Orchestra brings Halloween spirit to campus

The Geneseo Symphony Orchestra gave a special Halloween Pops concert on Sunday Oct. 30. Occurring in Wadsworth Auditorium, the event venue was decked out with balloons, pumpkins, bales of hay and other decorations. In truth, the performance felt more like a party than anything else, and that’s exactly how adjunct faculty in music and director Jim Tiller wanted it.

The festive program included instrumental selections from popular film and television—such as Star Wars, “Game of Thrones” and Harry Potter—in addition to various other Halloween-themed pieces, like Camille Saint-Saens’ “Danse Macabre.” The concert also doubled as a costume contest, as everyone in the audience was encouraged to dress up.

The whole orchestra was in top-notch costumes as well, including Tiller. Pirates, Pikachus and a Princess Leia could be spotted on stage–along with a very convincing Donald Trump in the percussion section.

The orchestra concert had originally been scheduled for the week prior, but when Tiller saw how close it was to Halloween, he knew it was a great opportunity to do something special for the students. He requested that the date be pushed back a week to the day before Halloween. He then reached out to local Geneseo businesses, including Mama Mia’s, Geneseo Family Restaurant and Wegmans, who generously donated decorations and gift-card prizes for the contest winners.

Tiller wanted the Halloween Pops concert to be a different kind of concert. His goals were to get as many people involved as he could and to increase both energy and enthusiasm among the students in order to make the concert as interactive as possible. He used the non-traditional program to get students more excited about playing in the orchestra, especially those who weren’t so familiar with the usual classical repertoire.

“A majority of the students [in the orchestra] are non-music majors” Tiller said. “They’re doing it because they love it … If it gets a little rowdy, I’m totally cool with that.”

The performance was meant to be a time for celebration and school spirit, and as a result Tiller’s vision for the concert was wonderfully and energetically received. It had something for everyone, and all kinds of student groups could be found in the audience: members of the Chinese club, the Geneseo Chamber singers and even athletes from the swimming and diving team.

And of course, everyone was in costume. Judges for the contest wandered the aisles during the first half of the concert; winners were announced during the intermission. Among the winners were a violinist dressed as the Pope and an audience member clothed as a very convincing Jon Snow from “Game of Thrones.” First prize–which was a $100 gift certificate to Wegmans–went to a particularly clever group of music majors, as they were dressed as augmented sixth chords: the German sixth, French sixth and Italian sixth.

The concert was filled with energy, from start to finish. Included in the second set were two songs from “Phantom of the Opera,” featuring baritone music major senior Jordan Bachmann and professional soprano Carley DeFranco. Their impressive and dramatic performance ended the concert with a bang.

This unique and interactive concert was a real Halloween treat; the last song was met with thundering applause. The energy and enthusiasm in the room was palpable, with everyone bonding over the spirit of Halloween.

Public awaits Bob Dylan’s acknowledgment, acceptance of Nobel Prize for Literature

Bob Dylan was announced as the winner of this year’s Nobel Prize for Literature earlier this month. That’s right, literature. Giving such a prestigious award to a famous lyricist has sparked heavy controversy in the literary community, and a variety of opinions are pouring forth from readers, writers and listeners alike—from everyone, it seems, except Dylan himself.

But how did this happen? Visiting associate professor of English at Washington and Lee University Gordon Ball said he is behind Dylan’s nomination. “I nominated Bob Dylan for the Nobel Prize more than a dozen times,” he said in an article for The Washington Post. Ball claimed that Dylan’s poetic lyrics fit the criteria just as well as the work of any other prizewinner.

Nominators must be of proper qualifications; they are usually literature or linguistics professors, past laureates, presidents of national writers’ groups or the like.

Alfred Nobel specified that the recipient of the prize must be “the most outstanding ... Of an idealistic tendency” and that they must “have conferred the greatest benefit on mankind.” To fit these criteria, Ball cites Dylan’s many idealistic, activist-charged lyrics.

Dylan won the Tom Paine Award for songs such as “Blowin’ in the Wind” and “Oxford Town.” In the 60s, many of his lyrics turned a critical eye to political authority. Their thought provoking nature is believed to have played a possible role in the public’s response to Watergate in 1972.

To Ball, it’s the lyrics’ longevity and impact on social and political change—in addition to their poetic nature—that make Dylan deserving of the award. Whether or not his writing comes with a musical backdrop does not negate the fact that it is, in fact, great writing, making it just as eligible as any past winners. Such is the argument of supporters like Ball. But everyone doesn’t share this opinion.

