SPOTLIGHT | Sabrina Haertig

“Es Lo Que Tenemos” was a powerful experience, intertwining social issues like immigration with a reckoning of her cultural identities as a Dominican and German woman.

Fine Print: Etchings at the Johnson

What do a 17th-Century Dutch printmaker, the Edict of Nantes and two present-day Ithacans have in common? Quite a bit, actually. So do the political commentary and a urine sample from Louis XIV. Their unifying thread is on display at the Johnson Art Museum’s new exhibition, Romeyn de Hooghe: Virtuoso Etcher, a show of de Hooghe’s etchings in subject matters ranging from the commercial to the political.

Masterpieces and Missteps

The artists of the Bloomsbury circle were at once radical and conservative, intellectually adventurous and promiscuously imitative. The group centered around the writers and thinkers Virginia Woolf, John Maynard Keynes and Lytton Strachey, who dominated English high society around the early years of the last century; the circle sometimes included other luminaries such as T.S. Eliot, Bertrand Russell and E.M. Forster. A current exhibit at the Johnson Museum, A Room of Their Own: The Bloomsbury Artists in American Collections, features the often overlooked visual artists who informed the group’s development as a hotbed of sexual and ideological libertinage as well as the bedrock of upper-crust cultural strictures.

Arts in the Ith

So. You’re in Ithaca. You’re in college. What to do now?
When prelims, lab reports and snow aren’t getting you down (read: seldom), there’s a lively arts scene right outside your doorstep to keep you sane. From barn-burning bashes in Barton to art appreciation in the Johnson, there’s something for every taste. Cornell may be known for its cows and gorges, but it’s no slouch when it comes to music, theater, film and fine art.

Foreign Affairs: Photography Abroad

Currently on view at the Johnson Museum, Daniel Nadler’s ’54 photographs of Theyyam Rituals of Kerala offer an extraordinary view into the local religious traditions of the south Indian state of Kerala. These performances, in which a male performer is used a vehicle for the spirit of a god, were captured by chance by Nadler while he and his wife travelled through India in 2004.