Your gift to the Annual Fund could have double the impact this year.
Gifts from alumni of $1,000 or more will be matched dollar for dollar thanks to a new initiative known as the Million Dollar Match, which provides alumni with an incentive to give to the annual fund.
To kickstart the challenge, the initiative was launched by gifts of $25,000 or more from a core of 22 generous donors (see sidebar), including Konrad Stephen Alt ’81.
“Institutions like Reed don’t exist in a state of nature,” Konrad says. “They come about because people with vision, resources and commitment want them to exist. When any of those things run out, they wither and decline.”
The undeniable curb appeal of Reed’s new Performing Arts Building (PAB) earned it a thumbs-up in the American Institute of Architects (AIA) Portland awards for design excellence. The PAB won first place in the People’s Choice Award in the Portland AIA’s annual competition, open to firms, members, and associate members throughout Oregon.
The public was invited to participate by voting on their favorite of the 68 entries displayed on presentation boards for more than two weeks in the rotunda of the Pioneer Place shopping mall in downtown Portland. More than a thousand people cast their votes by going to a website or scanning a QR code.
Designed by the Portland firm of Opsis Architecture, the building celebrated its grand opening in September, when thousands of students, faculty, staff, and visitors admired the its light, airy spaces and dramatic interior. Architecture possesses a vocabulary all its own. Rather than attempt to imitate, we will quote the description Opsis used for the atrium, where:
Tribe Pictures wins a Bronze Award at the 34th Annual Telly Awards for a Reed College commissioned film. Tribe Pictures took the prize in the fundraising category for a film that thanks alumni and other donors for the success of Reed’s $200 million dollar Centennial Campaign.
Last December, Jon Huberth of Tribe Pictures traveled to Portland to film Reed’s beautiful campus and recorded heartfelt interviews with students and faculty on the effect the Centennial campaign has had on their academic lives.
Executive Creative Director, Vern Oakley, commended Reed and Tribe on their collaborative work process. “The backdrop of heartfelt moments was key in visually transporting alumni back to campus,” says Oakley. “Through Tribe’s human-first approach to storytelling, we hoped to create meaningful, human connections. Our goal was not just to thank alumni, but to effectively move, motivate, and mobilize continued alumni support.”
Prof Richard Crandall ’69 [physics 1978-2012]
At yesterday's faculty meeting, Prof. Mary James read a moving tribute to the late Prof. Richard Crandall ’69, written by Prof. Nick Wheeler ’55.
Wheeler, who was Crandall's thesis adviser at Reed during Crandall's student days, and later served alongside him on the physics faculty, calls it an "informal remembrance," but it's so good that we just had to reprint it here . . .
STEELY DETERMINATION. Alexi Horowitz ’14 nabs first place in the Williams Tournament. Tim Labarge
History major Alexi Horowitz ’14 won the 16th annual Douglas Williams Fencing Tournament last weekend, earning monster timê and a handcrafted gold pendant shaped like a foil to commemorate his victory.
The tournament took place in the sports center, with the fencers masked and garbed from head to foot in white, an odd sight amongst the milling spectators and fruit platters.
During the bouts, the students thrusted and parried with steely determination. Fencing coach Miwa Nishi ’92, who has been involved in the tournament since its inception, said that one of her favorite parts of the event is watching the fencers in a competitive mood, as opposed to just practicing. After each bout, however, once their protective face masks were lifted, the fencers gathered around to congratulate and encourage each other.
"Our Town" director Prof. Kate Bredeson and assistant director Alan Cline ’14 Photo by Leah Nash
“Does anyone ever realize life while they live it . . . every, every minute?” asks one of the characters in Our Town.
For the past two months, more than 50 Reed students have taken risks, solved problems, and put their minds and bodies to the task making Reed's production of Our Town—Thornton Wilder’s classic play—new once more.
Directed by Prof. Kate Bredeson, the production will ring in the Diver Studio Theatre, the centerpiece of Reed's new Performing Arts Building. Wilder’s stage directions call for “no scenery,” providing a marvelous opportunity to showcase the new space and its state-of-the-art technology.