One of Dylan’s biggest skeptics throughout the nomination process was Alex Shephard, editor at The New Republic. He was one of many who never believed Dylan would actually win, as he was under the impression that despite Dylan’s skill and value as a musician and lyricist, he should never have been considered in the first place.

“He is a musician,” Shepard said. “It’s a category error. Music is an entirely different mode of expression that uses tools that are unavailable to the writer.”

In addition, many believe that giving Dylan an award for literature is a shame because it takes away an opportunity for talented, hard-working traditional writers to gain notoriety. Traditionally, when an author wins the prize, his or her works fly off the shelves and are translated into other languages for all to read. Dylan hardly needs any help gaining spotlight.

But, despite these arguments, the strangest response of them all has been Dylan’s. The star has all but completely ignored the Swedish Academy, who is responsible for the award. No public statement from Dylan has been made—save for a brief mention of the award on his website, which he quickly removed after the media caught wind of it. The Academy has officially agreed to let Dylan respond to the award in his own time, firmly expressing that it is his decision to accept or decline, just the same as every winner.

One Academy member, however, recently expressed their personal opinion, considering Dylan’s silence to be “impolite and arrogant.” Some wonder if perhaps the Swedish Academy regrets its decision. Nevertheless, the ball lies in Dylan’s court now. All we can do is wait for his response.

Watt’s woven works reveal Native American collectivist culture, social protest

Artist Marie Watt opened her exhibit “Witness” in Geneseo’s Lederer Gallery on Wednesday Oct. 26, corresponding with the college’s Cultural Harmony Week. Watt draws her inspiration from her Native American culture, and primarily uses wool to create beautifully colorful and intricate blankets.

The exhibit contained a few prints, but is mostly dominated by large woolen blankets, which were suspended in the air a few inches away from the wall. The blankets vary in style—some have multicolored patterns of quilting, while others have images stitched into them with thread. The main piece, titled “Witness,” lends its name to the full exhibit and covers almost an entire gallery wall, standing out from the rest in both size and style.

“Witness” is larger than a normal blanket, with a scene stitched into it with black thread. The scene is based off a photograph taken in 1913 of a Native American potlatch. Potlatches were events in which Native American communities would gather, with one family giving away gifts to the crowd. This gifting brought wealth and status to the family. In the picture, someone is throwing gifts off of a roof and sailing through the air is a blanket. The crowd below can be seen reaching out for it, their hands uplifted toward the sky.

The actions taking place in this scene have a deep historical significance. During the time the photograph was taken, the colonists—who wanted to prevent native people from gathering—had outlawed potlatches. The colonists were also unsettled by the tradition of gifting. To them, one was supposed to gain wealth through the system of capitalism—not by giving things away. So these potlatches became acts of civil disobedience, and the onlookers became witnesses to the event.

The image of a crowd raising their arms in the air mirrors the protests of social issues happening in our society today. Just looking at the huge scene in the gallery—cinematic in scope—we, too, become witnesses of history and culture, while at the same time becoming united.

Bringing people together is another central theme in Watt’s work. She does this quite literally by reaching out into the community to complete her pieces. Many of the blankets were partially done by community sewing circles, where anyone can help stitch an image into the wool. Looking closely, you can see the different stitching styles of each individual who lent a hand to complete a section of blanket.

Watt explains that she values these differences immensely because they bring character to the pieces. “I don’t think of myself as a textile artist as much as a rogue stitcher,” she said, pulling back one of the blankets to reveal the back side, covered in knots and loose thread marking where different sewers left off.

Watt told the crowd that she will never take out the stitches of a less experienced sewer—only reinforce and strengthen them. “There is room for everybody in a circle,” she said. “Everybody’s stitch is like a signature, like the way you write your name … It’s a metaphor for how we’re all related and connected.”

She especially values the way the blankets create multi-generational connections. Blankets are often passed down through families, but can also unite generations in other ways. Watt explained the social dynamic of the sewing circles, in which different types of people—old and young—sit side-by-side passing around stories as they work. This is exactly how Native Americans have passed on their oral history and culture—sitting together, wrapped in a blanket.

Although they are beautiful to the eye, these blankets are so much more than works of art. They are physical testaments to the relationships we have with one another, with the present and with the past. They are the product of the connections that we make, stories woven tightly together with needle and thread.

