VOLUME ONE, ISSUE ONE 1

IN THIS ISSUEvolume one, issue one

02 Up, Up, and Away 03 Lynneterview 04 Sharing the Stage 06 Fall Events 08 Studio Practice 09 On the Road 10 The Big Pcture 11 Around the World 12 Overdrive

When the College of Fine Arts moved into the former Noyes Buick dealership

in 1954, the phrase “adaptive reuse” had not yet entered widespread usage. But this

spirit of simultaneous preservation and adaptation, the sentiment of making better,

rather than just making do, is a feeling that all artists share. Inspired by the industrial

“bones” of our building, and eager to tell the stories of our artistic community,

we have re-conceptualized and reengineered what was once just an events calendar

into a publication that fully celebrates the College of Fine Arts.

We hope you’ll be excited by our events, and stirred by interviews with our energetic, extraordinary students and faculty. Without further ado, let the sparks fly!

Shifting GearsWelcome to Spark, the new bi-annual publication from the College of Fine Arts at Boston University.

855 Commonwealth Avenue Boston, MA 02215

Photo by Emily Wade

2 SPARK VOLUME ONE, ISSUE ONE 3

In an interdisciplinary project incorporating STEM disciplines, students

in Toni Pepe’s Experimental Photography course set a weather balloon

aloft, visually chronicling its ascent to the upper atmosphere. With the

help of collaborator Don McCasland, Director of Blue Hill Observatory,

the students used a weather balloon kit configured with a satellite GPS

for retrieval, and attached to a GoPro camera, to launch the balloon over

Wachusett, MA, where it traveled for nearly two and a half hours before

landing in a swamp near Bridgewater, MA.

“The project has both theoretical and practical goals,” says Pepe,

Photography Lecturer at the College of Fine Arts. “The students are exposed

to technology they have either never used, or have very little practice with.

Few students in the class had ever used a satellite GPS unit, and none had

ever handled a weather balloon.”

More importantly, students come away with an understanding of the

limitations of human sight and appreciation for how the camera has opened

up new worlds previously unseen or rarely seen. “I can’t go into space. I

can’t personally get an aerial view,” continues Pepe. “The camera gives us a

perspective of the Earth that we otherwise wouldn’t have access to.”

Akin to the scientific process of trial and error, the Wachusett launch

was the students’ second attempt at the project. The first launch, from

Littleton, MA, resulted in an overestimated trajectory. That balloon landed

twenty miles off of Provincetown, MA, in the Atlantic Ocean. The GPS unit

became water logged, and attempts to retrieve the balloon by the U. S. Coast

Guard, the Provincetown Harbormaster, and a local whale watching crew

proved unsuccessful. A physical oceanographer at Woods Hole

Observatory plotted and estimated GPS coordinates of the floating

payload over the next few days, and hypothesized that the balloon

would most likely wash ashore in Nova Scotia.

The students worked together as a team to reconfigure the design of

the payload, where the camera should be placed, and how the different

components (balloon, parachute, and payload) should be tethered. “The

role of experimentation is important,” adds Pepe. “Students see, firsthand,

that creativity is a process involving trial, error, failure, and the unexpected.

We send this balloon up taking care, prior to the launch that it would be

successful, but there are elements that were out of our control. Students learn

to be flexible, and to work with instead of against spontaneity.”

Pepe plans to further develop the weather balloon launch for the Spring

2016 semester, but hopes to schedule the project earlier in the syllabus to

allow students to create an art piece that explores what the project means

and how they can respond to it.

Additionally, Pepe’s spring Digital Photography course plans to continue

collaborating with the School of Music in a project called The Sensory

Photograph, in which students work with graduate students from School of

Music to create a visual response to musical pieces (from improv music to

prepared pieces) in different environments.

“The project drives students to think creatively about what a photograph

can be beyond the 2-dimensions on paper,” continues Pepe. “The result is

an extraordinary intersection between the oral and visual world.”

Up, Up, and Away

An interview with PhotographyLecturer Toni Pepe

The role of experimentation is important. Students see, firsthand, that cre-ativity is a process involving trial, error, failure, and the unexpected.

Photos courtesy Toni Pepe

SAM Thanks for meeting with me today.

First question… do you want to go by Dean Allen, or to

continue being Lynne?

LYNNE I prefer Lynne. Even with the incoming students

during Orientation, I told them to call me Lynne. I think

they appreciate the fact that it’s a little bit more informal.

SAM You have a lot of things set up in this incoming

year for incoming students to get the chance to talk

to you, right? What are a couple of those that we

can look forward to?

LYNNE Dean Juárez had a wonderful tradition with

Donuts with the Dean. I want to continue his legacy,

but am expanding it to include Lunch with Lynne,

a way to sit down and converse over some pizza.

I also want to set up town hall meetings, where students

can come and talk with me. I want student input because

I’m putting together a task force of faculty to develop the

future vision for the College. Where do we want to go

with the College; what are our best assets? I need student

input for that too.

As a faculty, we are all passionate about what we do. We

all struggled very hard to get where we are. We all had

the same ambitions and fears when we got out of school.

And I’m wondering, “How can the College help that?

How can the College actually make that road easier?”

SAM What sort of passions led you to where you are

today? I know that’s a long journey, but in kindergarten

art class, you weren’t thinking, “Ah, now this is going to

lead me to be a Dean of a College?

LYNNE No, I wasn’t even thinking that in high school.

[Laughs]. That’s very interesting you say that. My

background is pretty varied. Even though my Masters

of Fine Arts (MFA) is in Painting and I have Master

Printmaker certification, I was trained as an art teacher

and have two degrees in Art Education too.

But, there were things in my life that sort of made

me a risk taker. I lived in Europe for seven years. I

moved there when I was 23, and came back when I

was 31. It had an impact on how I looked at the world,

how I viewed different cultures and different people;

and also, how I problem-solve, especially if you don’t

speak the language, because you have to learn how to

get from A to B.

When I came back to the states, I went back to school,

and I got a job, and I moved up the promotion track

partly because of my art career, but also because of

my ability to problem-solve, take risks, and to think

independently. To think, “Well, why are we doing it that

way? Why can’t we do it this way?” I was given some

leadership roles which honed those skills.

Do you know you’re going to be good at something

like that? Of course not. You have no idea. But when

you work with other creative people, it helps you hone

those skills. I’ve learned from a lot of other people. I’ve

learned what not to do, and I’ve learned what sorts of

things I should be doing.

SAM Is there an example of that you can share?

