RVOLUME 15, ISSUE 18 JANUARY 30, 2014

recess

Archibald Motley New modernist exhibition opens at the Nasher

Me Too Monologuesthe buzzworthy performance extends to two weekends

HospitalityRecess reviews “Trouble”

EMMA LOEWE AND STEVE KUZNETSOV/THE CHRONICLE

2 | THURSDAY, JANUARY 30, 2014 recess The Chronicle

Give Vision. Be Visionary.www.EyeCareAssociatesNC.com

Pay it forward with Eye Care Associates.Buy a complete pair of glasses including frame and lenses,

and a pair will go to someone in need.

Hundreds of new styles and frames special for Back-2-School, so you can get Back-2-Cool!

Assortments starting at $79!

experience the visionary di�erence

Buy a pair, and a pair will go to someone in need

(919) 863-2020www.eyecareassociatesnc.com

*Promotion ends 1/31/14. Valid Rx required, outside Rx welcome. Promotion is for new frame and Rx lenses; not valid on lenses only or on previous purchases. Packages may not be combined with any other insurance discounts, government or private insurance bene�ts, coupons, promotions, special pricing o�ers or other discounts. ©2013 Eye Care Associates - Optometrists.

experience the visionary di�erence

Buy a pair, and a pair will go to someone in need

$100 O�

AnnualFrame

Sale

$99 Exams

Gift of Vision

No insurance,no problem

Still time to use your Flex Spend Account

$100 o� your complete pair of glasses

West Durham / South Square3101 Shannon Road

Southpoint / Renaissance at Southpoint7001-105 Fayetteville Road

North Durham / NCEENT Building4102 N. Roxboro Street

Durham / Duke Eye Center2351 Erwin Road

SOLD OUT!!!

GET TICKETS:DUKEPERFORMANCES.ORG | 919-684-4444

$10 TIXSTUDENTS

DUKEEVERY SHOW. ALL SEASON. TAKE ADVANTAGE.

DUKE PERFORMANCESIN DURHAM, AT DUKE, THE WORLD, JUST OUTSIDE YOUR DOOR.DUKE PERFORMANCES

CLASSICAL PIANO GIANT

EMANUEL AXBEETHOVEN & BRAHMS

SATURDAY, FEBRUARY 18 PM • BALDWIN AUDITORIUM

THIS SATURDAY!!!THIS SATURDAY!!!

WORLD PREMIERE!!!

EXCEPTIONAL STRING QUARTET+ SUPERSTAR CELLIST

ARIEL STRING QUARTETFEAT. ALISA WEILERSTEIN, CELLO

BEETHOVEN, BOCCHERINI, SCHUBERTSATURDAY, FEBRUARY 8

8 PM • BALDWIN AUDITORIUM

ESSENTIAL BLACK MODERN DANCE

URBAN BUSH WOMENHEP HEP SWEET SWEET

DARK SWAN • WALKING WITH ‘TRANEFRIDAY, FEBRUARY 7

& SATURDAY, FEBRUARY 88 PM • REYNOLDS THEATER

VISIONARY JAZZ GUITARIST

PAT METHENY UNITY GROUPWITH CHRIS POTTER, ANTONIO SANCHEZ

BEN WILLIAMS & GIULIO CARMASSIWEDNESDAY, FEBRUARY 128 PM • CAROLINA THEATRE

SNOW DAY!

Lauren Feilich [editor].................................................................... fi rst snow angel 0:-)

Eliza Strong [managing]..............................................................................wait, really?

MC Bousquette [music]..................................................................i’m from connecticut

Megan Rise [fi lm].................................................................................................steve

Kathy Zhou [art].................................................................utah, greatest snow on earth

Elysia Su [photo]..........................................................do you wanna build a snowman?

