Columbia University’s Knox Hall is quiet. Breaking the Fear Barrier, an art exhibit of political cartoons, news photos, documentary footage and children’s drawings to raise awareness about the revolts in Syria, opened its doors two hours ago and scarcely anyone has shown up. The eerie stillness is a harsh reminder of the world’s approach to the situation in Syria: silence and inaction.
Written from the perspective of Dr. Gachet, Vincent van Gogh’s physician, Carol Wallace’s Leaving Van Gogh is the fictional story of the famous painter’s final months in the French town of Auvers. Based on 902 letters exchanged between Van Gogh and his family and friends, the novel paints the picture of a brilliant but tormented artist who alternates between captivating and scaring those closest to him. About to embark on the book tour, Wallace took the time to share her thoughts on Vincent van Gogh, mental illness and the joy of writing about painting.
A small group of dance students recently gathered on the floor of the Cunningham Studio to try to save their dance program from an early death. “There’s no way the studio won’t make it,” Suzanne Thomas, a French student, said. She is passionate about preserving it for a reason: “Pure Cunningham doesn’t really exist anywhere else.” The community revolving around choreographer Merce Cunningham, a giant of modern dance, has been in a state of flux since his passing in 2009. Although the choreographer himself and the Cunningham Trust meticulously outlined a plan for both the Merce Cunningham Dance Company, which would come to an end after a final farewell tour, and the Cunningham Foundation for after Cunningham was gone, the fate of the Cunningham Studio’s educational program was not so clear cut.