New Student Art Exhibition Proves Val-uable

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“I had been walking around the Dakin property, near Humphries House, when I was suddenly awestruck by the sun peeking through the fog and how it illuminated this majestic oak tree. I knew I needed to swiftly capture the moment. I often carry my camera with me and I was thankful to have it that morning.”

The exhibition also showcased art from students in STEM classes who used data to make their art. Fiona Anstey ’24, Tina Zhang ’24 and

Caroline Wu ’26 used topographic data collected from the formation process of drumlins, landforms found in areas where glaciers once flowed, to make their piece “Drumlins: Glacial Formations and Fourier Transformations.” The three-plus minute long computer-generated video played in a slideshow on the TV in Weiller Wing, which cycled through student art during the event. Another student who used her passion for science to make art was Ana Varona Ortiz ’24. She originally captured her image, titled “Enter- ing the Mouse-croscopic World,” to submit for a friendly competition in her Quantitative Image Analysis class. She admitted to me that she felt driven to try to win. “I wanted to pick a sample that would be both fun to image and also [had] a final wow factor. I remembered we had a slide of a mouse embryo that I thought looked really cool and thought it would be the perfect sample to image.” She took the photo using the new integrated Zeiss 980 microscope that the school acquired after Professors of Biology Sally Kim and

Marc Edwards received a Major Research Instrumentation Grant from the National Science Foundation.

While I was at the exhibition, snacking on grapes and arancini and admiring the art on the walls, I was struck by how many people came together to create the event: students, staff and faculty from a wide variety of academic departments. Even though it can be easy to get lost in the hustle and bustle of assignments, the “Campus Art for All Inaugural Exhibition” was a reminder to simply slow down and appreciate some art. cott on the country in response to apartheid — haunted “Graceland” and Simon for years after the fact: Activists accused him of weakening the intended international solidarity against racism by offering his patronage and not calling for action within his lyrics, thus tacitly supporting the nation’s regime. It was not enough to just have hope, Simon’s opponents argued; if he would not actively be part of the solution, he was part of the problem.