NYU’s Daily Student Newspaper
WASHINGTON SQUARE NEWS Vol. 42, No. 85
THURSDAY, OCTOBER 30, 2014
nyunews.com
CLIMATE
CITY AFFAIRS
Divest projects images of Sandy
Outcry follows approval of LICH deal
By SUEBIN KIM Staff Writer
On the two-year anniversary of Superstorm Sandy, members of NYU Divest projected images of the storm’s damage on a wall in the lobby of the Kimmel Center for University Life. NYU Divest’s Art and Design team created a video art installation to memorialize the impact of the superstorm on NYU and surrounding communities. Many students stopped to watch the video and sign a petition to support NYU Divest’s mission to separate the university from the fossil fuel industry. Dorothy Lam, Steinhardt senior and Divest member, created the video. “It was a combination of both news source videos and also original photographs that I took the day after Sandy hit,” Lam said. Michael Leone, a graduate from Wagner Graduate School of Public
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By SUEBIN KIM Staff Writer
STAFF PHOTO BY SHAWN PAIK
Nursing school freshman KP Mendoza carried a pillow throughout the day on Oct. 29 to show support for survivors of sexual violence. Inspired by Columbia University student Emma Sulkowicz, who is carrying her mattress every day her alleged rapist attends Columbia, Wednesday was Carry That Weight Day.
FEATURES
Attorney General Eric Schneiderman and New York State Comptroller Thomas DiNapoli officially approved the sale of Long Island College Hospital to Fortis Property Group on Oct. 28. Brooklyn residents have fought the transaction between SUNY and Fortis for nearly two years. Brooklyn resident Jon Berall submitted the Order to Show Cause to the court, asking to halt the transfer until the Appellate Court reviewed the final legal issues. Justice Johnny Lee Baynes rejected the appeal to delay the sale of Long Island College Hospital to Fortis Property Group on Oct. 21. Berall has previously filed motions to block the transfer. Community members and patients hope officials will call an investigation into the validity of the deal. Barbara Gartner, Brooklyn Heights resident and member of Patients for LICH, said various members of the
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REVIEW
App connects Greek Show explores Matisse’s creative jolt life members By HENRY CHOA Contributing Writer
By AMANDA MORRIS Staff Writer
Dentity, an app that essentially redesigns phone contact books, is reinventing and streamlining the process of exchanging contact information. Particularly for fraternity and sorority members, it allows users to easily network with one another. The app relieves the user of the task of updating contacts, making it much simpler to obtain contact information. Created in May of this year and still in its beta phase, Dentity has experienced a growth rate of roughly 50 percent per month, expanding to include about 150 Greek chapters and
over 10,000 people. App users include members of Sigma Phi Epsilon fraternity at NYU, whose vice president of finance SPS junior Ashwin Mathur, interned with the company over the summer. “[Dentity] is way better than posting in a Facebook group or sending messages via GroupMe,” Mathur said. “It is a very practical application for large groups or clubs to use. However, I can definitely see the application grow into attracting a larger target market in the business sector.” The app is available on iOS, Android and the Internet. The users
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With autumn comes Henri Matisse’s invigorating paperworks, currently showcased in “Henri Matisse: The Cut-Outs,” at the Museum of Modern Art. The show arrived after five well-received months on view at the Tate Modern in London, where it became the gallery’s first exhibition to exceed half a million visitors. MoMA has not seen much of Matisse since a major retrospective in 1992 — the Metropolitan Museum of Art, on the other hand, has had two blockbuster Matisse shows in the past decade — but “The CutOuts” is a perfect reintroduction. It takes an alluring look at the final surge of creativity in the fauvist’s work and life.
In the early 1940s, a case of duodenal cancer unhinged Matisse’s entire artistic method, limiting his mobility and forcing him to work exclusively from his bed and chair. Yet with the help of several assistants, Matisse began to express himself using colored paper and scissors, transitioning into one of the most creative and innovative periods of his life. The exhibition opens with “Two Dancers,” one of Matisse’s first works done using the cut-out method, which depicts a woman who springs jovially above a sturdy partner. The woman’s body is laden with small pins, each one tactfully holding a slice of her own paper silhouette in position. This particular work helped initiate the malleable process that Matisse fell in love with. Viewers
will only observe more of that creativity as the exhibition unfolds. Matisse’s excitement for this new form of expression is palpable in the room dedicated to his 1947 book “Jazz.” Figures like “Icarus” glide through star-filled spaces as the viewer learns how Matisse likened the cutting process to “the sensation of flight.” There is, however, a sense of melancholy lying beneath the whimsicalities that spill across the exhibit walls — perhaps from his own physical condition as he painted such lively scenes, or perhaps from the misery the war had caused his family. A highlight of the exhibition is the short film on display. Gallery visitors can watch Matisse as he sits
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