Guests were able to engage interactively with an alcove full of coloring books for kids and a gift shop with all space-adjacent items one could imagine.
The message of “Requiem: Fire in the Air of the Earth” was one of solidarity. In the face of anti-Blackness, Abraham’s show illustrates how Black solidarity can help those survive the violence of the world.
The art show has become a cornerstone of the Psychedelics Club community, and creates a new space for the Harvard student body.
Over the course of a few years, over 120 artists have contributed their work to the “Art in Print” collections.
The Hidden History of Slavery at Christ Church: Nicole Piepenbrink on Her Film ‘HERE LIES DARBY VASSALL’
In the hustle of their daily commutes, most of those who pass by Cambridge’s Christ Church do so without a second glance. The average passerby has no idea there is a tomb in the basement holding the remains of a formerly enslaved person. His name was Darby Vassall.
The event highlighted the masterful craft of visual artist Aadil Abedi as he painted in real time alongside poetry recitations from Divinity School students covering a range of Middle Eastern and Southwest Asian languages.
Forsythe’s work blends the choreographic careers of his classical predecessors with an exploration of modernity, breaking from traditional ballet boundaries in a style unprecedented enough to make Rudolf Nureyev stir in his grave.
The challenge in performing these two pieces thus lies in the balance between conveying the compositions’ intended effect and capturing each piece’s musical details. Saturday’s performance was a valiant effort, but not without a few stumbles.
Director Kirsten Cairns and the performers took full advantage of the cathedral setting, lending the performance a warmth and sense of hospitality. The stage design of the drama, however, was far from its only impressive feature.
Although the performers’ impressive displays of energy were interspersed with longer stretches of choreography that lacked momentum, KAIROS Dance Theater’s narrative exploration of costume in dance was ultimately one to remember.
Throughout the evening’s performance, the orchestra crafted wonderful phrases with natural beginnings but lost the tragic impulse of Mahler’s music as a result.
Speaking from the pulpit in the church, John Green discussed the temporality of human existence, existential grief, and how to maintain hope through it all in his enthralling lecture, “How the World Ends.”
Khandekar and Woodcock took inventory of their collective insights to examine the origins of mummy brown and trace its usage through art history.
For the rough price of an expensive meal out, guests can enjoy a guided historical excursion that spans the catacombs, crusades, biblical scenes, historical events, sculpture, architectural spreads, and vibrant frescoes.
Yuja Wang’s excellence breathed new life into Shostakovich’s work, redeeming an otherwise bland performance by the Boston Symphony Orchestra.
Each speaker delivered moving and emotional speeches about the urgency of advancing equity for Black people, emphasizing how much work must still be done toward this end.
Alongside a live performance, “Emotive Land” featured pre-recorded routines accessible through an app which allowed passersby to calibrate their location and view a dance set in their current environment.
“I had two objectives with this piece: to honor those men, women and children who were property, and to shine a light on systemic racism,” Simon said. “There’s no way we can talk about racism today without talking about slavery.”