The Daily Princetonian
Thursday november 17, 2016
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pages designed by CATHLEEN KONG :: CONTRIBUTOR, Janette lu :: contributor, andie ayala :: street editor and catherine wang :: STREET EDITOR
ART ATTACK
In line with this week’s theme of art in the Princeton community, STREET contributor Jianing Zhao ‘20 leads with a profile article on the woman who painted Eisgruber’s portrait.
A Portrait of the Artist: Princeton Resident Olga Sweet JIANING ZHAO Contributor ‘20
Since its advent in the 19th century, photography has become increasingly prevalent in people’s daily lives, pushing traditional modes of representation such as portraiture into relative obscurity. However, the world’s interest in the latter art form has not diminished, according to Moscow-born painter Olga Sweet who currently lives in the town of Princeton. She has recently done a portrait of President Obama that was presented in the White House; her other clients include President Carter, Nacho Figueras (the renowned polo player and Ralph Lauren model), and Princeton University’s President Christopher Eisgruber. “My love for portraiture comes from my fascination with human beings — our happiness, sadness, drive to succeed, and feelings of failure, fairness, and love,” Sweet said. Sweet is particularly drawn to people’s faces, and sees them as snapshots of individuals’ lives. Unlike traditional portraits that often
depict aristocrats or royals who had the financial means to be patrons, Sweet’s portraits do not distinguish the socioeconomic status of their subjects. She wants to portray not only the accomplished, but also the ordinary, believing that there are interesting and unusual aspects to be discovered in each individual. She tries to make all her portraits — whether of Presidents or studio models — equally full of life, feelings, and desires. According to Sweet, before she paints, her first step is to find out what she wants to say about this person through the portrait, which requires getting to know her subject to some degree. Sometimes she accesses this knowledge simply by looking into a person’s eyes. Sweet noted that “without speaking you can know a lot about a person.” She said that she could spend hours painting a person without exchanging any words, but really feeling a strong sense of connection with them. In some ways, our bodies — their perception and expression — are more powerful mediums of communication than spoken languages, according to Sweet. She adds
A photograph of the artist herself posing for the camera
that in the studio bodies change over time — since human models cannot remain stationary for a prolonged period of time. Therefore, artists need to be sensitive about human form and movement, when depicting it in their paintings. The models themselves are not the only source of change; the artist puts her feelings into what she sees, and alters her perception subtly to convey her ideas (i.e. what she wants to say about the subject of her painting, as aforementioned). According to Sweet, this is the main distinction between portraits and photography. While photography captures life as it is, she frequently manipulates colors, focal points, and proportions, as well as elongates distances and creates different backgrounds. Rejoicing in this freedom to change what she wants in order to express her impression of the subject, Sweet also warned that one must be careful when doing so; there needs to be a line, albeit often blurred, between the painter’s subjective experience and the objective physicality of the subject. Sweet recalled another of her most memorable paintings — that of President Eisgruber. “When we first moved to Princeton, my 17-year-old son challenged me to depict President Eisgruber,” she narrates, “my son was very impressed with his speech, its eloquence, depth, and passion.” At that time, I had just completed my portrait of Dr. Frances Fergusson, the President Emerita of Vassar College, so my son suggested, ‘why not paint another university President?’” Sweet was initially hesitant about this idea, yet after hearing one of President Eisgruber’s speeches, she found herself “astonished and fascinated”b y him. She perceived the vivacity and modernity of his mind, and strived to make his portrait as bright, deep, and contemporary as she saw him, by using vivid colors and contemporary approaches to painting. Though she has never met President Eisgruber one-on-one, Sweet has listened to a multitude of his speeches, and thinks of him as a remarkable character. “I would very much like to learn what President Eisgruber thinks of my portraits of him,” Sweet repeatedly said. When asked about the most important skill in producing a good portrait (her secret to success, so to speak), she pointed again towards
Olga Sweet’s portrait of Christopher Eisgruber, President of the University COURTESY OF OLGA SWEET
her ability to capture a person quickly and deeply. “I get a sense of their personality by simply looking into their eyes and listening to what they say,” Sweet remarked. Technical skills are indispensable, but what is even more crucial is to be observant, and to see a person for what he or she really is. As she later acknowledges, there are multiple different sides to each individual; “an incarcerated person can also be a great tennis player, or a tender mother…” She says that her job as a painter is to choose what parts of a person to highlight. Sweet is also devoted to humanitarian endeavors, as she says, “giving back has always been important to me.” Many of her portraits have been auctioned at the benefits of the New York Junior League, South-
ampton Hospital, the American Red Cross of Greenwich, the Princeton Symphony Orchestra, and various other nonprofit organizations. Currently, she is looking forward to participating in a project that aims to give Princeton a more diverse iconography (under a committee that was formed on the recommendation of the Wilson Legacy Review Committee). Sweet remarked that many portraits on campus lack diversity, and she hopes to better portray underrepresented groups of people at Princeton and beyond. As a mode of representation, portraits help describe and define notions of identity; by looking into the eyes of a portrait we can have the same ‘Sweet’ recognition of the beauty of another person.