Redhawk Council embodies Cultural Heritage Week, promotes unity

The Redhawk Native American Arts Council treated Geneseo to an educational dance performance on Tuesday Oct. 18 as a part of the college’s Cultural Harmony Week. The council is made up of Native American artists and educators seeking to spread knowledge and awareness for their people and their culture. Four dancers from the council traveled all the way from New York City to perform the traditional Native American dances. They also explained the dances’ significance before holding an open discussion.

The dancers—all beautifully dressed in traditional garb—performed several dances, each of which symbolized different meanings within their native tribes. A drum and a single voice accompanied all the dances, as the drum is a crucial symbol in the dances. Its circular shape represents the earth, and in the Native American culture—as well as many other cultures around the world—the Earth is believed to be a living creature. So the beat of the drum will always resemble a heartbeat.

Before each dance, the council explained the individual stories that the dances represented. “Jingle Dress Dance” is a healing dance that tells the story of a little girl whom the rain healed. The dancer wore an ornate dress with small silver cones that covered the bottom, jingling as she danced. Each cone represented a prayer that was said for the sick girl, and the noise they made symbolized the rain that healed her.

The way the dancers dress is often significant to the dances, too. They all wore feathered headdresses, explaining that the number of feathers serves to differentiate the tribes from one another. Members of the Seneca tribe—who are the people that once inhabited this area—wore only one feather in their headdresses, while others wore two, three or none. The feathers are so vital to their culture, in fact, that the Native Americans are actually the only people legally permitted to possess feathers from the protected Golden Eagle.

After the dances, the four council members gathered to answer questions from the audience. They explained the challenges that Native Americans face in addition to talking about their feelings regarding the current state of Native American culture in the United States.

“The founding of this country is a very sad part of the history of the world,” Director of Redhawk Native American Arts Council Cliff Matias said.

Now it is their goal to remind people of our country’s history and to help people “understand that these traditions and the people behind them are real, and [that] they matter,” according to the Redhawk Native American Arts Council. It is a culture that only exists in history books in addition to being misrepresented within Hollywood films—but it’s also something that many people in this country live and experience everyday.

While it’s vital to provide a space for Native American culture in today’s society, the council explained that their greatest goal is not to retake the country that was once theirs, but to live in harmony with all of the American people. Matias explained that this is the very nature of their culture.

“We don’t want people to leave, we want people to respect each other,” Matias said. “When the pilgrims came to America, [the natives] wanted to make the pilgrims Wampanoags … they wanted to adopt them.”

Of course, as Americans, we should know by now that the pilgrims had no intention of living in harmony with the native peoples, and after two years 50 percent of the Wampanoag population was extinguished.

Despite the long and grueling journey the Native Americans have faced, however, the council has hope for the future: “The whole world is changing. People are changing Columbus Day to Indigenous People’s Day.”

One member of the Students Against Social Injustice group on campus inquired what Geneseo students could do right now to help the Native American culture. “You’re talking about it … and that’s the first step,” Matias said.

We as students are powerful in changing how the world views cultural differences, because—as people constantly point out—we are the future of this country. Though a notoriously trite statement, these kinds of thoughts lead to the types of conversation and cultural appreciation that is vital for change.

We have the power to make cultural harmony last much longer than just one week.

Historically significant Van Gogh paintings recovered after 14 years

Two missing paintings by Vincent Van Gogh have recently been miraculously recovered after 14 long years of searching. Stolen in 2002 during a raid on the Van Gogh Museum in Amsterdam, the paintings “Seascape at Scheveningen” (1882) and “Congregation Leaving the Reformed Church in Nuenen” (1884-85) were considered to be among the most searched for artworks in the world. Both pieces were on the FBI’s list of the “Top 10 Art Crimes.”

Thieves had broken into the Van Gogh Museum by making it past the guards and infrared security system through the use of ladders and sledgehammers to steal the two paintings. The 14-year search finally ceased at the end of September after Italian police found the paintings in an old farmhouse in the seaside town of Castellammare di Stabia, near Pompeii. A curator inspected the paintings and has firmly concluded that they are, in fact, the stolen originals.

The paintings were recovered as part of a larger investigation by the Guardia di Finanza team, which is an Italian law enforcement agency that specializes in organized crime. The team suspects the culprits to be part of the Camorra, an Italian mafia-style crime organization. The paintings were seized along with 20 million euros worth of assets, which were rumored to have been held by two drug kingpins.

The Camorra is one of the three largest crime syndicates in Italy, and they are always looking for ways to launder their illegal revenues. Specific information has yet to be released regarding the farmhouse where the paintings were found, and the case remains under investigation.

