The prophecy foretold by the outcropping of Hello Kitty lunch boxes and the endless barrage of English department emails was finally realized when Ruth Ozeki came to campus last Thursday. Following a lunch during which the aforementioned meal tins (you try
I imagine there are different kinds of loud, all lying on a spectrum between relentless infants (bad) and breaking in new speakers at a party (good). Those who were in fourth grade band and have been to a rock concert will admit
Now on display in McCabe Library is an exhibition of book art by Robin Price, a seasoned and acclaimed veteran of creative printing and publishing. Price has been on campus recently as a visitor to Visiting Assistant Professor of Studio Art Mary
If you have been on campus recently you may have noticed the Hello Kitty™ lunch boxes sitting upright and open around campus. If you have not been on campus recently, there may be publications better suited to your interests, though the attention
“It was as if blacks were invisible,” reads a quote from an anonymous Swarthmore alumna, understated and in tiny font on the wall directly across from the entrance to McCabe Library. Referencing the presence of Black students on Swarthmore’s campus and carefully
As one of many celebrations of Black History Month at Swarthmore, the studio art department and black studies program have in conjunction brought Thomas Allen Harris’s recent film “Through a Lens Darkly” to campus. The work balances historical context while maintaining its
by Ian Holloway They are discussing a piece of sculpture that resembles a cup. The cup, part of Kevin Snipes’ List Gallery exhibit “Uncontained,” presents those curious with more challenges than the task of drinking water. It begs, primarily, a deep consideration
Maybe it is telling of the college’s Quaker roots that in order to see some student artwork you go into the gray art building, walk up four flights of gray stairs into a gray hallway with no signs or decorations or resources
“Earthquakes in London,” written in 2010 by British playwright Mike Bartlett, is a pro-divestment family drama that stretches from 50 years in the past to 500 years in the future. The show is set in London, where there may or may not
One side of the wall is developed as much as possible. A busy road is full of traffic right up along it, eventually feeding into a sea of houses claustrophobically arranged on a big hill. The other side is almost a desert
