As the year draws to a close, it comes time to reflect, or maybe in the case of 2016, to forget.
“We have statues to pee on,” says one of the characters, a Harvard student, while encouraging another to hurry up in “Little to Do with Anything.” Kirkland Drama Society’s newest production—its annual, very loose adaptation of a Shakespeare farce—is a version of “Much Ado About Nothing,” relocated to Cape Cod and set a week before graduation.
Harvard College promises its undergraduates a liberal arts education, but under its online course catalog, departmental classes are categorized under four distinct headings. The widespread ingrained sense of division between the arts and sciences traces back to popular ideas about brain lateralization: The left hemisphere processes logical information, and the right hemisphere, creative. But what of the students interested in studies that fall within the intersection of disciplines?
On Nov. 6, Record Hospital—the underground music department of WHRB, Harvard’s FM radio station—hosted musicians in Holden Chapel to perform for a local audience from all over the Boston area.
Despite the international acclaim her sculptures receive for their sociopolitical implications, Doris Salcedo identifies solely as a maker of art. “I am an artist,” she said at the press preview of her new exhibition at the Harvard Art Museums. “I am not a political activist; I am not in social justice. I am an artist: That’s all I am and all I want to do.”
Students in Spanish 126: Performing Latinidad process through the yard on Monday as a part of a performance piece exploring experiences of Latinos in the United States. The procession made stops around Harvard Yard for a poetry reading, a coordinated spoken word piece, and other acted performances commenting on anti-Latino discourse in the 2016 presidential election.
One of Winslow Homer’s most striking works, “Summer Night,” has arrived at the Harvard Art Museums, on loan from the Musée d’Orsay until July.
“Embodied Absence: Chilean Art of the 1970s Now” is a new exhibition at the Carpenter Center for the Visual Arts, but one might encounter pieces from it, such as Luz Donoso’s “Señalamientos con cuerpo estrecho” (Signage with Narrow Body), while taking a walk through Cambridge. This is not the exhibition’s only unconventional aspect—it also largely involves performance art.
Students and local residents flooded into the Harvard Art Museums’ Menschel Hall on Tuesday to learn about the theme of mourning in Colombian artist Doris Salcedo’s work.
The concert, billed as “A special tribute to Steven Stucky,” indeed provided a fitting commemoration to the contemporary American giant while also doing justice to the works of the other composers featured on the program.