LYNNE Well, the people who nurtured me, that have seen

that I have a certain propensity to think imaginatively,

have allowed me to take that initiative.

And, when you start doing that, you start to understand,

“Well, wait a minute, I can actually do this.”

I also try to do that with the people I work with, not to

micromanage them, but to give them the chance to grow

themselves. That’s key, I think.

SAM Well, thank you. I know that, in School of Theatre,

collaboration is something that we work to teach

students from Day 1. It’s tough to learn, but once you

start, everything starts to…

LYNNE What’s really marvelous about Theatre is the

collaborative nature of it. It’s like one big theatre

company; all of the students are in it together. You feel like

you’re a family; you feel safe with the people around you.

And, I would say that in Music and Visual Arts, that’s

the case as well, because they’re also very cohesive.

But, then musicians and visual artists go off to their

studios and practice rooms, and they’re alone, which

doesn’t really happen with theatre. I guess you could

go off and practice your lines and things, but I think

musicians and painters go off in their own spaces,

and work inside their heads, practicing and painting.

They don’t really have time together until they get out

of their studios, and come together in the orchestra

or in the painting classroom.

SAM What are some other places you’re hoping to get

some crossover happening, where we can work as a

student body to actually do that besides just going up,

and saying “Hey!” to each other?

LYNNE The School of Visual Arts is trying an experiment

this year where freshmen are signed up for a course,

similar to what students do in Theatre, where students

are required to go to other events at the College, whether

it’s an opera performance or a concert, and then, at

the end of the semester, they write a paper about what

they’ve experienced. It’s not even graded, but it’s part

of what’s expected.

I think it’s really valuable to go see other students at the

College doing what they do. I would like to see that course

be a College-wide thing. There should be a lot of synergy.

We want our students to connect when they’re in their

actual learning environment, because who knows how

important that will be further in their careers.

SAM So, we’ve talked a bit about the kinds of things

we’re doing in CFA. What are some of your hopes

looking outside the College of Fine Arts to Boston?

LYNNE Well, let’s start with Boston University, then

we’ll get to Boston. Most people at the University don’t

know what happens at the College of Fine Arts. They

think painters are having fun dabbling and musicians are

playing their instruments, and actors are hopping around

and screaming, and doing all kinds of things…

SAM [Laughs] That’s not incorrect…

LYNNE I know it’s not incorrect, but I think nobody

really understands the work and doubt involved in

studying the arts. It also takes too much effort for busy

students to come to our space, there has to be a reason.

They have to want to go to a theatre performance; they

have to want to go to a music concert.

I think we need to be out in their faces. Why can’t we

have pop-up theater, Romeo and Juliet talking to each

other across Marsh Plaza, or an art exhibition inside

Marsh Chapel? Why can’t we have musicians playing

during finals, where students can sit down, and listen to

beautiful violin music to relax?

It takes effort to organize things like that. Faculty and

students need to want to go out and meet the public.

There’s been talk about creating a mural program on

campus, where we actually put murals on blank walls, like

we have in the CFA parking lot. I think we need to show

the rest of the University the talent that we have here.

And, I think we need more outreach within the

community of Boston. This past spring, the School of

Visual Arts painted a mural at Roxbury Prep. They are

working with communities in areas where they can offer

some talent, and I think we can do more of that as well.

I’m in meetings with Ty Furman, the Managing Director

of the BU Arts Initiative, and Julie Burros, the new Chief

of Arts and Culture under Mayor Marty Walsh. We want

to be more involved in Boston. We need to be part of

that conversation. Students come here and are blown

away by how hard it is, how much they learn, and how

much they love it. We need to voice these sentiments

so that the world hears it!

SAM It’s going to take a lot of coffee to get through that,

isn’t it? But, I hear you drink decaf, is this true? I have

no idea how you survive on that.

LYNNE I’ve been drinking decaf for years. I have enough

energy without the coffee. With caffeine, I was too

energetic… I had to give it up for the sake of my staff.

SAM Well, it’s good to know we have a cool, calm, and

collected Dean. Thank you for taking this time with me.

Are there any parting words that you would like to give

the student body as they’re either coming in,

or finishing their time here?

LYNNE Looking back, those four years of undergrad go by

very fast. I urge students to take risks; take subjects you

never have before. You never know what you’ll enjoy or

be good at. It’s such a valuable time, where you can really

absorb everything around you.

Get to know your professors really well, and bond with

your community. Make friends across the board. Those

friends are going to be with you through the rest of your life.

And finally, explore as many things as possible. Reach out

and embrace the city, and all of the life that is around you,

because those are experiences that are going to nurture

you for the rest of your life.

Sam Farnsworth (CFA’16) is a senior Theatre Arts major focusing in playwriting and dramaturgy. Sam is currently working with his fellow senior Theatre Arts majors on S.T.A.M.P. (Senior Theatre Arts Majors Present), a theatre company aiming to put on a season of plays this spring. Sam is also a member ofa Playwright Collective in Boston that works together to keep college students generating new work.

Just Call Me LYNNE

As a faculty, we are all passionate about what we do. We all struggled very hard to get where we are. We all had the same ambitions and fears when we got out of school. And I’m wondering, ‘How can

the College help that? How can the College actually make that road easier?’

Lynne Allen, Dean ad interim and former Director of the School of Visual Arts, talks about bringing a fresh perspective to the mission of the College in

a candid discussion with School of Theatre senior, Sam Farnsworth

An interview with School of Theatre Director Jim Petosa and Opera institute Artistic Director William Lumpkin

Sharing the Stage

Photo by Emily Wade

VOLUME ONE, ISSUE ONE 54 SPARK

Angels in America, 2015 Square photos by Oshin Gregorian

Within the rigor of a conservatory setting, how

much room is there for collaboration? For Jim Petosa,

School of Theatre Director, and William Lumpkin,

Director of the Opera Institute, the stage offers

ample space to experiment.

“Often with cross-disciplinary pursuits, there’s

inherent fear of compromise,” says Petosa. “But,

that’s not the case at all. What started as an

investigation has grown to be a unique way to

intertwine the dramatic content of an opera and

the musical aspect of a score.”

Since 2002, the pair have produced over 20 rich

and diverse productions, from the new or rarely

performed works of the annual Fall Fringe Festival

to staging Thérèse Raquin, The Rape of Lucretia,

and Owen Wingrave to reinventing the narrative

of Postcards from Morocco.

Last winter, Petosa and Lumpkin wowed

audiences in a beautiful presentation of Angels in

America, an opera based on the award-winning play

by Tony Kushner, set during the early stages of the

AIDS pandemic in 1980’s New York City. “With each

year, we take on greater challenges,” continues Petosa.

