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The Ethelbert Cooper Gallery of African & African American Art opened Tuesday night at the Hutchins Center for African & African American Research after a discussion with curators David Adjaya and Mariane Ibrahim-Lenhart, moderated by Henry Louis Gates.
The Ethelbert Cooper Gallery of African & African American Art opened Tuesday night at the Hutchins Center for African & African American Research after a discussion with curators David Adjaya and Mariane Ibrahim-Lenhart. The Pigozzi Contemporary Art Collection will be on view October 21, 2014 through January 8, 2014.
Students involved in the arts on campus expressed excitement at the newly proposed ‘Theater, Dance, and Media’ concentration.
Employed as a court painter by four successive Spanish monarchs and beloved for his flattering paintings of aristocrats and intellectuals, Goya was also gifted with a perceptive eye for human nature and the sociopolitical changes of his country, as suggested by his sometimes mordant lithographs, prints, and etchings.
The role and power of the haiku as a form of poetry has been the subject of significant debate since its introduction to the West. On Oct. 16, Native American poet and academic Gerald Vizenor added another voice to the discussion.
University President Drew G. Faust and several art specialists agreed on the importance of art museums on university campuses at a panel discussion Thursday afternoon.
BachSoc’s Oct. 10 concert, while containing some shining moments of musicianship, was a somewhat ragged affair and fell somewhat short of the ensemble’s usual brilliance.
“Tempo,” which will run from Oct. 16 to 17 at the Harvard Dance Center, showcases a variety of musical genres and modern dance styles, including classical, jazz, and contemporary.
Chris Thile is a 2012 MacArthur Fellow and mandolin player for the bluegrass quintet Punch Brothers, as well as the acoustic trio Nickel Creek.
In her last three studio albums, Carter has displayed unique vision and curiosity by exploring the stories of her ancestors and reinterpreting them through her own musical lens.
What is the role of violence and shock in poetry today? Or, as English professor and critic Stephen Burt asked at the “In Extremis” poetry panel Oct. 1, “What does a poet gain or lose by having blood all over the page?”
Ranging from coffee mugs to Thanksgiving turkey plates, Brandl's work boasts compelling scenes set in the artist’s Midwest childhood home that poke, prod, and unsettle the viewer with their piquant historical allusions, terse humor, and sharp social commentaries.
As a dancer in Boston Ballet II, Kiernan-Linn is in the studio weekdays from 9:30 a.m. to 6:30 p.m.—a schedule that will only become more hectic as Boston Ballet begins its performances at the end of October.