John B. Hurford ’60 THE JOHN B. HURFORD ’60 CENTER FOR THE ARTS JOHN B. HURFORD ’60 CenterCENTER forFOR the THE Arts ARTS HAVERFORD COLLEGE and Humanities AND HUMANITIES AND HUMANITIES HAVERFORD COLLEGE
MISSION STATEMENT The John B. Hurford ’60 Center for the Arts and Humanities (HCAH) supports the intellectual and artistic ambitions of faculty, students, and staff, fostering col- laboration, experimentation, and critical thought under the auspices of the Can- tor Fitzgerald Gallery, the Tuttle Creative Programs, and other Center initiatives. Through a variety of seminars, symposia, working groups, arts and performance residences, and exhibitions, the Cen- ter works to cultivate interdisciplinary conversation, to bring together intellec- tual inquiry and artistic practice, and to engage ethical issues current at the col- lege and in the wider public. Our initia- tives reach beyond the local and familiar to connect with diverse communities of writers, artists, scholars, and performers, ABOVE: JUSTINE A. CHAMBERS PERFORMS THE CAMPUS-WIDE SITE-SPECIFIC PIECE TEN THOUSAND TIMES AND ONE HUNDRED MORE, COMMISSIONED SPECIFICALLY FOR THE CANTOR FITZGERALD GALLERY EXHIBI- and with thinkers, innovators, and activ- TION UNWILLING: EXERCISES IN MELANCHOLY. PHOTO BY RYAN COLLERD. COVER: CRISTIAN ESPINOZA ’18 PRESENTED MARISOL, A MULTIMEDIA PERFORMANCE AND EXHIBITION SUPPORTED BY THE CENTER’S ists of all kinds. E. CLYDE LUTTON 1966 MEMORIAL FUND. PHOTO BY ALLIYAH ALLEN ’18.
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CONTENTS THOUSAND From the Director 6 VCAM (Visual Culture, Arts, and Media) 8
Film and Media 12
Create Spaces 16 SEVENTEEN Philadelphia Area Creative Collaboratives 20 Humanities Forums 26
Faculty Initiatives 30
Student Programs 36 /EIGHTEEN Cantor Fitzgerald Gallery 44 Creative Residencies 48
Teaching with the HCAH 52
In Review 58 YEAR IN Staff 66 REVIEW FROM THE DIRECTOR
he fall of 2017-18 saw the Hurford The success of any building must be largely Our year began with one symposium, The Black T Center’s long-awaited move into its new measured by the creative uses to which it is Extra/ordinary, and concluded with another, home, VCAM (Visual Culture, Arts, and Me- put and the extent to which a community em- Beyond the Grassroots: Participatory Ecology and dia), an inspired reimagining of Haverford’s braces it. In the process of its creation, and in Political Praxis. We tested VCAM’s acoustics Ryan Gymnasium. This facility has opened the months leading up to its opening, faculty (excellent!) with the Orlando Consort, singing up an array of much-needed spaces for film- and staff worked to ensure that VCAM would be period music to accompany a showing of the making, screening, exhibitions, making of a welcoming site for a wide range of activities silent film,The Passion of Joan of Arc, and with all kinds, courses, and meetings large and and a space for gatherings of all kinds: a place a visit from the local band Breakwater, here small; it has also brought us many of the key both comfortable to spend time in and exciting to celebrate the conclusion of an oral history faculty in the new Visual Studies minor as in its possibilities. project “Bus(t) the Bubble: Tri-Co Bus and Van our neighbors. Drivers Share Their Stories.” The wall above The results have exceeded our expectations. the stairs was rarely without an exhibition, and DEBORAH H. ROBERTS From one day to another, visitors to VCAM featured in April the photographs and paint- KOSHLAND DIRECTOR might look in on a class taught by one of our ings for Marisol, a multimedia performance JOHN B. HURFORD ’60 CENTER Mellon fellows or a meeting of this year’s Fac- and exhibition and this year’s E. Clyde Lytton FOR THE ARTS AND HUMANITIES ulty Seminar, “The Arts of Melancholy”; they 1966 Memorial Fund recipient. Our latest WILLIAM R. KENAN, JR. PROFESSOR OF might attend a book talk by a faculty member initiative, Philadelphia Area Creative Collab- CLASSICS AND COMPARATIVE LITERATURE or a presentation by a visiting scholar or artist; oratives, gathered past, present, and future they might find an exhibition going up in one of participants over lunch or dinner to share their our two Create Spaces, sit and talk with friends ideas and their experiences. in the presentation lounge, or have a bite to eat in the community kitchen; they might attend Throughout the year the staff of the Hurford PHOTO: ROBERT PRZYBYSZ one of this year’s four film series in the screen- Center—together with the VCAM staff— have ing room, listen to a staged reading of a Greek continued to nurture and realize the creative tragedy, or sit quietly and read in one of the and intellectual interests of faculty, students, nooks on the second floor. and staff, drawing on the new possibilities of VCAM: a wonderful building, but without them, just a building. We invite you to drop by the HCAH offices and come to our receptions and information sessions, to share your thoughts
6 7 VCAM (VISUAL CULTURE, ARTS, AND MEDIA)
8 PHOTO: © LARA SWIMMER 9 VCAM (VISUAL CULTURE, ARTS, AND MEDIA)
VCAM (Visual Culture, Arts, and Media) supports Haverford’s new Visual Studies program, cultivating film and digital media projects; curatorial experimentation and art exhibitions; and 3D printing, prototyping, and design. As the new location of the Hurford Center, VCAM en- riches ongoing support of film and media, inspires an array of installations and multimedia projects in its new Create Spaces, and serves as home base for the HCAH’s newPhiladelphia Area Creative Collaboratives initiative.
BELOW: PHOTO: © LARA SWIMMER RIGHT: NICKY RHODES '19 DISPLAYS HIS SONIC GLOVE-CREATED IN THE VCAM MAKER ARTS SPACE AT THE 2018 TRI-CO FILM FESTIVAL. PHOTO: HOLDEN BLANCO '17
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FILM AND MEDIA
THE ORLANDO CONSORT PERFORMS MUSIC BY FIFTEENTH-CENTURY COMPOSERS AS A LIVE ACCOMPANIMENT TO COMPOSERS AS A LIVE ACCOMPANIMENT PERFORMS MUSIC BY FIFTEENTH-CENTURY THE ORLANDO CONSORT WALL. OF JOAN OF ARC (1928), PROJECTED ON THE VCAM DISPLAY CARL THEODOR DREYER’S THE PASSION PHOTO: COLE SANSOM ’19 12 FILM AND MEDIA DOCULAB 2018 THE TRI-COLLEGE FILM FESTIVAL DIZHSA NABANI, LIVING LANGUAGE The Bryn Mawr Film Institute hosted the The HCAH has long nurtured student and faculty film and media making, now supported by DocuLab is a five-year pilot program that will seventh annual Tri-College Film Festival, expanded space and resources in Haverford’s new VCAM (Visual Culture, Arts, and Media) develop student-faculty documentary work at directed by Harlow Figa ’16. Featuring films facility. VCAM. In summer 2018, five undergraduate fel- created by Haverford, Bryn Mawr, and Swarth- lows spent eight weeks creating a documentary more students, the festival was juried by cura- VOICES APPEARED: SILENT CINEMA AND nonfiction imagination in the film and perfor- project centered on language and identity in tor Shari Frilot and filmmaker Sosena Solomon. MEDIEVAL MUSIC mance work of mediamakers Pamela Z, Theo one Zapotec community, San Jerónimo Tlaco- blogs.haverford.edu/tricofilmfest Richard Freedman (Professor of Music; John C. Anthony, and Sabaah Folayan. Using diverse chahuaya, in Oaxaca, Mexico. Brook Lillehau- Whitehead Professor of Humanities; Associate technical and formal means, these artists en- gen (Linguistics), Vicky Funari (Visual Stud- SAM GREEN: THE WEATHER UNDERGROUND Provost for Curricular Development) organized gaged with the intimate connections between ies), Zapotec language activist Moisés García Documentary filmmaker Sam Green visited a screening of The Passion of Joan of Arc (1928), memory, language, and gesture; the struggles Guzmán, filmmakers Lucia Palmarini and campus for a screening of his Academy Award– projected at large scale in the main VCAM Pre- over urban space and history; and the power of Laura Deutch, and production coordinator Hil- nominated filmThe Weather Underground. Or- sentation Lounge with live vocal accompani- resistance. ary Brashear helped the students explore how ganized by Vicky Funari (Visual Studies) and ment by the acclaimed Orlando Consort, per- Strange Truth was made possible by the language is interwoven with identity and with Sally Berger (Visual Studies), the visit also forming music by fifteenth-century composers Hurford Center’s Leaves of Grass Visiting Art- the vitality of the Zapotec community. inspired Green Screen: Lost and Found Stories Guillaume Dufay, Gilles Binchois, and others. ists Program Fund, Bryn Mawr Film Institute, SABEA EVANS ’18 by Sam Green, an exhibition of Green’s work the House Fund for Distinguished Visiting Art- KATHRYN GOLDBERG BMC ’18 in VCAM curated by students in the class “Mov- STRANGE TRUTH ists and Critics, and Haverford’s Visual Studies MARCELO JAUREGUI-VOLPE ’18 ing Image Media and Art Exhibition.” Green’s Organized by Visual Media Scholars Vicky Fu- interdisciplinary minor. EDWARD OGBORN ’19 visit was cosponsored by the Hillmann Moving nari and John Muse, Strange Truth explored the hav.to/strangetruth KATIE RODGERS ’18 Image Endowed Fund, Visual Studies, VCAM, doculabs.haverford.edu/dizhsanabani and the Distinguished Visitors Program.