Prashanth Kamalakanthan [online].......................................................nice white pow

Rrecess editors

recessss recess r

editor’snote

It’s been a little over a year since I started writing regularly for Recess. I’ve gotten better at having my work scru-tinized. My writing has become more deliberate, critical and convincing. But one thing that’s been especially difficult, as was the case for this note, is trying to express something when nothing forma-tive, or moving, or thought-provoking has happened. There’s a period of stag-nancy, and I can only assume that any-thing I scrape out from the ether will be ingenuine and disappointing. Thumbing through all the things I might talk about (for a while I figured I would examine tattoos as an art form), I start to reflect on how I’ve grown. These are some of the things I’ve learned, and am still learning:

There are so many stories to tell.There are so many stories, and that’s

why we whip out cameras to take snap-shots of a North Carolinian snow day, why we get tattoos, why we have no idea where to start when we’re interviewing someone, why we create, why we cry dur-ing a film.

It gets harder to make your way though all the stories because when you ask and when you listen, it turns out that people have a wealth of things to say. They’re willing to share those things with

you, even if you aren’t really worth that much of their time. You bond over how beautiful Doris Duke’s dresses were, or female authors and their thoughts on in-timacy, or the thin sliver of orange paint that comes to define a painter’s lifetime of work. You bond in silence as you hur-riedly jot down phrases, and when you re-view your pen scrawls, you wish you could craft your writings about art the way these people can speak casually about it. You end up having too many quotes to use.

You start hearing about events and ex-hibitions all the time. You discover new galleries and an installation artist who graduated from your college. You get a little frustrated because you can’t attend everything you want to. You learn about arts policy and advocacy, because the arts should get funding too. And you realize that art is best when experienced live, so you go to those festivals, museums, spaces. You relish in quiet reflection and in universal sentiment. You want to re-member this moment, or to share it with someone.

Writing is hard.It’s easy enough to finish a piece of

writing because it’s due, but it’s gruel-ing to finish a piece of writing because it’s good. Writing is difficult. Especially when you’re cranking something out and don’t have enough words, or you have too many words. Your sentences get too long and out of order. You find yourself using the same words throughout ar-ticles: “prolific,” “candid,” too many em dashes and a bunch of adverb-adjective combinations. At one point, you stare at what you’ve written, sure that you can’t say anything more without being redun-dant or meaningless.

Then there are all the times when you really just aren’t inspired enough but you have to forge ahead anyway, be-

cause something needs to be written. You come to learn that when you create—in any sense—it boils down to a struggling work ethic. You have to be able to make something sans inspiration, time, cer-tainty. You endure. You need grit. And you have to care about what you’re writ-ing about, because if you aren’t invested, or at least aware that it’s significant, it shows through in your writing. Some-times you’ll listen to an album and feel unmoved, and sometimes it’ll make you dance and cry. Either way, you’re going to try to describe a song and why you felt the way you did. (My first music review took two hours to edit because no one had ever asked me why I liked something with the expectation of a legitimate and in-depth response.)

And then there’s actually writing about art. You do your best to sound informed, trying to capture a hint of sophistication, a reflection of the experts you’ve spoken to. But simultaneously, you strive to re-main engaging and approachable. You want your words to flow well as though the rhythm of your words, like the musi-cality of poetry, might reflect the sculp-ture you saw, the music you heard. You want others to feel what you did, to sense as you do.

Claim the process and your work.Words have power. Words captivate,

words strengthen, words start move-ments. Proclaim what you think. Declare it, because what you think matters. Ce-ment it in writing; force yourself if you have to. Share it, maybe tentatively, but never apologetically. Even if uninspired, learn to feel proud of your work, or at least learn to own your work. Revel in the power, and relief, that comes from creat-ing.

--Kathy Zhou

The Chronicle recess THURSDAY, JANUARY 30, 2014 | 3

In The Company Of My Sisters

In The Company of My Sisters will be a space for Black Women to feel empowered and confident, to be authentic and flourish, to embrace their culture and feel fabulous, to

honor the space as sacred and as a gift to themselves!

