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Despite their 22-year history, indie rock band of Montreal has managed to never sound stale. This is thanks in part to frontman Kevin Barnes’ constant experimentation with the group’s sound, moving from avant-garde to dance pop to electronic sounds within the span of a few years. Released earlier this month, “White is Relic/Irrealis Mood,” is of Montreal’s 15th studio album, and while it certainly isn’t stale, it isn’t exactly good.
The newest addition to Rice Public Art, Jarrod Beck’s “Origin, 135 degrees,” probably took you by surprise last semester during your regular walks through the academic quad. The sheer mass of the sculpture alone has greatly altered the treed path that passes by Sewall and Rayzor Halls.
Perhaps the words “Rice Coffeehouse” conjure the image of a steamed milk heart or leaf in your head. This semester, Coffeehouse aims to bring you art beyond your latte with the expansion of performance series “Espresso Yourself.” While visual art is not new to the space, “Espresso Yourself: Art” will restructure this facet of the student-run business.
As you’re probably aware, Rice’s light pole banners changed to a series entitled “Art at Rice” over the summer. The banners feature public art, works that were displayed in on-campus galleries and architectural objects. The campaign seems to respond to recent criticism of the administration’s lack of support for the arts, especially surrounding the closing of the Rice Gallery and the opening of the Moody Center for the Arts.
After almost three years standing between Anderson Hall and Fondren Library, Rice University’s first and only student-created public art installation, “Soundworm,” was removed in early August.
After 20 years at the head of a collaborative music group, Antony and the Johnsons, ANOHNI (formerly known as Antony) released her first solo album in May 2016. The experimental dance-pop album “Hopelessness” was met with considerable critical acclaim and in 2016 ANOHNI also became the second openly transgender person nominated for an Academy Award. Her next step as a solo artist has come, in the form of the six-track EP “Paradise”,,released March 17. “Paradise” comes from the same recording session as “Hopelessness,” and it definitely show. “Paradise” brings all the power and finesse of “Hopelessness,” although it does lack the catchiness of its predecessor, which leaves it feeling like a companion piece.
Two weeks after the Moody Center for the Arts’ opening celebration, the center’s planned inaugural performance of the visual and dramatic arts theater department’s production “Proof” was relocated to Hamman Hall instead. This development comes amid greater concern from several VADA students and a faculty member that the center may not serve their needs.
For 22 years, the Rice Gallery has been a crown jewel for the arts at Rice. This semester will see the space’s final exhibition before the Gallery’s closure and apparent absorption into the Moody Center for the Arts, and that’s a move I can’t help but mourn.
The Speak Up Project marked its second iteration with an entirely new cohort of monologues from Rice community members about their experiences of sexual assault and violence on March 25. The Speak Up Project was founded last year by Wiess College senior Vicky Comesanas, with the financial support of the Bill Wilson Grant. She has directed the monologue series both years as well. The project seeks to provide a different forum for discussion about sexual assault.
The Rice Gallery’s last installation, “Intersections,” used only a cube and light bulb to fill a blank, white room with transient shadows. The space was so empty that it echoed. In great contrast, the gallery’s newest installation, Thorsten Brinkmann’s “The Great Cape Rinderhorn” fills the same space with an absurd and eclectic collection of used objects, from canes to a giant plaster bull’s horn to plastic vegetables.
Keliy Anderson-Staley’s photo exhibition “[hyphen] Americans” opened Thursday at the Rice Media Center. The collection of portraits was made using 19th-century photographic techniques and equipment. As an exploration of the variety of American identities, it is well-suited to the context of Houston, often considered one of the most diverse cities in the country.
The Washington Avenue Arts District is believed to have the highest concentration of working artists in the state of Texas, and the opening of the SITE Houston exhibition presented a microcosm of this cultural hub. The space featured 30 Houston artists, whose work is as diverse as their backgrounds.
Photographer and filmmaker Bill Daniel made Rice the next stop in his “Tri-X Noise” tour on Friday night. The event centered around the titular collection of Daniel’s photographs which documents punk and skater scenes, among other subcultures. The event also included performances by two bands.
A six-foot cube hangs from the ceiling in the center of the gallery, with a single light bulb suspended in the middle of the box. Together, they manage to fill the entire space, from ceiling to floor, with patterned shadows that are composed of lines and geometric shapes. The details of the cube are defined and delicate, but they become distorted as they fill the rest of the room; the patterns are stretched and expanded on the walls. It is impossible to step into the gallery without becoming yet another piece of the art: The light and shadow from the center of the room are cast onto the viewer’s body, while the viewer’s shadow is thrown to the floor and the wall behind them.
There is no classroom on campus quite like Senior Studio. The room is divided into a maze of white walls, together forming each of the students’ studio spaces. The spaces are occupied with eclectic objects and media: photographs, couches, projections, a bicycle. Voices echo throughout the room as the senior art students and their professors discuss each project.