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MOONSNAKE!

From the far-out land of Waedenswil, Switzerland:

MOONSNAKE!

The band's innovative style is defined by powerful original songs which focus on critical modern themes and are influenced by the musicians‘ wide range of experience. 3-part harmonies and an electric harp give the pop/rock sound extra spice, and make Moonsnake unforgettable. Female intuition, sensitivity and perserverance, partnered with a healthy portion of woman-power, produce a sound which is as exciting and multifaceted as good music should be.

Featuring Kate Northrop of BC on electroharp.
No idea when she was there. Early 80s, I am guessing.

The Chairs of Bennington College

Even I never thought about the furniture that much.

The new Bennington Girl

Kathleen Norris returns, sort of.

The term 'Bennington girl' connoted someone who was flamboyantly (if not oppressively) artsy, bohemian, and also notoriously easy with sexual favors." So said memoirist Kathleen Norris in her fish-out-of-water coming of age tale, The Virgin of Bennington.

The Bennington College that Norris reflected on from the late 1960s was not much different from the Bennington that Washington, D.C.-based playwright Sidra Rausch recalls from her own youth nearly a decade earlier.

Rausch's How I Became a Bennington Girl is featured this weekend in the current New Plays (Un) Plugged, the third annual Washington Women in Theatre Festival. Rausch, like her Bennington compatriot, Norris, too, felt like an outsider at the exclusive Vermont women's college, where students were expected to develop intellectually, artistically and socially into formidable young women.

Honestly, 'The Virgin of Bennington' is one of the few BC-related books I haven't read. Shame on me.

Nate, it's not a frisbee

You all remember the CD-ROM viewbook, right? It was a big deal back in the day.

Take another look.

Vintage Barbara Morgan photo

Barbara Morgan; Martha Graham and Erick Hawkins
Bennington College - 1938
Gelatin silver print

More great shots from this Marquette article.

Patricia Johanson - '62

From the site:

For over twenty years Patricia Johanson has patiently insisted that art can help to heal the earth. For the last ten years she has been creating large-scale projects that posit a radical, yet utterly practical vision. She works with engineers, city planners, scientists and citizens' groups to create her art as functioning infrastructure for modern cities.

Johanson's designs for sewers, parks, and other functional projects not only speak to deep human needs for beauty, culture, and historical memory. She also answers to the needs of birds, insects, fish, animals, and microorganisms. Her art reclaims degraded ecologies and creates conditions that permit endangered species to thrive in the middle of urban centers.... Using the structures of nature as a way of thinking, she reconciles delicacy with strength, generosity with power, and creativity with consequence.

‘COLOR ROOM’, Bennington College Commons, 1959. "The "COLOR ROOM" dealt with color in space, and also with three-dimensional positive-negative space. It consisted of an over-life-size irregularly-faceted green and black object, and an equally irregularly-faceted orange space: the room (Paul Feeley’s office) with its walls, floor, and sloping roof completely covered with orange paper. Once having entered, you were outside part of the sculpture, inside the rest. Together they united to form a non-decorative color-space in which different "compositions" could be created by moving through the work." © Patricia Johanson, "A Selected Retrospective, 1959-1973", Bennington College, Vermont, 1973