ABOVE AND RIGHT: ARTIST PAMELA Z (PARTS OF SPEECH / PARTS OF THE BODY) AND FILMMAKER SABAAH FOLAYAN (WHOSE STREETS?) PRESENT AS PART OF THE HURFORD CENTER’S ANNUAL STRANGE TRUTH SERIES, ORGANIZED BY VISUAL MEDIA SCHOLARS VICKY FUNARI AND JOHN MUSE. PHOTOS: COLE SANSOM ’19 AND JOHN MUSE
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CREATE SPACES
JACOBIA DAHM, FROM THE PROJECT JOURNEY THROUGH THE BALKANS, 2015 HER FROM THE GREEK TAKING ASLEEP ON THE FERRY A SYRIAN MOTHER AND HER TWO YOUNG CHILDREN FALL FROM ISLAND OF LESVOS TO THE GREEK MAINLAND. THEY ARE HEADED FOR GERMANY IN HOPE OF A NEW LIFE AWAY OCT 7, 2015. THE SYRIAN WAR. - OF THE PHILADEL EXHIBITION BORDERS AND BELONGING, PART SPACE VIEW FROM THE VCAM CREATE INSTALLATION PROJECT WHO BELONGS? EXODUS AND ARRIVAL. COLLABORATIVES PHIA AREA CREATIVE PHOTO: ELI BADEN-LASAR ’21 16 LETTER TO MY SERBIAN NEIGHBOR CREATE SPACES Born into a conflict she was too young to remem- ber, Dita Cavdarbasha ’19 created a series of poetry- The VCAM Create Spaces and Exhibition Wall hosted twenty-five curricular and co-curricular videos addressed to her Serbian neighbors to at- projects, ranging from experimental media and performances to small-scale exhibitions. tempt to reconcile the displacement that informs her identity. SHINE VCAM PHILADELPHIA ARTIST IN RESIDENCE: Alliyah Allen ’18 created a series of photograph- MARIEL CAPANNA AMERICAN QUEEN ic portraits of womxn of color at Haverford Col- VCAM hosted Mariel Capanna for the first three Organized in conjunction with the course “Ameri- lege, imagining the project as a remedy in a weeks of April 2018. The multidisciplinary art- can Queen: Drag in Contemporary Art and Perfor- world where self-care can be easily overlooked. ist visited courses, facilitated a fresco work- mance,” taught by Christina Knight (Visual Stud- shop, and created an immersive three-walled ies), American Queen gathered contemporary and BIG MESS painting exploring memory and loss. archival images of drag performance from Haver- Created for the class “Sculpture 200: Materials ford College’s own Special Collections. and Techniques” with Naomi Safran-Hon (Fine WHO BELONGS? EXODUS AND ARRIVAL Arts), Jessie Lamworth ’18’s Big Mess seized Who Belongs? Exodus and Arrival featured LAY/LINES the open canvas of the room and animated an works by Philadelphia Area Creative Collab- In Lay/Lines, Isabella Siegel ’19 visualized lay- eruption of colors from its every facet. oratives artists Jacobia Dahm and Griselda ers of three Philadelphia neighborhoods and San Martin that illuminate current political drew them onto sheets of clear acetate. View- discourses on human rights, social justice, ers could interact with the work, bringing lay- and the global refugee crisis. ers to the top or moving them to the bottom.
See the IN REVIEW section for a full listing of VCAM Create Spaces projects.
ABOVE AND RIGHT: VCAM PHILADELPHIA ARTIST IN RESIDENCE MARIEL CAPANNA CRE- ATED A THREE-WALLED PAINTING IN ONE OF THE BUILDING’S NEW CREATE SPACES. PHOTOS: LISA BOUGHTER 18 19 PHOTOGRAPHER JACOBIA DAHM MEETS WITH IMKE BRUST (GERMAN)’S COURSE “VISUALIZING THE UNITED STATES OF EUROPE” AS PART OF THE COLLABORATIVES (PACC) PHILADELPHIA AREA CREATIVE PHILADELPHIA AREA CREATIVE COLLABORATIVES (PACC) PROJECT WHO BELONGS? EXODUS AND ARRIVAL. PHOTO: GRISELDA SAN MARTIN
20 21 THE VCAM UPPER CREATE SPACE FOR THE OPENING OF WE'RE IN IT (REMAK- ING THE WORLD), A PACC PARTNERSHIP WITH WYNNEWOOD’S CENTER FOR PHILADELPHIA AREA CREATIVE CREATIVE WORKS. COLLABORATIVES (PACC) PHOTO: CLAIRE BLOOD-CHENEY ’20
Supported by a $750,000 grant from the Andrew W. Mellon Foundation, PACC brings together faculty, students, nonprofits, artists, and other community members for collaborations that blend scholarship, social change, and the arts. Over a four-year period, the program will de- velop creative alliances that pair local and regional artists with students, faculty, and curricu- lar projects to work with community nonprofits and civic advocacy groups. colllaboratives.haverford.edu
WHO BELONGS? EXODUS AND ARRIVAL WE’RE IN IT (REMAKING THE WORLD) Who Belongs? artists Jacobia Dahm and Grisel- We’re in It (Remaking the World) rethought the da San Martin worked with Philadelphia non- problematic term “outsider art” to reconsider profit Puentes De Salud/Alexandra Wolkoff ’14 how all of us move between “inside” and “out- and Haverford faculty Imke Brust (German) side.” Building narratives and relationships and Zainab Saleh (Anthropology) to consider through speech, drawing, and the written word, how experiences along migrant trails can alter lead artist Samantha Mitchell worked with the the perception of migration as a contested top- artists and staff of Wynnewood’s Center for ic in EU and US contexts. The team organized Creative Works (CCW) and Haverford faculty a VCAM photography exhibition, a public con- Kristin Lindgren (Writing Center) and Adam versation on migration at Philadelphia’s Ulises Rosenblatt (Peace, Justice, and Human Rights), bookstore, and other programs. organizing a VCAM exhibition of work created by CCW and Haverford student artists, a book- See the IN REVIEW section for a full listing of making workshop, and other events. PACC projects.
PACC ARTISTS JACOBIA DAHM AND GRISELDA SAN MARTIN SPEAK AT THE OPENING OF BORDERS AND BELONGING, THEIR EXHIBI- TION IN THE VCAM LOWER CREATE SPACE. PHOTO: DEXTER COEN GILBERT ’21
22 23 ORIGINS IN PLACE URBAN ECOLOGY ARTS EXCHANGE Artist Patrick (Pato) Hebert (New York Univer- What defines the urban environment? How do sity Tisch School of the Arts) worked with Aviva the ways we engage and navigate the twenty- Kapust and Philadelphia’s Village of Arts and first century world and its many dimensions— Humanities, Haverford’s Dean Theresa Tensu- natural and industrial, digital and virtual— an, S.U.R.G.E., and Benjamin Hughes (Haver- shape human experience and our impact on ford Office of Multicultural Affairs) to map the the planet? The Urban Ecology Arts Exchange ways we experience alienation and belonging, addressed these questions in collaboration resilience and erasure, danger and delight, with artist Li Sumpter; urban green spaces competition and collaboration. Thinking about North Philly Peace Park with Tommy Joshua the lessons and limits of resilience in communi- and Pili X, Mount Moriah Cemetery with Pau- ties of Black and Indigenous people, the group lette Rhone, and the East Park Revitalization Al- paid particular attention to what is embodied liance with Suku John; Haverford faculty Josh- in the language and materials of our environ- ua Milton Moses (Anthropology, Environmental ments, hosting a suite of talks and workshops Studies) and Jonathan Wilson (Biology, Envi- at Haverford and at the Village. ronmental Studies); and many others in diverse ecologies at the intersection of art and science, teaching and learning, spirit and nature.
