Volume 15 of the Bridge has been released both digitally and physically. You can grab a copy in the Maxwell Library and Tillinghast. Check it out digitally on Virtual Commons.
As we have for the past few years, we’ll be accepting physical visual art (paintings, sculpture, mixed media, et al) submissions in Art 201. We recommend that submissions of visual art be made during this time period (with the exception of digital art, which can be submitted at any time) because it gives editors the chance to engage with the work in a 3-dimensional space, and because it’s nice to have your artwork photographed under controlled lighting and blank backgrounds.
This year, our art collection schedule is as follows:
Dec. 13th: 9AM-3PM (Tillinghast Hall 239)
Dec. 14th: 9AM-4PM (Tillinghast Hall 239)
Dec. 15th: 8AM-5PM (Art 201)
Dec. 16th & Dec. 17th: BY APPOINTMENT
Dec. 18th: 8AM-4PM (Art 201)
Dec. 19th: 9AM-5PM (Art 201)
Dec. 20th: 8AM-5PM (Art 201)
After your art has been photographed, you’ll receive a phone call or email letting you know that it’s ready to be taken home. All art submissions must be picked up by 6PM on December 20th; if they are not taken by the artist, they’ll be in the Bridge Office in Tillinghast Hall through winter break and may be picked up at the start of the spring semester.
We hope to see you there!
The post has been adapted from “Profile of an Artist: Clarence Major,” which originally appeared in “The Bridge,” volume 14, and was written by Alexandria Machado and Katherine Nazzaro. During the Spring 2017 semester, Clarence Major was kind enough to answer a few questions we had following his appearance in one of Bridgewater State University’s Visiting Authors Series.
“Artist.” It’s a word we often hear to describe a creator; someone who elicits wisdom of the human mind and spirit from the great beyond and then transcribes it for the world to see. Clarence Major is a direct embodiment of this: poet, writer, and painter, he has submerged himself in numerous art forms over the decades, creating and then releasing these manifestations into the ever-growing body of art.
It is with a somewhat heavy heart that we come to the conclusion of the recordings we made in the spring. Please bear in mind, however, that given the will and the cooperation from contributors (like you!), we would like to continue making audio posts featuring work within the Bridge. This also gives us the opportunity to say, keep an eye out! Things are moving in the world of the Bridge, and you can keep up to date on them both here and on our Facebook page.
We wrap up the spring 2017 recordings with, again, Caitlin Westgate. She reads “mourning news,” which can be found both on page 36 of volume 14 and below the cut.
Today’s audio post comes again from Caitlin Westgate (“craters have intentions”). In addition to the work Caitlin has featured in “The Bridge,” her writing has also been featured on the Women at Warp blog, where she discusses mental illness in the context of “Star Trek.” For us, she reads “Gas Station Regular,” which is on page 85 of volume 14, and can be read below the cut.
It seems like fall weather has finally come into New England, and with it the kind of dreary autumn rains. Today makes a good day for Brendan McRae’s poem, “Ode to Odium,” which he read for us during the spring semester. “Ode to Odium” can be found on page 49 of volume 14, and can be read below the cut.
Today’s reading is from Alexandria Machado, editor and contributor to volume 14. Alexandria, with Katherine Nazzaro, also helped write volume 14’s artist profile on Clarence Major. Here, she reads her poem, “The Great Barrier Reef is Dying!” which is featured on page 83 of volume 14. It can also be read below the cut.