With submissions in and juries poring over pieces, the Dialogue staff would like to take a minute to introduce ourselves. Ever wondered what goes on behind the scenes of Dialogue? Ask us! In the meantime, check out these snapshots of our lives outside the storage closet.
Molly Vander Werp is this year's Dialogue editor. She's a junior studying biochemistry + writing, and this is her third year on staff. Outside of Dialogue, she’s a member of the Artist Collaborative and the Student Activities Board. She loves poetry + music, especially, and is currently obsessing over the sestina and Clairo's latest album. She really loves cilantro, her dog, Willis, and the 2002 film Spirit: Stallion of the Cimarron. It’s probably her favorite. She bets it’s yours, too.
Avery Gill is a junior majoring in psychology and writing. On staff, she helps out where she can, designing posters and working on layout. She is passionate about all forms of art, especially black and white ink drawings and Edward Hopper paintings. In her free time, she simultaneously watches and roasts Riverdale and dreams about having time to read for pleasure. We are all creative beings and thus creating is essential to our being. Dialogue showcases these creations, and she is so grateful to be part of that. Avery is spending fall semester in Budapest, Hungary, but will return to staff in January.
Annake VandeBrake is a junior film and graphic design double major, as well as layout editor this year. She enjoys eating tacos and mourns daily for the loss of vine. Some say she talks a lot. She enjoys art in all forms, but really, Bob Ross is the only artist who earns her respect.
Elyse Rhoades is a senior studying strategic communications, marketing, and art. This is her third year being on staff for Dialogue, and she helps with graphics and communication for the journal. She's from the Indianapolis area but hopes to never have to move back to Indiana. Being an artist has always been her favorite thing about herself, and she is passionate about creating. Aside from art, she loves make-up, running, and could eat Noodles & Co for every meal.
Hajin Yoo is a senior studying strategic communications and French. She's always had a passion for art but did not join Dialogue until her Junior year because she thought it was elitist. Turns out it wasn't! That's growth. Aside from art, Hajin likes to watch Vox videos and keep disco alive.
Emma Crevier is a senior studying graphic design and German at Calvin. On staff, she helps with layout and design, making a few posters here and there. Collaging and letter-pressing are her current favorite outlets for creative expression. In her free time, you can probably find her baking banana bread, listening to a podcast, or making bad jokes on the improv team.
Izzy Nunez is a big classic car fan and sophomore at Calvin studying graphic design with a double minor in journalism and sociology. She loves good soup and is kinda gluten free. She is from Chicago (like downtown, not a suburb), but now lives in Ann Arbor when not at Calvin. There are times when she is not studying or working...then, you can find her in oversized sweaters on the hunt for the world’s best cup of coffee. She believes the best way to listen to music is either live or at an ear-shattering volume. She collects rocks, patches, and bumper-stickers. On staff she likes to be a part of everything if she can: Dialogue is a part of the reason she came to Calvin and she loves being a part of the process.
Clara Visser is a sophomore majoring in graphic design and writing who’s excited to be back on staff for Dialogue another year. She loves spending time outside, and is still trying to adjust to Michigan’s lack of sunlight and mountains. She won’t complain about the extra snow, though. She enjoys art in many forms including drawing, calligraphy, creative writing, and music. When she’s not on campus, she’s probably at a concert. If anyone would like to give her advice about how to stop spending money on concert tickets, she would greatly appreciate it.
Mayva Elizabeth Anyango and is a sophomore from Nairobi, Kenya pursuing a major in International Development Studies with minors in Public Health and French. She enjoys painting, drawing and making all sorts of crafts. She just recently started calling herself an artist. She enjoys traveling, videography, public speaking and meeting people from different countries. Currently, her favorite thing is listening to world news, especially from the BBC World Service. She hopes to become a world traveler and development worker someday. Also, she says, nothing beats Kenyan food.
Ezra Craker is your average Dialogue staff member (you know, super down to earth). He is a freshman studying political science and film & media, which means he doesn’t know what he wants. He loves all kinds of movies, but if confessing to a priest, he would say Sky High (about the high school for superheroes) is his absolute favorite.
Sam Fraser is a first-year student at Calvin and is incredibly excited to be a part of Dialogue. She is a secondary English education major and a studio art minor. Sam loves all forms of art, especially visual art and music, and spends her free time drawing people and plants, listening to the same Spotify playlists on repeat, and playing her cello in the basement of the CFAC. She's also a huge fan of Marvel movies and will do just about anything for a matcha latte.
