Turning down 18th street, I make eye contact with Guatemalan human rights activist, Roberta Menchú Tum and know I’ve finally made it. Darting across the street, more bright colors emerge and four striking profiles representing the ancestral mothers of Africa, Asia, the Americas, and Europe come into view. I feel my steps slow as if Read more about Visiting a Maestrapeace with Grace Rocker[…]
This summer, for my first museum visit since the pandemic began, I attended the exhibition Last Supper in Pompeii: From the Table to the Grave at the Legion of Honor Museum in San Francisco. Known for its incredible collection of European as well as ancient art, this is one of my favorite museums to visit Read more about Visiting Legion of Honor with Lydia Yi[…]
This summer I have been working virtually for the Kunstverein München, an arts association and gallery space in Munich that displays exhibitions by international contemporary artists. My role at the Kunstverein has been mainly translation so far, and I am learning a lot about good translation practices, such as how much editing is too much Read more about SAB Summers – Translation at Kunstverein München with Annabelle Berghof[…]
2021 Report on the State of Living in Suburbia. That’s what I named my final project in VIS 213: Digital Photography. During a semester when the Princeton University Art Museum was closed and we couldn’t travel outside of Princeton to visit other museums or galleries, viewing and discussing my classmates’ photographs during our Wednesday Zoom Read more about 2021 Report on the State of Living in Suburbia by Lois Wu[…]
My first time entering a museum as the COVID-19 pandemic begins to pull back, opening up greater opportunities for experiencing normal life, was an interesting one. I returned home to Los Angeles, California and visited the Getty Villa Museum in the hills of the Pacific Palisades. The Getty Villa is a full-scale recreation and replica of a Roman country house populated with artifacts that have been excavated and collected from Italy such as statues and pottery. It is truly a marvelous experience to be there because visitors feel as if they have stepped from their world into one of the past.
In retrospect, maybe it was the mischievous adventure of the event, maybe it was the attention I received in that moment over my sibling rivals, but every moment, out the door of the apartment, down the streets, into the museum’s elevator, and from one end of the massive painting to the next—I think we looked at it for 20 minutes, and even that felt rushed—was magic.
In light of the systemic oppression and discrimination brought to light by the Black Lives Matter movement, SAB member Brian Gitahi takes a look at some of the unseen peoples living in Kenya and art-making at the Kakuma Refugee Camp through the Artists for Refugees project.
The deCordova Sculpture Park and Museum just outside of Boston is where I learned to ride a bike as a kid. Its wide-open space made it the perfect spot for a small child to whiz along unhampered. I rediscovered this haven for the first time in many years during a family birthday picnic on Sunday. The atmosphere at the park has changed slightly – visitors move with caution, donning masks and skirting each other on pathways. There’s a two-hour time limit on each visit to reduce density in the park. But despite these reminders of our new COVID world, the sculptures, many of which have been there as long as I can remember, emanate a sense of solidity and peace.
My interest in analog photography, and a class I took last semester on German Media Theory segued into a desire to learn more about cultural tools to see, record, and document. Cyanotypes gave me a new lens through which to look at my immediate environment — to focus on color, contour, shape, and opacity and critically think about how I see and define shapes.
“In 2013 I was fortunate enough to visit the National Gallery of Art to view a special exhibition — “Diaghalev and the Ballet Russes: When Art Danced With Music.” It showcased the history, theatricality, and unparalleled artwork of the Ballet Russes, a Russian ballet company that performed in the mid 20th century, breaking all traditions of ballet and dance.” Anika Yardi ’21 reflects on her experience, “The more I went through the exhibition, the more I was able to draw parallels between my dance practice and the art I saw before me. I saw similarities between the colorful costumes, the mythological and ancient stories being played out on a stage, and even the sense of camaraderie that can only come from putting on a production…. This experience made me reconsider my notion of what constituted art, and ever since then I have viewed both the dances that I perform and the art that I love in a more golden light.”