ABOVE: HAVERFORD STUDENTS SCREENPRINT SIGNS PROTESTING MASS INCARCERATION WITH THE PEOPLE’S PAPER CO-OP, AN ONGOING INITIATIVE WITHIN THE VILLAGE OF ARTS AND HUMANITIES. RIGHT: NORTH PHILLY PEACE PARK EXECUTIVE DIRECTOR TOMMY JOSHUA AND DIRECTOR OF COMMUNITY PARTNERSHIPS PILI X MEET WITH ENVIRONMENTAL STUDIES STUDENTS AS PART OF PACC’S URBAN ECOLOGY ARTS EXCHANGE COLLABORATIVE. PHOTOS: STEPHANIE BURSESE
24 25 HUMANITIES FORUMS CURATOR AND FILMMAKER MAORI KARMAEL HOLMES SPEAKS AS PART OF A PANEL AT THE BLACK EXTRA/ORDINARY, A SYMPOSIUM ORGA- NIZED BY CHRISTINA KNIGHT (VISUAL STUDIES) COINCIDING WITH THE LAUNCH OF THE COLLEGE’S NEW VISUAL STUDIES PROGRAM. PHOTO: JOHN MUSE
26 27 RIGHTS AT THE EDGE SYMPOSIUM HUMANITIES FORUMS Organized by Adam Rosenblatt (Peace, Jus- tice, and Human Rights), Rights at the Edge Each year, the HCAH funds a host of symposia, panel discussions, and lectures to advance showcased how scholars, activists, educa- innovative, cross-disciplinary research, teaching, and artistic expression. tors, and creators are pushing the “edges” of the human rights framework—seeking THE BLACK EXTRA/ORDINARY 2018 MELLON SYMPOSIUM to extend the guarantees of human rights Organized by Christina Knight (Visual Stud- BEYOND THE GRASSROOTS: PARTICIPATORY policy more broadly while challenging us to ies), The Black Extra/ordinary gathered artists, ECOLOGY AND POLITICAL PRAXIS rethink the boundaries of the “human” for scholars, and curators for a conversation about Organized by Mellon Postdoctoral Fellow Rafter a new century. The symposium was spon- blackness and visuality. The symposium ex- Sass Ferguson, Beyond the Grassroots brought sored in partnership with the Center for plored the poles of black representation, which together researchers, practitioners, and activ- Peace and Global Citizenship; the Distin- too often telescope from spectacular accom- ists to discuss politics and science in the hu- guished Visitors Program; the Peace, Jus- plishments to mundane suffering with little man-environmental age, considering the ways tice, and Human Rights concentration; and attention to all that falls between. The event in- in which visions of collective liberation can be the Office of the Provost. cluded a performative keynote address by art- realized through the strategies and practices of hav.to/rightsattheedge ist Jaamil Olawale Kosoko and concluded with current environmental movements and move- an artist-led walk-through of Sadie Barnette’s ment-embedded research. BARTLEBY THE SCRIVENER IN TRANSLA- Dear 1968... exhibition at Cantor Fitzgerald Gal- hav.to/beyondgrassroots TION WITH ROBERTO CASTILLO SANDOVAL lery. Roberto Castillo Sandoval (Spanish, Com- hav.to/blackextraordinary parative Literature) discussed his recent Spanish translation of Herman Melville’s 1853 work Bartleby, the Scrivener: A Story of Wall Street, published by Hueders in 2017. SAULO ARAÚJO, DIRECTOR OF THE GLOBAL MOVEMENTS PROGRAM AT The talk was followed by a dialogue with An- WHYHUNGER, SPEAKS AT BEYOND THE GRASSROOTS: PARTICIPATORY ECOLOGY AND POLITICAL PRAXIS. drew Friedman (History). PHOTO: ABIGAIL HARRISON ’19
ABOVE: JULI GRIGSBY (ANTHROPOLOGY) SPEAKS AT THE SYMPOSIUM RIGHTS AT THE EDGE. PHOTO: ALEXANDRA IGLESIA ’21
ROBERTO CASTILLO SANDOVAL (SPANISH, COMPARATIVE LITERATURE) DISCUSSES HIS TRANSLATION OF HERMAN MELVILLE’S BARTLEBY, THE SCRIVENER: A STORY OF WALL STREET. PHOTO: LEV GREENSTEIN ’20
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FACULTY INITIATIVES
(DIR. PIALAT 1983) CORBIN (FRENCH) ORGANIZED A SCREENING OF À NOS AMOURS (DIR. PIALAT KATHRYNE DEDET IN VCAM. DISTINGUISHED VISITOR YANN 1983), FOLLOWED BY A MASTERCLASS WITH (ED. DEDET, PHOTO: SARAH JENNINGS ’21 30 FACULTY SEMINAR WORKING AND READING GROUPS
The faculty seminar program enriches teaching and research at Haverford by encouraging di- The Hurford Center supports faculty working groups of local scholars focused on a common alogue among scholars who bring different perspectives to bear on a common interest. Seminar research interest. Reading Groups—which may include students, faculty, and staff—gather participants are selected from across the academic divisions and joined each year by a Mellon regularly to engage in a variety of ways with texts of mutual interest. Postdoctoral Fellow (chosen through a national search) with expertise in the seminar topic. Each Postdoctoral Fellow is appointed for two years and brings new courses and new intellec- AMERICAN STUDIES POETRY READING GROUP tual interests to the Haverford community. Leader Leaders GUSTAVUS STADLER (ENGLISH) WILLIAM GROSHOLZ EDWARDS ’18 2017–18 Faculty Seminar THE ARTS OF MELANCHOLY BENJAMIN KAPLOW ’18 THEORY AND ENVIRONMENT ARIANA WERTHEIMER ’18 This seminar used melancholy as a focal point Leaders of inquiry into works of art: their modes of rep- BENJAMIN PARRIS (ENGLISH) FALL GRAPHIC NOVELS READING GROUP resentation, their genesis, and their place in STEVE FINLEY (ENGLISH) Leaders broader schemes of cultural practice. The scope ELEANOR MORGAN ’20 of this inquiry into the causes, symptoms, and PHOTO: PATRICK MONTERO RELIGIOUS STUDIES ESME TRONTZ ’18 meanings of melancholia has ranged from Ar- Leader istotle to Freud and from Renaissance engrav- Leader RICHARD FREEDMAN (MUSIC) KEN KOLTUN-FROMM (RELIGION) SPRING SOCIAL JUSTICE ings to Japanese film. The seminar inspired the GRAPHIC NOVELS READING GROUP Cantor Fitzgerald Gallery exhibition Unwilling: Participants FACULTY/STAFF READING GROUP Leaders Exercises in Melancholy, as well as a public ar- MARILYN BOLTZ (PSYCHOLOGY) Leader STEVE LEHMAN ’19 chive in VCAM of texts, images, recordings, and ANDREW FRIEDMAN (HISTORY) RAJESWARI MOHAN (ENGLISH) NICKY RHODES ’19 other materials discussed in the seminar. CHRISTINA KNIGHT (VISUAL STUDIES) ERIN SCHONEVELD (EAST ASIAN LANGUAGES AND CULTURES, VCAM FACULTY FELLOW) ANIKO SZUCS (COMPARATIVE LITERATURE, MELLON POSTDOCTORAL FELLOW) JOEL YURDIN (PHILOSOPHY)
PHOTO: LISA BOUGHTER PHOTO: LEV GREENSTEIN ’20
32 33 MOVEMENT AND PRESENCE WORKSHOP WITH MEGAN BRIDGE CURRICULAR DEVELOPMENT John Muse (Visual Studies) brought Philadelphia dancer and
Featured Projects BICYCLES, GARBAGE, AND CAMERAS BUS(T) THE BUBBLE: TRI-CO BUS AND VAN Zainab Saleh (Anthropology) used the Tuttle DRIVERS SHARE THEIR STORIES Fund for the Development of Visual Culture Created as part of the course “Oral History and Across the Curriculum to organize the series Activism,” taught by Anne Balay (Gender and Bicycles, Garbage, and Cameras: Three Contem- Sexuality Studies), Bus(t) the Bubble highlighted porary Middle Eastern Films, featuring Garbage the Tri-Co bus and van drivers who knit togeth- Dreams (2009), Wadjda (2012), and Open Shut- er the Haverford, Bryn Mawr, and Swarthmore ters: Our Feelings Took the Pictures (2008). communities. The exhibition opening featured hav.to/bgc a performance by legendary Philadelphia funk
band Breakwater, with Director of Transporta- PHOTO: JOHN MUSE tion Services Steve Green on bass.
FOOD AND RELIGION PHOTO: ABIGAIL HARRISON '19 Ken Koltun-Fromm (Robert and Constance MacCrate Professor of Social Responsibility, Religion) and Molly Farneth (Religion) used a Course Innovation/Renovation Grant to sup- port “Food and Religion,” a new course in which students planned, produced, and hosted food-related events in the VCAM kitchen.
THE TAMAGAWA UNIVERSITY TAIKO DANCE GROUP RETURNED TO HAVERFORD, SUPPORTED BY THE KESSINGER FAMILY FUND FOR ASIAN PERFORMING ARTS AND THE DEPARTMENT OF EAST ASIAN LANGUAGES AND CULTURES. PHOTO: DEXTER COEN GILBERT ’21
34 35 STUDENT PROGRAMS
SUPPORTED BY THE STUDENT ARTS FUND, AINSLEY BRUTON ’21 EXPLORED FIRST YEAR STUDENTS’ RELATIONSHIPS TO THEIR BODIES THROUGH A COLLECTION OF INTERVIEWS AND PHOTOGRAPHS THAT CULMINATED IN A SERIES OF PAINTED PORTRAITS. PHOTO: ELI BADEN-LASAR ’21
36 37 STUDENT SEMINARS STUDENT ARTS
Student Seminars challenge Haverford students to design their own interdisciplinary scholarly The Student Arts Fund and the E. Clyde Lutton 1966 Memorial Fund for Performance support programs. Selected through a competitive application process, seminar members become Un- creative interests that complement the offerings of our formal curriculum, helping students dergraduate Fellows of the HCAH. Seminars routinely draw outstanding students from across produce their own performances and films, mount exhibitions, bring performers and artists to the academic disciplines, including the humanities, social sciences, and natural sciences. campus, and travel to area arts events. These initiatives sponsored fifteen projects in 2017–18.