Located In: Room 203 Page BuildingCounseling and Psychological Services

Facilitator: Mazella Fuller, PhD., MSW, LCSW, CEDSFebruary 5th,12th,19th and 26th,

March 5th,19th and 26thThis Group will not meet the week of Spring Break.

Register now at the CAPS website!http://studentaffairs.duke.edu/caps

and click on Workshops and Discussions

In The Company Of My Sisters

”Whether you come from a council estate or a country estate, your success will be de-termined by your own confidence and fortitude.” -Michelle Obama

In The Company of My Sisters will be a space for Black Women to feel empow-ered and confident, to be authentic and flourish, to embrace their culture and feel fabulous,

to honor the space as sacred and as a gift to themselves!

Located In: Room 203 Page BuildingCounseling and Psychological Services

Facilitator: Mazella Fuller, PhD., MSW, LCSW, CEDSFebruary 5th,12th,19th and 26th,

March 5th,19th and 26thThis Group will not meet the week of Spring Break.

Register now at the CAPS website! http://studentaffairs.duke.edu/caps

“and click on Workshops and Discussions”

“The

gre

ates

t dis

cove

ry o

f all

time

is th

at a

per

son

can

chan

ge h

is

futu

re b

y m

erel

y ch

angi

ng h

is a

ttitu

de”

-Opr

ah W

infr

ey

‘When I dare to be pow

erful-to use my strength in the service of

my vision, then it becom

es less and less important w

hether I am

afraid.” - Audre Lorde’

© The Center for Contemplative Mind in Society Concept & design by Maia Duerr; illustration by Carrie Bergman

Sometimes, procrastination is simply a matter of self-discipline. Most of the time, it’s a lot more

com-plicated than that. Would you believe it has less to do with the task you’re postponing and

more to do with things like your life aspirations, your excitement about potential, and even

perfectionism? Come find out how!

• Learn the psychology of procrastination!• Recognize the mechanisms and types of

procrastination in your own life.• Learn strategies to minimize procrastination

and feel good about your work pace.

Tuesday, February 43:30 - 4:45pm

Room 201, Flowers Building

Division of Student Affairs - Duke University

Putting Off Procrastination...until Later

A CAPS WorkshopCounseling and Psychological Services

Putting Off Procrastination...until Later

Classes are FREE and open to ALL DUKE STUDENTS (Undergraduate, Graduate and Professional School). Because space is limited, registration is requested.

Visit the CAPS website for more information and to register. http://studentaffairs.duke.edu/caps

(Click on “Workshops and Discussions”)

Counseling and Psychological Services

The Dum Dum GirlsToo TrueSub Pop Records

by Drew HaskinsTHE CHRONICLE

“Why be good? Be beautiful and sad.” After two albums and four EPs, it seems as though Dum Dum Girls have finally come up with the ultimate summation of their goth-girl-meets-beach-pop aesthetic. It is a shame that this sentiment comes in the mid-dle of “Too True,” easily their worst album to date.

On paper, “Too True” looks like a con-tinuation of Dum Dum Girls’ formulaic yet pleasant earlier work. Lead singer Dee Dee Penny returns with veteran producer Rich-ard Gottehrer, who is best known for his work with Blondie and The Go-Go’s. The en-tire album—and the majority of Dum Dum Girls’ music in general--covers that familiar ‘80s ground, but the arrangements are al-ways mindlessly catchy, and Dee Dee once again shows off her wonderfully sultry vocals.

However, to the detriment of “Too True,”

MUSIC

the record marks a major departure from Dum Dum Girls’ earlier lo-fi sounds to a more streamlined yet less distinct produc-tion. Dee Dee and Gottehrer have largely eschewed the jangly surf rock and girl group harmonies of previous recordings. Unfor-tunately, much of the album is structured around nondescript ‘80s synthesizers, and Dee Dee is often stranded by vocal arrange-ments that simply cannot convey her sheer charisma. Songs like ‘Little Minx’ and ‘In the Wake of You’ blend together with little impact. Until now, Dum Dum Girls have cre-ated their best music by experimenting with lush waves of sound. Sonically, “Too True” often sounds thin and uninspired.

