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With a proposal for new general education requirements in consideration and a search for a new dean underway, the College of Arts and Sciences is embarking on an era of change, and this board cautions the University not to rush too many changes at once.
Paul Hockenos, author of the book “Berlin Calling: A Story of Anarchy, Music, the Wall, and the Birth of the New Berlin,” spoke at Brandeis in a conversation with Prof. Sabine Von Mering (GER) on Tuesday. Hockenos spoke about Berlin’s punk music scene and how it changed the city before and after the fall of the Berlin Wall.
Students took a hands-on approach to fine art last week, helping the 2017 to 2018 Ruth Ann and Nathan Perlmutter Artist-in-Residence recipient install his latest creation, “Plunder.”
Bright strokes of color extend across unstretched canvas, overlapping in loud, sporadic strokes. Simple pedestals dot the floor, displaying equally brightly painted statues — a TV, a face, a pair of feet. A large doorless file cabinet, Pepto-Bismol pink, stands in the center of an enclave. On another wall, a small collage of pamphlet advertisements sits among a collection of cartoons in various states of refinement. These are some of the things you might see when you first enter the Rose Art Museum’s solo exhibition of New York artist Joe Bradley.
REVIEW — Brandeis’ sketch group Boris’ Kitchen is one of the few performing companies that I enjoy and continue to return to. Their jokes don’t land every time, but I always end up laughing harder than I expect to going in. There are usually a few jokes in each show that kill. Comedy is subjective, of course, so take my opinion with a grain of salt. There were quite a few scenes where I didn’t laugh out loud. I would only smirk at a joke while the rest of the room would boom with laughter. It’s just how I react to most comedy that doesn’t match my style. Yet, oddly enough, Boris’ Kitchen still entertains me. The cast is full of contagious energy, and the joy they bring to their audiences is commendable.
In response to recent symbolic protests, hate speech and natural disasters, a panel of prominent Brandeis community members gathered with students and faculty on Tuesday to speak with them in an open forum about their reactions.
Tanking. The word carries with it much controversy. Some view it as taboo, a despicable strategy that should not even be spoken of out loud, while others view it as the new “normal” in attempting to cobble together a championship roster. Tanking is the art of intentionally building a team of below-average, usually young, players in the hopes that a miserable season will land the team high draft picks in the next season’s amateur draft.
The United States is in the middle of a debate about memorialization: whether a monument is art or history, and how the way a society honors its past affects it in the present, a panel of scholars asserted at an event on Sept. 19.
On behalf of the Undergraduate Curriculum Committee, Dean of Arts and Sciences Susan Birren, Senior Associate Dean of Arts and Sciences for Undergraduate Education Elaine Wong, Profs. Tory Fair (FA) and Bulbul Chakraborty (PHYS) and Alona Weimer ’18 presented the draft of the new General Education Requirements to the Senate and took questions from Union members.
Clarification appended.
‘The Play that Goes Wrong’
This past Wednesday, the Kniznick Gallery in Epstein had the privilege of hosting a very compelling speaker: Sachiko Akiyama post-bacc ’00, a New Hampshire-based artist whose solo exhibition “Long Hand Poem” is currently displayed in the gallery.
Art rooted in the political is not a new trope. Even in the time of the Old Masters, it seems like the political climate of the time seeped into each painting. Whether it requires the decoding of colors (a martyr in a painting, for example, clothed in the colors of the governing power — think Francisco Goya’s “The Third of May 1808”) or a figure’s striking resemblance to a monarch, art is latent with political opinions, some more obvious than others. There is nothing inherently negative about political art. However, what is negative is using politics as a crutch to make art relevant and reassert the importance of art — the ‘political explanation.’ With the Museum of Fine Art, Boston’s new installations, “Seeking Stillness” and “Mark Rothko: Reflection,” which spans the Linde Family Wing for Contemporary Art, the Museum falls prey to the ‘political explanation,’ weighing on the wonderful works shown.
“mother!” is one of those good movies that is simply impossible to like. Ironically, this is due to a quality that would, in most situations, make a movie beloved — that quality being superb direction. The trouble is that when you allow a director with as twisted a mind as Darren Aronofsky, a man who has such a distinct ability to realize his visions, to go out and direct his own screenplay about the relationship between a young wife and a poet as insane as the auteur director himself, the result will inevitably be a terrifying film that is barely worthy of a first viewing.
Chamonix
No. 8 Mark Rothko (American (born in Russia), 1903–1970) 1964 Oil, acrylic, and mixed media on canvas *National Gallery of Art, Washington, Gift of The Mark Rothko Foundation, Inc., 1986.43.139 * © 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York *Courtesy National Gallery of Art, Washington *Courtesy, Museum of Fine Arts, Boston
TINY DETAILS: Anruo Wang’s ’18 collection of work is detailed and striking, showcasing a different style than most of the other works exhibited.
“A picture is worth a thousand words,” and, as proven by Brandeis student artists, so is a painting, a sculpture or any other piece of artwork.
This week, justArts spoke with Alli Steinberg ’19, who went on the Brandeis in Siena summer abroad program.