Sydney Klimek is a freshman from Iowa, though it makes her cringe to say that and she's super excited to call Michigan her new home. She's a film major, but loves and appreciates all forms of art—"I just wasn’t gifted in any of the other ones," she says. She says it's ironic how hard it is for her to write an introduction like this considering how much she talks, though she loves listening even more. If you ever want to talk about anything (specifically animal related) she's your girl. Say hi!
Nuri Lee is a freshman majoring in digital communications and this is his first year on Dialogue. Although he is Korean, he's an MK from Chad/Kenya (RVA class of 2019). He might seem like a cheeky guy but he enjoys a random deep conversation with random folks. You will probably find him in the library talking with people or around campus riding his longboard, drinking a latte.
Lucia Skuldt is in her first year at Calvin. She really would like someone to tell her what to study because she’s interested in a lot of things and is the most indecisive person on the face of the planet. She’s always been interested in art, especially 2-dimensional and ceramics, but still isn’t entirely sure what art itself is (and is working on exploring that further!). Nevertheless, she’s really excited to be a part of Dialogue. She has a lot of emotions about Laika, the Soviet space dog, that should probably be unpacked at some point, but in the meantime, she likes to dye her hair pink occasionally, make too much origami, and look at the sky.
You may not know it, but West Michigan has been home to some of the most innovative furniture designers in the world from the mid-20th century to today. Herman Miller, a furniture company founded and based in Zeeland, MI, is a leading high-end home and office furniture company. They first started gaining attention when architect George Nelson joined as director of design in 1945. From there, Herman Miller started designing some of the most recognizable furniture from the 1950s and 1960s. Through that era, Nelson hired some of the world’s leading designers to helm the innovation that the company would be known for. These designers include Charles and Ray Eames, Isamu Noguchi, Robert Propst, and Alexander Girard. Much of their work can be fit under the umbrella term, “Mid-Century Modern Design,” something you might have seen but have never had a word for. Today, Herman Miller maintains its legendary status by continuing to produce their classic furniture designs from the 20th century, and designing new modern furniture that pushes their mission into new, unexpected places. In this post, we’ll take a look at Herman Miller’s innovations in home and office furniture through the 50s and 60s. All of the following was designed and manufactured in Zeeland, MI.
Eames Fiberglass Armchair and Side Chair
The Eames Fiberglass Armchair was first designed by Charles and Ray Eames for the Museum of Modern Arts’ International Competition for Low-Cost Furniture Design in 1948. After WWII there was a nationwide call for simple, low-cost housing and furniture. This call motivated the modern design movement in the mid-20th century. Herman Miller led this movement to design furniture that thrives in its functionality, which explains why it is still so popular and stylish. How could something purely functional ever go out of style? The Eames responded to the call by designing Herman Miller’s most cost-efficient chair, pictured above. It was notable for its form: one piece of unupholstered fiberglass or plastic mounted on the “Eiffel Tower” leg design. Herman Miller started manufacturing them in 1950 in dozens of colors, and it is still manufactured today as one of their most popular products.
Before the cubicle, offices in the first half of the 20th century were designed as a large room full of desks. All desks faced the same way, neatly lined in rows to maximize space. Nothing separated fellow employees, or gave them their own space until Robert Propst designed the cubicle for Herman Miller in 1958. Propst named his cubicle design “Action Office.” It was widely released in 1967, but its first use was in the Federal Reserve Bank of New York in 1963 to increase efficiency in a small work space. The functional design allowed the individual employee to design their own workspace, have privacy, and concentrate on their task. By 2005 the “Action Office” had gained $5 billion in sales for Herman Miller.
Eames Lounge Chair
After the success of their fiberglass chair design, the Eames’ designed dozens of other pieces of furniture for Herman Miller, most notably the Eames Lounge Chair. After the wood-molding process was perfected shortly after WWII, Charles and Ray Eames designed their first chair and ottoman for a high-end market. The Lounge Chair was their first design that was not affordable or easy to mass-produce. They combined the molded wood with high quality leather to make this approachable piece. The chair is luxurious, made for life, and possibly Herman Miller’s most iconic design from their most prolific years. Ray Eames called the chair “comfortable and un-designy.” The gold standard for modern design.