Playwright Tina Satter at Performing Arts Building
In September, Tina Satter MALS ’04 was back on campus for the opening celebration of the Performing Arts Building. Tina is the founder and playwright of Half Straddle, a New York theatre company. Students and alumni performed readings from her play Seagull (Thinking of You), a response to Russian playwright Anton Chekhov’s Seagull that draws on Chekhov’s personal letters and details from early productions of the play in Russia.
“If you think experimental, deconstructionist experimental theatre must be dry and dreary, then Half Straddle has a surprise for you,” the New York Times said of the company, which has produced half a dozen plays since its founding in 2008.
Tina’s interest in experimental theatre was sparked when she was cast in a play at Portland’s Imago Theatre. She began a Masters of Arts in the Liberal Sciences at Reed partly as recompense for having spent her undergraduate years at Bowdoin College “majoring in field hockey and going to parties.”
Psychology major Chanelle Doucette ’14 was part of Reed's record turnout at the Portland Marathon.
No fewer than 57 Reed runners participated in the Portland Marathon and Half-Marathon yesterday, Reed’s strongest showing in the event, and possibly its strongest showing in any off-campus sporting event in the college’s history.
Reed’s fastest marathon runner was econ major James LaBelle ’15, who crossed the finish line in the scorching time of 2:59:44. Close on his heels came physics major Will Holdhusen ’16, who clocked an impressive 3:00:14. The fastest half-marathon runner was Dean of Students Mike Brody, who posted a nimble 1:41:01 (apparently chasing after students does wonders for one’s stamina).
Reed’s turnout included 15 students, 3 professors, 11 staff, 14 alumni, and assorted other lifeforms (friends, family) and reflects a surge of interest in running on campus in the last couple of years. In August, Prof. Paul Gronke [poli sci] and Prof. Suzy Renn [bio] put together a team for the Hood-to-Coast Relay, which included two students, four alumni, and four staff members; the Reed team placed tenth in a division of 84. Last month, Reed’s 5K Odyssey Run drew 197 runners, including 26 students.
Reed students dress as Greek gods outside humanities lecture in 2012. Nudity at a similar event in 2013 prompted a Title IX investigation. Copyright Reed College.
The students who play the part of Greek gods and greet freshmen on their way to the first humanities lecture—collectively known as the Pantheon—will keep their robes on next fall, organizers declared at a community forum held by the Honor Council last week.
“No one will be naked next year,” said environmental studies major Elaine Andersen ’16, one of the HumPlayers, the student group that puts on the Pantheon.
The event, which has been staged for the last five years, typically involves male and female sophomores and upperclassmen who dress up as Greek divinities on the steps of Vollum Lecture Hall and welcome freshmen to their first Hum 110 lecture. The gods ask for libations, and freshmen respond (if they’ve done their homework) by spilling a few drops of coffee or water on the ground, re-enacting an ancient Homeric tradition. “It’s supposed to be fun and silly,” one student explained.
Dancers perform "L'esprit de l'escalier," choreographed by Heidi Duckler ’74, to ring in the new Performing Arts Building. Photo by NashCo
Reed’s performing arts just got an 80,000 square-foot, glass-paned, light-filled, no-holds-barred, swanky new home. Years in the making, the Performing Arts Building is finally ready to take center stage. Classes are already being held in the building and its myriad rooms and performance spaces are beginning to hum.
The building opened Friday, September 20, amid pomp and circumstance, shiny red ribbons, and several gargantuan pairs of scissors.
The ceremony began with Blast!, a fanfayre for trumpet and synthesizer, composed by Prof. David Schiff [music 1980–]. Then, standing on the grand staircase that graces the atrium, President John Kroger welcomed students, faculty, staff, alumni, and guests, giving thanks to the many people who ushered the building into reality.
Eliot Stempf ’11 works to aid the victims of Syria's civil war from Gaziantep, Turkey.
When surgeon Muhammad Abyad was killed in Syria on September 5, as he did humanitarian work for Doctors Without Borders, it was hardly an isolated incident. Hospitals are routinely bombed in the chaos of current-day Syria, and so far over 20 staffers for the Syrian Arab Red Crescent have perished while responding to disasters. On Monday, 50 medical professionals from across the globe united to publish an open letter in the Lancet saying that the Syrian health system is at a breaking point.
