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Hundreds of celebrities walked the red carpet at the 94th annual Academy Awards on Sunday for the first relatively normal version of the award ceremony since the outbreak of COVID-19. Now more than ever, it seemed like the artists felt freer to express themselves: They were unapologetic in dressing in unique and interesting ways, even blurring the lines of masculinity and femininity. The Oscars highlighted the ambiguity and freedom of fashion under the watchful eye of the public, reflecting a modern acceptance of clothing’s gender fluidity. From fresh takes on the classic “awards ceremony” dress to the experimental and risky, this year’s best dressed at the Oscars were truly some to remember.
After her first experiment with hyperpop in 2016 with the EP “Vroom Vroom,” Charli XCX has been on the cutting edge of new sounds in popular music. Albums like “Charli” (my favorite album of 2019) and 2020’s “How I’m Feeling Now” have been instrumental in bringing the bubblegum bass sound — pioneered by her late collaborator SOPHIE and British music label PC Music — to the mainstream. However, as she releases the final album of her record deal with Atlantic, Charli XCX is trying something new: By her own admission, she’s selling out.
Released to Disney+ on March 11, “Turning Red” took the world by storm. Directed by Domee Shi, the movie follows 13-year-old Meilin “Mei” Lee (Rosalie Chiang) after she wakes and discovers that when she experiences strong emotions, she transforms into a giant red panda, a respected guardian animal in her family’s history. This generational curse and blessing is passed down to every daughter when they come of age; however, it can be permanently trapped in a talisman with a ritual performed during a Red Moon. As Mei struggles to control her new and changing body, she is forced to confront her relationship with herself, her friends and most importantly, her mother.
As we reflect on our last night of production as the 178th Directorate’s Arts editors, we would like to share something meaningful and expressive. We have truly enjoyed writing and editing pieces about the arts on campus and beyond, as this creative sphere allows for special connections between peoples. Art, theater, music, movies and books serve to foster a shared humanity, and we hope that our articles over the past year have reflected this valuable sentiment to the Dartmouth and Upper Valley communities. So, in our last piece as Arts editors, we use music to highlight shared Dartmouth traditions. We hope you enjoy these playlists.
“Euphoria” seduces its viewers with an absurd portrayal of high school. There is something intoxicating about watching these characters ruin their lives, a total inability to look away as their world burns around them while you snack on the couch. Episodes fluctuate between campy teen drama and somber character explorations, each desperately trying to raise the stakes by increasing shock with explicit content.
The Hood Museum of Art welcomed the Upper Valley community back into its space with two new exhibits on Thursday, Feb. 24. The event emphasized the Hood’s community connectivity, according to curator of Indigenous art Jami Powell.
This Saturday, Feb. 26, the Dartmouth Symphony Orchestra will perform in-person at the Hopkins Center for the Arts for the second time since the pandemic began. The performance will feature Gustav Mahler’s “Fourth Symphony” and the “Knoxville: Summer of 1915” rhapsody by Samuel Barber.
Let’s get one thing straight: “Moonfall” is a ridiculous movie. From poster promotions featuring various angles of a gigantic moon, to its absolutely wild explanation of what the moon “really is,” to its effective, self-descriptive title, “Moonfall” is a showcase of the dramatic excess that characterizes apocalyptic movies. The film demonstrates what happens when disaster director extraordinaire Roland Emmerich has fun.
Hood After 5, an event marketed as “for students, by students,” took place Friday, Feb. 18 in the Hood Museum of Art. Museum Club members spotlighted works from the “This Land: American Engagement with the Natural World” exhibition, set up art-making activity stations and provided live entertainment for student attendees.
The Dartmouth theater department’s MainStage production for the winter term, the rock musical “RENT,” opened on Feb. 18, marking the first time that the show has been produced at Dartmouth. The two-act musical, written and composed by Jonathan Larson, follows a group of impoverished Bohemian artists in their twenties living in the 1980s amid the AIDS epidemic in New York.
On Thursday, Feb. 17, The Manton Foundation’s annual lecture on “The Epic of American Civilization” murals by José Clemente Orozco featured Luis Vargas Santiago, a Mexican art historian and curator. Santiago’s talk in the Hood Museum of Art’s Gilman Auditorium examined how Mexican revolutionary Emiliano Zapata has been depicted in Orozco’s work and in Mexican history.
Sylvie Benson ’25 is a singer and songwriter who will be playing one of the lead roles in the theater department’s upcoming production of “Rent.”
This Saturday at 7:30 p.m., the Hopkins Center for the Arts will host the Dartmouth College Wind Ensemble in Spaulding Auditorium as they perform a variety of pieces from the 2020 Dartmouth Wind Ensemble Composition Competition. Among this musical selection will be the world premiere of two compositions: “Journeys III,” composed by Quinn Mason, and “Cerro y Nube,” composed by Eduardo Aguilar. The performance was arranged by Wind Ensemble Director Brian Messier and features both student performers and musicians from the Upper Valley community.
Anaïs Mitchell — along with band partners Josh Kaufman and Eric Johnson, the three of whom make up Bonny Light Horseman — will perform today at 8 p.m. in Spaulding Auditorium at the Hopkins Center for the Arts. Mitchell will kick off the show playing original songs from her past albums and hit musical, “Hadestown,” and midway through the performance, she will be joined by Kaufman and Johnson, according to Hop program manager Karen Henderson.
This past Friday, the Hopkins Center for the Arts screened “Red Rocket” for a nearly full audience of students and community members. The celebrated film studio behind the movie, A24, released the dark comedy in December 2021, which was directed by Sean Baker (best known for his previous film, The Florida Project). Set in a Texan town on the Gulf Coast, “Red Rocket” centers on aging former porn star Mikey Saber (Simon Rex) as he returns to his hometown, Texas City. Desperate and penniless, he arrives at the house of his ex-wife, Lexi (Bree Elrod), and despite some hesitation, she eventually lets him stay and soon rekindles their romance. Mikey settles into a rhythm in Texas City — running a weed business out of a local donut shop, biking around the town and driving to strip clubs with his awkward younger neighbor, Lonnie (Ethan Darbone).
This article is featured in the 2022 Winter Carnival special issue.
This article is featured in the 2022 Winter Carnival special issue.
This Friday, the Hopkins Center for the Arts will present “Welcome to Indian Country,” a collaborative performance of both song and stories. Co-commissioned by the Hop, the show features 10 songs performed by a group of six Indigenous artists.
Reading “The Love Hypothesis” feels like gaining all the perks of graduate school without actually having to attend a university. Author Ali Hazelwood creates a fake relationship between cheery Olive Smith, a Ph.D. candidate at Stanford University, and standoffish Adam Carlsen, a tenured professor and MacArthur Fellow. When Anh, Olive’s best friend, starts dating Olive’s former fling, Olive attempts to show that she is unbothered. Olive tells Anh that she’s also dating someone, and to prove it, Olive kisses the first man she sees: Adam. To her surprise, Adam then proposes the idea of “fake-dating” for their mutual benefit. Adam can project the image of having “roots” at Stanford so his department will stop expecting his departure after the completion of his research, and Olive can keep up her lie to Anh. The cliche of fake-dating, while drastically overused, still finds a way to my heart each time.
On Feb. 9, the Hood Museum of Art will host a talk with Cara Romero, moderated by curator of Indigenous art Jami Powell. Three of Romero’s pieces — “Kaa,” “Oil Boom” and “Water Memory” — are currently on display in two exhibitions in the Hood: “Unbroken: Native American Ceramics, Sculpture and Design” and “This Land: American Engagement with the Natural World.”