The editors of Colloquium invite you to the Third Issue Launch Party/First Birthday Party!
The editors of Colloquium invite you to the Third Issue Launch Party/First Birthday Party!
From the Editors:
Check out MAPH Alumnus Greg Langen’s (’13) reflections on his internship at the Odyssey Project. Also be sure to see the Odyssey Project’s latest issue of In Medias Res, edited by Greg Langen.
A liberal arts education is, on the graduation speech level, freedom granting. With the powers of critical thinking and a strong (passable) handle on the English language, no area of culture is barred to those with BAs and the like. MAPH free since June ‘13, I know this notion well. As a humanities masters student I am free to read, free to write, free to deconstruct the laden societal assumptions perpetuated by YouTube commercials, free to know that my notion of the obviousness of my liberal subjecthood is much more complicated than I know or can escape (Althusser fans?), free to alienate nearly everyone around me at one (multiple) point(s) in our relationship (Feel free to skip this section). However, a thing that nobody tells you while you are in the process of freeing your mind (but that all creatures of institutions secretly know) is that freedom can be suffocating. I discovered this on my first day at the Odyssey Project when my boss, the lovely and impassioned Amy Thomas Elder, sat down with me to talk about my class for the upcoming summer. “You are free to do whatever you want,” she told me. “I don’t want to get in your way.” » Read the rest of this entry «
A post from Emma Martin (AM ’11) on her new writing project, Side Dish mag, a community blog for writers and non-writers alike:
Curious where MAPH writers are now? Wondering what new publications have come out? Check out the recently updated MAPH Writers page on our website. There you’ll find a list of alumni, links to novels, essays, poems, and blogs, and what writers are working on now.
Don’t see your published work there? Please let us know! We would love to feature you and your work on the website.
Also! “The Serpent, Subtle and Brazen: Idolatory, Imagemaking, and the Hebrew Bible,” an essay from Issue 2 by Carina Del Valle Schorske (MAPH ’13) was one of today’s Editor’s Picks over at Mosaic Magazine. She’s in great company with writers from The Times Literary Supplement, Commentary, Middle East Quarterly, and Moment.
Those of you who have spent some time exploring Chicago may have come across the Graham Foundation for Advanced Studies in Fine Arts. Based in the beautiful Madlener House in Gold Coast, the Foundation puts on exhibitions, screenings, and other public events that promote discussion about architecture and its role in the arts, culture and society. In addition to providing public programming, the Graham Foundation makes grants to both individuals and organizations interested in doing projects “that investigate the contemporary conditions, expand historical perspectives, or explore the future of architecture and the designed environment.” Although the Foundation’s primary focus is in the field of architecture, its organizers are also looking for work that comes from the humanities, the sciences, and fine arts that addresses questions of architecture and space.
Applications for the Graham’s 2014 Grants to Individuals are now available online. The deadline to submit an inquiry is September 15, 2013. There are two types of individual grants offered: Production and Presentation and Research and Development. If you are interested in applying you can find more information about eligibility here, and you can also view last year’s recipients here.
The people and projects of MAPH are profiled in two articles in the latest issue of Tableau, the Humanities Division of UChicago’s biyearly magazine.
“Come Together“ profiles Colloquium, MAPH’s new online journal that features exemplary, wide-ranging work by MAPH students, alumni and staff. This is not the first mention of Colloquium in other publications—if you’re itching for more meta on the magazine, check out this interview with its founders in The University of Chicago Magazine. The Tableau article has come out just in time for the journal’s second issue, which is set to launch on Friday! Don’t miss it!
“Publish and Flourish,” an article on UChicago Humanities alumni who work in the publishing industry, features three MAPH grads who are making it in publishing. Ellen Grafton (AM’11), Allison Wright (AM’08), and Joanna MacKenzie (AM’02) offer their practiced advice on how to get hired and succeed in book publishing. Ellen and Allison moved to New York to get into the business—Ellen is now Assistant Managing Editor of the children’s division at Simon and Schuster, and Allison is the US Dictionaries Editor at Oxford University Press. Joanna put down roots in Chicago, and she works as a literary agent at Browne and Miller Literary Associates—the same company where MAPH provides a paid summer internship for one current student every year.