Somewhere in southern Turkey, Eliot Stempf ’11 knowingly nodded his head—and shifted in his low-rent desk chair as he contended with a glacially slow internet connection. Eliot lives in Gaziantep, Turkey, roughly 20 miles from the Syrian border, and is currently masterminding the launch of a humanitarian startup, SERA (Special Emergency Response and Assistance), which specializes in prehospital care and has so far trained roughly 50 Syrians to become emergency first responders.
SERA was founded in late 2012 by Peter Kassig, a 24-year-old Army Ranger and Indiana native who returned from Iraq intent on mitigating the carnage of war. Kassig, who’s an EMT, lives with Eliot in Gaziantep and frequently forays into war-torn Syrian towns like Deir Ezzor to lead training sessions, distribute supplies, and provide basic medical care. Eliot, meanwhile, remains in Turkey, hunched at his computer, networking with care providers, such as the Red Crescent, and conferring with two Syrian doctors who advise SERA on, as Eliot puts it, “how to deliver aid in a way that’s sensitive, without exacerbating political tensions.”
Dr. Beth Robinson ’82 at Senate confirmation hearing
Stalwart correspondent Ed Mills ’80 drew our attention to a lighthearted exchange that took place this week during a hearing before the U.S. Senate Committee on Energy and Natural Resources, chaired by Senator Ron Wyden [D-Oregon]. The committee was meeting to consider several of President Obama’s nominations—including Dr. Beth Robinson ’82 to the post of Under Secretary of Energy.
Committee hearings not exactly famous for their levity. When they aren’t immobilized by partisan wrangling they tend to be--how shall we put it?--less than riveting. Approximately two and a half hours into the hearing, however, the session was enlivened by a surprising geographic issue:
Dr. Robinson to Senator Cantwell [D-Washington]: "Yes, the issues at Hanford are very complex and very important, and as you mentioned, I grew up in Seattle, which is--"
CSO trading cards hark back to a venerable Reed tradition.
Beat it, Babe Ruth. Pick up your deck, Pikachu. Move over, Magic: the Gathering. A new medium of rectangular exchange is about to hit campus—Community Safety Trading Cards.
Starting Friday, Community Safety Officers (CSOs) will carry trading cards as they make their rounds, handing them out to students as a way to build relationships. “As a team, we talked over the summer about what we wanted to accomplish this year, and our first priority is to develop relationships with individual students,” says Gary Granger, director of Reed’s office of community safety. “We hit on the cards as a fun way for CSOs to establish a personal connection.”
Each trading card includes a photo and a handful of fun facts about a CSO, from hobbies to favorite epic poems to potential superpowers (“atmokinesis” is one.) “The CSOs choose their own pictures,” says Granger. “And they decide who and when to give them out.”
Title IX of the Education Amendments of 1972 (which amends the Civil Rights Act of 1964) protects people in education programs or activities that receive Federal financial assistance from discrimination based on sex. Title IX states that, “No person shall, on the basis of sex, be excluded from participation in, be denied the benefits of, or be subjected to discrimination under any education program or activity receiving federal financial assistance.”
The spirit of Title IX is to ensure gender equity and equal opportunity for all students, and as such Reed is committed to honoring its obligations under Title IX.
“The law comes from a spirit of fairness,” said Michelle Valintis, Reed director of human resources. “It exists to guide colleges to become more open, safe, and inclusive places to learn.”
Though much of the early press around Title IX was centered on balancing athletic opportunities and scholarships, it was intended to be more far reaching. In 2011 Vice President Biden sent a “Dear Colleague” letter to all educational institutions receiving federal financial aid that explained the expanded interpretation of Title IX enforcement to cover issues of sexual harassment and assault. The letter instructed colleges to do what is necessary in order to ensure a safe and supportive environment for every student. Additionally, colleges were instructed to
• disseminate a notice of nondiscrimination to students, parents, and employees;
• designate a Title IX coordinator—at Reed it is Ed McFarlane, vice president/treasurer;
• adopt and publish grievance procedures providing for prompt and equitable resolution of student and employee sex discrimination complaints.
“The national statistics describing how few survivors of sexual harassment and assault report to authorities are truly discouraging,” said Mike Brody vice president and dean of students. “I believe that it’s incumbent upon college leaders—students, faculty, and staff—to help create an environment in which people feel safe to report, and can be confident that the college will respond in a meaningful and effective way. It is of course our ultimate goal to eliminate sexual assault and harassment though our education and preventions efforts, but in the meantime, Reed remains committed to removing obstacles that might prevent people from reporting.”
