When it comes to distribution requirements, Kenyon students talk about the dreaded “QR.” For me, it has been the opposite: the dreaded “Fine Arts” requirement. After agonizing over voice lessons or piano, art history or drawing, I settled on Sculpture I. Why I decided on this, I don’t know. I am decent at drawing, but in high school, my geometry teacher told me I was “spatially r*tarded.” So naturally, I decided to sign up for a class based on making shapes in 3D look like things.
Open up the Kenyon College instagram. What do you see? Interspersed between photos of grinning first-years and intensely saturated flowers are Kenyon’s unofficial mascots: the campus statues. They see us when we’re sleeping, they know when we’re awake, and they know when we take cups from Peirce so stop for goodness sake! But which statues have the power, the drive, the big dick energy to command our attention by emitting mind-controlling vibrations?
Peirce Hall just got a whole lot more exciting. Not only are the post-break floors extremely shiny, but a new chandelier-like sculpture, “White-Tipped Blooming” by James Surls now dangles from the ceiling of Thomas Hall. An email from Gund Gallery director Natalie Marsh states: Continue reading
I think it’s safe to say that everyone in the Kenyon community has seen the artwork of Sophia De Pascuale. If you’ve stepped into Wiggin Street Coffee, there’s no way you could miss it. Sophia was asked to paint the mural long ago, before she was an art major, when she was working at Wiggin Street and her boss admired the chalkboard advertisements she made. She actually painted the mural this summer, and it took her a month to complete.
This feature was conceived as a foray into the hearts/minds of Kenyon’s finest artists through the pages of their sketchbooks. This week, we talk with Caroline Del Giudice ’15.
I first saw Caroline’s work at the installation show in December 2014. Her piece, “Revolution is Not a Bed of Roses” caught most people’s attention. Constructed almost entirely of metal and standing over six feet tall, the roses were hard not to stare at. The piece, about her time in Cuba, is one of the most extravagant and beautiful installations I’ve seen at Kenyon, but it’s certainly not the only fascinating structure among Del Giudice’s work.