George Nelson Bubble Lamps
In 1952, Director of Design, George Nelson, was inspired by silk-cover Swedish lamps that were very expensive and difficult to make. In classic Herman Miller fashion, Nelson redesigned them to include an easily mass-produced wire cage and a thin plastic cover to produce a simple lamp with a soft glow. The simple design is not distracted by unnecessary flair or print. Functionality is its design.
Isamu Noguchi’s iconic coffee table was originally commissioned by A. Conger Goodyear, president of the Museum of Modern Art, in 1938 for his home. It includes two identical sculpted pieces of walnut supporting a large sheet of glass. Herman Miller saw the table and hired Noguchi as a designer on the merit of his table alone. They mass-produced the table for use in either a home or workspace. Herman Miller calls the table “a perfect balance of art and design.”
It’s a brisk April 14th afternoon. The city of Seoul is as busy as ever, but there’s a stillness in the air. This emblematic fermata could only be explained by one event. Hundreds- nay- thousands of young Korean men and women are preparing a bowl of Black Bean Noodles in the confines of their home. A splintering wooden chopstick pokes through the shiny plastic casing. The steam oozes out in fluid strokes. The warmth against skin feels reminiscent of intimacy, but it ultimately serves as a bitter reminder of the truth. At last, the feast is had, and a cacophony of slurps echoes through Korea as the devastating finale.
What I’ve just described is “Black Day.” A holiday where Koreans eat Black Bean Noodles and think about being single two months after Valentine’s Day. Seeing as Black Day is to come, I’ve been thinking about how I’ll celebrate it this year. And so, whether you’re a Black Day veteran or a B.B.N first timer, I invite you to join me in this celebration. But not like, actually, join me. This is a solitary experience. AND SO, here are my favorite “Black Day” themed things to watch this holiday season:
I hope these movies put you in a “Black Day” mood, as you celebrate singleness watching these love movies. It’s a sort of cognitive dissonance that could solely be conceptualized in a bowl of sweet/salty Black Bean Noodles.
So sit back, relax, and slurp away.
It's true—our staff is (and always has been) a dog-loving bunch. Meet each of us (and maybe our pups) below.
Taylor Hartson is on her final year with Dialogue, serving as the editor-in-chief for her last go-round. She’s a senior who (still) can’t decide what to do with her life, so for now, she’s settled on finishing her studies in sociology, psychology, and writing and trying her hand at research, design, writing, and data visualization. Her dad always jokes that she’ll be in school for the rest of her life (and she hopes he’s not wrong). You’re most likely to find her surviving on coffee, trying to read four books at the same time, or petting her dog, Teddy.
Annake VandeBrake is a sophomore film and graphic design double major, as well as layout editor this year. She’s a cultural discerner for Shultze-Eldersvelde and enjoys eating tacos. She mourns daily for the absence of vine and some say she talks a lot. She enjoys art in all forms, but really, Bob Ross is the only artist who earns her respect.
Molly Vander Werp doesn’t think it’s a coincidence that ‘dog’ is ‘god’ spelled backwards. Other than that, she’s the managing editor of Dialogue this year and a sophomore studying Biochemistry + Writing. Outside of Dialogue, she’s a member of the Artist Collaborative and the Student Activities Board. She loves poetry + music, especially, and currently obsesses over punctuation and anything that Mitski puts out. She really loves gingko leaves, her dog, Willis, and the 2002 film Spirit: Stallion of the Cimarron. It’s probably her favorite. She bets it’s yours, too.
Ethan Hohn is on his second year with Dialogue. He’s a strategic communications major with a minor in writing. Along with Dialogue, he is an active member of the Student Activities Board and President of the Film Arts Committee. He loves to hang out with friends, watch movies, listen to music, and argue against public restrooms. He’s really excited about being on Dialogue this year. He loves the way art connects people, inspires, and informs all aspects of life. Talk to him if you feel the same.
J. Andrew Gilbert is a soon-to-be artist who thought he was going into animation, but now in his senior year, he definitely has no idea since he pretty much likes everything. He enjoys exploring subjects related to emotional health, fantasy and cute narratives, and sexuality and gender in whichever medium he is handling at the time. For him, it's also important to find the meeting places of mindfulness and art, so he tries and create repetitive motions that can be incorporated into pieces. Also, he's not as snobby as this bio makes him sound and was born and raised in Brazil.