Thankfully, the paintings are in surprisingly good condition. They were found propped up on easels, removed from their frames and covered with a cotton cloth. “Seascape at Scheveningen” is the more damaged of the two, with a portion of the paint chipped away from the bottom left corner.

The museum, however, is just relieved that the paintings were returned at all. Axel Rüger, director of the Van Gogh Museum, admitted that even he had begun to lose hope in ever recovering them.

“The paintings have been found!” Rüger said. “That I would be able to ever pronounce these words is something I had no longer dared to hope for.”

These two paintings each hold a unique artistic significance. “Seascape at Scheveningen” is the only piece in the Van Gogh Museum from that specific time period. It’s one of his first major works and one of only two seascapes he painted during his time in the Netherlands. On the canvas are actual grains of sand from the Dutch beach, which blew onto the wet paint as he painted it over the course of two days. Its return fills an important gap in the collection.

The “Congregation Leaving the Reformed Church in Nuenen” holds more of a biographical and emotional value regarding Van Gogh himself. It’s a smaller piece that he painted for his mother, depicting the church where his father was minister. After his father’s death, Van Gogh reworked the painting, adding funeral mourners in the foreground.

The museum rejoices at the discovery of the missing paintings; it will be some time, however, before they are returned to their rightful places in the gallery. For now, they must remain in Italy as evidence for the continuing investigation of the Camorra’s illegal activities. The time of the trial has not yet been announced, but Rüger says the museum is willing to wait: “Naturally the only thing you want is to take them straight home with you. We will have to exercise a little bit more patience, but I am convinced that we can count on the support of the Italian authorities.”

Kinetic Gallery exhibits bio art contrasting man-made, natural worlds

The Kinetic Gallery revealed its latest exhibition—Suzanne Anker’s collection, “Blue Eggs and Spam”—on Tuesday Oct. 4. Anker’s work is known as “bio art,” which combines visual art and the biological sciences. In this exhibition, Anker compares two contrasting perspectives on life: the life of analysis provided by science and technology, and the life found in the natural world.

The collection is made up of four different parts. Three sets of images are mounted on the walls that surrounded the main piece in the center of the gallery.

The first subset of images consists of five large prints titled “Laboratory Life.” These include different images of gardens, all superimposed over images of scientific laboratories. The layering of the two images presents two different forms of artificial life: the findings and the creations that come from labs that can’t be found wholly in nature, and a garden that is a man-made replica of the natural world. Thus two man-made interpretations of life are illustrated at once.

In the back of the gallery hangs two more images, both of petri dishes that hold blue egg yolks. Referencing the collection’s title, these photographs are meant to challenge the notion of what we perceive as “natural.”

The egg is a product of nature, often considered to be a symbol of life. Yet synthetic biologists managed to alter living entities, changing their chemical processes in order to create unnatural products. The results can be intriguing, but off-putting. Scientific research is of course beneficial in many ways, but Anker poses the question: would you eat a blue egg?

The final subset of images is entitled “Vanitas (in a Petri dish).” Here, Anker combines science with Dutch Vanitas art, which includes symbols of death and change—both of which are inevitable. Anker’s images are of petri dishes filled with materials that are used by scientists, as well as organic items like animal skulls. The images pop with bright colors and work to compare elements of science with historical artistic metaphors.

The centerpiece of the exhibition is perhaps the most visually stunning. A large white table stands in the middle of the gallery, on which sit multiple petri dishes. Each dish holds different objects, either man-made or natural. Some only have one item, and some are stuffed to the brim.

But what makes the piece so visually appealing is its use of color. Each dish is color-coded; everything it holds is the same hue. One holds both a yellow flower and a small yellow plastic shoe. Another holds brown, mossy material and a peanut butter cup. The dishes are organized in a sort of rainbow, flowing from white to yellow into green and blue and then all the way to black.

At the opening, Anker gave some insight into her artistic ideas behind the role of color in this centerpiece. “It’s interesting to see … how manufactured objects are the same color as the natural world,” she said. “Second nature.”

And finally, placed in a few of the dishes is a picture of a can of Spam—an item that can be both natural and manufactured, again referencing the title of the exhibit.

Anker’s “Blue Eggs and Spam” is a colorful masterpiece that spurs visitors to question the nature of the world around them. What have we created, what was already here and how is science affecting our perception of the natural world? The gallery was filled with students on opening night, and people crowded around the table of Petri dishes to get a glimpse of what was inside.

Now, it’s our job to point the same curious eye to the world we live in.