Featured Projects TECHNOLOGIES OF CONTROL: SURVEIL- MARISOL TRAVIS ALABANZA BEFORE I STEP OUTSIDE LANCE AND SOCIALIZATION IN TOTAL INSTI- PHOTO: ELI BADEN-LASAR ’21 Supported by the E. Clyde Lutton 1966 Memo- [YOU LOVE ME] TUTIONS AND BROADER SOCIETY rial Fund, Marisol was a multimedia perfor- Clara Abbott ’18 brought performer, writer, and Leader mance and exhibition by Cristian Espinoza ’18 theater-maker Travis Alabanza to campus for a CHELSEA RICHARDSON ’18 (POLITICAL SCIENCE) that explored the fluctuating emotional states packed performance in VCAM. Faculty Advisor that an intersectional life entails: loneliness, JULI GRIGSBY (ANTHROPOLOGY) fear, confusion, joy, and pride. See the IN REVIEW section for a full listing of Student Arts projects. THE WRITING ON THE WALL: GRAFFITI, FIRST YEAR PORTRAIT PROJECT STREET ART, AND A NEW ORGANIC URBAN Ainsley Bruton ’21 explored first year students’ ARCHITECTURE relationships to their bodies through a collec- Leader tion of interviews and photographs that culmi- ISABELLA SIEGEL ’19 (FINE ARTS) nated in a series of painted portraits. Faculty Advisor LAURA MCGRANE (ENGLISH) MARISOL PERFORMER CRISTIAN ESPINOSA ’18 PHOTO: ELI BADEN-LASAR ’21 PHOTO: ALLIYAH ALLEN ’18 PUBLICATIONS
Body Text and Margin: Extra The latest issue of the student-edited journal Margin, Extra featured work by students, scholars, artists, and writers from both with- in and beyond the Haverford community that considered the tension in places where there is something extra: the prejudices hidden by people who are extra nice; the sacrifices made by those who work extra hard; the hid- den agendas in those who are, as millennials say, just plain extra. Body Text annually publishes the sharpest undergraduate schol- arship by Haverford students in the humani- ties and social sciences.
Body Text/Editor-in-Chief MADISON ARNOLD-SCERBO ’18, Margin/Editor-in-Chief ESME TRONTZ ’18
38 39 STUDENT RESEARCH ASSISTANTS INTERNSHIPS
Summertime Student Research Assistantships offer faculty and students productive partner- PHILLY PARTNERS Historical Society of Pennsylvania ships in developing humanistic research and curricula. Philly Partners matches Haverford students JOANNE MIKULA ’20 DIGITAL "CAMERA LUCIDA:" A TEACHING AID REMAPPING IMPERFECT CITY/IMPERFECT with nationally recognized organizations in Mütter Museum of the College of Physicians of Ashley Guzman ’19 worked with John Muse STATE" BY FINLEY AND MUSE Philadelphia committed to intellectual and ar- Philadelphia (Visual Studies) to develop a web platform for Christopher Gandolfo-Lucia ’19 worked with tistic engagement with local undergraduates. TINA LE ’19 teaching Roland Barthes’s Camera Lucida, al- John Muse (Visual Studies) to create a geo- SABRINA KWAK ’21 lowing students to move between the origi- tagged archive of photographs from the road- Library Company of Philadelphia DataArts nal French and the English translation, view side memorial documentary project Imperfect MATHILDE DENEGRE ’21 MATTHEW RIDLEY ’19 higher-resolution versions of the photographs City/Imperfect State. The project was originally Pennsylvania Humanities Council FringeArts Barthes included in the original text, and en- created by Muse in collaboration with artistic ETHAN EMMERT ’19 ALYSSA KERPER ’20 gage with images described but not originally partner Jeanne Finley to document over one included. The platform also offers useful anno- hundred roadside memorials in Delaware. tation tools, allowing dynamic markup to facili- tate assigned reading, homework, and in-class LINGUISTICS RESEARCH ASSISTANT discussions. Joseph Stein ’21 served as a research assistant for Brook Lillehaugen (Linguistics), proof- reading, compiling bibliographies, and find- ing sources for her forthcoming publications, as well as assisting with course design for the course “Linguistics 101.”
MATHILDE DENEGRE ’21 HELD A PHILLY PARTNERS INTERNSHIP WITH THE LIBRARY COMPANY OF PHILADELPHIA. PHOTO: ALEXANDRA IGLESIA ’21 PHOTO: ALEXANDRA IGLESIA ’21
40 41 SELF-DESIGNED INTERNSHIPS INTERN PARTNERSHIPS RESEARCH FELLOWSHIPS ater. Drawing on interviews with cinema stud- ies researchers, filmmakers working in digital Students independently identify arts and The Hurford Center supports a number of ad- The HCAH’s Summer Research Fellowships are and traditional media, and others, the project culture internship opportunities across the ditional partnership programs in collaboration competitive grants designed to support thesis- broadly considered changing cultural attitudes country for this competitive HCAH-funded with partners within and beyond the College. related or otherwise substantive research proj- toward media production and consumption in program. ects. the age of online streaming. Philadelphia Museum of Art Museum Studies
Motto Films, New York Program Reconstructing “The Sleepers”: Exploring Walt Slouching Towards Utopia: Essaying an ALI WEINER ’19 MILES LEE ’18 Whitman’s Poetry and Politics after the Civil War American Eden Under Fire City Lights Publishing, San Francisco CARMEN (NANA) NIETO ’19 Peter Kurtz ’19 (Comparative Literature, Ital- Gasira Timir ’19 (English, Africana Studies) MARY KEARNEY-BROWN ’19 Woody Guthrie Center (co-sponsored by CPGC) ian) studied Walt Whitman’s poem “The Sleep- examined Joan Didion’s descriptions of both CetraRuddy, New York EMILY DOMBROVSKAYA ’19 ers,” giving particular attention to its revisions natural and built American phenomena or en- ELANA KATES ’19 Asian Arts Initiative (co-sponsored by CPGC) and evolution from 1855 to 1882. Considering vironments as inextricably bound to a national Penn Museum, Philadelphia OLIVIA LEGASPI ’19 the poem’s political and ideological aspects political imagination, facilitating fantasies cir- RACHEL KLINE ’20 Diversity and Activism Archive Summer Research alongside Whitman’s 1871 book Democratic cumscribed within the particulars of consumer Internship Vistas and the work of Sacvan Bercovitch, the citizenship and neoliberalism. Focusing on how SIERRA ZARECK ’19 project laid the foundation for the English lit- Didion reconciles “a sense sublime” or a par- erature portion of Kurtz’s thesis. ticular romanticism concerning the Western
landscape with a simultaneous sense of dread, The Decline of Movie Theaters: A Reflection on Timir spent the summer researching Didion’s the Future of Movie Theaters During a State personal correspondence and writings on her of Industrial Flux work at Yale’s Beinecke Library, New York Uni- Saket Sekhsaria ’20 (Film and Media Stud- versity’s Fales Library, and elsewhere. ies, Economics) worked on a documentary film exploring the cultural space of the movie the-
PHOTO: ALEXANDRA IGLESIA ’21
RACHEL KLINE ’20 HELD A SELF-DESIGNED INTERNSHIP AT THE UNIVERSITY OF PENNSYLVANIA’S MUSEUM OF ARCHAE- OLOGY AND ANTHROPOLOGY. PHOTO: ALEXANDRA IGLESIA ’21
42 43 CANTOR FITZGERALD GALLERY
INSTALLATION VIEW OF THE CANTOR FITZGERALD GALLERY EXHIBITION BLACK ATLAS, CURATED BY JACQUELINE HOÀNG NGUYỄN. PHOTO: LISA BOUGHTER
44 45 CANTOR FITZGERALD GALLERY
The Cantor Fitzgerald Gallery is the principal venue for the Haverford College Exhibitions Program, extending cultural literacy through the display and analysis of work across visual and material media. Envisioning exhibition spaces as active workshops for the exploration of visual culture, the Exhibitions Program collaborates with faculty, students, staff, and visiting curators to design exhibitions that connect curricular interests and scholarship with contem- porary artistic practice.
