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As the University moves towards restructuring, faculty have begun to dive into the specifics and started discussing amendments that need to be made to the faculty handbook. On March 28 at 2 p.m., the faculty met in The Heller School for Social Policy and Management room G04 to review and debate motions to alter the faculty handbook prior to sending them out for a faculty vote this coming week.
Feb. 24, 2025 marks three years since Russia launched its full-scale invasion of Ukraine. For the past three years, Ukrainian civilians have been fighting against Russian forces, striving to protect their freedom, their families and the future of their nation. Throughout these three years, Brandeis students and faculty have been holding events to share Ukrainian stories, ensuring the war’s impact remains relevant and present within our community.
The Brandeis Division of the Creative Arts is stepping up and launching a fundraising campaign in an attempt to save the beloved Lydian String Quartet. Founded in 1980, the Lydian has been a staple of the Brandeis arts community for the past 45 years. In addition to performing all over the world, the musicians serve as Brandeis professors, imparting their knowledge onto the next generation of creatives at the University.
If you’ve visited the Rose Art Museum this past semester, you may have encountered the beautifully abstract artworks of British-Mexican artist, Leonora Carrington. From her sketches to her paintings, Carrington’s surrealistic pieces transport viewers to new realms, constructing alternate realities where our world is blended with the unimaginable.
In 2016, I, like most other teenagers of the time, realized that the apparent key to fitting in — the so-called “missing piece” in the puzzle of adolescent chicness — was an unassuming white sneaker: Nike’s iconic Air Force 1. Once this registered, suddenly, they were everywhere I looked — at my school, at the local grocery store, stacked neatly in the cubbies where students had to store their shoes before my martial arts lessons. Sheepishly, I bought a pair for myself and vowed to never admit that there was a time prior to my ownership of them — and I certainly acted like it.
Currently on exhibition at the “Musée d’Orsay” of Paris is a collection of late 19th and early 20th century posters, advertisements and music all centering around the works of art found in the street. Art in the street is one of the most important art forms to our public consciousness. It is an art exhibited to the public with no separation from our quotidian lives. It is a part of our lives in support of what we experience, media that increasingly coalesces with our steps, our work, our commute, and places itself in our community. The Orsay Museum has taken the opportunity to revisit such advertisements to show certain mutable aspects of street art.
On March 12, I attended the opening of the post-baccalaureate art exhibition in Dreitzer Gallery. This exhibition features four incredible artists. I was lucky enough to chat with them about their work to gain some inspiration and insight on their process and to ask them each about my favorite piece of theirs.
There’s been a lot of discourse surrounding the state of irony in popular media. I think this surge in interest about irony — in contradistinction with an interest in being ironic — is related to the perceived death of authenticity in popular media.
On March 7, faculty members held a meeting in the Rapaporte Treasure Hall to further discuss the University reorganization plan that the Senior Associate for Faculty Affairs, Prof. Joel Christensen ’01 (CLAS), introduced during the faculty’s Feb. 28 special meeting. The meeting agenda included memorial minutes for Prof. Arthur Holmberg (THA) and researcher Robert Dunigan as well as an address from Interim President Arthur Levine ’70.
Following Saturday’s performance of “Intractable Woman” the Department of Theater Arts hosted a talk between investigative reporter Matthew Kupfer ’12 and Russian journalist Elena Kostyuchenko titled “The Legacy of Anna Politkovskaya and Journalism Today.” It would be remiss not to mention that Kupfer has extensive experience covering stories in Eastern Europe and the United States at the global and local levels. Both Kostyuchenko and Kupfer asked each other questions and answered inquiries from the audience.
In March of this year, the permanent collection of the Musée National d’art Moderne — the National Modern Art Museum — of Paris closed its doors for five years. Consecrated as the Centre Georges Pompidou, this modern art museum has housed a large collection of avant-garde art from the early 20th century since 1977. The Pompidou center represents the history of the avant-garde in Paris and the promulgation of modern art as a national art form. Such a closing of a historic collection has been disheartening to say the least. Despite the varied personal opinions of modern art, there is no denying the historical impact of this art style as a social movement.
Every week with increasing volume tells us this: higher education is in trouble. It is too expensive. There aren’t enough students to go around. Schools are going to close. And those that remain will be different from what they were before. People aren’t sure they should spend four years of their life learning things they can’t apply to jobs that might not be there when they’re done.
“Wrap it up” was the prevailing chant among Brandeis University library union staff, students and other university employees during a March 5 rally. Around 30 attendees gathered outside the Bernstein-Marcus Administration Center to express their continued support for the library union, which has now been in contract negotiations for eight months. The union is seeking safeguards to protect its employees’ future as it claims the University seeks to contract out work “without any restrictions.” Additionally, they are seeking a contract that prioritizes salary adjustments that account for inflation and the rising cost of living in the Greater Boston Area. The March 5 rally aimed to add pressure onto the administration. The previous contract, originally expiring in June 2024, has been extended multiple times while the union’s bargaining unit and the University work toward an agreement on fair terms. While the union acknowledges some progress since its Jan. 23 rally — particularly in discussions around its demand for structured pay increases over time — it remains concerned about the university’s approach to outsourcing union work.
On Tuesday, Feb. 25, Interim President Arthur Levine '70 held a town hall to discuss his plans for the University. With approximately 40 students present, the town hall began with the Brandeis Jewish Bund handing a copy of their list of demands to Levine — originally shared during a Feb. 5 vigil — and shaking his hand. The President pocketed the paper without reading it and began the meeting. A request was made that no recordings be taken of the event to honor students' privacy.
Following months of observation, discussion and planning, Interim President Arthur Levine ’70 recently announced his plan for the future of the University, splitting academic programs into four different “buckets” with individual leadership teams. On Friday, Feb. 28, the faculty held a special meeting to receive a presentation regarding the evolution of the University, following conversations that have taken place over the past month.
On a quiet side street 10 minutes from Cambridge’s bustling Central Square, a vivid blue humpback whale and its soon-to-be dinner of solemn-faced krill is painted against a backdrop of dizzying purple Fibonacci spirals. The mural, “Cetacean Spiral,” is the brainchild of East Medford-based muralist Sophy Tuttle, whose work primarily centers around themes of human-nature relationships.
The fog, the slog, the mess of it all. I left it behind. With increasing frequency, I curse my naïve decision to move back East. You see, I grasped idle, quiet, undisturbed perfection for a little over a decade without knowing it. I curse my own ignorance. How could I have looked onto that endless horizon and not recognized its beauty? How did I breathe the aridity of that fine desert air and dream of breathing in clouds of self-importance? I walked into the wilderness this break and felt my own vanity vanish into the Western air. This is Peace.
As visitors step off Boston’s breezy streets and through the shadowed entryway of the WNDR Museum (pronounced ‘Wonder’), their attention is immediately drawn to the softly illuminated flowers winding around the space’s jet-black walls that cast warm light onto them below. The flowers, drawn by children of museum employees using technology to upscale and project, are part of an installation titled “WNDR Flowers,” according to the general manager, Giancarlo Natale. In the hallway beyond, mirrors stretch from floor to ceiling, doubling the luminous effect and drawing visitors deeper into the museum’s curated dreamscape. It’s a playful introduction to what awaits, a space that not only displays art but indirectly showcases ongoing debates around the meaning of creation in an age of machine learning and digital tools.