Dee Dee is as good of a singer as ever, but even she cannot save the trite, faux-philosophical lyrics of songs like ‘Rimbaud Eyes’ and ‘Under These Hands.’ There is not a song on this album that even comes close to the heartwrenching ‘Lord Knows,’ Dum Dum Girls’ best song from the 2012 EP, “End of Daze.” In comparison, most of the songs on “Too True” feel like emotional play-acting. However, that is not to say that the album is without some good songs. The album opener, ‘Cult of Love,’ is a catchy and sinister celebration of destructive love, and ‘Lost Boys and Girls Club’ is a beautifully hazy ode to Los Angeles nightlife.

Overall, “Too True” marks a new sonic progression for Dum Dum Girls yet a major step back from their previous work. While many of the band’s key elements are still present from early recordings, the album seems obsessed with style when it should have focused more on substance.

HospitalityTroubleMerge Records

by Andrew Karim THE CHRONICLE

Hospitality released a one-minute You-Tube trailer for their sophomore record a good three months before its release date. The video featured a slideshow of arbitrary images overlapped with faint plumes of fuzzy red smoke and an archetypal electro beat, a stark contrast from the album’s distressing commitment to lethargic indie-pop. It was too much hype for the sleepy Brooklyn trio, but a shallow teaser isn’t the worst thing a band with VEVO-status could’ve hit us with.

“Nightingale” opens with Papini’s bare vocals garnished with a generic blues-rock guitar that would make even the most die-hard Black Keys fan cringe. The awkward shredding fades into a slow bass and cymbal sequence that just barely complements Pap-ini’s whiney refrains.

Bouncy keys hint at a much-needed diver-gence from the band’s dreary instrumentals

MUSIC

in “Inauguration,” a song about mourning missed phone calls while watching a presi-dential inauguration telecast. Yup. The key-boards quickly disappear, taking with them any potential the track had for upbeat re-demption. Once again, the song is bombard-ed with Papini’s dusty vocals and a redundant drum set that reiterates the record’s low-spir-ited drone. The flat lyrics reflect Hospitality’s overarching habit of featuring painfully bland anti-narratives that are as devoid of substance as the record’s stumbling instrumentals.

“I Miss Your Bones” has a pleasantly coarse riot grrrl quality to it that might have been en-joyable if it had lasted longer than a measly 20

seconds. The cut’s energy sinks when Papini’s vocals weaken into a trite, ballad-like hum.

Listening to “Trouble” reminded me of watching “Girls.” If the show’s cast were to start a cutesy indie band, it’d probably sound something like this album. I hoped some-thing stimulating would freshen up the re-cord’s repetitive and alienating track list, but the moment never came. Instead, I trudged through 40 minutes of half-baked elevator music with a cheap garage overlay you’d hear in a Williamsburg dentist’s office. “Trouble” is a stubborn convergence of unremarkable lyr-ics and lackluster instrumentals. Consider the title a warning—this record is sonic flannel.

Listening to “Trou-ble” Reminded me of watching “Girls.”

This week in Recess, we are small on space but big on stuff. Make your way over to dukechronicle.com/section/recess after log-ging onto the World Wide Web to stay in the loop on all matters arts and culture. Online exclusives include: an interview with Mutual Benefit’s Jordan Lee, who will be performing at Local 506 on Feb. 4; a preview of Emanuel Ax’s sold-out Duke Performance on Feb. 1; and a feature on the Durham Arts Council’s exhibition of “Silvia Heyden and Edith London: Together Again.”