DEAR 1968,… BLACK ATLAS In Dear 1968,… artist Sadie Barnette mined Curated by Jacqueline Hoàng Nguyễn, Black personal and political histories using family Atlas turned the ethnographic gaze on itself, INSTALLATION VIEW, THE GUANTANAMO BAY MUSEUM OF ART AND HISTORY. - PHOTO: LISA BOUGHTER photographs, recent drawings, and selections reflecting on the administration of racialized from the five-hundred-page file that the FBI labor for transporting artifacts from across the FUTUREPROOF UNWILLING: EXERCISES IN MELANCHOLY amassed after her father joined the Black Pan- world to the collections of European museums. Curated by Ingrid Burrington, Futureproof en- Curated by Vanessa Kwan and Kimberly Phil- ther Party in 1968. This immersive reimagining The twentieth-century history of Sweden’s gaged artists in the many interpretations of lips in coordination with this year’s HCAH Fac- of the family album demonstrated that Bar- Museum of Ethnography left a photographic futureproofing, drawing from both the legacy ulty Seminar, Unwilling: Exercises in Melancholy nette’s family story is not unique. Examining imprint, and this visual reliquary took center of military and corporate scenario planning proposed a reconsideration of melancholy de- the fraught relationship between the personal stage by shifting the viewer’s attention from and the use of semi-fictionalized artifacts or fined through our contemporary condition. Re- and the political, the everyday and the other- singular world travelers to the deployment of archives as “proof,” or evidence, of alternate sisting the historical definition of melancholy worldly, the past and the present, she revealed local labor, recognizing the work of the name- timelines or futures. In a time when each day as an affliction that creates disorder or inactiv- that the injustices of 1968 have not been rele- less porters and caravan workers who carried brings new political uncertainties and new cri- ity, the exhibition reimagined passive sadness gated to the pages of history, but live on in new these burdens. ses, and when every “now” is assumed to be as powerful refusal, a conscious (or uncon- “more than ever,” Futureproof encouraged view- scious) “standing aside,” a willful production of forms today. exhibits.haverford.edu/blackatlas ers to interrogate the fraught systems of the generative failures and resistant potencies. exhibits.haverford.edu/dear1968 present moment and imagine how they might exhibits.haverford.edu/unwilling be otherwise. exhibits.haverford.edu/futureproof
JUSTINE A. CHAMBERS PERFORMS TEN THOUSAND TIMES AND ONE HUNDRED MORE AS PART OF THE EXHIBITION UNWILLING: EXERCISES IN MELANCHOLY. PHOTO: RYAN COLLERD
INSTALLATION VIEW, SADIE BARNETTE’S UNTITLED (BLACK 1968), 2017, FROM THE EXHIBITION DEAR 1968,... 46 PHOTO: LISA BOUGHTER 47 CHRISTINA KNIGHT (VISUAL STUDIES) HOSTS CREATIVE RESIDENCIES A TALKBACK WITH ARTISTS JAAMIL OLAWALE KOSOKO, JEREMY TOUSSAINT-BAPTISTE, AND IMMA AFTER THEIR PERFORMANCE WHITE STATE | BLACK MIND, PART OF THE SYMPOSIUM THE BLACK EXTRA/ORDINARY. PHOTO: JOHN MUSE
48 49 LISA STEVENSON: ERA UN LUNES WORKSHOP IN KABUKI DANCE CREATIVE RESIDENCIES Anthropologist Lisa Stevenson hosted a rough AND MOVEMENT cut screening of Era un Lunes, her experimen- Led by Isaburoh Hanayagi, this workshop intro- Creative Residencies encourage faculty from across the natural sciences, social sciences, tal ethnographic film that brings us into the duced students to the movement and dance of and humanities divisions to design arts residencies that combine pedagogy, public presenta- lives of a group of Colombian families who flee Kabuki theater. Students learned the meanings tion, and informal exchange among artists, faculty, students, and area communities. The term across the Ecuadorian border to escape the on- of the dramatic mie stances of Kabuki and other artist here embraces the full spectrum of creators, including innovative practitioners of sci- going violence in their country, depicting life in aspects of this rich performance tradition. entific narrative and im aging, creative nonfiction writers, performance artists, illustrators, the shadow of a violent past that nobody seems architects, sonic fabulists, environmental bricoleurs, multimedia curators, and others working to believe. See the IN REVIEW section for a full listing of at the frontiers of what we think of as art. Creative Residencies. Featured Residencies THIS IS ON RECORD WHITE STATE | BLACK MIND Hosted by Walter Sullivan (Quaker Affairs) and Performance and other forms of creative prac- Jaclyn Isaac Pryor (English), radical Philadel- tice can reimagine or reframe the world, but phia theater collective Applied Mechanics took how does performance as an activist practice over VCAM to stage a work-in-progress perfor- help us foreground and work through structural mance of THIS IS ON RECORD, which followed and systemic forms of violence and oppression, the intertwined lives of a writer, a balladeer, a in particular as these relate to Black identities? documentarian, a radio broadcaster, an archi- What might queer, oblique, and alternative vist, and a live-streamer to expose the filters, readings of society reveal about the intricacies pressures, and privileges that inform how his- and multiplicities of Blackness? Jaamil Olawale tory is recorded. Kosoko with collaborators IMMA and Jeremy Toussaint Baptiste discussed these issues and more with scholar Christina Knight.
BRETT ASHLEY ROBINSON PERFORMS IN VCAM AS PART OF THE AP- PLIED MECHANICS PIECE THIS IS ON RECORD. PHOTO: ELI BADEN-LASAR ’21
IMMA, JAAMIL OLAWALE KOSOKO, AND JEREMY TOUSSAINT- BAPTISTE PERFORM WHITE STATE | BLACK MIND. PHOTO: LEV GREENSTEIN ’20
50 51 TEACHING WITH THE HCAH
STUDENTS FROM VCAM FACULTY FELLOW ERIN SCHONEVELD'S COURSE “ART AND THE ENVIRONMENT IN EAST ASIA” WORKED WITH BIODATA-SONIFICATION ARTIST SAM CUSUMANO TO MAKE MUSIC WITH PLANTS THROUGHOUT THE HAVERFORD CAMPUS. PHOTO BY CLAIRE BLOOD-CHENEY ’21
52 53 VISUAL MEDIA SCHOLARS TEACHING WITH THE HCAH Sally Berger is a film and me- festivals. Funari’s films have won numerous dia curator, lecturer, and writ- awards, including Grand Jury Prize and Audi- As a liberal arts college dedicated to the complementary pursuits of advanced scholarship and er. She is a fellow at the Center ence Awards at the San Francisco International excellent teaching, Haverford has a profound stake in ensuring continuity in the tradition of for Media, Culture, and History Film Festival; Lifetime Television’s Vision Award scholar-teachers. HCAH plays a vital role in infusing the College with fresh intellectual and at New York University. Previ- at the Hamptons International Film Festival; pedagogical perspectives through postdoctoral fellow course offerings, visual culture and docu- ously, she was an assistant curator in the De- and the Audience Award for Best Documentary mentary courses, and extensive funding opportunities for course renovation. The Hurford Cen- partment of Film at the Museum of Modern Art at the Barcelona International Women’s Film ter’s new VCAM Faculty Fellows teach courses within the recently launched interdisciplinary in New York and director/co-founder of Docu- Festival. minor in Visual Studies and receive funding to support research, visiting scholars, screenings, mentary Fortnight, an international festival of Courses exhibitions, and other projects in VCAM. nonfiction film and media. INTRODUCTION TO DOCUMENTARY VIDEO PRODUCTION MELLON POSTDOCTORAL FELLOWS Aniko Szucs is the HCAH’s Course MOVING IMAGE MEDIA AND ART EXHIBITION THE DOCUMENTARY BODY: ADVANCED MEDIA PRODUCTION Rafter Sass Ferguson was 2017–19 Mellon Postdoctoral the HCAH’s 2016–18 Mellon Fellow and Visiting Assistant Vicky Funari is a Visual Media John Muse is a Visual Media Postdoctoral Fellow and Visit- Professor of Comparative Lit- Scholar at the HCAH. A documen- Scholar at the HCAH. He writes ing Assistant Professor of Envi- erature. She holds a PhD in tary filmmaker, editor, and teach- essays and reviews, makes ex- ronmental Studies. He holds a performance studies from New York University er, she produced, directed, and perimental films, and builds PhD in crop sciences from the University of Illi- and master’s degrees in English and Commu- edited the feature documentaries cairns at the corner of Ard- nois at Urbana-Champaign and an MS in agro- nication from the Eötvös Loránd University of Maquilápolis (2006) and Pau- more and Lancaster Avenues. See finleymuse. ecology from the University of Vermont. Fergu- Budapest, as well as an MFA in theater studies lina (1998), and directed and edited Live Nude com and johnmuse.academia.edu. son’s research is informed equally by themes in and dramaturgy from the University of Film