Title IX complaints can be filed with Department of Justice Office of Civil Rights, or with the institution where the alleged offence took place. It is the institution’s obligation to swiftly respond to any Title IX complaint by conducting an investigation and taking appropriate remedial action. If an offense is found, either the institution’s administration can take action to remediate the situation, or it can refer the case to the appropriate internal adjudicating body. If the latter option is taken, the Title IX coordinator oversees the process to ensure compliance.
Jamie Isenstein ’98, last seen on campus in 2011, inhabiting an armchair (The Lady Vanishes) returns to the Cooley Gallery for a public reception, beginning at 6 p.m. on Thursday, September 19, 2013. This mid-career survey is curated by gallery director Stephanie Snyder ’91, who admires Jamie's drawings, mixed-media sculptures, and installations as pieces that "engage the artist’s body as an artistic medium—a subject of humor, theatricality, and historical representation." A studio art major at Reed, Jamie became intrigued with Northern Renaissance art and considers her own work to be an update on many of the themes popular then, such as the Vanitas and Momento Mori. At Art Basel in 2011, she staged an "anti-concert" in which she spent two weeks weaving a rug onto a harp, compromising its strings and thereby removing music (dampening sound) vs. making music (video). You can see her at her harp once again on Thursday evening.
In an essay for the catalog of the exhibition, Jamie Isenstein: Will Return, Graham Jones ’97, MIT anthropologist and an expert on the subculture of entertainment magic, suggests that the magician's craft relies upon an audience that is aware of the deception and desiring of it. He has great appreciation for the ways in which Jamie uses her half-hidden body to evoke curiosity and desire; she is gently teasing her audience with the deferred possibility of interaction, which is in itself the physical manifestation of her "intermission" and "will return" conceits. Just as she provokes a kind of awe when confined to motionless poses, we are forced to pause and consider new ways of perceiving art in spite of our own constraints.
Artist Lucinda Parker ’66 adds the finishing touches to the installation of "Our Solo Round Star Squeezed Between the Sky and Sea" in Reed's Performing Arts Building. Chris Lydgate ’90
Reed has received a grant of $28,000 to acquire the painting Our Solo Round Star Squeezed Between the Sky & Sea by celebrated Portland artist and Reed College alumna Lucinda Parker ’66. This acquisition was made possible with the assistance of the Ford Family Foundation through a special grant program managed by the Oregon Arts Commission (OAC). “The college is thrilled to acquire such a substantial work of art by a distinguished alumna during an era of profound growth and innovation in the arts at Reed," says Cooley Gallery director Stephanie Snyder ’91. "Lucinda Parker is a visionary painter, and an integral part of the Reed community. Her work chronicles the living history and vitality of the Northwest with unmatched vibrancy.”
Our Solo Round Star Squeezed Between the Sky & Sea, completed this year, is a monumental acrylic on canvas painting, measuring 91 x 153 inches. Its particular subject matter and the circumstances of its creation are unique within the artist’s oeuvre. Parker created the work while an inaugural artist-in-residence at the Robert Rauschenberg Foundation Residency Program at the late artist’s Florida studio complex. During the residency, Parker spent an entire month observing and making small gouache studies of the sunset. Concurrently, she began working on this encompassing vision of natural rhythm and spiritual transformation. In her words: “The painting explores death and renewal—the mystery of where the sun goes when it disappears into the ocean—old myths.”
Lucinda Parker is one of the Pacific Northwest’s most significant and enduring painters. She is associate professor in painting and drawing, emerita, at the Pacific Northwest College of Art, where she studied fine arts in a dual-degree program with Reed, and an MFA graduate of the Pratt Institute. Her work has been shown at numerous institutions, including the Portland Art Museum, the Jordan Schnitzer Museum of Art, the Seattle Art Museum, and Marylhurst University. Her work is represented by the Laura Russo Gallery in Portland.
History major Christian Acuña ’14 demolishes flimsy board of mediocrity in South Korea
Congratulations to history major Christian Acuña ’14, who won a spot in the U.S. State Department’s prestigious Critical Language Scholarship program last summer, spending eight weeks studying Korean at Yonsei University Wonju Campus in South Korea.