“Angels is theatrically complex, humanly complex,

and musically complex. Nothing is easy about that

piece. Both of us were stretched to the max.”

Pushing the limits is a hallmark of this partnership,

creating a “lab” for students to fully explore productions

from the ground level work to the more complex

nuances that stretch and challenge tradition.” Lumpkin

and Petosa have come to greater appreciate this

opportunity for their students to collaborate.

“Watching the activity; the interactions between

the orchestra who are fans of the singers; and the

theatre students, whether designers or directors

or actors, who in any other instance, would never

interact, is something that is really special and

unique to us,” says Lumpkin.

Petosa and Lumpkin approach each opera as

a unified whole, directing each play from the whole

score. While one may have a primary role at a

particular rehearsal, the other is never absent. They’ve

yielded incredible results, aggressively adopting

the principles into their curriculum to better

prepare their students for life beyond the classroom.

“We teach students to be responsible for their

processes, to take an aggressive role in their creativity,

and to have high standards, regardless of the

professional bar,” says Petosa. “Students graduate

with the tools to be creative in any construct.”

This fall, Petosa and Lumpkin are working to

produce Kurt Weill’s The Seven Deadly Sins, the

opening production of the 2015 Fall Fringe Festival.

Widely considered among Weill’s masterpieces,

this is the story of two immigrant sisters who

embark on a seven-year odyssey through seven

vice-laden cities, as they try to earn money to

build a family home in Louisiana.

Petosa plans to use this opportunity to connect his

curriculum to the annual festival in his Acting course

with the Opera Institute, teaching acting from the

core repertoire. It is the first time Petosa is using song

as material in the course, and speaks to the state of

operatic repertoire today.

“Audiences now demand a theatrical opera,” adds

Lumpkin. “Working with Jim is a perfect storm.

He is passionate about both opera and theatre.

Our students are excited to collaborate.”

“This collaboration is quite effortless,” adds Petosa.

“We function with mutual respect, and value our

difference in perspective. Anything we have

that is worthwhile comes from the totality of this

perspective, not individual pursuits. This collaboration

is a warm and sustaining part of our lives.”

Petosa and Lumpkin are looking forward to

the continued investment and investigation into

collaboration within the program. “Each year, there’s

a new crop of students,” continues Lumpkin. “We

select titles that despite being staged time and again

are fertile enough to serve the curriculum and

performance needs for music and theatre.”

In addition to the Fringe Festival programming, which includes both The Seven Deadly Sins (October 2–4) and Vinkensport, or The Finch Opera (October 9–11), the Opera Institute will stage two well-known masterpieces this spring, Cosí fan tutte (February 25–28) and A Midsummer Night’s Dream (April 14–17).

9/24 — 12/4

Willie Cole: AQUAHALLICInternationally acclaimed artist creates sculptures and installations that transform everyday materials into works with multiple autobiographical, art-historical, and socio-political meanings. Responding to the history and architecture of 808 Gallery, a former Cadillac showroom, as well as larger cultural and environmental issues, Cole exhibits a series of chandeliers and a 1959 Eldorado, created specifically for the exhibition from repurposed water bottles. Opening Reception: September 24, 6–8pm • 808 Gallery

9/24

Akihiro SakiyaJaen International Piano Competition gold medalist performs works by Alexander Scriabin, Johannes Brahms, Olivier Messiaen, Ludwig van Beethoven, and Franz Liszt. Tsai Performance Center • 8pm

9/29 + 10/29

Boston University Symphony OrchestraSeptember 29, 8pm Performing Stephen Hartke’s Pacific Rim (Boston premiere), Franz Joseph Haydn’s Symphony No. 98 in B-flat, and Robert Schumann’s Symphony No. 3 in E-flat, “Rhenish”. David Hoose, conductor • Tsai Performance Center

October 29, 8pm Performing John Harbison’s Remembering Gatsby: Foxtrot for Orchestra, John Wallace’s Symphony (world premiere), and Carl Nielsen’s Symphony No. 2, The Four Temperaments. David Hoose, conductor • Tsai Performance Center

October10/1 + 10/27 + 11/17Boston University Chamber OrchestraOctober 1, 8pm Performing Samuel Barber’s Essay No. 2 and Knoxville Summer of 1915, and Jean Sibelius’ Symphony No. 1. Tsai Performance Center • Tiffany Chang, conductor

October 27, 8pm Performing works by Franz Joseph Hadyn and George Frideric Handel with Boston University Singers, conducted by Scott Allen Jarrett. Tsai Performance Center • Tiffany Chang and Scott Allen Jarrett, conductors

November 17, 8pm Performing Aaron Copland’s Appalachian Spring (Suite for 13 Instruments), Ludwig van Beethoven’s Creatures of Prometheus: Overture, and Richard Wagner’s Sigfried Idyll. Tsai Performance Center • Tiffany Chang, conductor

10/2 — 10/25

19th Annual Fringe FestivalThe Seven Deadly Sins Two immigrant sisters embark on a seven-year odyssey through seven vice-laden cities as they try to earn money to build a family home in Louisiana. Kurt Weill, composer • Bertolt Brecht, librettist • William Lumpkin, music director • Jim Petosa, stage director

Vinkensport, or The Finch Opera A Belgian folk competition over the town’s most melodious bird sets forth a journey into the minds of the competitors and their struggles with deception, loneliness, and love. David T. Little, composer • Royce Vavrek, librettist • Allison Voth, music director • E. Loren Meeker, stage director

Delirium A hilarious, brutal, and tragic reinterpretation of The Brothers Karamazov, Dostoevsky’s classic and compelling tale of family rivalries. Created by Theatre O • Enda Walsh, playwright Jonathan Solari, director

Fringe Festival performances held at BU Theatre, Lane-Comley Studio 210 • Ticketing Code: Fringe

10/8 + 11/19

Boston University Wind EnsembleOctober 8, 8pm Performing Paul Dukas’ Fanfare from La Peri, Kathryn Salfelder’s Shadows Ablaze (Boston premiere), David Maslanka’s Give Us This Day, Ludwig van Beethoven’s Octet in E-flat major, Op. 103, and John Mackey’s Redline Tango. David Martins, director

November 19, 8pm Performing John Williams’ Sound the Bells!, Eric Whitacre’s Lux Arumque, Bruce Broughton’s Excursions for Trumpet and Band featuring Terry Everson, Gunther Schuller’s Symphony for Brass and Percussion, and Alfred Reed’s Russian Christmas Music. David Martins, director • Tsai Performance Center