Madeleine Wiering is in her final year at Calvin and Dialogue. She’s been on this great team for four years, and it's been a great experience. When she’s not in class or at work, she’s often writing music, watching Netflix on the couch with her dog, Oscar, designing papers with her dad, or taking walks outside in nature.
Mimi Mutesa is a senior at Calvin College. She is currently the Arts and Entertainment editor at Chimes and part of the layout team with Dialogue. She is an avid photographer (shameless plug: @mimimutesa) who is dreading the winter. She is currently looking for post grad jobs in places where the air doesn’t hurt her face.
Patrick Jonker is a senior studying biochemistry and philosophy. He currently juries for Dialogue in music and prose. Dialogue is important to him because after many years of life, art still surprises and challenges him. Art has changed his ideals, his priorities, and has definitely become his passion through listening, reading, and seeing. Art provides an honest platform for people to express real things. Dialogue is giving kids going through a crazy 4-5 years a chance to be honest with themselves and with each other. That’s beyond cool: it’s necessary. Anyways, some other stuff he does is play cello and guitar, write poetry when he has time, and read way too much Cormac McCarthy. He really loves music, so he’s usually on his phone in the library with his headphones in when he should be studying. Ask him what he’s listening to and he’ll nerd out for you. He also really, really likes that old animated version of Robin Hood with the foxes. He watches it every day. Not really. He wishes he did.
Elyse Rhoades is currently a junior studying strategic communications, marketing, and art. This is her second year being on staff for Dialogue, and she helps with social media and communications for the journal. She’s from the Indianapolis area and has a love-hate relationship with the Hoosier state. Art has always been a passion of hers, and you can usually find her in her room drawing flowers and killing her micron pens religiously. She has an unhealthy obsession with Star Wars, the YouTube makeup world (Jeffree Star is my idol), and running.
Emma Crevier is new here on Dialogue. She’s from Beverly, a neighborhood on the South Side of Chicago that happens to have the the best sweet potato ice cream. Ever. In the history of all space and time. She’s studying graphic design and German here at Calvin, so she’s excited to put her skills to good use on the staff. Some things she enjoys are baking (especially banana bread), doing Improv at Calvin, painting, and listening to good tunes with friends. If you get to know her, don’t be surprised if she asks you what your favorite dessert is. She’s big into crepes. They can be dinner or dessert! So very versatile. It’s also not surprising that half of the sentences in her bio have been about food in some way.
Hajin Yoo is a Junior studying Strategic Communications and French. She serves as one of the Social Media Coordinators on Dialogue. In her free time, she likes to pile New Yorker magazines into stacks, and overshare about her year abroad in France. Her favourite dessert is Creme Brulee and her favourite movie is Ratatouille...see what I mean?
Jacob Bol is currently a junior studying psychology and social work. He’s also currently a part of the Artist Collaborative here at Calvin. This is his second year on the Dialogue staff, and he’s thrilled to be a part of it. His relationship with art has always been a rollercoaster. He’ll get really into music for a few weeks, and then graphic design for another few, then photography, then writing, and then whatever else there is to offer. So, he really loves all forms of art, which is why he's so interested in Dialogue and its inclusion of different genres. This year, he’s looking forward to making posters, visuals, and designing layout for the final product of Dialogue.
Avery Gill is a sophomore majoring in psychology and writing. On staff, she helps out where she can, designing posters and working on layout. She is passionate about all forms of art, especially black and white ink drawings and Edward Hopper paintings. In her free time, she simultaneously watches and roasts Riverdale, dreams about having time to read for pleasure, and annoys her floor with obnoxiously loud music. We are all creative beings and thus creating is essential to our being. Dialogue showcases these creations, and she is so grateful to be part of that.
Zion Kim is, if the last name hasn't given it out already, a Korean who somehow ended up at Calvin studying business marketing after living in three different continents over the past 18 years. She will impress you with how short her attention span is and how your "5-minute catch up" can (and will) turn into a three-hour conversation with both of you crying under her fairy lights while listening to “Chasing Cars.” She’s also developed an unhealthy obsession with Brad Pitt over the years, and her heart shattered to pieces when Brangelina split up—that’s not a figure of speech. Art, for her, is first and foremost a way God breathes through His creation and through her. Art is also a way to keep her sane through a life full of unanswered questions and unconfronted responsibilities.
