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There is a moment of utter depravity in the fifth of six vignettes that comprise Natal’ya Vorozhbit’s play “Bad Roads,” a scene so chillingly vile that it is legitimately difficult to watch.
Which spot makes the best food at Duke? That’s a question the “Duke Dining Challenge,” a March Madness-style bracket on the popular Facebook group “Duke Memes for Gothicc Teens,” tried to answer.
Duke established the two-year MFA | EDA program in 2011, drawing in a diverse range of photographers, videographers and other artists. The program's annual thesis exhibition, celebrating the work of the 2019 class, is on display now from March 18 to April 13 around Duke and Durham.
Students often come to know their professors over the course of a semester-long class, where instructors serve more as mentors and advisors than writers, researchers or filmmakers.
Vienna-based visual artists Markus Hanakam and Roswitha Schuller recently visited Duke to work with the Building Duke Bass Connections project and to present some of their own work.
Walking through the Rubenstein Library gallery, one can’t help but be drawn to the photographic portraits now lining the walls, its subjects staring directly out at the viewer as though asking you to approach them.
If you use a music streaming service like Spotify, then chances are you have come across mixes tailored to your listening habits — whether it’s “New Music Friday,” “Discover Weekly” or “Tastebreakers.” For many listeners, these algorithmically-generated playlists are one of the only options for discovering new music.
Zhubin Parang, producer and writer for "The Daily Show with Trevor Noah," visited Duke Friday for a talk hosted by the Center for Political Leadership, Innovation and Service (POLIS). Before becoming an Emmy award-winning writer and comedian, Parang practiced law after graduating from Georgetown Law School.
In his talk Monday, “Queer Eye” culture expert and therapist Karamo Brown opened up about his past, behind-the-scenes dynamics with the Fab Five and gave advice to an audience he insisted be called “friends” and not “fans.”
In seeing the mansions lining the streets of some neighborhoods in Los Angeles, most people focus on the grandeur represented in these structures. But artist Ramiro Gomez seeks to highlight the hidden labor and hierarchies that go into making these luxuries possible.
When Eric Oberstein ran up on stage two weeks ago to accept his third Grammy award for producing Dafnis Prieto’s album “Back to the Sunset,” one man stood beside him: fellow Duke alum Harsha Murthy.
The story of the Tower of Babel has an all-too familiar ending. Scattered across the face of the earth as a result of their trespass, unable to speak with one voice and in one language, humanity can no longer aspire to or endanger divine preeminence.
Nelson Music Room filled up last weekend with undergraduates eager to learn about the experiences of their peers — except, they weren't sure whose experiences they were hearing.
In the 1970s, a recent Duke graduate named George Holt — who is now director of performing arts and film programs at the NC Museum of Art — organized one of North Carolina’s first folk festivals on Duke’s campus. With the help of Holger Nygard, a former Duke professor of folklore and medieval literature who passed away in 2015, Holt expanded his scope and formed a folk festival that would eventually become the Festival for the Eno, which still takes place annually at the Eno River State Park.
Walking into “Ocean Room,” a life-size dome of video projections, is a full sensory experience. The visitor begins in a dark room, lit only by the massive ocean mound and filled with the sounds of crashing waves.
In Duke dance classes, Natalie Gilbert is not the ballerina. She’s the pink-haired musician perched on an extra cushion on a black piano bench in the glass cube at the front of the Rubenstein Arts Center.
Among the many flyers posted on the hundreds of bulletin boards around the university, one acronym that could be mistaken for a party is actually a lecture series in the humanities: the John Hope Franklin Humanities Institute’s “tgiFHI” series.
When Aaron Greenwald first came to Duke, Duke Performances was a newly formed arts organization creating local programming. Over the next 12 years, he transformed it into a world-class arts presenter.
The 21st century technological evolution has promoted visualization and digitization for historical representation. As more materials become available to the public, the possibilities and opportunities for increasingly comprehensive research have grown, as evidenced by a recent Nasher event.
For the first time, an exhibition seeks to highlight the way artists from across the American continent have grappled with “Pop art” — a term that reflects both the noun “popular” as well as the verb “to pop.”
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