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img November 08, 201710:30 amimg 0 Comments

Mortal Coils (1994-1995)

Bwog loves art and Bwog loves to love art. Our very own Bwog Staffer, Layla Alexander, went on down to MoMA PS1 to take a look at their new Carolee Schneemann “Kinetic Painting” exhibit. Read on to see Alexander’s experience!

On Friday morning, I decided to kick off my fall break with a trip to MoMA PS1, where “Kinetic Painting,” an exhibit dedicated to the works of Carolee Schneemann, had recently opened. Schneemann is notable for the extensive number of objects utilized in her work, including paint, rope, old photographs, handwritten letters, and strings of beads. Her work ties together issues of sexuality, sensuality, violence, and more. The exhibit consisted of six decades worth of work, spanning over two dozen rooms and two floors in the gallery.

The first floor of the exhibit was devoted to the artist’s later work, which was also her darker, more brutal work. Thus, my first taste of Schneemann reflected a cynical side of the artist. In one room, obituaries were plastered on a single wall. “We miss your laughter and love,” read one. “It has been fifty years, we still miss you and love you,” read another. Two hanging light bulbs illuminated the flyers, creating a haunting environment. Slightly unsettled, I shuffled into another room, where two large screens stood. One of the larger screens depicted visual static, while the other was a short looped clip. The clip depicted news footage of a woman lying limp on the ground, her head indistinguishable due to a mass of blood and debris surrounding it. In the forefront of the room were four small television sets, depicting various looped scenes, such as an airplane taking off and a baby sucking on a nipple.

More on the exhibit below!



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img October 20, 20177:01 pmimg 0 Comments

“Yasss Queens”

Mary Stuart is premiering tonight and tomorrow as well, so go buy tickets while you can and experience this Victorian drama for yourself. More information and tickets can be found here.

When considering Mary Stuart, Queen of Scots, many envision a woman donning a Victorian-era gown, sashaying through lavish palaces, and, perhaps, sipping tea in a well-maintained garden. Few imagine the queen as a prisoner, though this is how she spent the latter half of her life. Even fewer envision the queen in a full-leather outfit, exiting a prison cell after nearly 20 years of confinement, while hymn-like music plays in the background, and yet this idyllic vision is the final scene in director Gisela Cardenas’s adaptation of Friedrich Schiller’s Mary Stuart.

The show took place in the Minor Latham Playhouse, located in Barnard’s Milbank Hall. As I entered the theater, I was greeted by acoustic guitar, and soft, white lighting on the stage illuminated two of the actors. One held the guitar, and the other, facing away from the audience, seemed to be pondering a notion of great importance. With a sense of calm about me, I took a seat next to a fellow theater-enthusiast and friend, and within a few minutes, the show began.

The production centers on Stuart’s final days of captivity under Queen Elizabeth’s reign. Stuart, played by Lily Whiteman, a junior Theatre major at Barnard, is loud, bold, and unashamed of standing up for herself while she attempts to negotiate her way out of prison. Various friends and lords try to help the captive, but the threat of Queen Elizabeth’s wrath hangs over their heads, and for the duration of the show, Stuart’s future hangs in the balance.

Read more about the production after the jump.



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img October 11, 20173:00 pmimg 2 Comments

I mean… we’re named after Columbus

Barnumbia loves to forget that our campus is an exemplar of gentrification. Bwogger Layla Alexander attended an event on promoting housing justice and ways in which to identify and resist systems that target society’s most vulnerable members.

Barnumbia is often referred to as a “bubble.” Despite being situated in Morningside Heights, a neighborhood adjacent to (and, arguably, within) East Harlem, our campus and the surrounding establishments (think Nussbaum and Junzi) present a strikingly different demographic both racially and socioeconomically.

Yesterday evening, I had the privilege of hearing a discussion on these circumstances in “Homes for All, Cages for None: Housing Justice in an Age of Abolition,” a public event co-hosted by the Barnard Center for Research on Women. Professors Christina Heatherton and Craig Willse, who have devoted their lives to studying the relationship between gentrification, housing access, and policing, led us through an engaging dialogue on how the most vulnerable members of society are often plagued by constant surveillance, poor living conditions, and, ultimately, premature death.

More on housing justice below

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