COURTESY OF OLGA SWEET
An Insider’s Look at Visual Arts Program’s ‘Open Studio’ HEATHER GRACE Contributor ‘18
On the Tuesday afternoon of Nov. 15, Princeton students, faculty, and community members gathered at the Lewis Center for the Arts for the Visual Arts program’s annual Open Studio event. Dating back to 2005, the event features the work of juniors and seniors in the Visual Arts program, including both studio art majors and certificate students. The event began with a viewing of the junior studios on the fourth floor of the Lewis Center: a large, sun-lit loft that is partitioned into cubicle-like work spaces. Artists were stationed in their studios while faculty members, parents, and friends roamed freely, engaging in conversations about color use, site-specific installations, and the
politics of graphic design. Through the creation of this open environment, students had access to perspectives from people other than the peers, professors, and advisers with whom they normally discuss their work in a classroom setting. As Visual Arts Lecturer Eve Aschheim explained, the Open Studio event was started “as a way to celebrate the students’ work” by creating “an atmosphere of exchange,” so as “to encourage the faculty to engage directly with the artists and their work as it was being made.” In the second half of the event, crowds headed to the semi-private studio room on the second floor of the building, which were reserved for senior exhibitions. Greeted with more free food and friendly faces, students and faculty happily exchanged stories of artistic struggles and accomplishments throughout these first
few months of the fall semester, while contributing advice on how to proceed with various projects. Comprised of less than 40 students, the Visual Arts program is relatively small, determined by a selective application process in the spring of students’ sophomore years. The department’s size, in combination with the junior and senior seminar classes,
COURTESY OF LEWIS CENTER THE ARTS
close-quarter work spaces, regular advising, group critiques and studio visits, allows students to form close connections and to co-experience the development of their own artistic practices. Within the department, students are enrolled in either the junior or senior seminar. Currently, juniors are studying “Issues in Contemporary Art” with
Assistant Professor Deana Lawson while seniors are taking the class “Exhibition Issues and Methods” taught by Visual Arts Lecturer Pam Lins. Students have 24/7 access to studio spaces in the building, which were opened for this event to the University community and the public in order to facilitate discussion of student work, which ranged from photography series to painted portraits to bubble gum sculptures. As a junior in the Visual Arts program, I had the opportunity to participate in the event. Though it can be intimidating to invite others into your private working space (especially in the midst of incomplete projects), I found that the informal environment at the Open Studio event made for a celebratory mood and really contributed to a shared sense of community within the Visual Arts program and the Lewis Center as a whole.