Girls Unite! (2000). These critically acclaimed Courses agroecology and political ecology, integrating and Theatre Arts of Budapest. Szucs’s research films have screened at the Sundance, Locarno, TOPICS IN VISUAL STUDIES: ROLAND BARTHES AND THE IMAGE questions about the quantifiable performance project focuses on post-communist melancho- Havana, Rotterdam, SXSW, and Tribeca film THE THEORY AND PRACTICE OF CONCEPTUAL ART of farming systems with a concern for the ways lia, and analyzes the aesthetics and praxis of leftist and liberal activism in Central Eastern in which our ideas about agriculture translate VCAM FACULTY FELLOWS Erin Schoneveld is an assis- into policies and practices that have different Europe. Lindsay Reckson teaches and tant professor in the Depart- consequences for different communities. Courses writes at the intersection of ment of East Asian Languages Courses ARTISTS UNDER THE POLICING GAZE OF THE STATE: POLITICS, American and African-Amer- and Cultures, where she teach- INTRODUCTION TO PERMACULTURE HISTORY, AND PERFORMANCE ican literary studies, perfor- es courses in modern and con- CARBON FARMING POLITICS OF MEMORY AND PERFORMANCE mance studies, media studies, temporary Japanese art, cinema, and visual and religion. She is currently at work on two culture. She earned her BA in East Asian stud- book projects. The first,Realist Ecstasy: Reli- ies from Brown University and completed her gion, Race, and Performance in American Litera- MA and PhD in the history of art at the Univer- ture, examines ecstatic performance as a source sity of Pennsylvania. Her current research proj- of ambivalence and fascination for American ect on the Taishō-period art and literary journal realism in the post-Reconstruction era. The Shirakaba has received support from the Japan second, Experimental Gestures, explores how Foundation, the Andrew W. Mellon Foundation, minimal or routine gestures become crucial and the Henry Luce Foundation. She served as means of ethical inquiry in times of attenuat- the 2017–18 VCAM Faculty Fellow and is a core ed political possibility. She received a 2016–17 faculty member of the Visual Studies interdis- ACLS Fellowship for Realist Ecstasy, and cur- ciplinary minor. rently serves as a 2017–19 VCAM Faculty Fellow. Courses Courses ART AND THE ENVIRONMENT IN EAST ASIA REALISM, RACE, AND PHOTOGRAPHY POSTWAR JAPANESE CINEMA DOCUMENTARY MODERNISMS THE ART OF JAPANESE PRINTS
VISUAL MEDIA SCHOLAR JOHN MUSE’S COURSE “THE THEORY AND PRACTICE OF CONCEP- FACULTY PHOTOS: PATRICK MONTERO EXCEPT: VICKY FUNARI: DAVID MAUNG, JOHN MUSE: RYAN GOODING TUAL ART” DISPLAYS AN UPCOMING PROJECT IN THE VCAM MAKER ARTS SPACE. 54 PHOTO: JOHN MUSE 55 IN REVIEW
AS PART OF THIS YEAR’S SUMMER DOCULAB DIZHSA NABANI - LIVING LANGUAGE, STUDENT FELLOWS KATHRYN GOLDBERG BMC ’18, EDDIE OGBORN ’19, AND KATIE RODGERS ’18 INTERVIEW ZAPOTEC LANGUAGE ACTIVIST AND PROJECT COLLABORATOR MOISÉS GARCÍA GUZMÁN ON THE HILL “DANY NAGAS,” OVERLOOKING THE TOWN OF TLACOCHAHUAYA, MEXICO. PHOTO: LUCIA PALMARINI
56 57 Lindgren (Writing Program) and Adam Imke Brust (German) IN REVIEW Rosenblatt (Peace, Justice, and Human Rights) Jacobia Dahm (Artist) Roksana Filipowska (History of Art, University VCAM 2018 Audience Favorite: PHILADELPHIA AREA of Pennsylvania) FILM AND MEDIA JOY by Ruby Bantariza SC ’20 CREATIVE COLLABORATIVES Griselda San Martin (Artist) Urban Ecology Arts Exchange Zainab Saleh (Anthropology) Strange Truth 2018 Flaherty Seminar Faculty Scholars Dylan Gauthier (Mare Liberum) Alexandra Wolkoff (Puentes De Salud) Theo Anthony,Rat Film Vicky Funari (Visual Studies) Suku John (East Park Revitalization Alliance) Pamela Z, Parts of Speech/ Parts of the Body Erin Schoneveld (East Asian Languages and Tommy Joshua (North Philly Peace Park) HUMANITIES FORUMS Sabaah Folayan and Damon Davis, Whose Cultures, VCAM Faculty Fellow) Scott Kellogg (Radix Ecological Sustainability The Black Extra/ordinary, Streets? Hillman Moving Images Fund Center) Christina Knight (Assistant Professor, Summer DocuLab 2018: Sam Green, The Weather Underground Joshua Milton Moses (Anthropology, Environ- Visual Studies) Dizhsa Nabani, Living Language mental Studies) Sadie Barnette Faculty Leader CREATE SPACES Paulette Rhone (Friends of Mount Moriah James Claiborne (African American Brook Lillehaugen (Linguistics) American Queen: Drag in Contemporary Art and Cemetery) Museum in Philadelphia) Producers Performance, Christina Knight (Visual Studies) Li Sumpter (Artist) Jaamil Olawale Kosoko Laura Deutch Big Mess, Jessie Lamworth ’18 Jonathan Wilson (Biology, Environmental Juli Grigsby (Anthropology) Vicky Funari (Visual Studies) Shedding City, Colin Fredrickson ’20 Studies) Tionna Nekkia McClodden Moisés García Guzmán Bus(t) the Bubble: Tri-Co Bus and Van Drivers Pili X (North Philly Peace Park) Kelli Morgan (Pennsylvania Academy Lucia Palmarini Share Their Stories, Anne Balay (Gender and Sounding the Archive of the Fine Arts) Production Coordinator Sexuality Studies) Brian Carpenter (Center for Native American Jumatatu Poe (Music and Dance, Swarthmore) Hilary Brashear Lay/Lines, Isabella Siegel ’19 and Indigenous Research, American Philo- Lindsay Reckson (English, VCAM Participants SHINE, Alliyah Allen ’18 sophical Society) Faculty Fellow) Sabea Evans ’18 Who Belongs? Exodus and Arrival, Imke Brust Thomas Devaney (English) Imani Roach (University of the Arts) Kathryn Goldberg ’18 (German) and Zainab Saleh (Anthropology) Jeanine Oleson (Artist) Raél Jero Salley Marcelo Jauregui-Volpe ’18 Novaya Derevnya Remembered, Lindsay Reckson (English, VCAM Faculty Fel- Monique Scott (Museum Studies, Bryn Mawr) Edward Ogborn ’19 Luba Mendelevich ’19 low) Sosena Solomon Katie Rodgers ’18 letter to my serbian neighbor, Origins in Place Brittany Webb (African American Dita Cavdarbasha ’19 The Tri-College Film Festival Patrick (Pato) Hebert (Artist, Arts, New York Museum in Philadelphia) Maker Arts Space Guitar Build, Micah Maben ’21 Director University Tisch School of the Arts) William Williams (Fine Arts) and Jessica Lopez ’21 Harlow Figa ’16 Benjamin Hughes (Office of Multicultural Af- 2018 Mellon Symposium: Beyond the Food! Food?, Ying Li (Fine Arts) Jurors fairs) Grassroots: Participatory Ecology and Clothes Make the Man: Identities of the Family Shari Frilot Aviva Kapust (The Village of Arts and Humani- Political Praxis,Rafter Sass Ferguson (En- Closet, Eli Baden-Lasar ’21 Sosena Solomon ties) vironmental Studies, Mellon Postdoctoral VCAM Philadelphia Artist in Residence, Mariel New Media Prize: S.U.R.G.E. Fellow, HCAH) Capanna TwitterVision by Nicky Rhodes ’19 Theresa Tensuan (Dean’s Office, Office of Mul- Saulo Araújo (WhyHunger) The Arts of Melancholy, ticultural Affairs, Writing Program) Kirtrina Baxter (Soil Generation) Excellence in Experimental Filmmaking: Faculty Humanities Seminar We’re in It (Remaking the World) Rachel Bezner Kerr (Cornell University) Halve the Peach, Split the Seed Marisol, Cristian Espinoza ’18 Lori Bartol (Center for Creative Works) M. Jahi Chappell (Coventry University) by Sasha Klugar BMC ’19 Green Screen: Lost and Found Stories by Lindsay Buchman (University of Pennsylvania) Garrett Graddy-Lovelace (American Sam Green, Sally Berger (Visual Studies) Dramatic Filmmaking Prize: Andreana Donahue (Disparate Minds) University) For Your Tactile Pleasure, Tessa Haas BMC ’18 M. A .Y. by Julian Turner SC ’18 Kristin Lindgren (Writing Program) Nathan Kleinman (GMO Free Philadelphia) Redefining HERstory in the #MeToo Era: Vérité Documentary Filmmaking: Samantha Mitchell (Artist) Rights at the Edge, Adam Rosenblatt Exposing the Systematic Erasure of Black Wom- Living Legends by Akosua Ampofo BMC ’19 Tim Ortiz (Disparate Minds) (Peace, Justice, and Human Rights) en’s Histories of Sexual Violence, Sil Lai Abrams, Kaitlin Pomerantz (Artist) Diya Abdo (English, Guilford College) Special Jury Prize for Original Storytelling: Tess Oberholtzer ’19, and Anita Wu BMC ’21 Adam Rosenblatt (Peace, Justice and Human Osman Balkan (Political Science, Swarthmore) Swim, Swim, Swim, Swim by Cecilia Burke ’18 In Progress: Conceptual Art Final Exhibition, Rights) Bethany Barratt (Joseph Loundy Human John Muse (Visual Studies) Who Belongs? Exodus and Arrival Rights Project) We’re in It (Remaking the World), Kristin