SPECIAL TO THE CHRONICLE SPECIAL TO THE CHRONICLE

4 | THURSDAY, JANUARY 30, 2014 recess The Chronicle

Archibald Motley: Jazz Age Modernist opens at the Nasher

Me Too Monologues surges into two-weekend run, opens tonightby Julian Spector

THE CHRONICLE

She stands just feet away, eyes glistening as she finds the words to tell her mother what her high school boyfriend did to her when she got high for the first time with him.

She is a character, insofar as she is por-trayed onstage by an actor. But she is also a real Duke student who wrote and anony-mously submitted a monologue to express something of herself that can’t be shared easily. The power of “Me Too Monologues,” which starts its largest-ever run this week-end, derives from the chilling and exhila-rating knowledge that the men and women who wrote each monologue could be sitting next to you in the theater, laughing and crying alongside you. It humanizes the bur-dens, obstacles and successes of 16 different students from different backgrounds in a single evening of highly personal theater.

On a campus where advocacy can be di-vided across numerous centers and organi-zations with different focuses, “Me Too” pro-vides a single venue to spotlight issues that cut across the Duke community, said senior Cara Peterson, assistant producer.

“Everyone has their issues and everyone

has their struggles, and at ‘Me Too’ we can come together and be human together and let our masks down,” she said. “You feel like your voice actually matters and you can ac-tually do things.”

When it started six years ago, “Me Too” largely focused on issues of race, but since then it has looked to other forms of iden-tity as well. This year’s show, for instance, features the fairytale story of a farm girl’s journey to the Gothic Wonderland, which turns into a nightmare due to the pursuit of effortless perfection. Another girl has a coming out experience as a Duke student whose family’s poverty leaves her mother stranded between campus and home be-cause she cannot afford another tank of gas. The producers also looked for more white male perspectives this time around.

The diversity of perspectives may help explain how “Me Too” has established itself as not just a play but an event, as seen in the near-messianic response it routinely gen-erates among Duke audiences. Last year’s three performances drew approximately 1,200 viewers, some of whom started lining up at 3 p.m. for a 7 p.m. show, said executive producer Tara Gavcovich, a senior. The line became a social environment of its own as people chatted with each other and ordered food in the hours before the actors took the stage.

“People start talking about the show, talk-ing about the issues involved, and when the actors come they get excited to see people lined up already,” she said.

In order to deal with the crowds, the pro-duction team arranged a second weekend of performances, with a week of additional programming in between for viewers to en-gage with some of the themes raised by the monologues. This will include panels with actors, writers and community leaders on topics including sexuality, gender, racism and engaging in social justice from a posi-

by Kathy ZhouTHE CHRONICLE

Staring at the viewer from his 1933 “Self-Portrait (Myself at Work)” is Archibald J. Motley Jr., a painter who here, donning a navy beret, long triangular mustache and thick tan bohemian jacket, paints a nude woman. His room has a few relics: a small cross on the wall, an elephant statue, a small bottle of alcohol and a palette spotted with bold and blended paints.

This is Archibald Motley, whose boldly colored Harlem Renaissance-era paintings chronicled the African American experi-ence of the Jazz Age. Yet despite a 40-year span of significant artwork, Motley is one of the least visible artists of the 20th century. For the first time at the Nasher Museum, “Archibald Motley: Jazz Age Modernist” will be on display, with works dating from 1919 to 1960. The exhibition will also incorpo-rate historical documents and audiovisual components, including a documentary commissioned by the Nasher.

Motley’s paintings are modern and jazz-influenced, navigating pieces from famil-iar—sometimes voyeuristic—portraits to depictions of wild Saturday nights. His 1924 “Mending Socks” captures a rustic image of his grandmother in an orange shawl, work-ing in a rocking chair next to a table with a bowl of fruit. “Brown Girl After Bath” (1931) features a woman—with a distinctly more Modern-looking face—wearing nothing but hoop earrings, red lipstick and dance shoes. She looks into a mirror; not at herself, but at her viewers, questioning traditional rep-resentations of race, sexuality and art’s engagement with its audience. And in the

much more stylized cultural scene, “Barbe-cue” (1934), the canvas is filled with move-ment, conversation and a night sky that blends into the orange background.