The Daily Princetonian
Thursday november 17, 2016
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Q&A: Women*s Center Bechdel Film Club with Teresa Lopez and Tess Jacobson TJ: We moved the tables out of the Women*s Center room and put the large bean bag chairs in. We turned down all the lights and it was a really nice, cozy atmosphere to watch a movie in. We had Chinese food, which was really good. And during the movie, I think everyone was really into the movie because it was quiet and people weren’t talking. TIL: It’s also nice to be watching a movie surrounded by people because you feel people reacting in different ways or in the same way, which is important and powerful when you’re in discussion later because you know how people have felt… This movie specifically touched a lot on the questions of race, gender, class, family, social status — and we talked about so many things.
CATHERINE WANG Street Editor ‘19
Sophomores Teresa Irigoyen-Lopez and Tess Jacobson, both of whom work at the Women*s Center, started Princeton’s own Bechdel Film Club this year to give students the opportunity to watch and discuss films that pass the Bechdel Test. The test itself was originally created in 1985 by Alison Bechdel and serves to highlight the underrepresentation of women in film. The ‘Prince’ sat down with the two co-founders to talk to them about their club and what it means to them. The Daily Princetonian: Could you tell us a little bit about what this club is about and what made you guys decide to start it? Tess Jacobson: We were both on the student staff at the Women*s Center and part of our job responsibilities is to help out with programming. We were both interested in starting a Bechdel Film Club. Teresa Irigoyen-Lopez: Last year we knew each other, because we’re roommates. When I had my interview [to work at the Women*s Center], I proposed the idea. And when we both got the job we decided to do it together. COURTESY OF CATHERINE WANG
DP: What are the requirements of the Bechdel Test? TIL: For the movie to pass the test it has to have two women in the movie that talk to each other about anything — but men. Another extra requirement is that they [the women] both have to have names. The idea behind it is that — at least how I see it — is that movies that are generally shown, especially through initiatives on our campus, are not very — TJ: The groups that screen movies don’t often think about representation in the movie. There are a lot of groups that will screen a movie but not have a chance to talk about it in a non-academic setting… we thought it would be really fun to be able to have a conversation about a movie that’s not for class. TIL: Also [we did this] to just watch
movies that you enjoy. Because I feel like a lot of people who are conscious of the lack of representation in the media and different spaces — they find it hard to enjoy watching movies or reading books. You cannot ignore the sexism in them — why is it harder for people who consciously think about feminism to enjoy watching a film? TJ: Our goal is more than just showing movies that pass the Bechdel test, because the Bechdel test is meant to highlight gender inequality in film more so than it is meant to rate a movie on how feminist it is. TIL: Also, the idea is that this test comes from from a Bechdel comic strip from 1985... On the comic these two women have this conversation where one of them says, “I don’t like going to movies because they only show women
that talk about men.” So it wasn’t even created as a test and it’s not a perfect test. We are not using it as a perfect test, but a springboard to have deeper discussions on gender inequality. DP: Why did you choose “Girlhood” for the first showing? TIL: None of us had watched the film before. We came up with a long list of movies that we saw or heard about that we thought might be a good idea. We chose this one because we had been Googling to see what would be a good movie for a Bechdel Film Club. This is a pretty recent movie which we thought might be a more accessible movie for people who are here for the first time. TJ: It raises questions about the things that we want to talk about like race, gender, and class.
TIL: In general, a movie passing the test doesn’t mean that it touches these questions — TJ: — or even that it represents feminism. Because there can be a really misogynistic movie in which two women talk about something that’s not a man. TIL: We wanted the first movie to be a feminist movie that talked to issues that we thought people might be interested in. We might show movies later on that pass the test but aren’t necessary feminist. DP: How did the first showing go overall? TIL: About 9-10 people showed up and stayed for the whole time. So ten of us stayed for the discussion afterwards which we thought went really well — it was an hour long discussion.