Tafel lecture marks first collaboration between college and APOG

Geneseo’s Lederer Gallery partnered with the Association for the Preservation of Geneseo to host a lecture titled “Between College and Village: Architect Edgar Tafel’s Brodie Hall (1964-6) and the Appeal to Tradition in ‘Mad Men’ America” on Wednesday Sept. 28. The event focused on master architect Edgar Tafel and took place in celebration of the 50th anniversary of the Lederer Gallery, as well as the Brodie Fine Arts Building as a whole. But the event also signified the beginning of something new: the lecture was the first product of a newly formed partnership between APOG and the college.

APOG was founded in the early 1970s to preserve the history of the town of Geneseo, but has recently begun to shift their programming efforts toward the interests of both the local community and the student population. And what better way to solidify this new partnership than by honoring Tafel?

It was Tafel who laid the master plan for the Geneseo campus in 1964, as well as the specific design for Brodie Hall and South Village. In the lecture, visiting professor of art history Charles Burroughs shed light on Tafel’s architectural philosophy and his role in creating the Geneseo campus we see today.

Tafel’s goal for Brodie Hall was centered on the very notion of making connections. The structure of the building—as well as many of the other buildings on campus—is long and horizontally shaped, as opposed to the high towering structures that were popular at the time. Tafel did not want these buildings to be seen as barriers that differentiated the townspeople from the students, but rather “saw Brodie Hall as connecting the village and the college,” Burroughs said.

The lecture was followed by a reflection titled “Brodie Hall, the Arts, Campus, and Community” from alumnus Chris Mannelli ‘95. Mannelli—who is now the Executive Director of Rochester’s Geva Theatre Center—shared fond memories and light-hearted stories of experiences he had as a Geneseo student, providing a glimpse into another level of connections that can be found in Geneseo: the relationships between students. During the long hours he spent studying and rehearsing with his classmates, Mannelli described how those people became his family.

“[It’s] a place where you belong,” he said, recounting the many nights he spent performing for his friends in Brodie Commons.

This scene—one of students coming together in the common spaces that Brodie Hall provides—is one that continues to be performed today. Mannelli’s reflections added a new level of depth to the lecture, as they connected the past with the present.

Perhaps the most notable moment of the evening was when APOG member Jim Whitehead said a few words about his personal connections with the Geneseo community. “That’s what tonight is about,” Whitehead said.

He also described how impressed he was that he, as a “townie,” could walk up the street and see high-level performances by such talented students and then see the same students getting a slice of pizza at Mamma Mia’s the next day. He recalled approaching students and congratulating them on their performances. “I could see the delight in the faces of those kids that wanted to be recognized by the community,” Whitehead said.

It’s moments like this that depict just how valuable the connections in a community can be. This event was a celebration of the people and places that make Geneseo what it is—and it’s only the first in the partnership between Geneseo and APOG. A second event from the team is currently in the works for the spring, and hopefully there are many more to follow.

Lederer Gallery celebrates 50 years with artistic journey through time

Geneseo’s Lederer Gallery is celebrating its 50th anniversary this year with “The Permanent Collection at 50,” which will be on display until Oct. 16. Located in Brodie Hall, the gallery was named after Bertha V.B. Lederer, who began teaching at Geneseo in 1945. Dedicated to the appreciation of art, she became chair of both the art department and the division of fine arts. After her retirement, Geneseo returned the favor by naming the Brodie Hall gallery in her honor.

To celebrate the history of the gallery, Lauren Slezak ‘14 curated “The Permanent Collection at 50,” which made its debut on Sept. 14. For this unique exhibition, the gallery functions as an artistic, historical timeline. All of the pieces on display have either been purchased by Geneseo or donated, thus making them part of a permanent collection here at the college. The exhibition is meant to illustrate the growth and expansion of the collection itself, as well as the variety of different works from different time periods that have found a home at Geneseo.

The timeline begins on the back wall of the gallery with an oil portrait by Carlo Falcini Dipye. The portrait—also the oldest work in the collection—was created in 1850 and arrived on campus in 1925. The timeline continues from there, wrapping around the gallery in a chronological progression. The gallery displays a variety of styles and mediums from different eras, working its way toward the present. Each piece is labeled with the artist, title and medium, as well as the date it arrived at Geneseo.

The amount of diversity in the collection is captivating, ranging from daguerreotypes—the first photographic process that involves an image on a silvered copper plate—to digital art, with sculpture and ceramics intermingled. One of the first pieces that meets the eye is an ornate set of silver titled “Tea and Coffee Service Objects,” which were donated by Lederer herself.

