A Conversation with the Editors of Nat. Brut

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Nat. Brut is an art and literary magazine run by Advocate alumni, including former design board member Kayla E. and president emeritus Tyler Richard. The launch event for their first print issue will take place Saturday, March 28 at 6pm at the Carpenter Center and will include a film screening as well as a panel on gender disparities in the arts. The following is a conversation with Kayla and Tyler. Continue reading

POSSESSION: A Conversation–Part Two

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Read Part One here.

On February 28th, we brought you the first installment of a two-part conversation between features board members Indiana Seresin ’15, Faye Yan Zhang ’17, Caleb Lewis ’17, and Lily Scherlis ’18 and outgoing president, Julian Lucas ’15, centering around their nonfiction contributions to the POSSESSION issue. In part one, the group discussed Seresin’s “A Love Letter to My Stepmom” and Scherlis’ “Their Party.” In the abridged transcription below, the group discusses Zhang’s “Full Circle: (Exotic) Odysseys Through (Oriental) Rainforests on (Outlawed) Tour Buses,” Lewis’ “When the Mammy Sphinx Gawks Back at You!”. Continue reading

POSSESSION: A Conversation – Part One

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The Harvard Advocate is proud to announce the upcoming launch of the POSSESSION issue. In anticipation of the issue’s imminent arrival, features board members Indiana Seresin ’15, Faye Zhang ’17, Caleb Lewis ’17, and Lily Scherlis ’18, sat down with outgoing president Julian Lucas ’15, for a discussion centering on their nonfiction contributions to the magazine, and the many avatars of possession analyzed therein. Below find an abridged transcript of the first of this two-part conversation, in which Seresin’s “A Love Letter to My Stepmom,” and Scherlis’ “Their Party,” are considered. In part two, the group will discuss Lewis’ “When the Mammy Sphinx Gawks Back at You!” and Zhang’s, “Full Circle: (Exotic) Odysseys Through (Oriental) Rainforests on (Outlawed) Tour Buses.” Continue reading

A Conversation with Matt Saunders

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Rote Kapelle (Pour) #3, 2012, unique silver gelatin print on fiber-based paper, 147 x 101 cm 

Where artists come from is oftentimes inseparable from who they are. It is perhaps because art-making is necessarily a deeply personal practice; understanding an artist’s body of work in its entirety requires that we put him in the context of history, in relation to the city that he lived and worked, the people that he conversed with, and the works of art from which he drew inspiration. Naturally it’s difficult to pin down the factors that transformed artists as who they are now. The cliché that each human being brings a universe of his own resonates profoundly with artists. But if art-making is a personal pursuit in the end, where one has to carve his own path for creativity, what does it mean to study art in an institutional setting? Can art be taught?
Continue reading