Those are just two of the publications that are profiling MAPH alumni and projects. Know of other places MAPH alumni are popping up? Contact us!
Naomi Slipp (MAPH ’09) is a current PhD candidate in the Department of History of Art & Architecture at Boston University. As a facet of her studies, she has been planning an exhibition on American art and artistic anatomy, the topic of her dissertation research, since the spring of 2010. Directly inspired by her MAPH thesis written on the bronze anatomical casts of Thomas Eakins at the Philadelphia Museum of Art, the two-month long exhibition Teaching the Body: Artistic Anatomy in the American Academy from Copley, Rimmer, and Eakins to Contemporary Artists, opens January 31, 2013 at the Boston University Art Gallery and includes over eighty works of art (many never exhibited before), extensive public programming, and an illustrated catalogue with scholarly essays.
She says of the project: “I feel inspired by artistic anatomy because these works of art visualize the uncharted and wondrous terrain of the human body, not some distant volcano or historical event, but the miraculous, complex mechanisms operating within ourselves. The study of anatomy also, historically, has brought together doctors and artists who sought to explore this corporeal space together.”
Because of this, she is also very excited about the opportunities for interdisciplinary collaboration around the exhibition topic. She says: “I want to create a dialogue between these two commonly polarized fields (art and science). To that end, we are initiating collaborative programming with Massachusetts General Hospital, the College of Fine Arts, the BU Medical College & the Center for Science & Medical Journalism at Boston University, and the Massachusetts College of Art & Design. I hope to unite this diverse audience, bringing together people who are interested in art and those who are interested in medicine for a rich, shared conversation about what it means to occupy, treat, & picture our own bodies.”
Reposted from the Court Theatre Blog. The first part of Angels in America opens March 30, 2012
“The World Only Spins Forward”
by Deborah Blumenthal MAPH ’11
I was seventeen when I first saw Angels in America, and it did, as it does, change how I saw the world. It was the magnificent HBO miniseries; I remember two cold, snowy Sunday evenings, tip-toeing around my house, covertly staying up far past my school-night bedtime to see it, and from my naive perch among the couch pillows, watching an entire unfamiliar history unfold from the glow of my Dad’s big-screen TV.
I don’t know that my parents would have let me watch it if they had known what it was, but it was almost by accident, really. I had tuned in just to see one of my favorite then-obscure stage actors on television, none the wiser to what I was about to see, other than that it had been adapted from a play I had never seen.
My most distinct memory from either of those two evenings is that I couldn’t sleep after watching the ending of Millennium Approaches. Not that I was afraid of an angel crashing through my ceiling (though of course you never know), but because Prior was so sick, and I was so scared. Watching it became, very quickly, about much more than just a beloved actor. Recorded VHS tapes were joined immediately by paperback copies and DVDs, a few years later by working copies for thesis notes and a holiday-gifted first edition. There’s a Tony Kushner section on my bookshelf, and each resident is worn with love.
I was born during the period in which Angels in America takes place. Having grown up in a school system that ignored, or at least sugarcoated, the existence of the AIDS crisis (I did have one teacher—elementary school art—who taught second and third graders about Keith Haring, much to the chagrin of some parents), encountering some of the AIDS plays as a teenager—first Angels, and a few months later, Larry Kramer’s The Normal Heart, with Rent sandwiched in between—was like opening a pop-up book. Even in my high school health classes, AIDS was just a bad thing that happened to you if you didn’t use a condom, in no major way separated from other STDs. The curriculum gave some clinical biology, here’s what happens to your cells, but the politics and the details and the terrifying history were left out, and real understanding was foregone.
It’s not uncommon to hear from people my age, or even younger, that Angels in America changed their lives—which might be strange considering that we weren’t there. But for us it’s like a history lesson, live in living color, opening our eyes to a reality that we can only try to imagine. Progressive sex-ed or sugarcoated evasion, the AIDS epidemic has become incorporated into our cultural consciousness. My generation has no idea what it was like for it to barely even have a name. The immersion of the theater may be the closest we’ll ever get to understanding.
More on Angels in America after 20 years after the jump