Two other notable pieces by Henri Goetz and James Coignard are part of the Silverman Collection, a French collection Lederer obtained with the help of none other than the late Edgar Tafel. Tafel—former student of Frank Lloyd Wright—was the architect of the Brodie Fine Arts Building. This illustrates that although the various forms of art in the collection may seem to be worlds apart, they can all be linked together by the history of Geneseo and its appreciation for the arts.

As visitors walk along the gallery to view each piece, they are taken on a journey through time. After completing the circle, the last piece in the chronology is an oil painting by Cicely Cottingham titled “Now you feel how nothing clings to you (so inconvenient).” This colorful, textured painting was created in 2016 and hangs side-by-side with Dipye’s portrait.

Seeing the two works beside each other—the past and the present—exemplifies a striking artistic transformation. Both pieces are done in the same medium by utilizing oil on wood panel, but show over 150 years’ worth of artistic history and aesthetic—and both have a place in Lederer Gallery.

“The Permanent Collection at 50” is a visual testament to the evolution of art at Geneseo. Lederer’s philosophy on art was to teach her students to be aware of the world in a more artistic way: “Art education … should teach them how to see,” and this collection gives us a magnifying glass.

Prized student work on display in Kinetic Gallery

Geneseo’s student-run Kinetic Gallery hosted its bi-annual Geneseo Recognizing Excellence, Achievement & Talent Battle of the Artists at the beginning of the summer, in which contestants displayed up to three pieces each of art done in any medium. Each artist was reviewed by a panel of judges to win a cash prize and to receive the opportunity to display their work in an exhibit in the gallery at the start of the fall 2016 semester. Student submissions ranging from drawings, to sculptures, to photography filled the gallery walls.

The two winning artists—sociology major sophomore Megan Samantha Schwartz and political science major sophomore Kylie Griffith—unveiled their exhibits, which will remain in the gallery until October 2.

The gallery is divided in half between the two winners, each artist covering an entire wall with their work. Schwartz occupies the left side of the gallery with bright pops of color and funky patterns, while Griffith’s wall displays dark, bold charcoal portraits and striking scenes.

Schwartz’s exhibition, titled “My Escapes,” showcases pieces that are meant to serve as a window into her mind. Flowing lines and colors depict a sort of artistic wonderland, and curious images and abstract patterns take the viewer away from reality for a moment. Viewers get to escape with her into a world reimagined.

A portion of Schwartz’s collection is mixed media art, using two or more different mediums or materials in one work. One piece in particular is done in pencil, but parts of the surface are covered in mosaic-style glass tiles. This layering creates an even greater sense of depth and novelty into her “escape.”

On the other half of the gallery, Griffith’s collection titled “What She Taught Me” is dominated by stunning portraits done in charcoal. The wall is filled with eyes and faces that draw the viewer in, leaving them with unanswered questions like, “Who is she?” or “Why does that man look so sad?” It’s these questions and their ability to make a person wonder that gives Griffith’s pieces such power.

One especially impactful piece is a portrait of an elderly individual with a weathered, wrinkled face and a hand resting on their mouth, as if deep in thought. This piece, like most of the others, is all done in charcoal, except for one feature—the eyes. These are lightly stained with a cool shade of blue—the only color in the piece.

These exhibitions—each with their own unique styles and mediums—are telling of the artistic spirit of the Geneseo student body. Being able to view such beautiful student art in a student-run gallery provokes a profound sense of unity and support within the community.

This gallery exhibition is not without flaws, however. The talent of the artists is obvious, but there also seems to be something missing from the curation of the exhibits. While the art is captivating enough to stand on its own, there isn’t any background information provided about the artists or any descriptions on the pieces. Labeling a piece of art with its name, the medium, the materials used and the date it was created can make an exhibition more well-rounded and complete. It also solidifies a connection between the artist, artwork and viewer. Some may find this information distracting, but descriptive details can also provide more support and cohesiveness for a collection.

Regardless, the exhibit as a whole is a success. In a corner of the gallery, there is an open book where visitors can leave their thoughts and comments about the art. Notes such as “inspiring” and “beautiful pieces, wonderful artists” fills a page for the artists and visitors to reflect upon.

The mission of the Kinetic Gallery is to team up with artists to foster an appreciation for the arts among students, to create an open space for them to freely display and to discuss artistic concepts. With such positive responses from visitors, that mission is well on its way to becoming a reality.