Clara Visser is a freshman majoring in graphic design, and she’s beyond excited to be on staff for Dialogue this year. She has always loved creating. As a kid, she would wake up early and sneak downstairs to sit at her craft table and make pom-pom and popsicle stick constructions. She would write short stories in her free time and would often ambitiously set out to write full-blown chapter books. To this day, you’ll still catch her filling sketchbooks with drawings during class and covering the corners of her assignments with doodles. Some random things about her are that she loves sweaters, is unashamedly a huge Harry Potter fan, has a weird obsession with cereal, and owns a ridiculous amount of pens and markers.
Isabel Nunez wants you to call her Izzy because only her mom calls her Isabel. She’s a first year-student at Calvin and therefore, a first-year staff member of Dialogue. She is a graphic design major with a strategic communications minor. The arts have always been an important part of her life, and getting to be a part of a publication that encourages and fosters self-expression is such an honor. She is a Harry Potter and 90’s movie enthusiast. When she’s not doing homework, she’s either reading a book, listening to music, nerding out over the DC or Marvel Comics franchise, or petting her dog. She has a passion for photography and watercolor, but she loves all artistic media. She is beyond excited to be a part of this creative publication and thrilled to be gaining valuable experience.
To some, photography is a daunting medium. Making sure the colors, contrast, depth of field, focus, and framing are correct and to the photographer's liking may seem tedious. And beyond this, the photographer must find something visually interesting to take a picture of.
Well, what makes a photograph interesting? To the street photographer, it is as easy as grabbing your camera and taking a photo of whatever looks interesting. The street photographer takes to the corners of neighborhoods to find beauty in a forgotten landscape. The street photographer goes to parks where people are enjoying picnics, or to a protest, or a spontaneous baseball game in the middle of the street. The street photographer records filth, gore, love, violence, joy, poverty, wealth, and humanity.
The art of candid photography was pioneered heavily by French photographer Henri Cartier-Bresson, whose work has been described as “anti-graphic photography.” This is to say that his work is low-effort on its surface. The contrast is strikingly gray—no severe dark or light areas. His subjects are often expressionless and cold. But this monotony creates subjectivity in Cartier-Bresson’s work. The beautiful thing about his work, and street photography in general, is that it does not tell you how to feel. You can assign an emotion to the piece just as freely as you can with abstract painting. This is because the street photographer is capturing a moment, like a screenshot from a film. A unique moment which only that instance knows.
To Cartier-Bresson’s audience in 1932, his work was completely alien. These faces told stories that were beyond their level of accepting a narrative. Cartier-Bresson’s first American gallery showing was led by gallery owner Julien Levy. Levy saw the brilliance in Cartier-Bresson’s work, but he also knew that it was too out-there for an American audience. So, in hopes of cushioning the abrasiveness of it he penned a letter which was published as an essay for that show. He called the exhibition, “amoral photography, equivocal, ambivalent, anti-plastic, accidental photography.” Though people had a hard time with it at first, Cartier-Bresson’s style soon took off. This seemingly journalistic, unprofessional form took hold internationally. Street photography began filling art galleries, museums, and books around the world.
The appeal of candid photography is its story-telling ability. It is a slice of life from a culture that may not be well-represented. It shows the perversions of man, his hunger, his creations, and his silence. Now that almost anyone has a camera in their pocket, street photography is more important and more popular than ever before. For this generation, it is becoming more than an art form: it is life.
If you’re like us, there are times when being creative feels more like a chore than anything else. It can sometimes feel like the effort to create is just too big to bear, and that perhaps no good ideas will ever spring forth again (or at least, that’s how we feel).
Whether your chosen medium is writing, visual art, film, music, or something else entirely, a lack of creativity seems to devour us all at one time or another. And so, we decided that we wanted to share some of our favorite ways to overcome the feeling of being blocked.
Here’s our list of suggestions for what to do when you’re stuck with creative block:
Katie Ulrich + Emma Carpenter
In the United States, class lines are commonly drawn based on income. There are websites that will graciously calculate your class status for you, using little more than your annual salary and zip code. Nobody walks around with their net worth floating above their heads like some monetized halo, and yet we all have our own ideas about the social class identity of those around us: our friends and extended family members, our professors, the man we stood next to on the bus this morning, and the woman who held the library door for us.