DP: Can you give an example of a movie that people see as feminist but doesn’t pass the Bechdel Test? TJ: Only about half of movies pass the test, like the whole Lord of the Rings trilogy doesn’t pass the test. And you’re surprised to hear all these movies don’t pass the test, but as soon as you think about the individual movie — like you think about Lord of the Rings — you say to yourself ‘I can’t picture two female characters about something that’s not men.’ DP: Looking forward, what are your plans for the club? TIL: The next one [showing] is happening the Saturday after Thanksgiving... it’s not supposed to be a closed club where the same people come every week. Whoever wants to come any week can come because it’s a different movie and a different discussion. TJ: It’s a nice study break — it really doesn’t take up that much time. It started at seven because people came for dinner, and people were leaving around ten. Future movies the Bechdel Film Club is considering showing: a Spanish movie, “On the Edge of a Nervous Breakdown,” and a Saudi Arabian movie, “Wadjda.”
Princeton University Art Museum: A Tour Guide’s Introduction to the Collections
COURTESY OF esin yunosoglu
ESIN YUNUSOGLU Contributor ‘19
Most Princeton students wou ld say that they have been to the Princeton Un iversit y A r t Mu seum (PUA M) at least once in thei r Princeton career. A lthough some students are in itial ly attracted to events held in the museum, such as the Nassau Sampler and the an nua l St udent Adv isor y Board (SA B) Ga la, than ks to the large selection of free food, most w i l l adm it that free food is even better wh i le su r rou nded by worldrenow n ar t work. It takes many students a wh i le to realize that the mu seu m is indeed, ‘legit,’ wh ich they often indicate by saying: “we have a real Monet! ” However, beyond its dut y as a venue for events, the museum holds a lot of mean ing to the Princeton com mun it y. In addition to cu ltu ral gatherings, the museum is home to a va luable col lection of ar t works from ancient scu lptu res to contemporar y paintings. Last year, I took a fresh man sem inar in the A rt Museum and realized that going to museu m was one of the easiest ways to poke a hole in the Orange Bubble ever y once in a wh i le. It is a peacefu l space where one can con nect w ith the imaginations of other people from di fferent times and places. PUA M offers the oppor t u n it y for the students to become tou r g uides and I decided to apply. Ever y year, 10-12 students get a weeklong train ing du ring intersession,
and are taught how to give tou rs of h igh lighted art pieces to v isitors th roughout the year. In my train ing I learned that, in fact, PUA M actual ly has not just one, but th ree Monet pieces on ex h ibition, as wel l as many other art works from other famous artists such as Caravaggio Van Gogh, Cezan ne, Fitz Hen r y Lane, A ndy Warhol, and Jasper Joh ns. These art works are either on permanent loan from private col lections, or donated by Pr i nceton a lu m n i, such as A l fred H. Barr, the f irst director of the Museum of Modern A rt (MoM A) . A lthough th is rich col lection of Eu ropean and A merican art is recogn ized to be h igh ly impressive, it is easy to overlook the ancient art that is ex h ibited in the lower level gal leries. PUA M also hosts a large col lection of Roman Mosaics, Mayan A rt, and Asian A rt, and boasts a Ch inese tomb guardians col lection more complete than the Met’s. When I f irst v isited these lower gal leries du ring my training to, I felt deeply sorr y that th is amazing and impressive col lection is always dow nstairs, h idden away from the v isitors that just strol l around the museum. A nother tou r g u ide, Hud son Cooke’19 also said: “I wanted to get more involved w ith whatever art-related groups there were on campus and that’s why I applied to be a tou r guide. It has met my ex pectations, I feel like I gained a better understanding of how museums function on a bu reaucratic level.” Th is is on ly one of the many
