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Music audible from a block away, free coffee and the presence of a large fox were all sure signs that something special was happening at the Rubenstein Arts Center.
Most Friday and Saturday nights, the Griffith Film Theater fills with students eager to watch a new movie.
This campus is full of stories. Everyone is walking around with one – sad, happy, funny, scary, angry, contemplative.
On a snowy evening in 2015, Jason Oppliger went to the Carpentry Shop, just down the street from Smith Warehouse.
Classic Broadway shows are difficult to modernize. A vast majority of the shows that took twentieth-century stages are cut from the same humdrum, homogeneous cloth, offering little diversity in any sense of the word.
Last Sunday, American Dance Festival held the biannual Movies by Movers Film Festival at the Nasher Museum of Art.
Many people in the Western world have a rather vague and uncertain idea of what the demilitarized zone between North and South Korea looks like.
The lounge area in front of Au Bon Pain in the Brodhead Center is normally bustling with students waiting for their chicken salad and chatting with their friends.
This week, the Jameson Gallery in Friedl Building will welcome visual artist Natasha Powell Walker to talk about her exhibit “#SexyNotSilent.”
In October 2015, financier and Duke alumnus David M. Rubenstein, Trinity ‘70, endowed the University with $25 million to create a center for the arts on campus.
In 2012, a group of 12 researchers and artists met at Duke to talk about dance. Two years later, they created the first Collegium for African Diaspora Dance Conference.
On Jan. 15, senior Evan Nicole Bell opened her first solo photography exhibit: “black.”
With the start of a new semester, Duke’s Music department has some new innovative courses and exciting future plans to introduce to the Duke body and promote the music and arts appreciation on campus.
It is almost as if Don DeLillo’s “The Body Artist” was always meant to be adapted for the stage, as if some invisible force was, for years, guiding director-writer Jody McAuliffe, and Rachel Jett — who plays Lauren Hartke, the body artist — and all their collaborators towards this project.
It takes a certain amount of care and attention to capture the beauty in things that are easily overlooked, and photography instructor Bill Bamberger has spent the last 13 years doing just that.
In a time where apocalypse and destruction have evolved from speculative notions to frightening realities, it has become necessary to view modern works on the subject through a new lens.
As you walk up the steps toward the entrance of the Mary Duke Biddle Music Building, you pass a black, metal sculpture with geometric shapes stacked precariously on top of each other.
Duke’s Hoof ‘n’ Horn will present Stephen Sondheim’s musical comedy “Company,” opening Thursday, Jan. 25 at 8 p.m. at Sheafer Lab Theater in the Bryan Center.
In the middle of Steve Hartsoe’s debut solo album, “The Big Fix,” alongside a spate of original compositions, is a cover of Tom Petty’s “Trailer.”
Liver cells, water droplets and crabs. Wildflowers, ion beams and protein models. These have all been subjects of winning photos in the “Envisioning the Invisible” photo contest hosted by the Engineering Graduate Student Council.
