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We are now entering the peak of spring, one of the best times of the year. The Chronicle compiled Easter festivities and other spring events happening in Durham from the upcoming weekend to the end of April — perfect for a brief getaway from the end-of-semester stress.
Before coming to Duke, I held a certain assumption about the college experience: I would finally be able to spend the bulk of my time doing things I actually liked, and even though I would still need to put in a lot of effort, I would be able to balance my engagements with a sense of clarity and confidence.The first part of my assumption turned out to be true. The second part I’m still trying to figure out.
The annual adaptive fashion show, brought by Runway of Dreams at Duke, brought some bright colors to the gloomy spring weather on campus last Thursday. This was the club’s second annual show and their first to be held in person.
Netflix released “The Andy Warhol Series” March 9. For audiences expecting to see a documentary featuring works of pop art icon Andy Warhol, they are in for a surprise. Labeled as a “LGBTQ Documentary,” this series focuses on Warhol’s personal life, highlighting his relationships with Jed Johnson and Jon Gould — the lesser-known side of the artist. The series draws on detailed recounts from Warhol’s diaries, which he started writing after being shot in 1968. This series has garnered attention due to its revolutionary usage of an AI-synthesized Warhol voice to narrate his own diary entries, but the effect of this artificial voiceover is, at best, mixed. With that, let us unpack the series with a classic dissection of “the good,” “the bad,” and “the ugly”.
In response to a scene in Duke Divinity professor Kate Bowler’s book “No Cure for Being Human (And Other Truths I Need to Hear),” Lanecia Rouse Tinsley, MDiv ‘03, was inspired to create the installation “Reliquary of Complicated Truths,” which is on view in the Duke Chapel through tomorrow.
In a conversation between Bowler and Tinsley, Bowler described a scene from her book where she was “on a trip to the Grand Canyon when she [came] upon a remote chapel … covered in graffiti and slips of paper inserted in the walls with written pleas from the heart, such as ‘I miss you every day’ and ‘Did you make it to heaven, my love?’”
The interactive installation at the heart of Tinsley’s exhibition draws directly from this scene. It invites visitors to insert cards with their own response to the prompt: “In my life, there is no cure for…” into a crack. In this piece, viewers see clippings of paper texts and images plastered on a discarded cardboard box. White paint coats the surface of the cardboard box. The juxtaposition of barely visible words already on the box and words written down by visitors mirrors the myriad of interactions between the existing cultures and people’s idiosyncrasies.
Another piece, “Solitude,” features a wood crate with a crack in the bottom left corner, which exposes the image of a person burying their head in their knees, all alone, faceless. When standing directly in front of this piece, viewers only see the silhouette of the solitary individual, wooden texture enclosing them from all sides. As the viewers shift their perspectives to the rear angles, they notice that the space the lone person occupies is no longer suffocating and wooden, but ambient.
For a few brief moments last Saturday night in the Ruby, I was teleported to the 1920s, delighting in the flashing motion pictures. The monochrome colors and absence of vocal dialogues no longer bore importance, because a night of silent film is exhilarating in its own right.
Eels is hard to define. From the riveting melancholiness of “It’s a Mother****er”, the soulfulness of “A Swallow in the Sun,” to the carefree spontaneity of “I Like Birds,” this band’s music cannot be boiled down to one or two words. Even in a single album there are multiple motifs, emotions and storylines, and Eels’ new album “Extreme Witchcraft” is no exception. As Eels’ frontman Mark Everett, also known as “E,” puts it, “Sometimes it's simple and pretty, other times it's loud and grating. It's been a lot of things over the years, and we still don't have an easy answer for this one.”
Downtown Durham's 5 Points Gallery recently exhibited the work of the city's own Jim McKeon as their featured artist to kick of 2022. Here are some highlights of his works on exhibition.
If anyone witnessed my series of actions that afternoon, they would probably think I was out of my mind. Maybe I was after all. On my way riding the subway home, a sudden, uncontrollable sense of nostalgia possessed me. I got out of the station at three consecutive subway stops, surveying the surroundings at every alphabetical exit and then reentering.
With his 2001 film “Spirited Away,” Hayao Miyazaki set out to make a film for 10-year-olds, but wound up reaching everyone who has ever been a 10-year-old. In many ways, the animated classic is an affectionate tribute to childhood, and may even be more fitting for adults than 10-year-olds, as those who are no longer children hold dearer the vividness of childhood days than those still living them.
The year 2021 is a momentous one for Mary Lou Williams’ “Zodiac Suite,” claimed reviewer Seth Colter Walls in a New York Times article from this March. Chris Pattishall’s “Zodiac” is surely a highlight in this year of significant recognition for the phenomenal suite. Pattishall, a Durham native that will be an artist-in-residence at Duke for the next year, is heavily influenced by Mary Lou Williams (1910-1981).
In his visionary “Neuromancer,” William Gibson conceptualized “cyberspace” as an endless three-dimensional virtual zone that infinitely mimicked reality. Would it ever be possible for humans to create such a hallucinatory space? More importantly, is it even worth the price? To both these questions, Mark Zuckerberg and his team of executives in the formerly-called Facebook company gave the answer: yes.
The Pastry World Cup (Coupe du Monde de la Pâtisserie), one of the most overlooked top-level competitions in the world, took place this past September. Yes, that’s right — not THE World Cup that is bound to be the talk of the town next summer, but the one with “Pastry” in it, which has little prospect of being a sensation outside the food industry anytime soon.