58 59 Jolie Brakey ’18 Christina Knight (Visual Studies) Rafter Sass Ferguson (Environmental Studies, Shana Goldin-Perschbacher (Music, Temple) Dr. Thomas J. Donahue (Political Science) Erin Schoneveld (East Asian Languages and Mellon Postdoctoral Fellow), “Introduction to Juli Grigsby (Anthropology) Araceli Garcia de Soto (Institute of Cultures, VCAM Faculty Fellow) Permaculture” trip to Heritage Farm Christina Knight (Visual Studies) Humanitarian Affairs, Fordham College) Aniko Szucs (Comparative Literature, Mellon Lina Martinez (Spanish), “Spanish 100: Basic Sangina Patnaik (English, Swarthmore) Juli Grigsby (Anthropology) Postdoctoral Fellow) Intermediate Spanish” trip to Las Parcelas Lindsay Reckson (English, VCAM Faculty Fel- Eric Hartman (Center for Peace and Global Joel Yurdin (Philosophy) Jaclyn Isaac Pryor (English), “ Writing about low) Citizenship) Access Grants Performance” trip to see A Period of Animate Bethany Schneider (English, Bryn Mawr) Claire Jean Kim (Political Science and Asian Hannah Silverblank (Classics), Brooklyn Existence at the Annenberg Center for the Jill Stauffer (Peace, Justice, and Human Rights) American Studies, University of California, Horror Film Festival Performing Arts, 2.5 Minute Ride at Theatre Ho- David Suisman (History, University of Dela- Irvine) Aurelia Gomez (Spanish), Adela Cedillo class rizon, and Blood Wedding at the Wilma Theatre ware) Amanda Levinson (NeedsList) visit Rajeswari Mohan (English), “Introduction Theresa Tensuan (Dean’s Office, Writing Pro- Kristin Lindgren (Writing Program) Hank Glassman (East Asian Languages and to Literary Analysis: Accidental Tourists and gram) Angela Naimou (English, Clemson University) Culture), Diamond Mountains: Travel and Passionate Exiles” trip to see Frankenstein and Jennifer Harford Vargas (English, Bryn Mawr) Maureen O’Connell (Religion, LaSalle Nostalgia in Korean Art, Metropolitan Museum Dracula: Gothic Monsters/ Modern Science at Patricia White (Film and Media Studies, University) of Art the Rosenbach Swarthmore) Brian Palmer and Erin Hollaway Palmer Charles Kuper (Classics), Teaching the Saints John Muse (Visual Studies), “Art After Con- Terrance Wiley (Religion) Make the Ground Talk) colloquium ceptual Art: History, Theory, Practice” trip Christina Zwarg (English) Isaias Rojas-Perez (Anthropology, Rutgers Hannah Silverblank (Classics), Performing to see Sp3 (Space, Pulse, Pattern, Presence) at Religious Studies Working Group University) Divinity workshop, University of Oxford FringeArts Leader: Ken Koltun-Fromm (Religion) Jill Stauffer (Peace, Justice, and Human Rights) Tuttle Fund for the Development of Visual Aniko Szucs (Comparative Literature, Mellon Vincent Lloyd (Religious Studies, Villanova Seeing Survival: Photography, Embodied Culture Postdoctoral Fellow), “Politics of Memory and University) Female Performance, and the Case of Zainab Saleh (Anthropology), Bicycles, Performance” trip to see The Bluest Eye at Nancy Kreimer (Reconstructionist Rabbinical the Baker's 1899 Anti-Lynching Exhibit, Garbage, and Cameras: Three Contemporary Arden Theatre College) Lindsay Reckson (English, VCAM Faculty Middle Eastern Films Pika Ghosh (Religion), “Poetics of Religious Joel Hecker (Reconstructionist Rabbinical Fellow) Anne Balay (Gender and Sexuality Studies), Experience in Southeast Asia” trip to College) Autumn Womack (Princeton University) Bus(t) the Bubble: Tri-Co Bus and Van Drivers Philadelphia Museum of Art Guy Aiken (Religious Studies, Villanova The Resurrection is in Technicolor: The Share Their Stories oral history project Vicky Funari (Visual Studies), “The Docu- University) Passion Play Film, 1904-2004, Lindsay Kathryne Corbin (French), Certain Women film mentary Body: Advanced Media Production” Mira Wasserman (Reconstructionist Reckson (English, VCAM Faculty Fellow) series and Yann Dedet Master Class “QUEST” Screening at Lightbox Film Center Rabbinical College) Phillip Maciak (Louisiana State University) Ken Koltun-Fromm (Religion), Uneasy Objects: and a Master Class at Scribe Video Center Rachel J. Smith (Religious Studies, in Translation, Andrew Friedman A Workshop Seminar in Graven Images Kathryne Corbin (French), “Directions de la Villanova University) (History) Tetsuya Sato (East Asian Languages and Cul- France Contemporaine” Trip to Barnes Foun- Jamal J. Elias (Religious Studies, Roberto Castillo Sandoval (Spanish, tures) and Erin Schoneveld (East Asian Lan- dation University of Pennsylvania) Comparative Literature) guages and Cultures, VCAM Faculty Fellow), Sally Berger (Visual Studies), “Moving Image Justin McDaniel (Religious Studies, Crosslisted A Taste of Japan: Food in Japanese Cinema Media and Art Exhibition” Trip to the Institute University of Pennsylvania) Soviet Art, American Museum, Emily Course Innovation/Renovation Grants of Contemporary Art and the Slought Megan E Robb (Religious Studies, Dombrovskaya ’19 Ken Koltun-Fromm (Religion) and Molly Foundation University of Pennsylvania) Crowded Light, Hayden Kesterson ’19 Farneth (Religion), “Food and Religion” VCAM Kessinger Family Fund for Asian Donovan O Schaefer (Religious Studies, Baby Bush, Sofia Abraham-Raveson ’18, Stevie Kitchen Projects Performing Arts University of Pennsylvania) Campos-Seligman ’20, Emily Dombrovskaya John Muse (Visual Studies), “Art After Tamagawa University Taiko Dance Group Stefanie Knauss (Religious Studies, ’19, and Eliana von Krusenstiern ’18 Conceptual Art: History, Theory, Practice” American Studies Working Group Villanova University) Workshop with Megan Bridge Leader: Gustavus Stadler (English) Brett Grainger (Religious Studies, Villa- FACULTY INITIATIVES Thomas Devaney (English), “Creative Writing Kim Benston (President/English) novaUniversity) Faculty Seminar Poetry Workshop” with Joan Larkin and Robert Natasha Bissonauth (Writing Program) Melanie Webb (Religious Studies, Villanova The Arts of Melancholy Hershon Elizabeth Blake (Writing Program) University) Leader: Richard Freedman (Music) Course Trips Lara Cohen (English, Swarthmore) Jeffrey Morgan (Religious Studies, Villanova Participants Kristen Whalen (Biology), “Advanced Topics Travis Foster (English, Villanova) University) Marilyn Boltz (Psychology) in Biology of Marine Life” trip to Adventure Andrew Friedman (History) Kerry SanChirico (Religious Studies, Villanova Andrew Friedman (History) Aquarium
60 61 University) Suzanne Amador Kane (Physics) Matthew Ridley ’19 Luke McGowan-Arnold ’20, Travel to Wesleyan Alison L. Joseph (Independent Scholar in Roger Lane (Emeritus, History) Caroline Tien ’20 for Performance Biblical Studies) Emma Lapsansky-Werner (Emerita, History) Fall Graphic Novels Reading Group Luba Mendelevich ’19, Film Project Hard Drive Jesse Couenhoven (Religious Studies, Ana Lopez Sanchez (Spanish) Co-Leader: Eleanor Morgan ’20 Alex Stern ’20, Weaving Project Villanova University) Jay Lunden (Biology) Co-Leader: Esme Trontz ’18 Mercedes Davis ’20, Black Cultural Center Yvonne Chireau (Religious Studies, Deborah Roberts (Classics and Comparative Miranda Behrends ’21 Mural Project Swarthmore) Literature, HCAH) Rebecca Chang ’19 Saket Sekhsaria ’20, Film Project Hard Drive Mark Wallace (Religious Studies, Swarthmore) Robert Scarrow (Chemistry) Noorie Chowdhury ’21 Sophia Abraham-Raveson ’18, Album Cover Art David Krueger (Independent Scholar) Jill Stauffer (Peace, Justice, Human Rights) Elana Kates ’19 Andrew Nguyen ’19, Magazine Printing Ronit Stahl (Medical Ethics and Health Policy, Susan Stuard (Emerita, History) Suyun Kim ’21 Alexandra Iglesia ’21, Camera Lens University of Pennsylvania) Karl Vosatka ’18 Clara Abbott ’18, Travis Alabanza Performance Samira Mehta (Religious Studies, Albright STUDENT PROGRAMS Jiawen Zhang ’21 Gasira Timir ’19, Sam Contis Visit College) Student Seminars Spring Social Justice Graphic Novels Cristian Espinoza ’18, E. Clyde Lutton 1966 Steve Weitzman (Religious Studies, University Technologies of Control: Surveillance and Reading Group Memorial Fund for Performance, Marisol of Pennsylvania) Socialization in Total Institutions and Co-Leader: Steve Lehman ’19 Student Research Assistants Laura Levitt (Religious Studies, Temple Broader Society Co-Leader: Eleanor Morgan ’20 Joseph Stein ’21 and Brooke Lillehaugen University) Leader: Chelsea Richardson ’18 Co-Leader: Nicky Rhodes ’19 (Linguistics) David Watt (Quaker Studies) Faculty Advisor: Juli Grigsby (Anthropology) Miranda Behrends ’21 Christopher Gandolfo-Lucia ’19 and John Muse Joylon Thomas (Religious Studies, University Emily Kingsley ’18 (Sociology) Ariel Censor ’20 (Visual Studies) of Pennsylvania) Vanessa Morales ’19 (Anthropology) Ari Kim ’20 Ashley Guzman ’19 and John Muse (Visual Adam Gregerman (Religious Studies, Saint Andrew Chalfoun ’18 (Philosophy) Catherine Kim ’21 Studies) Joseph’s University) The Writing on the Wall: Graffiti, Tatiana Le ’21 Philadelphia Partners Theory and Environment Working Group Street Art, and a New Organic Urban Margin Editorial Board Mathilde Denegre ’21, Library Company of Co-Leader: Benjamin Parris (English) Architecture Editor-in-Chief: Esme Trontz ’18 Philadelphia Co-Leader: Steven Finley (English) Leader: Isabella Siegel ’19 Cecilia Burke ’18 Ethan Emmert ’19, Pennsylvania