10/9 — 10/11

Water by the SpoonfulQuiara Alegría Hudes, playwright • Judy Braha, director Winner of the 2012 Pulitzer Prize. Family boundaries and community are stretched across continents and cyberspace in this heartfelt meditation on lives on the brink of redemption. TheatreLab@855

10/17 + 10/18

George Orwell’s 1984 & William Shakespeare’s Julius CaesarClay Hopper, director Performed by Classic Repertory Company, New Repertory Theatre’s flagship educational touring company. Boston University Theatre • Ticketing Code: New Rep/CRC

10/19

Cimarrón: Virtuosos of the Colombia Joropo Llanero TraditionGrammy-nominated seven-piece Colombian ensemble led by harpist and composer Carlos Rojas astonishes audiences with its unbridled sound, melodic and rhythmic virtuosity, percussive drive, and Colombian flavor. Part of the Global Lunchtime Music Concert Series. CFA Concert Hall • 12pm

10/19

Contemporary PerspectivesLecture Series: Michael BerryhillA Texas-born, New York-based painter, Berryhill’s modestly sized, brightly colored works border between abstraction and recognizable imagery. Referencing Post-Impressionism and Surrealism through a contemporary sensibility, Berryhill’s paintings are abound with art historical references and evidence of process. His paintings are picture-puzzles that require careful, slow looking to decipher their playful yet psychologically charged content. Jacob Sleeper Auditorium • 6:30pm

10/19

Muir String Quartet In Residence at Boston UniversityPerforming Felix Mendelssohn’s String Quartet in Eb, Op, 12, Béla Bartók’s String Quartet No. 3, and Antonín Dvořák’s Piano Quintet featuring pianist Michele Levin. Tsai Performance Center • 8pm

10/30 — 12/13

Printer’s Proof: Thirty Yearsat Wingate StudioAn exhibition to celebrate 30 years of artistic production at Wingate Studio in New Hampshire. Approximately fifty prints and books by artists such as Sol LeWitt, Louise Bourgeois, Walton Ford, Ambreen Butt, and Gideon Bok, document the history of the studio under founder and master printer Peter Pettengill. Opening Reception: October 29, 6–8pm • Stone Gallery

November11/6 — 12/18

Hannah Cole: Caring for SurfacesCole creates acutely detailed observational paintings that focus on elements of her everyday surroundings. Most recently, she has turned her attention to her Brooklyn neighborhood and Manhattan in a series of paintings and cut paper works that depict industrial fragments and urban fixtures such as manhole covers, water main rings, and architectural grates. In these works, Cole reflects a keen sense of the visual geometry and lyricism of the urban quotidian. Opening Reception: November 6, 6–7:30pm • Sherman Gallery

September9/11 — 10/25

Ariel Freiberg: Unquenchable Thirst Ariel Freiberg’s (CFA’04) work explores notions of fragmentation and wholeness. Her large and sensuous canvases depict partially obscured faces of women that appear to blend into or emerge out of densely painted substrates or veils. Parted lips, flushed cheeks, and seductive glances become a vivid means of gaining or deflecting attention.Opening Reception: September 11, 6–7:30pm • Sherman Gallery

9/11 — 10/18

A Call for Peace: Iri and Toshi Maruki’s Hiroshima Panels and Artifacts from the Bombings of Hiroshima and Nagasaki Commemorating the 70th anniversary of the bombings of Hiroshima and Nagasaki, A Call for Peace presents six of the 15 Hiroshima Panels produced over 30 years by Nobel Peace Prize-nominated painters Iri and Toshi Maruki. Gallery presentation includes an installation of 26 artifacts from the bombing sites provided by the Hiroshima Peace Memorial Museum. Opening Reception with presentation by Maruki Gallery Curator Yukinori Okamura • September 10, 6–8pm Stone Gallery

9/19 + 10/6 + 10/22 + 11/5

Music Faculty Recital SeriesSeptember 19, 6:30pm Soprano Lynn Eustis performs an intimate All-American program with selections from art song and musical theatre, featuring James Demler, baritone, and Matthew Larson, piano. BU Opera Institute

October 6, 8pm “American Perspectives”—Collaborative pianist Shiela Kibbe performs works by André Previn, Jennifer Higdon, and Eddie Bass, featuring Klaudia Szlachta, violin, Linda Toote, flute, and Don Lucas, trombone. CFA Concert Hall

October 22, 8pm Pianist Pavel Nersessian and violinist Peter Zazofsky performing works by Wolfgang Amadeus Mozart, Ludwig van Beethoven, and Sergei Prokofiev. Tsai Performance Center

November 5, 8pm Pianist Pavel Nersessian performing works by Ludwig van Beethoven. Tsai Performance Center

9/24

Tim Hamill Lecture: Maya LinBest known for her Vietnam Veterans Memorial on the National Mall in Washington, D.C., Maya Lin is an American artist and designer whose projects resonate with quiet dignity and a profound sense of historical narrative. A staunch environmentalist, Lin’s works often spark dialogue about the human impact on the natural world. Metcalf Ballroom • 4pm

Ticket Information All events are free and open to the public unless otherwise noted. For a full listingof CFA events, visit bu.edu/cfa/events.

Fringe $7 general admission; $3.50 CFA Membership; free with BU ID, at the door, day of performance, subject to availability.

New Rep/CRC $20 general public; $18 WGBH and WBUR members, Huntington Theatre subscribers; $15 seniors, students, and groups (10+); $10 CFA Membership; free with BU ID at the door, day of performance, subject to availability.

Theatre $12 general admission; $10 BU Alumni, WGBH and WBUR members, Huntington Theatre subscribers; $6 CFA Membership; free with BU ID, at the door, day of performance, subject to availability.

BCAP $20 general admission; $18 WGBH and WBUR members and Huntington Theatre subscribers; $15 seniors, students, and groups (10+); $10 CFA Membership; free with BU ID, at the door, day of performance, subject to availability.

BCAP/BPT $30 general admission; $25 seniors and groups (10+), WGBH and WBUR members, and Huntington Theatre subscribers; $15 CFA Membership; free with BU ID, at the door, day of performance, subject to availability.