ways students and the Princeton com mu n it y can actively engage w ith the museum. Caroline Harris, Associate Director of Education, listed the A n nual “Gratitude Gala” for sen iors and their thesis adv isors, Sen ior Wine Night among activ ities that the A rt Museum is happy to host. Harris also mentioned the importance of art h istor y precepts that take place in the museu m, say ing “one of ou r main objectives is to ser ve a diversit y of Un iversit y classes from across disciplines. Last year, we had 392 precepts v isits that ser ved 4,089 students (some of those are repeat v isits, we have 1,383 un ique student v isitors on those v isits) . The students represented 38 departments & programs, 93 cou rses, and we engaged w ith 79 professors & preceptors. Finding ways to con nect the collections to the issues of interest to facu lt y and students is real ly at the heart of what we do.” Du ring my (nearly) one and a ha l f years at Princeton, I have felt that the museum is so accessible to the ex tent that I can literal ly sit in front of a 17th centu r y painting and do my homework. I have also appreciated how the museum adm in istration is open to students using the space as a dy nam ic, ex perimental venue. For ex ample, I performed in a dance senior thesis that took place in the A rt Museum, wh ich al lowed me to simu ltaneously ex perience a momentar y and permanent art form. Veron ica Wh ite, the Cu rator of Academ ic Prog ram s, descr ibed the most rewarding aspect of her job to be the fact that her “work involves engaging w ith so many d i fferent st udents in front of original works of art.” She said, “I continual ly ex perience the un if ying effect that a work of art has on a group of people and the way that it encou rages empathy for different cu ltu res and inv ites diverse inter pretations.” PUA M’s per manent col lection, and the special ex h ibitions have an im mense potentia l to foster conversation, soothe and inspire. Cu r rent specia l ex h ibition s are : “Remember Me : Shakespeare and His Legacy”, in col laboration w ith the Rare Books Col lection of the Un iversit y, and “Contempora r y Stories : Rev isiting South Asian Narratives.”
COURTESY OF esin yunosoglu
The Daily Princetonian
Thursday november 17, 2016
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Stripped Down to Sweet Simplicity: Looking at the Making of Once
COURTESY OF Frank wojciechowski
ANDIE AYALA Street Editor ‘19
“I actually saw Once alone on a student rush ticket, just on a random day when I happened to be in New York City,” Sam Gravitte ’17 said. It was spring of his junior year, and he had fallen in love with the Tonyaward winning Broadway show. “He called me, and I was abroad in London,” Maddie Meyers ‘17 noted. “He said, ‘we should do Once together.’ I said, ‘that’s a great idea, cast somebody who can play the piano, I’m not the person you should be talking to about this.’” Gravitte was a self-taught tab, YouTube guitar player; Meyers had never touched a piano, and Gravitte proposed that they both perform Once as part of their creative senior thesis. When she agreed, they got in contact with Graham Phillips ’16, who had previously been in an original Broadway production and starred in films as well as TV shows. They asked him to direct the play that Gravitte and Meyers would be
college production, and we may even be the first production off Broadway. It took a lot of courage for Graham, Sam, and Maddie to commit themselves to do something that had only ever been done on a Broadway stage.” And yet — last Friday, tickets for Once were sold-out and the first ever non-professional production of the musical Once was performed in McCarter Theater. The original executive producer of the show, Robert Cole (who also managed Death of a Salesman, and produced The Crucible and Lucky Guy), called Phillips at 4 p.m. on the opening night and asked for tickets to the show, saying that he would be coming to Princeton to watch it. Later that night, backstage, he told the actors that it had been incredible for him to see the first iteration of the show re-visioned, saying that they were “spreading the gospel of Once.” Gravitte commented that while Meyers and he had proposed to do the show, it was really Phillips who set the vision for how it would be performed. Phillips had never directed an on-stage production be-
COURTESY OF Frank wojciechowski
