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Vibrant, encompassing, kaleidoscopic and free-flowing: these words evoke images from “The Epic of American Civilization,” commonly known as the Orozco Mural. Its expressive richness was typical of the early 20th century’s Mexican muralism movement, spearheaded by Diego Rivera and Orozco himself. Director Jorge Gutierrez’s first animated feature film, “The Book of Life” (2014), brings muralism into the 21st century, creating a bustling, sumptuous 3-D adventure that explodes off the screen.
As if an imaginary fist from behind the frame had punched through the foil of Jack Whitten’s “Birmingham 1964” (1964), a hole appears like an artifact of violence, a documentation of the civil rights movement. The hole is a window, offering a view of an old newspaper photo. A stocking mesh prevents a clear view of the image.
A Saturday concert showcasing varied voices — including current and former members of Gospel Choir, the Rockapellas and Glee Club as well as former Dartmouth Idol participants — will take the place of the Gospel Choir’s traditional fall concert.
Despite Baker Library’s notorious bustle, one cannot help but stop and notice the flashy graphics of World War I posters featured in glass cases along the entrance lobby’s walls. Behind the glass pane, a war-torn figure stands defiant amidst the blaze of a flaming battlefield. In another image, a soldier steps over the corpse of a fallen enemy. Above him, two words capture his unbroken will: “Come On!”
If you ask Google to define “censorship,” this is the result: “the practice of officially examining books, movies, etc., and suppressing unacceptable parts.” What qualifies as “unacceptable,” and why does the definition of “unacceptable” seem to change daily?
The Hopkins Center will celebrate jazz’s classic and vibrant sound on Monday evening when Jazz at Lincoln Center Orchestra, a 15-man touring group featuring nine-time Grammy Award-winner Wynton Marsalis, performs a concert at Spaulding Auditorium.
“This is the year that those / who swim the border’s undertow / and shiver in boxcars / are greeted with trumpets and drums.”
Daniel Adel ’84 is known for his stunning portraitures and hilariously accurate caricatures. Adel has exhibited his work in New York for decades as well as painted portraits of CEOs, university presidents and well-known judges. His illustrations have been featured in the New Yorker and the New York Times, and he drew the Time Magazine cover designating George W. Bush “Person of the Year” in 2004. Adel currently lives and works in Provence, France.
David Fincher’s famous works center around the psychologically perverse, presenting the warpath left behind not by villains donning capes or masks, but by those hiding among us. John Doe (“Se7en” (1995)), Tyler Durden (“Fight Club” (1999)) and the Zodiac killer (“Zodiac” (2007)) are all highly calculating, sadistic and nearly invisible murderers who nihilistically revel in the ensuing chaos. Fincher’s “Gone Girl” (2014) adds another volume to his oeuvre of highly successful thrillers, based off the hit 2012 novel by Gillian Flynn, who also wrote the film’s screenplay. Flynn altered the ending to compel the book’s fans to the theater. I haven’t read the book, which left me blissfully unaware of comparisons and fully gripped by the film.
Combining animation, music and a moving silhouette of her own body, artist Miwa Matreyek tells the story of the earth’s creation in two Friday shows at the Hopkins Center’s Bentley Theater on Friday. With elements both natural and fantastical, the artist will light up the black box theater with an array of images, sounds and dance.
Production and electronic duo Javelin used to bring a collection of painted boomboxes — in addition to all of the regular equipment — to shows. Each tuned to the same frequency, the boomboxes, either tethered outside the venue or placed decoratively onstage, could broadcast the performance live.
Beginning with one of Mozart’s few pieces in B minor and finishing with one of Schumann’s last piano works, world-renowned pianist Richard Goode will perform a program Wednesday evening that spans the 18th and 19th centuries.
Few people have heard of — yet alone seen — water treatment pollution caused by paper mills. Even fewer have seen such damage from the sky and called it art. Yet for world-renowned photographer and current Montgomery Fellow Emmet Gowin, a certain fascination and peculiar sense of beauty comes in the circular blossoms of tropical hues that explode from the seemingly serene water.
Erica Westenberg ’15 is a familiar face at the Hopkins Center. A fourth-year violinist in the Dartmouth Symphony Orchestra and Dartmouth Chamber Music Program as well as a trip manager for DSO’s December trip to Eastern Europe, the group’s first since 2008, Westenberg has been involved in the arts throughout her college career.
With the Strauss Gallery’s transparent glass wall facing the bustle of students making their way to various classes and activities, the gallery’s exhibit of Allan Houser’s drawings and small sculptures immerses viewers in the works of Allan Houser, one of the 20th century’s most prominent Native American artists.
A high-adrenaline avalanche encounter, nature’s pristine splendor and warm scenes of community were among the highlights of the 2014 Mountainfilm screening at the Hopkins Center, which presented attendees with a sense of nature’s power and beauty as well as perspective on those who make their home in the world’s most remote locations.
People tend to use libraries as quiet study spots or places to pick up books for class. Although Dartmouth students don’t typically visit the Howe Library in town, its staff members are working to challenge this notion.
Sparse blue chairs, one table and a door sat on the bare set. Neon programs on chairs near the front of the Hopkins Center’s Bentley Theater warned, “This is an interactive seat.”
On the mezzanine level of the Rauner Special Collections Library stand three unassuming wood cases. Lined with deep blue velvet, each case contains a different story weaved together by letters to and from the renowned poet Robert Frost. The letters, part of the exhibit “Corresponding Friendships: Robert Frost’s Letters,” give viewers a glimpse of the poet’s humanity.
Art is decorative. It is full of carefully planned technique — right? Can art be spontaneous? Can art be part of the everyday?