The Lucille and Richard Spagnuolo Gallery is trying to shed its perception as the odd room you might glance at while swiping your GoCard on the way into the LXR courtyard. The banners outside of Walsh announcing its new exhibition, The Creative Photograph in Archaeology, seem to herald the transformation of the space from an afterthought into a legitimate showcase of artistic works.
In the first film he's both written and directed, Synecdoche, NY, Charlie Kaufman employs one of the most common archetypes of our time: the sad, unattractive, pot-bellied, middle-aged husband who doesn't feel like his life has a drop of significance. But where other films find the usual fixes in new jobs or women, Synecdoche enters into a different reality altogether. Phillip Seymour Hoffman's Caden Cotard watches his body deteriorate and his world become less and less like the one we actually live in, as Kaufman creates an alternate world where the normal laws of society, time, and physics don't apply. The viewer must likewise abandon logic and reason, but the reward will be an emotionally challenging and visually astounding journey.
On a night like many other during my freshman year, I sat in the Leavey Center’s big comfy chairs and pretended to do homework with friends from my floor. But on this night, my friend took me and another friend aside and said that she had something important to tell us. I had no idea what it could be, but after she started to say what was on her mind, stopped, and tried again in a different way, I realized that whatever it was, it was big and daunting for her. We encouraged her to just get it out there. “I think I might like girls,” she finally said. “You might?” my naïve self asked, not quite grasping what she was trying to tell us.