Aguilar Ruvalcaba’s “A Talk about Turtles” is the first Ruby Friday event of the new school year, and the artist came to Duke to discuss his work complemented by his own exhibited art. Ruby Fridays invite artists to Duke to share their work and careers in the Ruby Lounge, and this year they will occur every Friday at 12 p.m.
Fittingly enough for a modern-day Renaissance man, Jimmie Banks lists Leonardo da Vinci among his chief artistic heroes. In addition to being an exhibiting artist at the Rubenstein Arts Center, Banks is a Duke Facilities Management electrician of 22 years, a former head cook of a barbecue restaurant, a breakdancer and a friend to everyone he meets along the way.
The American South is an ever-changing landscape, its growing communities and dynamic businesses pushing the region away from strict definitions.
To Marshall N. Price, the Nasher Museum of Art’s newest exhibition is “a paradigm-shifting exhibition in many, many ways.”
The rhythm and blues artist Mavis Staples — a “staple” of American music — is set to perform at the historic Carolina Theatre, returning with Duke Performances Oct. 3.
When Dave Karger, Trinity ’95, entered Duke’s Career Center as a first-year to seek an internship in the entertainment industry, he was met with surprise.
In a classical music culture that recognizes composers as male, white and dead, Florence Price, a black woman, is certainly an anomaly. Her resilience amid a difficult life has resonated with a new generation of listeners, including Duke faculty, staff and students.
So begins a champagne and shackles night in Maria Kuznetsova’s first novel. In “OKSANA, BEHAVE!” Kuznetsova, Trinity ‘08, stitches a loosely autobiographical narrative, seeing Oksana through the turbulence of her immigrant childhood, and into her independence after she graduates from Duke.
From Haitian Creole to modern dance, Gaspard Louis has a history of bringing his languages to the Duke community.
Since its founding in 1991 by graduate students, the Arts of the Moving Images’ Screen/Society series has been the center of eclectic film programming on campus.
The Duke Entertainment, Media & Arts Network — more commonly referred to as DEMAN — will host its annual DEMAN Arts & Media weekend Nov. 1 and 2 on Duke's campus. The events, which include panels hosted by alumni and career-oriented activities, are numerous, and we understand how daunting that can be. (Where do I go? Who should I see? What on earth are “Guac and Talks”?)
The Duke Entertainment, Media, & Arts Network’s signature event, which is celebrating its 10th year, will take place Nov. 1 and 2.
The Center for Documentary Studies has countless opportunities for students this coming fall.
On May 16, Duke students in the Story+ program began their two-day bootcamp to train in various humanities research methods.
When the Nasher Museum of Art opened in 2005, its founders envisioned an outdoor space to accompany the art within its walls. In a $1.5 million project scheduled to inaugurate next fall, this vision will finally come to fruition, with an outdoor space and sculpture garden connecting the Nasher and the Rubenstein Arts Center.
When thinking of Tarzan, a cartoon man in a family of gorillas, a treacherous hunter or a Phil Collins soundtrack might come to mind. But as one new comedy group on campus is trying to show, there’s much more to the character than meets the eye.
Despite the rain, Duke students, faculty members and Durham residents gathered Sunday to see the 19th Annual Animation Show of Shows at the Rubenstein Arts Center.
Reevaluating the past and future of cinematic theory was the objective of a mini-conference held Friday at the Franklin Humanities Institute, under the title “On Cinema.”
Hoof 'n' Horn always mixes up the genres of plays it performs, but its spring production may be more revolutionary than most: "In the Heights" takes an almost unprecedented look at Latinx and POC experiences for the theater company.
There is a moment of utter depravity in the fifth of six vignettes that comprise Natal’ya Vorozhbit’s play “Bad Roads,” a scene so chillingly vile that it is legitimately difficult to watch.