Symphony Hall $25 general public; $12.50 CFA Membership; free with BU ID and student ID. • bso.org • 617–266–1200

Box Office: 617.933.8600bostontheatrescene.com

Venues

Boston University Art Galleries808 Gallery 808 Commonwealth AvenueSherman Gallery 775 Commonwealth Avenue Stone Gallery 855 Commonwealth Avenue

Boston University Performance VenuesBoston University Opera Institute 808 Commonwealth Avenue, 2nd Floor

Boston University Theatre & Lane-Comley Studio 210264 Huntington Avenue

Calderwood Pavilion at the BCA, Wimberly Theatre 527 Tremont Street

CFA Concert Hall855 Commonwealth Avenue

George Sherman Union + Metcalf Ballroom775 Commonwealth Avenue

Jacob Sleeper Auditorium871 Commonwealth Avenue

Symphony Hall 301 Massachusetts Avenue

TheatreLab@855 855 Commonwealth Avenue

Tsai Performance Center 685 Commonwealth Avenue

11/9

Contemporary PerspectivesLecture Series: Huma BhabhaSculptor Huma Bhabha pushes the limits of human figuration with sculptures of grotesque dignity made from everyday materials like wood and Styrofoam. Her figures are powerful metaphors for the global citizen: precarious, unstable, prone to misinterpretation; yet highly frenetic, adaptable, and charged with a sense of fierce autonomy. Jacob Sleeper Auditorium • 6:30pm

11/10

Dimmock Vocal Award RecitalSopranos Erika Anderson and Rose Lewis with pianist Shiela Kibbe perform works by François Couperin, John Woods Duke, Steven Harlos, Robert Schumann, and Richard Strauss. CFA Concert Hall • 8pm

11/11 — 11/22

A Taste of HoneyShelagh Delaney, playwright • Jim Petosa, director Boston Center for American Performance (BCAP) presents one of the great taboo-breaking plays of the 1950s, the story of a working-class, adolescent girl and her relationships with the black sailor who makes her pregnant, her homosexual roommate, her saloon-frequenting mother, and her mother’s new husband. BU Theatre, Lane-Comley Studio 210 • Ticketing Code: BCAP

11/12 + 11/16 + 11/18 + 12/9

Center for New MusicNovember 12, 8pm “Focus on America”—Sound Icon perform works by American Master Roger Reynolds, Rome Prize winner Ken Ueno, the winner of a call for scores, and the BU student competition. CFA Concert Hall

November 16, 8pm JACK Quartet perform works written for them by BU composers. Tsai Performance Center November 18, 8pm Internationally acclaimed JACK Quartet performs new work written for them and recently premiered in New York by John Zorn. Other works featured explore Just Intonation and alternate approaches to time, framed with movements from Pierre Boulez’s seminal livre pour quatuor. CFA Concert Hall

December 9, 8pm Chicago-based Dal Niente Ensemble perform stunning recent works from Austria and Germany by Enno Poppe, Mathias Spahlinger, Mark Andre, Johannes Kreidler, Carola Bauckholt, and Helmut Lachenmann. Tsai Performance Center

11/23

BU Symphony Orchestra & Chorus at Symphony HallPerforming Gabriel Fauré’s Requiem and Igor Stravinsky’s Perséphone. David Hoose and Scott Allen Jarrett, conductors • Symphony Hall8pm • Ticketing Code: Symphony

December12/9 — 12/13

RosmersholmHenrik Ibsen, playwright • Translation by Rolf Fjelde • Bryn Boice, director In Ibsen’s rarely produced masterpiece, a former clergyman lives peacefully now that his wife has died, thanks to Rebecca West—his wife’s companion who has conspicuously stayed on at the Rosmersholm after her death—until an overdue visit from Dr. Kroll results in a torrent of rumors, scandalous admissions, and the premonitory return of the town specter. BU Theatre, Lane-Comley Studio 210 • Ticketing Code: Theatre

12/10 — 12/18

ExposedRobert Brustein, playwright • Steven Bogart, director A BU New Play Initiative production co-produced by BCAP and Boston Playwrights’ Theatre, Exposed takes a ferociously sardonic wink through the lens of Molière’s Tartuffe to lambast contemporary America and greed in all its guises. Calderwood Pavilion at the BCA, Wimberly TheatreTicketing Code: BCAP/BPT

8 SPARK VOLUME ONE, ISSUE ONE 9

Studio Practice: New Class Takes on the Real World

An interview with Graphic Design Professor Nicholas Rock

As Founder and Principal Designer for Station,

a small design firm based in Providence, RI, Graphic

Design Professor Nick Rock is in a unique position to

bring his professional projects into the classroom.

“I often think about how I can take advantage

of that and give students real-world experience, ”

explains Rock who often references his design

practice in his teaching.

This past summer Rock

found the perfect match to

bring the “real world” directly

into the classroom. Rock’s

studio partnered with The

Epic Decade, a design think

tank that agreed to work

with both Rock and his

students. The class, Studio

Practice, takes on real

clients, real projects, and real deliverables in a way

that a typical graphic design course can’t.

“It is truly a merger of an academic environment

and a work environment,” says Rock. Charged with re-

imagining their business, students focused on the client’s

identity and their brand, gaining hands-on experience

in design thinking and design strategy, exploring models,

and searching for inspiration.

They learned important lessons such as how to

run a lient meeting, and how to prepare a design

proposal, presenting their ideas in a work session

with a real-world client.

“They sat in on working client sessions and candid

conversations that a junior level designer wouldn’t

typically have access to,” explains Rock. Students in

the course formed two teams, and while Rock couldn’t

disclose the name of the clients, one student group

worked on an identity/branding assignment for

a multi-million dollar company while the second tackled

a research project involving a possible new line of business

related to book publishing for a growing company.

“The course blends traditional design work that is

done within the classroom with the experience and know-

how of being fluid and introducing different solutions,”

adds Rock. “As we work through the project I can point

out lessons. So often studio work involves client direction.

‘Stop this. Change that.’ The course connects specific

lessons with real world practice on things out of the

students’ control, training them to shift their ideas and

offer fresh perspectives on the problem or the objective

of the client, whatever that might be.”

Not only did the classroom physically morph into

a design studio with walls covered with every sketch

proposed, the class modeled itself after a design firm.

“I wasn’t the professor, I was the art director, and

the students were junior designers. I was engaged in

the process and inspired by the process as much as

they were. They got to see directly how I work and learn

from my working process,” says Rock.

The group working on the book publishing research

presented their findings and recommendations based

on case studies and an extensive research and discovery

process. “That group really learned how deep you have

to go to conduct rigorous research, and came to a greater

understanding of how the landscape and big picture

informs your work,” Rock says.

The branding group presented two concepts to the

clients alongside Rock’s two concepts. The client narrowed

their final two concepts down to one from the students

and one from Rock. They ultimately chose Rock’s design,

but that fact is really beside the point.