Humanities Elizabeth Blake (Writing Program) Faculty Advisor: Laura McGrane (English) Alice Hu ’20 Council S. Pearl Brilmyer (English, University of Emily Lin ’20 (Computer Science, Linguistics) Susan Kelly ’18 Joanne Mikula ’20, Historical Society of Pennsylvania) Sarah Jesup ’20 (Psychology) Ari Kim ’20 Pennsylvania Colby Gordon (English, Bryn Mawr) Alex Bitterman ’18 (Growth and Structure of Alice Lin ’19 Tina Le ’19, Mütter Museum of the College of Deanna Kreisel (English, University of British Cities, Political Science) Carmen (Nana) Nieto ’19 Physicians of Philadelphia Columbia) Hope Ebert ’19 (Biology) Lily Xu ’19 Sabrina Kwak ’21, Mütter Museum of the Scott MacKenzie (English, University of British Student Reading Groups Bilge Nur Yilmaz ’21 College of Physicians of Philadelphia Columbia) Poetry Reading Group Body Text Editorial Board Matthew Ridley ’19, DataArts Ada Smailbegovic (English, Brown University) Co-Leader: William Grosholz Edwards ’18 Editor-in-Chief: Madison Arnold-Scerbo ’18 Alyssa Kerper ’20, FringeArts Nandi Theunissen (Philosophy, Johns Hopkins) Co-Leader: Benjamin Kaplow ’18 Tania Bagan ’18 Self-Designed Internships Filippo Trentin (Italian, University of Co-Leader: Ariana Wertheimer ’18 Kevin Gibbs ’18 Ali Weiner ’20, Motton Films Pennsylvania) Dita Cavdarbasha ’19 Anna Mehta ’18 Mary Kearney-Brown ’19, City Lights Faculty/Staff Reading Group Andrew Chalfoun ’18 Ariana Wertheimer ’18 Publishing Leader: Rajeswari Mohan (English) Mathilde Denegre ’21 Alice Healey ’19 Elana Kates ’19, CetraRuddy Charlie Bruce (Office of Academic Resources) Carol Lee Diallo ’19 Matthew Jablonski ’19 Rachel Kline ’20, Penn Museum Franklyn Cantor (President’s Office) Emily Dombrovskaya ’19 Isabella Siegel ’19 Philadelphia Museum of Art Heather Curl (Education, Bryn Mawr) Sophie Frank ’19 Joanne Mikula ’20 Miles Lee ’18 Brian Cuzzolina (Office of Academic Bradford Gladstone ’18 Student Arts Fund Carmen (Nana) Nieto ’19 Resources) Alexander Gutierrez ’20 Ari Benkov ’20, Shadows Music Film Partnerships Raquel Esteves-Joyce (Office of Academic Alice Healey ’18 Ainsley Bruton ’21, Portraits of First Year Emily Dombrovskaya ’19, Woody Guthrie Cen- Resources) Hope Helverson ’18 Students ter (co-sponsored by CPGC) Sarah Horowitz (Special Collections) Oliver Hughes ’20 Addison Conn ’20, Watercolor Project Olivia Legaspi ’19, Asian Arts Initiative (co- Kelly Hyunjin Jung (HCAH) Andrew Nguyen ’19 Hayden Kesterson ’19, Sticker Workshop sponsored by CPGC)
62 63 Sierra Zareck ’19, Diversity and Activism Ar- Isabella Siegel ’19 (Fine Arts/Visual Studies), chive Summer Research Internship Lay/Lines Research Fellows Saket Sekhsaria ’20 (Film and Media Studies Gasira Timir ’18, Slouching Towards Utopia: Es- and Economics), film production, New York saying an American Eden Under Fire Saket Sekhsaria ’20, The Decline of Movie CANTOR FITZGERALD GALLERY Theatres: A Reflection On The Future Of Movie Dear 1968,..., work by Sadie Barnette Theatres During a State of Industrial Flux Futureproof, curated by Ingrid Burrington Peter Kurtz ’19, Reconstructing “The Sleepers”: Morehshin Allahyari Exploring Walt Whitman’s Poetry and Politics Salome Asega after the Civil War Gui Bonsiepe and the Cybersyn Project Research Stipend Grantees United States Department of Energy Thomas Stokes ’18 (History), hunting at the Ilona Gaynor court in Vienna of an 18th-century Habsburg Ayodamola Tanimowo Okunseinde monarch, Vienna Shell Corporation Walt Plumlee ’18 (Philosophy), sound engineering Guantanamo Bay Museum of Art and History Gasira Timir ’19 (English), travel for “Take Black Atlas, curated by Jacqueline Hoàng Little Ivy” photo project Nguyễn James Gisele ’19 (English), research materials Unwilling: Exercises in Melancholy, curated by for “Radical (Trans) Care” independent study Vanessa Kwan and Kimberly Phillips Jesse Lamworth ’18 (Growth and Structure of Billy-Ray Belcourt Cities), Big Mess materials Mike Bourscheid Anna Mehta ’18 (English), The Society of Chil- Ginger Brooks Takahashi dren’s Book Writers and Illustrators Philadel- Justine A. Chambers phia convention Noa Giniger Phillip Reid ’19 (English), research for oral his- tory study of public art CREATIVE RESIDENCIES Lauren Earl ’18 (English), The Society of Chil- White State|Black Mind, Jaamil Olawale Kosoko dren’s Book Writers and Illustrators Philadel- and Christina Knight (Visual Studies) phia convention This Is on Record, Applied Mechanics, Jaclyn Rosemary Cohen ’18 (History/Gender and Isaac Pryor (English) and Walter Sullivan Sexuality Studies), travel for thesis research (Quaker Affairs) on 1880 delegation of Crow Indian leaders to Workshop in Kabuki Dance and Movement, Washington, DC Isaburoh Koyama and Hank Glassman (East Shuang Li BMC ’19 (History and French), The Asian Languages and Cultures) Private Lives of the Carceral “Self ” at La Biblio- Lisa Stevenson: Era un Lunes, Joshua Milton thèque Nationale de France and La Biblio- Moses (Anthropology, Environmental Studies) thèque de L’Arsenal, Paris Emily Williams ’20 (Fine Art and History), photo project “The Manifestations and Habits of Anxiety” Moeka Noda ’19 (Growth and Structure of Cit- ies), visit to the Saul Leiter Foundation, New York
DETAIL FROM UNTITLED (DAD, 1966 AND 1968), 2016, TWO C-PRINTS, 46X40" EACH. © SADIE BARNETTE. COURTESY OF THE ARTIST; PART OF THE CANTOR FITZGERALD GALLERY EXHIBITION DEAR 1968,...
64 65 STAFF 2017–18 STEERING COMMITTEE The John B. Hurford ’60 Center for the Arts munications, the Office of Admission, Purchas- and Humanities receives funding for arts and ing, Safety and Security, Central Receiving, Deborah Roberts Imke Brust (German) performance presentations from the Leaves of Facilities Management, Whitehead Campus Koshland Director Molly Farneth (Religion) Grass Visiting Artists Program Fund, the House Center, Instructional and Information Technol- William R. Kenan, Jr. Professor of Classics Ying Li (Fine Arts) Fund for Distinguished Visiting Artists and ogy Services, Dining Services, the Bookstore, and Comparative Literature John Mosteller (Institutional Critics, the Sequoia Fund, the Kessinger Family Housekeeping, the Arboretum, the Margaret James Weissinger ’06 Advancement) Fund for Asian Performing Arts, the Hillmann Gest Program, the Center for Visual Culture at Associate Director, VCAM Operations Erin Schoneveld (East Asian Languages Moving Image Endowed Fund, and the Andrew Bryn Mawr, and many academic departments Manager and Cultures, VCAM Faculty Fellow)
STAFF W. Mellon Foundation. and programs. Matthew Seamus Callinan Associate Director, Cantor Fitzgerald Gal- STUDENT ADVISORY BOARD HCAH programming would not be possible For more information about the HCAH, please lery, VCAM, and Campus Exhibitions Luke Aylward ’20 without support from many other offices and visit http://www.haverford.edu/hcah or email Noemí Fernández Grace Coberly ’21 funds at Haverford, including the Office of the [email protected]. Program Manager Jingyi Hu (Alice) ’21 Provost, the Koshland Integrated Natural Sci- Stephanie Bursese Rachel Kline ’20 ences Center, the Center for Peace and Global The John B. Hurford ’60 Center for the Arts and Philadelphia Area Creative Collaboratives Citizenship, the Distinguished Visitors Pro- Humanities Program Manager HCAH STUDENT STAFF gram, the Office of Multicultural Affairs, the Of- Haverford College Kerry Nelson Eniola Ajao ’21 fice of Student Activities, Haverford Libraries, 370 Lancaster Avenue Financial and Administrative Assistant Eli Baden-Lasar ’21 Institutional Advancement, the Office of Com- Haverford, PA 19041 Kelly Hyunjin Jung ’17 Noorie Chowdhury ’21 Post-Baccalaureate Fellow Julia Coletti ’21 JUSTINE A. CHAMBERS PERFORMS TEN THOUSAND TIMES AND Duncan Cooper ’09 James Gisele ’19 ONE HUNDRED MORE AS PART OF THE EXHIBITION UNWILL- Graphic Designer Anna Mehta ’18 ING: EXERCISES IN MELANCHOLY. Andrew Nguyen ’19 PHOTO: RYAN COLLERD FELLOWS AND FACULTY MacK Somers ’20 Sally Berger, Visiting Assistant Professor Esme Trontz ’18 of Visual Studies Rafter Sass Ferguson, Mellon Postdoc- CFG STUDENT STAFF toral Fellow, Visiting Assistant Professor of Graham Mauro (co-manager) Environmental Studies Eleni Smitham ’20 (co-manager) Vicky Funari, Visual Media Scholar Morgan Chien-Hale ’18 John Muse, Visual Media Scholar Alice Healey ’19 Lindsay Reckson, Assistant Professor of Alyssa Kerper ’20 English, VCAM Faculty Fellow Jo Kravits ’21 Erin Schoneveld, Assistant Professor of Nana Nieto ’19 East Asian Languages and Cultures, VCAM Ken Ruto ’20 Faculty Fellow Samuel So ’21 Aniko Szucs, Mellon Postdoctoral Fellow, Visiting Assistant Professor of Compara- Publication design by tive Literature David Rager / davidrager.co
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