the leading actors of, as part of their creative senior thesis. Once was originally a 2007 film by the Irish writer and director John Carney, and was adapted as a musical performance in 2011. In 2012, Once became somewhat of a sensation, winning eight Tony Awards, including Best Musical. According to Phillips, the plot begins with a typical boy meets girl, girl meets boy relationship between an Irish man and a Czech woman. He notes that while the play doesn’t quite leave audience members with the “happily-ever-after” they expect, it does give us a sense that it was still all worth it. “I think it was a very ambitious thing for them to do,” noted Vince di Mura, the musical director of the Lewis Center. “I think we are the first
fore, and saw the position as an opportunity to take risks as a director with minimized pressure for failure. Phillips “is incredibly good at recognizing people’s strengths and weaknesses and trying to communicate what he wants to see from them,” Maddie noted. She added, “he is incredibly humble, very generous, very committed, and really made this show his whole life — because he wanted to, not because he had to.” According to Phillips, one of the greatest challenges he faced — apart from getting a bunch of Princeton students in the same room together — was integrating the scene transitions into the piece. He explained that this seemingly minor aspect of the play took up to 20-30% of the whole rehearsal process, because he could only use the people who were
not playing instruments to move the set. “It was difficult for me at times to not let all of the minutia of directing to get in the way of the simple poetic core of the story,” Phillips explained. Maddie noted that the show took on a special significance after the elections, “I think people just want to sit in a show and have another world presented to them.” At the last second, on Wednesday night, Phillips explained that he decided to change some of the Irish and Czech songs in their pre-show to American folk songs such as ‘Blowing in the Wind’ and ‘This Land is Your Land.’ “I think that the show forces a reflection of all that is good in the midst of uncertain times,” he commented. Ross Barron ’17, who plays the role of the piano storeowner Billy, said that the characters are very personable, yet relatively simple. “It doesn’t try to be super dramatic,” he noted, “which gives them more air to be human.” Barron added that the show turns male heroism on its head, because the leading male character is actually the damsel in distress. Vince di Mura, who has worked at the University for 29 years, doubled as the musical director and father of the leading male character in the musical. While he had only previously acted twice before he said, “playing the role of the father of a budding musician wasn’t a stretch,” because his actual son, who is currently touring the US with a major class band, used to play him his recordings and ask him what he thought. “In fact, in the second act when I do the scene when I’m listening to the recording, I swear, I look at Sam and I see my own son,” di Mura commented. According to di Mura, oftentimes Broadway shows have a style of country music, but with a theater sensibility. However, he noted, “this is not theater sensibility. There is a great deal of authenticity in this musical — and that is refreshing, to be perfectly honest with you.” Elisa Steele ‘17, who plays a “sassy Czech woman” in the show, said that this was her first musical since she was a child. “I was really excited by the prospect of pulling out my violin again, because that’s something that I did through the senior year of high school and then never really touched again,” she explained. Steele is on the track team, as well as on Shere Khan with Gravitte and Meyers, and said that she decided to audition for the play when she heard that her oldest college friends would be putting it on. All of the people interviewed emphasized the talent of the cast that they worked with, who all participate as the pit orchestra on-stage. Gravitte noted that there were some members of the cast who had never been in a musical before, but who were playing three or four instruments while singing, dancing, and acting. “My head is still spinning from the fact that it came together at the 11th hour,” Phillips noted. But he added, “the fact that everyone had a good time doing it is a testament to how invested everyone was, and how the show has a magical ability to bring together people from all facets of life.” Once will be showing in the Berlind Theatre at McCarter Theatre at 8 p.m. Thursday, Friday, and Saturday this week.