Around 610 U.S. undergraduate and graduate students were selected to participate in the program. Each participant spends seven to ten weeks in the country whose language they are studying enrolled in intensive language courses and taking advantage of the culturally enriching experiences the CLS program offers. For Christian, such excursions included a Korean archery lesson, a traditional wedding ceremony with tea tasting, and a Taekwondo lesson. Scholarships are offered in thirteen languages: Arabic, Azerbaijani, Bangla, Chinese, Hindi, Indonesian, Japanese, Korean, Persian, Punjabi, Russian, Turkish, and Urdu.
Christian went into the program never having spoken a word of Korean and considers the program to be an effective and comprehensive way to learn a language without prior experience. For him, the most rewarding part of the experience was the weekly volunteer work at a local orphanage. He was grateful for this opportunity because it gave him a chance to give back to a community that was welcoming to him. For the first week of the program, he stayed with a Korean host family and in the weeks following continued to visit them on weekends for dinner.
Snapshot of the ForeverScape by Vance Feldman ’05
The universe of Vance Feldman ’05 explodes with jumbled houses, bridges and aqueducts, businessmen shaking hands, dolphins jumping out of rivers, and spacemen kicking their feet back in lawn chairs. To call his work monumental would be something of an understatement. Modestly titled the ForeverScape, his drawing rivals some of the longest art pieces in the world. Spanning roughly 650 feet from left to right—the equivalent of two football fields—the ForeverScape is assembled out of 700 sheets of letter-size paper and grows longer by the day.
The ForeverScape started in September, 2009, when Vance was in between jobs and found himself sitting in a bar with a ream of paper. He started aimlessly sketching a landscape and when the first page ended saw no reason to stop. The first couple hundred pages, drawn in ballpoint pen, feature a smoggy, industrial landscape littered with crowded buildings twisting into each other and spilling onto the road and barbed wire fences about to snag innocent hummingbirds. These give way to apocalyptic scenes of civilization being swallowed by the sea. Squid and clownfish lazily swim above a submerged city whose buildings are wreathed in slimy weeds and whose skyscrapers are tickling the belly of a whale. One scene depicts several men attempting to subdue and photograph what appears to be the Loch Ness monster. Later, after Vance switched to using a Sharpie, the sea becomes the sky and we zoom into a psychedelic rendition of outer space, filled with boats and clams and astronauts playing badminton in reclining lawn chairs.
The chairs pay homage to Prof. Michael Knutson [art 1982–], who once told Vance that all he painted for several years were lawn chairs. Prof. Knutson likes the piece so much that he shows it to his art classes every year. The ForeverScape demonstrates, he says, “an incredible imagination, focus and energy.” In a subtler way, it also evokes a childhood loss and a lesson Vance learned at Reed.
Meaningless arrows, questionable data.
The Atlantic published a great article today about the hollowness of the college rankings compiled by US News and World Report. Written by retired Boston College professor John Tierney, the piece highlights the problems that plague the US News system—dubious data, arbitrary rules, and a one-size-fits-all approach, to name a few.
Of course, these were the same problems that persuaded Reed’s then-president Steve Koblik to pull out of the USN rankings back in 1995. It’s a shame to see that matters haven’t gotten much better.
Reed still doesn’t participate in USN, although the magazine insists on ranking us anyway. Which is too bad—as Tierney points out, the USN system remains surprisingly popular, despite an unrelenting stream of criticism through the decades. On the other hand, the last several years have witnessed the rise of more comprehensive alternatives. Perhaps one day they'll supplant the USN juggernaut. In the meantime, USN has released its latest report. Like Tierney, I’ll probably peek at the rankings, but—as they say in the ads for the Oregon lottery—for entertainment purposes only.
Reed College is pleased to welcome 19 new and visiting faculty members, including three alumni.
Rebecca LaLonde ’01 returns to campus as an assistant professor of chemistry. After earning her BA in chemistry at Reed, she obtained a MS in chemistry from Stanford and a PhD in chemistry from UC Berkeley. She has worked as an associate scientist at Dow Chemical and as a research associate in medicinal chemistry at Genetech.