from the brink.
Dark pulpy water in giant plastic containers was transformed into sheets of off-white and grey paper — some left plain and some covered in bold blue, red and black prints — this weekend in the Hopkins Center as part of the Combat Paper Project.
The new Disney films are like bottled water — they repackage something classic, give it all these bells and whistles and come up with something no better than the original. We shell out our money nonetheless, consuming this trivial drivel as if we are expecting something new. After “Maleficent” (2014) I swore to myself not to see another live-action Disney adaptation, yet some masochistic force or evil fairy godmother compelled me to the theater to see their latest offering, “Into the Woods” (2014).
Karisa Bruin ’05 came to the College wanting to study veterinary medicine but found herself involved in theater and improv. Now, Bruin works as an actress, director and writer, including her latest work, the short film “Broke Juke” (2014) and a series of ads marketing the Affordable Care Act.
Concrete slabs reminiscent of ancient Middle Eastern tablets stand alone in the Barrows Rotunda, the circular glass gallery space that students pass by as they enter the Hopkins Center. These imposing slabs are a part of studio art intern Sera Boeno’s ’14 politically and personally charged piece “Kelimeler Kiyafetsiz (:Words Naked/Are Not Enough.)”
While the student-run radio program “This Dartmouth Life” officially began in the Shakespeare Room in Sanborn Library last September, founder Laura Sim ’16 said that the idea for the program started with an interview she heard where Chicago Public Media’s “This American Life” host Ira Glass talked about achieving dreams. Since its founding in the fall, “This Dartmouth Life” has released one episode and is working on a second.
How do you get somebody to look at a single letter as a picture? How do you get them to see that it has the same value as, perhaps, any image on a wall? Alvin Eisenman ’43, a world-famous graphic designer who died in September 2013, saw each letter on a page as an art form — he believed that a letter should be as “pleasing” and “dynamic” as an independent mark, exhibit curator, instructor at the College’s Letterpress Studio and former Eisenman student Won Chung ’73 said.