“It’s not just about the output of product. The students

were learning about the strategy at play. Sometimes it’s

about imagining the future of the business. Redesigning

a logo might be visually

transforming a company,

but deeper than that

the company might be

transforming its work,”

explains Rock.

This fall, Studio Practice

will be offered to second-

year graduate Graphic

Design students. A longer

semester, the course will be more intense than the

summer session and feature a new set of clients and

projects to prepare the students for a career in graphic

design. “It’s really a peek behind the curtain,” says Rock.

I wasn’t the professor, I was the art director, and the students were junior designers. I was engaged in the process and

inspired by the process as much as they were. They got to see directly how I work, and learn from my working process.

Located in nearby Watertown, New Repertory Theatre

has distinguished itself as one of the Boston area’s

premiere theatre companies. As Director of Classic

Repertory Company (CRC), New Repertory Theatre’s

flagship educational outreach program, Clay Hopper

(CFA’05) has assisted young actors, including CFA alumni,

to navigate the sometimes challenging transition from the

classroom to a professional theatre company. Throughout

the year, CRC brings live theatre and educational units to

schools, senior centers, universities, and summer camps

throughout New England, creating theatrical experiences

that are both educational and artistically compelling.

“The mission of Classic Repertory Company is basically

two-fold,” says Hopper. “Our goal is to develop new

audiences by presenting classic plays, while acting as

a bridge between academia and the professional theatre.

We help new artists grow; it is often a springboard into

the professional theatre community here in Boston.”

Hopper has directed CRC since October 2012, when

he rebranded the company and reshaped its mission.

He kicked off the first season with a new adaptation

of Charles Dickens’ Great Expectations, which he

workshopped at BU. The adaptation starred five

alums, three of whom were later cast in New Rep’s

staging of Hopper’s adaptation.

“New Rep is a supportive and nurturing company,”

says Hopper. “For these young artists, having this

introduction to the community in this way has helped

propel them in the theatre community. They are very busy.”

The new model has become the blueprint for the

company, which always produces a Shakespearean

classic as well as a 19th or 20th century novel adapted

for the stage, presented in rotation for eight months

throughout New England.

Hopper looks for works that are curriculum-based

and public domain so that he can freely create his own

90-minute adaptations, complemented by workshops and

talk-backs to engage the audience. Altering the story is

sometimes unavoidable, but while Hopper does take some

liberties in making changes, he never strays too far away

from the original text. “These are important works of the

20th century,” says Hopper. “Everyone should have exposure

to these works. Any changes we do make must serve the

story dramaturgically.” Hopper’s number one priority is

growth for the company, providing more opportunities for

young actors in the community.

Because the majority of CRC’s performances take

place in unconventional venues such as high schools,

civic centers, or senior centers, these adaptations are

aesthetically designed to be produced anywhere.

“It doesn’t even need to be in a theatre,” adds Hopper.

“That’s what’s so cool about it.”

For those involved, it means a great deal to reach

out to underserved, younger populations who may be

experiencing their first theater production; often the

impact of their work goes well beyond the 90-minute

performance. Company members come away with

a higher-level of understanding about what the theater

can do. “It’s almost a social consciousness,” says Hopper.

“BU tends to cultivate students in this way. We make actors

who have their eye on the bigger picture.”

This year’s company includes second-year Scene

Design graduate student Ghazal Hassani (CFA’16),

who is the Production Designer for the season, four

School of Theatre alums, Laura Detwiler (CFA’15), Grace

Woodford (CFA’15, CAS’15), Lily Linke (CFA’15), and

Hayley Sherwood (CFA’14), as well as four young theatre

artists from area Colleges.

Hayley Sherwood returns to New Rep after making

her CRC-debut playing Lady Macbeth in the company’s

adaptation of Macbeth. Passionate about the program,

Sherwood who also played a leading role in Of Mice and

Men during the 2014–2015 season, grew more interested

in CRC’s development and was given the opportunity to

become New Rep’s Education Associate, managing the

day-to-day logistics for the tour, ensuring its success.

“Our goal simply boils down to encouraging empathy

for these classic characters so that their stories live on,”

says Sherwood. “My hope is that our company engages

audiences in fresh ways, giving them a new perspective on

classics that invigorate their personal thirst for storytelling.”

Sherwood looks forward to making new partnerships

throughout New England: “We hope to continue to make

unique educational experiences that further reinforce

the role of the performing arts as a core learning tool.”

This fall, Classic Repertory Company will tour

William Shakespeare’s political tragedy Julius Caesar

and George Orwell’s classic novel 1984, including

two public performances at Boston University

Theatre (October 17–18).

On the Road with Classic

Repertory CompanyAn interview with Director of Classic Repertory Company Clay Hopper

BU tends to cultivate students in this way. We make actors who have their eye on the bigger picture.

Photo courtesy of Nicholas Rock

Of Mice & Men, 2015

Macbeth, 2015

A Midsummer Night’s Dream, 2015 Photos courtesy New Repertory Theatre

10 SPARK

Around the World in a Lunch Hour

I saw the need for a little more diversity in programming. I chose lunchtime to build a new audience; it’s easily accessible for

not only those who are already curious, but also those who just happen to be passing through the building or campus.

The Big PictureNew Structure, More Synergy for the Boston University Art Galleries

An interview with Musicology and Ethnomusicology Professor Marié Abe

Artistic Director, Lynne Cooney, and Managing

Director, Josh Buckno, are now at the helm of Boston

University Art Galleries, the newly formed consortium

comprised of the Stone Gallery, 808 Gallery, and

Sherman Gallery.

Having just returned from a yearlong Fulbright

Fellowship in Johannesburg, South Africa, where she

developed an urban-based museum project with the

University of the Witwatersrand’s Wits Art Museum,

Cooney served previously as the Exhibitions Director

for the 808 and Sherman Galleries.

“Merging the galleries was an idea that was put

forward nearly ten years ago,” says Cooney, “but it

took the right people, the right time, and the right

opportunity for everything to align.”

“It is a fantastic moment for the University,” says

Buckno, who oversaw the Stone Gallery exclusively

this past season. “Art is ever changing, and the merger

helps the galleries change with the time, allowing us to

be more effective with our communication, and more

efficient in collaborating within the College, with the

BU Arts Initiative, and with other departments, colleges,

and programs on campus.”

Boston University Art Galleries aims to build upon

its extremely competitive program and expand the

galleries’ visibility within the city. Up for the challenge,

Cooney and Buckno consider the next few years to be

transitional for the galleries as they explore the galleries’

vision and mission for its inaugural season in Fall 2017.