The work represents, in a radical and vibrant way, the communities Motley grew up in. Much of his most notable work is centered upon Chicago, particularly upon a neighborhood termed the “Black Belt” by outsiders and reclaimed as “Bronzeville” by its predominately black residents. Motley’s depictions of Chicago scrutinize both poor, overlooked workers from the South and the African American elite; yet throughout, there is a reimagining—a lauding of ambi-tion. Here was a community in the midst of becoming, moving forth through moder-nity, forging black cultural and economic self-determination; and here was Motley in the middle of it all.

The palette in “Bronzeville at Night” (1949) is mostly blue, with highlights in red stoplights, gauzy windows and women’s dresses. There’s a mixture of romance and nervousness, leisure and labor. Thin lines of orange paint create neon reflections and highlights on the bodies of Motley’s subjects. And there was the Stroll, a town square of sorts, home to the “Bohemia of Colored Folk” and “the black man’s Broad-way and Wall Street.” These powered Mot-ley’s cityscapes of black diversity, who him-self, of multiracial and middle-class origins, lived with his white wife in a predominately white Chicago neighborhood.

In “Street Scene” (1936), a woman wails in song, arms lifted and high-heeled feet spread wide apart. A dog howls, three wom-en chorus with trumpets, one man blows

“Me Too Monologues” returns for its longest-ever run with two week-ends of highly personal monologues written by anonymous students for the performance.

PHOTO COURTESY OF VALERIE BROWNE

Archibald J. Motley Jr., Hot Rhythm, 1961. Oil on canvas. Collection of Mara Motley, MD, and Valerie Gerrard Browne.

EMMA LOEWE/THE CHRONICLE

The Chronicle recess THURSDAY, JANUARY 30, 2014 | 5

Me Too Monologues surges into two-weekend run, opens tonighttion of privilege, Peterson said.

In preparation for the show, each actor was paired with a monologue and began de-veloping a character to tell that story. This could include imagining a childhood for the speaker and figuring out what they stud-ied at Duke, said senior Caroline Kiritsy, one of the actors. There is no guarantee that the monologue will come out exactly how the author expected, but the key is doing justice to their voice.

“I’m very, very honored to be able to be a voice for the person who submitted it,” Kiritsy said. “It is so humbling that they’ve al-lowed somebody to tell their story for them. It’s all anonymously submitted, so the per-son could be the one that I’m making eye contact with the entire time that I’m saying it.”

Actor Elizabeth Hoyler, a sophomore, noted that although she could not directly relate to the situation portrayed in her monologue, she was able to pull out emo-tional strains that resonated with her expe-rience. This works for the audience mem-bers too—the show invites viewers to find moments of shared experience in unlikely places.

“I believe in a lot of what this show is try-ing to do—showing vulnerability at Duke, showing what’s below the surface,” Hoyler said. “A lot of times Duke students project an image that ends up perpetuating our loneliness because we don’t see other peo-ple are struggling like we are. I just wanted to be part of a project that helps empower and at the same time humble students.”

“Me Too Monologues” opens tonight, January 30, and will run on January 31 and February 1, 7 and 8. Shows are in the Nelson Music Room and will start at 7:30 p.m. Doors open at 7:00 p.m. Audience members are recommended to ar-rive early to guarantee seating. For more informa-tion, visit the Facebook event.

into his trombone. The onlookers look more uncertain, more suspicious. A white police officer glares out of the corners of his eyes, and a small child cocks her head and watches. Motley’s work captured “black ex-pression” while it was being cultivated and expanded. There were nighttime trumpet players, a rowdy nightclub, a Negro cabaret, picnics, cocktails, cards. A social outsider who looms and watches, absorbing the vi-brancy and the energy. Each painting has this sort of observer, cementing Motley as someone caught up in the very center of this frenzy, as an outsider looking in, as a re-imaginer.

