As Colby students, we first see the spaces we live in as bare, white-walled rooms, devoid of any evidence of human presence. They feel alien at first—disconcertingly empty boxes we’ll inhabit for nine months, but never really own. We wage war against this unfamiliarity and temporariness through the decoration and personalization of our dorm room walls.
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
Entitled Space for Conversation, this series was designed to establish a shared understanding of best practices for public art initiatives and innovative projects and to examine the ways art can instigate meaningful exchange and serve as a catalyst for reshaping public spaces.
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