“This is a great opportunity for the University,

and we’re really excited to be leading this charge,” adds

Cooney, who plans to establish an Advisory Committee

for the galleries this coming year. “Our identity will be one

of collaboration. We’re fostering synergistic relationships

across the University. The Advisory Committee will likely

include faculty from the School of Visual Arts, Department

of History of Art and Architecture, and the College of

Communication, to name a few.”

This fall, in commemoration of the 70th anniversary

of World War II, the Stone Gallery will host A Call for

Peace: Iri and Toshi Maruki’s Hiroshima Panels and

Artifacts from the Bombings of Hiroshima and Nagasaki

(September 11–October 18). Presented in collaboration

with the Maruki Gallery for the Hiroshima Panels

and the Hiroshima Peace Memorial, A Call for Peace

presents six of the fifteen panels produced over thirty

years by Nobel Peace Prize nominees Iri and Toshi

Maruki, and also includes an installation of twenty-

six artifacts from the bombing sites.

“The Hiroshima Panels, completed over many

decades, act as a document, response, and an activist

movement for peace displaying the power of art

from transforming trauma to empowerments,” adds

Buckno. “The Marukis painted from a personal place,

but the themes are universal.”

In the spirit of interdisciplinary collaboration, the

gallery welcomes Maruki Gallery Curator and author

of The Guide to Non-Nuclear Art Yukinori Okamura

for a special presentation on the evening of the show’s

opening on September 10th,

as well as a number of public programs including

a Butoh-inspired dance performance by Boston

artist Sara June, and a screening of Hellfire, the 1985

Academy Award nominated documentary produced

by John H. Junkerman and John W. Dower which

follows the Marukis as they create

their monumental artworks.

According to Cooney, the Galleries will continue

to present temporary exhibitions that focus on

contemporary international, national, and regional art

developments.

In the coming season,

the Stone Gallery will host Printer’s Proof: Thirty Years

at Wingate Studio (October 30–December 13), an

exhibition commemorating thirty years of artistic

production at Wingate Studios in New Hampshire.

Featuring fifty prints and books by artists such as Sol

LeWit, Louise Bourgeois, Walton Ford, Ambreen Butt,

and School of Visual Arts Associate Professor

of Painting Richard Ryan, the exhibition documents

the history of the studio under founder and master

printer Peter Pettengill.

“As a Master Printmaker focused on intaglio, Peter

Peter Pettengill has worked with several venerable

artists as well as a number of talented young artists

since establishing Wingate Studio thirty years ago,”

adds Buckno. “These prints merit attention, and with

the recently established Printmaking major in the

School of Visual Arts, the exhibition offers students a

chance to see exquisite prints made only 90 miles away.”

This September, 808 Gallery will host AQUAHALLIC,

a special exhibition by internationally acclaimed artist

Willie Cole (September 24–

December 4). Cole creates

sculptures and installations

that transform everyday

materials, such as irons,

shoes, and bicycles, into

works with multiple

autobiographical, art-

historical, and socio-

political meanings. For

the 808 Gallery, Cole will

exhibit a series of 7-foot

tall chandeliers, as well

as a 1959 Cadillac Eldorado,

created specifically for the

exhibition, constructed

entirely from repurposed

water bottles. These works both respond to the specific

history and architecture of the 808 Gallery, a former

Cadillac showroom, as well as to larger cultural

and environmental issues.

“What I like about the Cole show,” says Cooney,

“is that it announces itself as an exhibition, but also

merges with the architectural details of the 808 Gallery.”

The Sherman Gallery, traditionally dedicated to

celebrating School of Visual Arts’ alumae, will present

four alumni shows in its final season as a gallery space.

This year’s schedule includes new and recent work

from Ariel Freiberg (CFA’04), Hannah Cole (CFA’05),

Stacey Piwinski (CFA’99,’00), Erika Hess (CFA’09),

Nina Stoltz Bellucci (CFA’09), and Stacy Mohammed

(CFA’10). The gallery plans to close at the end of the

season as Boston University Art Galleries shifts its focus

to enhancing the 808 and Stone Gallery spaces.

“We are continuing to sort out how to dedicate space

to alumni exhibitions,” says Cooney, who mentioned

the possibility of a larger alumni exhibition every few

years. “Our alumni will always be included in

exhibitions as appropriate.”

In addition to the fall exhibitions, this spring, the Stone

Gallery will present a memorial exhibition for Joseph

Ablow, Professor Emeritus of Art and former Director

of the School of Visual Arts who passed away in 2012;

and the 808 Gallery will present works by South

African artist Paul Emmanuel, in addition to the annual

undergraduate and graduate student shows.

An active performer and improviser of the accordion

and piano, Musicology and Ethnomusicology Professor

Marié Abe is a member of the World Music circuit,

performing with the Boston-based Ethiopian groove

collective Debo Band, which has been featured in the

New York Times and Rolling Stone Magazine, and on NPR.

Abe launched the Global Music Lunchtime Concert

Series in the Fall of 2011. The series showcases

musicians, dancers, and performing artists steeped

in folkloric, vernacular, popular, and traditional

music from the world over, and is accompanied by five-

minute pre-concert lectures, workshops, and post-

concert Q&A’s (with a translator) whenever possible.

In the past four years, the series has presented music

from Japan, the Middle East, China, Ethiopia, Ukraine,

Mali, India, Serbia, and the Nile basin.

“I saw the need for a little more diversity in

programming,” says Abe. “I chose lunchtime to build

a new audience; it’s easily accessible for not only those

who are already curious, but also those who just happen

to be passing through the building or campus.” The result

has been the extraordinary opportunity to offer audiences

intellectual insights and hands-on experiences in diverse

performing arts from various parts of the globe.

The series has been wildly successful, with students

from not only the College of Fine Arts, but also from

the College of Arts & Sciences and the College of

General Studies. “I started knocking on doors across

campus for potentially relevant partners, which wasn’t

always easy,” says Abe, “But in the end, it helped me

get to know more people.” With documented success,

Abe has fostered interdisciplinary connections with

faculty from the Department of Modern Languages

and Literature, Art History, Anthropology, and more,

who bring their students to relevant concerts.

This past spring, Abe worked with the BU Arts

Initiative, the African Studies Center, and World Music/

CRASHarts, a nonprofit organization celebrating world

music throughout the Greater Boston area, to bring

The Nile Project to campus. Conceived by Egyptian

ethnomusicologist Mina Girgis and Ethiopian singer

Meklit Hadero, the Nile Project is a collaborative enterprise

whose mission is to “educate, inspire, and empower the

citizens of the Nile basin to foster the sustainability of the

Nile River’s ecosystem through music.” During their 5-day

residency, the artists offered workshops, panel discussions,

class visits, a matinee concert for school-aged children

from the Boston area, and a final public performance

through the World Music/CRASHarts partnership.