When Motley visited Paris, where African American artists had come to thrive (think Duke Ellington and Josephine Baker), he painted the blues, the idyllic Parisian streets and the Jockey, a café frequented by artists. When he visited Mexico, he continued with his pattern of over-the-top portrayals, follow-ing the same hint of mocking dark humor as in his “Hokum” work.

But his work as a modernist artist, held its foundation in America, where he main-tained that “the Negro is part of America and the Negro is part of our great Ameri-can art.” Motley’s modernity entailed the Jazz Age in all its rhythmic splendor, and it meant capturing a time when “these mod-erns,” to quote Duke Professor Richard J. Powell, “were African Americans, too…with their rainbow fashions and complexions—possessing an inherent visuality, a spectrum of socioeconomic functions and an inex-haustible will to perform.”

“Archibald Motley: Jazz Age Modernist” is on view at the Nasher Museum of Art from Jan. 30 to May 11. For more information, visit the Nasher’s website. Archibald J. Motley Jr., Barbecue, 1936. Oil on canvas. Collection of the

the Howard University Gallery of Art, Washington, DC.

Me Too Programs, Feb. 3 through 6M O N D A YSexuality: Keohane Atrium,

6-7:30p.m. See a screening of past monologue “Really?” and listen to an open discus-sion between the actor and writer. � is will lead into a student panel on sexuality led by � ink Before You Speak, who will end the night with food and an exhibit of their new-est You Don’t Say poster campaign. T U E S D A YGender: Von Canon, Bryan Center

6:30p.m.Five actors performing pieces centered on gender issues will perform a sneak peek.

W E D N E S D A YEn/Countering Racism: Racial Justice

Through Music: CMA, 6p.m.Join us in the Center for Multicultural Af-fairs to explore how racial justice has been pushed utilizing the art form of music.

T H U R S D A YEverything I Wish I Had Known as a First-Year: GA Down Under or above

the Marketplace, 7-8p.m.This is an event all about creating a safe space to share vulnerability and discuss some of the most taboo issues on Duke’s campus.F R I D A YOn the Privileged Side of Social Jus-tice Work: CMA, 6:30-8p.m.Gary Glass will lead a program offer-ing students an opportunity to explore the experience and the role of stu-dents who enjoy privilege and want

Archibald J. Motley Jr., Mending Socks, 1924. Oil on canvas. Collection of the Ackland Art Museum, The University of North Carolina at Chapel Hill.

Archibald J. Motley Jr., The Picnic, 1936. Oil on canvas. Collection of the the Howard University Gallery of Art, Washington, DC.

Archibald J. Motley Jr., The Liar, 1936. Oil on canvas. Collection of the the Howard University Gallery of Art, Washington, DC.

PHOTO COURTESY OF VALERIE BROWNE PHOTO COURTESY OF VALERIE BROWNE

PHOTO COURTESY OF VALERIE BROWNE

PHOTO COURTESY OF VALERIE BROWNE

EMMA LOEWE/THE CHRONICLE

EMMA LOEWE/THE CHRONICLE

6 | THURSDAY, JANUARY 30, 2014 recess The Chronicle

Menu SamplingOld School Veggie Burrito $2.86 Regular Chicken Burrito $5.65Cheese Quesadilla $1.41Chicken Quesadilla $3.59Veggie Nachos $4.12Chips & Salsa $2.06

1920 1/2 Perry St. at Ninth Street Just a block from East Campus

Now served at JB’s hot dog stand.

HO

ME

TO

WN

HE

RO

!

comsic burritothe

No German? No Problem.

Go Berlin Info at: studyabroad.duke.edu OR german.duke.edu

Application Deadline for Summer Session is Friday, February 7