Exhibition on Display: Jan. 28–March 16, 2025 Tues.–Fri. 9 a.m.–8 p.m.; Sat.–Sun. Noon–6 p.m.  Widely recognized as a pioneer of photography in the 20th century, Willoughby was the first outside photographer invited by studios to take photos on film sets. Willoughby's career took off in 1954 when Warner Brothers asked him to photograph Judy Garland during the filming of A Star is Born. Life magazine published a feature with over a dozen of Willoughby's candid photographs of Garland working on set, and a close-up photograph of her appeared on the cover. Willoughby's career took off, and his photographs became instantly recognizable, featuring naturalistic images of actors and directors in intimate moments of vulnerability. The magazine Popular Photography has called Willoughby "… the man who virtually invented the photojournalistic motion picture still." Responding to the many logistical challenges of working on film sets, he was a technological innovator, creating the silent blimp for 35mm still cameras so that he could photograph silently on set, capturing intimate moments of the stars. The exhibition features photographs from the sets of seventeen iconic Hollywood films, including Audrey Hepburn in My Fair Lady, Alfred Hitchcock on the set of Marnie, Mia Farrow in Rosemary's Baby, and Marilyn Monroe in Let's Make Love. A Program of Exhibits USA with Texas Commission on the Arts and The National Endowment for the Arts.

Presenters:Sirsha Nandi, Ph.D. Candidate | English "What is "the peace of a cosmically powerless man?" The Troubling Dalit and Neoliberal Aesthetics" Kevin Glowacki, Associate Professor | Architecture "Architectural Contexts of Ritual Behavior at Shrines of the 'Minoan Goddess with Upraised Arms' on Crete during thePostpalatialperiod (ca. 1360-1050 BCE)"Abstracts:Nandi Beginning the twenty-first century, new spaces have emerged within the context of postcolonial struggles for Dalits in India, in particular, to engage more meaningfully with a cosmopolitan audience. If the impact of modernity is rupturing tradition in favor of innovation and political reform, modernity also introduces new ways to speak to structural inequality. In response to Indian modernity, which retains a tradition of caste distinction while jettisoning other traditional practices and beliefs, this paper will discuss Manu Joseph's Serious Men (2010) by looking into the limitations of aesthetic representation of Dalits, in this case an urban Dalit living in contemporary Mumbai. Joseph's experimental narrative offers a form that departs from activist-centered reading characteristic to caste studies. The Dalit protagonist in Serious Men, Ayyan Mani, brings the readers' attention to lives that have the potential to subvert traditional caste and religious antagonisms wherein Ayyan produces new subject narratives for himself. Ayyan's experiences can be read as an engine for producing the new Indian subject in ways such that his characterization provokes a rupture, engaging in new discursive positions. Motivated by cheap tricks that are at once repulsive and attractive, we are struck by Ayyan's ingenuity. Joseph attaches the term neoliberalism to the Dalit consciousness disengaging from his predecessors writing about caste.GlowackiMy project investigates the architectural contexts of ritual behavior at shrines of the "Minoan Goddess with Upraised Arms" on Crete during thelater part of the Bronze Age(ca. 1360–1050 BCE).Itfocuses on two shrines, one excavated in 1901 at the Minoan city ofGournia, and another at the small hamlet ofKavousiVrondadiscovered in 1987–1990. In association with artifacts found at both sites,the comparative analysis of the architecture provides important evidence for understanding the ritual behavior and religious practices of their respective communities, especially in terms of the construction of space for dedication and display,the creation ofattention focusing devices, and the potential for participationin different types of ritualsby members of the community. Both shrines also speak to the power of place in preserving memory and identity across generations, as both buildings were clearly remembered and reused–probably bydescendent communities –after periods ofsiteabandonment.   Chair: Jennifer Wells | History  Please note that this is not a lecture, and thus, is not suited for class attendance. The Colloquium Series is intended to provide the presenter with a forum to discuss their research and receive feedback from colleagues and peers.

The Texas A&M Dance Science program presents this annual showcase that features dances choreographed by faculty members and students. $12 general admission, $8 student admission.

The Texas A&M Dance Science program presents this annual showcase that features dances choreographed by faculty members and students. $12 general admission, $8 student admission.

Afrofuturism Explored! is an annual conference celebrating Black History Month that combines scholarly research and creative practice. The event is inspired by what Mark Dery coined as "Afrofuturism," which combines Black culture and science fiction, with a technology-based view of the future through the arts. This one-day conference invites discourse that brings together scholarly research and community interaction, focusing on academic studies and creative expression related to Afrofuturism and other parallel movements such as Latinofuturism, Gothic Futurism and First American Futurism. Participants should expect approximately 15 minutes for presentations plus a Q&A session. In-person or Zoom presentations can be accommodated. Anyone interested in presenting can send an abstract with a maximum of 300 words for papers, panels or performances to Will Connor (willconnor@tamu.edu (mailto:willconnor@tamu.edu)) by Jan. 24.

Exhibition on Display: Jan. 28–March 16, 2025 Tues.–Fri. 9 a.m.–8 p.m.; Sat.–Sun. Noon–6 p.m.  Designed to evoke and capture a sense of childhood fantasy, A Colorful Dream tells a simple coming-of-age story in rich symbolic language that takes the viewer on a journey through the entire spectrum of the rainbow. A Colorful Dream is a family-friendly, interactive exhibition by contemporary fine art photographer Adrien Broom. The exhibition features a suite of photographs, some of them large in scale, detailing a young girl's journey as she discovers a series of monochromatic fantasy worlds exploring the rich hues and associations we have with every color in the spectrum. The Huffington Post describes Broom's photography as "deeply rooted in fairy tales and mythology, reinterpreting figures like Aphrodite and stories like Goldilocks and the Three Bears." Over three years in her studio, Broom constructed eight individual sets composed of objects evoking the essence of each respective color. She then photographed a young girl exploring and traveling through each world, passing through small portals that lead her on a journey through a red world, then orange, yellow, green, blue, purple, and lastly a rainbow encompassing all the colors. Encountering creatures, characters, and vivid landscapes, Broom's protagonist finds worlds lush, joyful, and even sometimes startling. In looking at the images, it would be easy to mistake the effects as a digital manipulation of the original photograph. In fact, Broom creates each of these worlds by hand, much like a stage production. These images are not put together using photo-editing software, but are the result of hours of crafting tableaux, so what the viewer sees is in fact what was in front of the camera's lens during the shoot. A Program of Exhibits USA with Texas Commission on the Arts and The National Endowment for the Arts.