Rankine insists that the black body often finds itself in a zone of precarity, one bounded by transgression rendering useless all efforts to move forward and keep going:
Constructing a film centered on the question of whether or not life itself is possible is no easy feat.
I wondered what art would look like if this were the standard—blackness in the background and foreground, blackness in the extras you don’t pay attention to and in the main characters you want to be.
Each time I see a black body in a work of art I think of what it carries—death, violence, transgression.
Mothers’ debut album, “When You Walk A Long Distance You Are Tired,” is a welcome assurance that rock music these days has a lot of heart.
Despite its emotive cinematography, “Mojave” ultimately falters due to an overwrought screenplay and mostly ineffectual acting.
Past and present members of the Harvard Opportunes came together for a jam on Nov. 7 that celebrated 35 years of co-ed acapella.
“Hello” has all the features of yet another classic Adele track: arresting lyrics despite their narrative simplicity, smooth production, and impressive vocal delivery.
Dizzying, humorous, and sincere, “Song of A Convalescent Ayn Rand Giving Thanks to the Godhead (In the Lydian Mode)” which runs Oct. 15-Oct. 23 at the Oberon, deftly combines Ayn Rand, Beethoven, migraines, and a multitude of other elements.
In her playwriting debut, director Aislinn E. Brophy ’17 brings stripping to Harvard. Revolving around the struggles of four female strippers, “Crystal’s,” Brophy’s latest production, will run Sept. 25-Oct. 3 in the Loeb Experimental Theater.