Students construct their own zines during the hands-on portion of Thursday’s workshop. Photo courtesy of Wilson Lam.
WALLS participants camped out in Lawrence Hall overnight to get their first-choice picks from WCMA’s covetable collection. See the pieces in their new homes! Photos by Aniah Price and Sabrine Brismeur
Mina Burns ’22
Mina Burns with Ambassade d’Autriche, Eugène Atget.
An interestingly paradoxical trend describes museum quality: The more effort put into engineering the experience, the more invisible the effort becomes. The most clever, intuitive gallery designs match the visitors’ needs, like attentive parents anticipating their children’s demands, precisely so that they may be overlooked.
Artist Rafa Esparza adds detail to one of the portraits exhibited in staring at the sun. Esparza works with adobe instead of canvas.
John Constable’s The Wheat Field (1816) depicts an August harvest in the English county of Suffolk. Photo courtesy of The Clark.
Set in the 18th century, director Yorgos Lanthimos’ new comedy The Favourite is rife with surprises. Photo courtesy of ICA.
At 8 p.m. last Friday night, students piled into Paresky Auditorium for the Perennial Amateur Convention’s (PAC) fall comedy show, Raising Hell, which consisted of a few introductory stand-up acts followed by sketches written by the group’s members. Julia Cochran ’19, PAC president, greeted the audience, giving a nod to the show’s director Abby Lloyd ’20, and introduced head writers Evelyn Elgart ’19 and Benjamin Stanley ’19, the latter of whom she jokingly said was only there “to not alienate the men in the audience.” She acknowledged PAC’s female leadership in a genre of entertainment that has historically been male dominated.
A few Fridays ago, I decided to spend my whole evening at Images Cinema. I watched Damien Chazelle’s First Man at 4:45 pm and Beautiful Boy immediately after.
Cap & Bells’ latest show, The Pillowman, is a masterful adaptation of a dark classic. The play, written by Martin McDonagh and directed by John Murphy ’21, was performed on Nov.
This past Saturday I found myself in a familiar place: the Schow Science Library. Only this time, after reaching critical mass, the frenzied motion I was studying wasn’t in a glass beaker.