It's Been a Month
It's been a month.
Quite a lot has happened over the past couple of weeks.
In Cambridge, we just concluded our Lent Term this past week. I decided it was a genius idea to write four 2000-3000 word papers on three different subjects within a week's time. Though rough, it was an interesting experience, starting the week writing about the revival of Gothic architecture in England, entering the weekend thinking about financial regulations post-2007, and concluding a grueling weekend with the perplexing questions of positionality raised in the works of Richard Wilson. Regardless, it was exhausting, but I'm just glad it's over.
During this time, though, I had the wonderful opportunity to play violin in two performances: a contemporary music concert at St. John's College, and in a concert by the Malcolm Street Orchestra at Jesus College. I even got to help record a piece from the St. John's concert, a student-written violin-piano trio which addressed the situation between Spain and Catalonia.
Also this last week, Dr. Mengham (or Rod) took our 'Space and Time in Contemporary Art' class to London to the Royal Academy of Arts. We were met by the Artistic Director of the Academy, Tim Marlow, who gave us a behind-the-scenes tour. Rarely have I ever seen anything beyond the galleries, and getting a glimpse of that world was eye-opening. Scenes of galleries unfinished, construction workers running about, drilling holes here and there, plaster falling there and here. Young student artists working on their work in the studios, the smell of paint strong in the air.
After the exhibition, we had the opportunity to see the Academy's main exhibition, the art collection (once) owned by Charles I. This was an amazing coincidence; I had just seen the Whitehall Banqueting House, commissioned by father James VI and whose ceiling art, made by Rubens, was commissioned by Charles. During his time, Charles amassed one of the largest art collections in Europe. Unfortunately, after his death, much of the collection was sold to various buyers across the European continent, never to come together again. The Royal Academy was able to collect much of these works for this showing in London, a 'once in a lifetime event' as passionately explained by Marlow.
The rooms in the Academy were expansive and numerous; they housed incredible works of all sizes, including many by Rubens. Designed in the classical style, columns dominated the space. The center, which contained portraits of Charles, was laden with gold and had a beautiful dome on top. Near the dome, circling the wall, were golden busts of various figures. I was able to spot one of a young Christopher Wren; taking the architecture course really began to pay off.
A few days ago I started my month trip of Europe! First stop: the Netherlands. Will update soon (hopefully).
Quite a lot has happened over the past couple of weeks.
In Cambridge, we just concluded our Lent Term this past week. I decided it was a genius idea to write four 2000-3000 word papers on three different subjects within a week's time. Though rough, it was an interesting experience, starting the week writing about the revival of Gothic architecture in England, entering the weekend thinking about financial regulations post-2007, and concluding a grueling weekend with the perplexing questions of positionality raised in the works of Richard Wilson. Regardless, it was exhausting, but I'm just glad it's over.
During this time, though, I had the wonderful opportunity to play violin in two performances: a contemporary music concert at St. John's College, and in a concert by the Malcolm Street Orchestra at Jesus College. I even got to help record a piece from the St. John's concert, a student-written violin-piano trio which addressed the situation between Spain and Catalonia.
Also this last week, Dr. Mengham (or Rod) took our 'Space and Time in Contemporary Art' class to London to the Royal Academy of Arts. We were met by the Artistic Director of the Academy, Tim Marlow, who gave us a behind-the-scenes tour. Rarely have I ever seen anything beyond the galleries, and getting a glimpse of that world was eye-opening. Scenes of galleries unfinished, construction workers running about, drilling holes here and there, plaster falling there and here. Young student artists working on their work in the studios, the smell of paint strong in the air.
After the exhibition, we had the opportunity to see the Academy's main exhibition, the art collection (once) owned by Charles I. This was an amazing coincidence; I had just seen the Whitehall Banqueting House, commissioned by father James VI and whose ceiling art, made by Rubens, was commissioned by Charles. During his time, Charles amassed one of the largest art collections in Europe. Unfortunately, after his death, much of the collection was sold to various buyers across the European continent, never to come together again. The Royal Academy was able to collect much of these works for this showing in London, a 'once in a lifetime event' as passionately explained by Marlow.
The rooms in the Academy were expansive and numerous; they housed incredible works of all sizes, including many by Rubens. Designed in the classical style, columns dominated the space. The center, which contained portraits of Charles, was laden with gold and had a beautiful dome on top. Near the dome, circling the wall, were golden busts of various figures. I was able to spot one of a young Christopher Wren; taking the architecture course really began to pay off.
A few days ago I started my month trip of Europe! First stop: the Netherlands. Will update soon (hopefully).
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