Most recently, Abe’s reputation for hosting high-caliber

talent attracted the attention of BU alum Steven Karbank

(CAS’79), a Member of the Board of Overseers and alum

of the Department of Philosophy. An avid music lover who

had always desired more music programming on campus,

Karbank provided Abe with a grant for the coming

season from the Karbank Fund for World Music.

This fall, Abe is looking forward to hosting the series’

first Latin American music ensemble, Cimmarrón,

performing October 19th in the CFA Concert Hall.

“With a wild, powerful, and unbridled sound, the group

lives up to the meaning of their name, untamed” says Abe.

The Grammy-nominated Columbian ensemble is

known for creating a fiery kind of music called música

llanera and the fast-paced, triple-meter dance music

joropo, played on harp, bandolaand cuatro, and

accompanied by bass, cajón, and maracas. The seven-

piece all-star team of instrumentalists and singers, led by

harpist and composer Carlos Rojas, astonishes audiences

with its melodic and rhythmic virtuosity, percussive

drive, and sabor Columbiano, or Columbian flavor.

For more details, visit bu.edu/cfa/globalmusic.

Photos by Marié Abe

VOLUME ONE, ISSUE ONE 11

TOP LEFT: Photo by Chris Yager. Ariel Freiberg, Unquenchable Thirst, Oil and iridescent pigment on linen, 24" x 24" • TOP RIGHT: Photo by Ellen Denuto. Willie Cole BOTTOM: Photo Courtesey of the Maruki Gallery for the Hiroshima Panels. Iri Maruki & Toshi Maruki, Hiroshima Panels X ‘Petition’ (Detail), Paper, Indian Ink, Coloring, 71" x 283"

Spark Editorial Teamvolume one, issue one

DESIGN Marshall Lambert INTERVIEWS Laurel Homer and Brooke Yarborough ARTICLES Brooke Yarborough CONTRIBUTING WRITING + EDITING Laurel Homer and Emily Wade

A BU New Play Initiative Production,

co-produced by the Boston Center for American

Performance and Boston Playwrights’ Theatre.

By Robert Brustein • Directed by Steven Bogart

When Texas billionaire Seymour Sackeroff is

in need of some forgiveness, he goes straight

to God’s right hand—Dick Cockburn, the

Christian televangelist who talks to the Lord

on a regular basis—or so he says. But when

Cockburn comes to roost in Seymour’s

mansion, all Hell breaks loose. A play with

music and rhythm from the author of King

of Second Avenue and the Shakespeare Trilogy

(The English Channel, Mortal Terror, The Last

Will), Exposed takes a ferociously sardonic

wink through the lens of Molière’s Tartuffe to

lambast contemporary America, the Right, the

Left, the NRA, AIPAC, and greed in all its guides.

October 10–18 • Calderwood Pavilion at the Boston Center for the Arts, Wimberly Theatre

Maya Lin is an American sculptor and designer whose projects range in scale from the intimate

to the monumental. She is perhaps best-known for her Vietnam Veterans Memorial on the

National Mall in Washington D.C., a project she submitted to a public design competition at the

age of twenty-one, and her body of work continues to resonate with quiet dignity and a profound

sense of historical narrative. Lin is a staunch environmentalist, focusing on sustainable design

and creating artworks meant to spark dialogue about the human impact on the natural world.

In 2009, she launched What Is Missing?, a vast multimedia project focused on the global

biodiversity crisis. She considers this project to be “her last memorial.” Among her many other

public and architectural projects are the Civil Rights Memorial in Montgomery, Alabama, the

Peace Chapel at Juniata College, and the Museum of the Chinese in America in New York City.

September 24, 4pm • Metcalf Ballroom

The Grammy Award-winning Muir String Quartet has called CFA its physical and artistic home

for more than thirty years. Named for the renowned naturalist and Sierra Club Founder John Muir,

the ensemble was inspired by influential groups such as the Budapest String Quartet (1917–1967)

and is committed to advancing contemporary American music. Comprised of Viola Professor

and Principal Violist for the Boston Symphony Orchestra Steven Ansell, Cello Professor Michael

Reynolds, Violin Professor Peter Zazofsky, and violinist Lucia Lin, Muir has performed at the

White House and has premiered new works

commissioned for them by leading composers

such as Joan Tower, Sheila Silver, Richard

Danielpour, Richard Wilson, and Charles

Fussell. On October 19th, Muir opens their

36th season, performing Felix Mendelssohn’s

String Quartet in Eb, Op. 12, Béla Bartók’s

String Quartet No. 3, and Antonín Dvořák’s

Piano Quintet featuring pianist Michele Levin.

October 19, 8pm • Tsai Performance Center

Join us as we honor:

Uzo Aduba (CFA’05) Emmy Award-winning Actress, Orange is the New Black

David Delmar (CFA’06) Designer and Founder, Resilient Coders

Greg Hildreth (CFA’05) Acclaimed Broadway Actor, Cinderella

Visit bu.edu/cfa for details • 808 Gallery

IMAGE CAPTION: Maya Lin, installation view of the exhibition Platform: Maya Lin. Parrish Art Museum, Water Mill, New York, July 4 to October 13, 2014. In the foreground, three works in marble: Equator (2014), Latitude New York City (2013), and Arctic Circle (2013. On wall, Pin River—Sandy (2013), steel straight pins. Courtesy Pace Gallery, New York. Photo: Gary Mamay.

IMAGE CAPTION: Based at BU’s College of Fine Arts since 1983, the Muir String Quartet comprises Lucia Lin (clockwise from center), Michael Reynolds, Steven Ansell, and Peter Zazofsky.

Tim Hamill Lecture: Maya Lin

ExposedMuir String Quartet In Residence at Boston University

Inspiring Young Alumni Awards

Experience the innovative talent of the next generation of theatre, music, and visual artists when you purchase a CFA Membership!

$25 per household entitles membership holders to unlimited half-price tickets to all CFA events held at the Boston University Theatre, Calderwood Pavilion at the BCA, and Symphony Hall. Become a CFA Membership holder today by

calling the Boston Theatre Scene Box Office at 617.933.8600. Memberships are available now through December 2015.

Overdrive

Uzo Aduba photo provided by Adam Krause/Redux