Spaces on Campus: Dillon Gym Robert von der Schmidt Contributor‘20
And that was it. I was in the fifth grade, and our team had just been eliminated from the 4th — 5th grade playoffs in Princeton’s local basketball league. With my duffle bag hanging heavily from my shoulder and my feet dragging across the floor of Dillon Gym, I followed my mom outside. At least, when you lose in
it, we did it all. Any and every kind of “crazy shot” has been attempted (although perhaps not fully completed) during the Saturday morning games for kids between 5th and 9th grade, coached and managed by Princeton University student coaches. At Dillon, kids were allowed to play basketball the way they wanted to — which was boldly. The atmosphere was so energetic and entertaining, that we often weren’t overcome with a bad case of the nerves
PHOTO BY ROBERT VON DER SCHMIDT
youth sports — you get the consolation prize of a play date with your friends. As we approached the front of the gym, however, a riveting playoff game in the 6th — 7th grade league was still going on. A very tall (as far as twelve-year olds go), 5’11” kid was standing at the foul line. His team was down by three at the end of the first overtime, but he had just been fouled on a missed buzzer beater three-point shot, leaving him with a chance to send the game into another overtime. This was the kind of stuff that basketball dreams were made of. With the same expressionless, but focused, stare you might find on Tim Duncan, this kid took one dribble, a short breath, and sunk his first shot with ease. Some of the kids watching smiled and looked around at their friends, nodding to one another. The second shot was a little slower. Two or three dribbles. A deep breath. He shoots. Rim. A couple bounces. Everyone holds their breath. Two for two. A few more people had gathered around by this point. Tim Duncan stood there, sizing up the basket for a long moment. Another breath. His final dribble. His hands slid into a shooting grip. The final free throw of a second chance. Swish. Everyone went wild — their cheers echoing through the expanse of good old Dillon gym. The Dillon Youth Basketball League gave me, and the friends I grew up with, some truly phenomenal memories in this place. We would try all kinds of moves in Dillon; One-on-One Matchups for Hail Mary Threes, Coast to Coast Drives, Reverse Lay Ups — if you can name
— the fear of failure — that can plague youth tournaments when the environment is too serious. As I recall, we would still practice as a team and work on our skills, but the undergraduate coaches would give us kids just enough freedom to really spread our wings and shine (or at least believe that we could). It was here in this place, in Dillon Gym, where I grew to really like basketball and where I first met a lot of other kids living in Princeton. As I got older, the significance of this space changed for me. When I was in high school, the YMCA in Princeton closed down temporarily for repairs and they struck a deal with the University so that their members could play at Dillon. Sometimes I’d join pick-up games with football players, but I was pretty obnoxious and competitive and probably bugged them more than I enjoyed playing the game. I would often times look over at the pick-up games played by college students, who seemed to have the same passion for basketball, the same creativity in their play, as we did when we were kids playing in the Saturday league at the gym. Now that I go to school here, Dillon has become a safe haven. When problem sets and papers feel like a weight on my shoulder — I can shrug that feeling off for thirty minutes by heading over to Dillon to catch a pick-up game. I’ve realized that it’s not just 12-year-old kids or college students who come to Dillon, but also professors, graduate students, faculty, and anyone who understands that there is something truly magical about the daring, competitive, unadulterated love for the game.
The Daily Princetonian
Thursday november 17, 2016
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FALL FASHION PHOTOS AND DESCRIPTIONS BY JANETTE LU Contributor ‘20
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we enter the twilight stages of fall, coats, hats, knits, boots, and patterned scarves are yet again broken out of our closets. This year, Princeton student’s distinctive earth-toned east coast fashion features the increased prominence of bomber jackets, rapper x sneaker company collaborations, and monochromatic statement coats, as well as the continuation of the well-loved “shoelace” choker trend. Here’s to dealing with the crippling cold and the hottest style. 1. Jhor van der Horst ‘19 Van der Horst embodies cozy East Coast fashion with a button-up under a grey sweater, knitted olive cardigan, and plaid scarf.
2. MC Otani ‘20 Otani streamlines her monochromatic look with an open front draped cardigan from Zara Japan.
3. Janette Lu ‘20
5. Henry Zheng ‘19
Lu pairs a beige trench coat with ripped denim, platform boots, and a statement black and white scarf from Zara.
4. Elizabeth Yu ‘19 Yu also incorporates street style into her outfit by pairing a denim jacket from Zara with FENTY Puma x Rihanna suede creepers.
Get some 2016 fall style inspiration from your fellow classmates!
Zheng incorporates urban street style into his look with an embroidered olive bomber from Undercover and a pair of Kendrick Lamar x Reebok Red Blue Ventilators.
6. Juliet Wolf GS (firstyear grad student) Wolf puts a twist on the old and the modern by pairing a vintage cap with a chic black trench coat. She accessories with a circle scarf, a thin gold chain, and a lapel pin from Diagonal Press.
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