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Some of the details are so minute that the Hood Museum provides magnifying glasses so that visitors can see them all as they are transported to mid-18th century Venice, from the well-known sites such as the Grand Canal to imaginary landscapes. The Hood Museum’s exhibition “Canaletto’s ‘Vedute’ Prints” captures the complete collection of etchings created by Italian landscape artist and “grand master painter” Giovanni Canal, better known as “Canaletto.”
Students spilled onto the floor the Hopkins Center’s Bentley Theater to watch Saturday and Sunday’s productions of “Too Much Light Makes the Baby Go Blind,” a rapid fire production of 30 plays in 60 minutes adapted by the College’s Displaced Theater Company.
Make a film about transgender prostitutes of color in Los Angeles on a shoestring budget. Now make it only using the iPhone 5s, but give it a big screen look. This basket of ingredients would sink most studios, but it was an invitation to greatness for director and writer Sean Baker, whose “Tangerine” (2015) stands as a monument to the indie genre and a middle finger to the cinema giants just miles down the road in Hollywood.
In 60 minutes, “Too Much Light Makes the Baby go Blind” will cover material from the College’s slang to the recent change in international student financial aid policy. Ariel Klein ’17 and Naomi Lazar ’17, both members of the Displaced Theater Company, are producing the series of 30 skits in 60 minutes.
In trying to make banjos a presences on campus, Reed Sturtevant ’16 cofounded College Folk Society in addition to performing with the Rude Mechanicals.
In preparation for their Friday, Oct. 16 performance at the Hopkins Center, The Knights — a Brooklyn, New York-based orchestra collective — will have a five-day residency at the College, meeting with students, visiting classes and local schools and performing with student groups.
Bass and drums are generally thought to be paired with guitars, not pianos, but The Bad Plus counters that idea with lively jazz that relies on a piano-drums-bass trio. The outfit originally consisted of pianist Ethan Iverson, bassist Reid Anderson and drummer David King, but the three are currently collaborating with saxophonist Joshua Redman.
During her time at the College, actress Talene Monahon ’13 was involved in a number of theater productions, including “Angels in America” in 2012 and “The Rocky Horror Picture Show” in 2010. During her senior fellowship, she wrote, produced and acted in “All in Good Fun,” a one-woman play about the social scene at Dartmouth.
Since Steve Jobs’ death in 2011, we have entered a post-Jobsian landscape, where films such as “Jobs” (2013) and “Steve Jobs: The Man in the Machine” (2015) are presented like fleurs du mal upon his gravestone, simultaneously tarnishing and mythologizing Jobs’ status in technology. Each director aims his cinematic arrow at Jobs’ Achilles’ heel, his supposed inhuman side, to portray the brute behind the black turtlenecks. Based off Walter Isaacson’s 2011 eponymous biography, Academy-Award winning director Danny Boyle’s 2015 biopic “Steve Jobs” adds yet another conflicted chapter to the Jobs canon, peeking behind the Wizard of Cupertino’s curtain to explore the backstage drama of this luminary in the rimless glasses.
The improv comedy group Casual Thursday will have the chance to take their act to a bigger stage this week. The group, which generally performs in Greek houses and other social venues on campus, will be performing in Bentley Theater on Thursday as part of the theater department’s “Your Space” program that aims to bring non-majors into the Hopkins Center.
The combination of jazz, rock and traditional Latin American cumbia, may sound like a discordant combination, but the members of La Santa Cecilia, a Los Angeles-based quartet, combine these forms and more into Grammy award-winning music.
When Katie Schultz ’16, now Sugarplum’s co-director, auditioned to join a dance group her freshman fall, she had a hard time choosing which to join.
The first of two visiting faculty exhibitions — which together will feature works by the 14 visiting professors that have taught at the College since the opening of the Black Family Visual Arts Center — opened in the Strauss Gallery on Sept. 22nd, director of exhibitions and studio art professor Gerald Auten said. It features the work of professors Sarah Amos, Paul Bowen, Ariel Freiberg, Hein Koh, Julie Puttgen, Edward del Rosario and Jessica Tam.
With “Gravity” (2013) and “Interstellar” (2014) firmly dominating the epic extraterrestrial disaster genre, it is a suicide mission to enter their orbit for fear of entering that black hole of comparison. Director Ridley Scott takes on this challenge with his “The Martian” (2015), based on Andy Weir’s eponymous 2011 novel and crafts a light-hearted thrill-ride with enough pace and levity to escape the genre’s event horizon.
A small television sits next to a stack of playing cards. Nearby, an Andy Warhol print of an electric chair hangs near a wooden stag’s head. A marble bust is displayed on an old, cracked cabinet, and on the wall there is sketch of a dancer by John Singer Sargent.
Contemporary comedians have increasingly explored political and social issues. From comedian Amy Schumer’s critiques of popular culture) to “The Daily Show” (1996) correspondent Aasif Mandvi’s social commentray a range of topics from religion to relationships have been worked through in comedy. Iranian-American comedian Zahra Noorbakhsh explores how politics intersects with comedy in her one-woman show “All Atheists are Muslim,” which she performed on Friday at the Hopkins Center.
On a rainy night, the middle of the Green is devoid of noise or activity save for some stragglers headed to their residence halls and the sound of rain on gravel. And then — a light flicks on in the distance. The previously empty rotunda at Hopkins Center glows under a warm lamp. In the space where during the day there was only a blank wall, is a painting.
Some people hate reading Shakespeare in high school. Some people love it. Some people love his works so much that they want to bring his words to life on stage. Avery Feingold ’17, president of the Rude Mechanicals, falls into the latter category.
As the fall term continues along, so does the process of student groups welcoming in new members. While all groups have their own rituals and traditions for how they bring new members into the fold, theater and improv groups use a mix of classic methods like wakeups and crazier tactics — think a trip to Everything But Anchovies and bowling.
With the 2013 arrest and incarceration of Federal Bureau of Investigation fugitive James “Whitey” Bulger, the notorious crime boss of Boston’s Winter Hill Gang, his canonization as a mass criminal and escapee had begun. This story finds its altarpiece in Scott Cooper’s “Black Mass” (2015). Based on the 2001 book “Black Mass: The True Story of an Unholy Alliance Between the FBI and the Irish Mob,” the film becomes a hagiography to Bulger and his empire, whose puppet strings stretched over all of South Boston from the 1970s to the 1990s.