Any sociology class or baseline research on the concept of archetypes will bring to light the social constructs by which each person is subconsciously trained to stratify people. Perceptions of age, ethnicity, gender, and sexual orientation may affect the way we place individuals into social classes, consciously or not. Another influencer, one that is highly penetrant in our perception of social class but rarely discussed, is taste.
It does not take much observation to recognize that the common approach to art consumption cultivates a system of “art classes” that parallel social classes. Name your art form; chances are, it is translatable into both highbrow and lowbrow art.
Certain styles of visual art have hung in museums for decades, while comic art and manga have fought pencil and nail to make a name for themselves in the arts community. Until the mid-twentieth century, British universities did not study the novel, as it was considered a lowbrow art form. At February’s Grammy Awards, Kendrick Lamar’s record DAMN. was passed up for Album of the Year for Bruno Mars’ 24K Magic, despite its greater popularity and critical acclaim.
These instances exemplify a system of arts in which the value of an artwork is often determined without regard to the art itself. It’s a two-way relationship: the merit of an artwork is in part based upon the social class from which and for which it was created, and a consumer of art may be lumped into a social class based the artworks in which they see merit.
There is beauty in the melting pot metaphor, the image of the United States as a community where differing cultural backgrounds can be smoothly assimilated. However, in the context of art, a melting pot results in loss. The blending of different tastes leads to the masking of many, producing instead in a singular, common taste. This taste is an ideology, but one that, when stirred through complex cultural schemes of class and meaning, becomes natural. The idea of “good taste,” then, is an arm of a cultural ideology.
As certain tastes are classified as more valuable than others—art is labeled as highbrow or lowbrow, monetary value is assigned to creative works, publications compile “book lists” and the local radio station plays on a loop—individuals associated with the production and consumption of certain art forms are also categorized. This allocation of cultural capital is harmful when objects and experiences associated with the lower class become indicators of artwork that is less valuable—a judgement not based on the merit of the art itself.
We often use art to distinguish ourselves as members of a specific social class. People are prone to advertising artistic preferences that they think will identify them with a social group and establish them as different from lower classes of people. Oftentimes, the art we like and promote speaks to our own experiences and the experiences of the people we want to group ourselves in with, but art that speaks to the experience of being poor in America is widely different from that which can be related to the life of a wealthy individual. A film documenting the childhood of a boy in rural Montana does not communicate the same meaning in a New York City theater that it does in the town where it was filmed. To Kill a Mockingbird is written from the perspective of Scout, not Tom Robinson, and some days I wonder if we would still read it in schools if that flipped.
And yet, artworks that speak to experiences as diverse as the entirety of the world are judged on the same scale. In many considerations, this is natural and necessary; however, it is important to consider the failures of this system of judgement. There are prejudices implicit in taste that are informed by social context rather than content, and unfair judgements may go on to inform prejudice even outside the art world.
Throughout history, art museums have held a central role in the curation of “good taste.” While recent decades suggest a blurring of the line between fine art and pop art, historically, museums have catered to limited audiences. In their failure to curate collections of art that speak to the immense variety of human experience and expression, art museums limit their audiences. It follows, then, that the demographic of the American art museum attendee is far less diverse than that of the American public. The whitewashed walls of the modern museum today too often reflect its audience. While roughly one-third of the United States population identifies as non-white, fewer than one-sixth of art museum attendees do. Even in the most diverse U.S. cities, 80-90% of museum goers are white.
While the modern arts culture is far from free of class bias, recent shifts provide hope for the future of the creative community. Art movements in the late twentieth century have pushed back against ideologies of taste. From postmodernism to pop art to the emergence of “hipsters,” the distinctions between high and lowbrow art are not as clearly defined as they once were. he ideology of “good taste” stays dynamic by continually assimilating styles of art from cultural margins, illustrating that taste does not work like trickle down economics. In this lies the danger of appropriation, but also a hope of validation for art forms that may be otherwise disregarded.
The film Lady Bird, released in November 2017 and nominated for Best Picture at last night’s Academy Awards, includes a snippet of dialogue in which Lady Bird, a seventeen-year-old living in Sacramento, is interpellated by a comment from one of the Sisters at her Catholic high school: “Don’t you think maybe they are the same thing? Love and attention?” When it comes to talking about art, maybe they are.
Molly Vander Werp