Women play an important role in Henry Kirke Brown’s life and career. Filatrice manifests this strong influence and the significance of women in industrial society. Henry Kirke Brown’s statuette Filatrice
For [Alvin Langdon] Coburn, as for Stieglitz—a second-generation German Jewish immigrant who spent his student years in his ancestral homeland—the city of New York surfaces, symbolically, as a point of reentry, a place where the exhilaration and anticipation disintegrate, in Coburn’s words, into a “sudden . . . plung[e] into the rush and turmoil.”
Tara Kohn, Andrew W. Mellon Postdoctoral Fellow, Bowdoin College
Okón decided to place the video in a desert, a location contrary to all female concepts. The barren terrain depicts an infertile soil with few signs of fauna or animals. The desert offers the men of the video a place where even the soil exudes hypermasculinity. Ironically, the only other animal species found in this work are the ants, which exist under a matriarchal system.
Krisla Canales ’20 and Nancy Mateo ’19;
Supervised by Michael Martinez-Raguso, Visiting Assistant Professor of Spanish
As part of the presentation of [Judy Crook 5] in the Colby Museum’s lobby, visitors are invited to compose dedications to their favorite teachers on paper leaves. A cascade of these leaves now fills one of the lobby’s windows, and a handful of dedications appears here in celebration of Teacher Appreciation Week.
In analyzing my experiences with pieces by Close and Lei, my goal is to understand the ways these artists chose to portray the disabled body through their art, how they chose to represent their own disabilities, and how this impacted my experience as a nondisabled viewer.