Completing a slate that included performances from the New York Theatre Workshop, Andrew Bird and the Hands of Glory, Hubbard Street Dance Chicago and a documentary screening by filmmaker Ken Burns, the Hopkins Center’s summer programming will draw to a close in the coming weeks as the academic quarter ends. Reflecting back on the term, students, staff and faculty identified a number of highlights across disciplines offered at the Center.
From July 12 to August 10, a bronze boy wept in the Hood Museum of Art. The statue was a part of artist and Montgomery Fellow Enrique Martínez Celaya’s exhibition “Burning As It Were a Lamp.” Along with the statue, the exhibition included fragments of a mirror and two paintings of angels, one captioned “I remember nothing” and the other captioned “I remember everything.”
Kelly’s beginnings as an artist and the events that inspired his works are the subject of “Ellsworth Kelly: Fragments” (2007), a documentary by Checkerboard Film Foundation the Hood Museum of Art will screen Thursday. Hood director Michael Taylor will introduce the documentary and guide the spotlight tour of Kelly’s panels after the screening. The film, he said, will explore the artist’s “subdued style,” referencing Kelly’s focus on things like the reflection of light in a window, unlike the more visceral subjects of his contemporaries.
Following the growth of Mason (Ellar Coltrane) from age 6 to 18, "Boyhood" (2014) captures the midnight Harry Potter book releases, the Britney Spears songs and the Razr phones vital to the childhoods of Generation Y. On the way, the film wins viewers over with its honest, moving depiction of the trials and tribulations of growing up.
Several works of art are currently on display in Kira’s Garden, an outdoor sculpture garden at the Alliance for the Visual Arts Gallery and Art Center in Lebanon. “Arabesque” joins nearly a dozen other works of art in the Garden, each of which was submitted by an Upper Valley artist.
Throughout his career, Hoffman was a most wanted man, considered one of Hollywood’s most sought-after actors and certainly belonging to its most gifted pantheon. His frenetic life and genius as an actor translate into his endless detective work and prowess in the film. In the end, Hoffman was playing himself, a man running out of fuel in a demanding system. This is a fitting farewell.
In development for several years, the exhibition was created to mark the occasion of the 50th anniversary of the passing of the Civil Rights Act of 1964, said Kellie Jones, art history and archaeology professor at Columbia University, and one of the original curators for the show’s premiere in Brooklyn.