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Dates: during 2000-2009
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...true knowledge of the human costs of war. Such bans also do a disservice to our nation’s soldiers. An attempt to sanitize the realities of warfare by disallowing photography of their caskets obscures their sacrifice and does greater dishonor than the caskets’ display. The photography of military caskets can and should be done in a respectable manner that adheres to laws protecting soldiers’ anonymity while allowing the public to recognize their supreme sacrifice for our nation. If done in such a manner, the photography of our war dead should require no process...
...whether evolution or creationism should be taught in schools. Creationists will point out that the Darwin love-fest among scientists amounts to little more than devotion to a religious leader, reinforcing the views of the nearly half of Americans who don’t believe in evolution anyway. The display in the Science Center prepared by the UK-based Darwin 200 in February seemed to anticipate this debate, as one of the panels debunks a list of creationist myths about evolution. [See correction below...
This column incorrectly stated that the UK-based organization Darwin 200 had prepared an educational evolution display in the Science Center in February. In fact, the panels were put together by students from the Harvard Undergraduate Biological Sciences Society and the Organismic and Evolutionary Undergraduate Group. The Crimson regrets the error...
...pigskin to make female figures. And like Frankenstein’s monster, the masquerade of life she creates never takes on fully human form, instead leaving the viewer in shock and disgust. Hatry’s current exhibition, “Heads and Tales,” is on display at the Pierre Menard Gallery at 10 Arrow Street until March 17. Hatry fashions each of her figures out of untreated pig meat, skin, and eyes. She then dresses and paints them with makeup before modeling them for photography. Video footage of this process streams on the back wall...
...that reproduce essentialist stereotypes about black male sexuality,” wrote Patterson, referring to the scene he called “King of the Jungle.” “This aspect of the show left me wondering what was elegant or even alluring about this atavistic display of primitivism. Would such a performance be possible apart from the history and visual discourse of colonialism that gives it a certain currency?” Former scene director Nicholas J. Navarro ’10 did not expect nor intend to incite the negative responses that the scene provoked...